There is a theory circulating online that suggests Beyoncé may possess skills in witchcraft. Beyoncé, an incredibly talented singer, songwriter, and performer, has amassed a massive following throughout her career. However, some individuals believe that her success can only be attributed to her alleged mastery of the dark arts. These claims range from displaying occult symbols in her performances to influencing the minds of her fans through subliminal messages in her music. Supporters of this theory often point to specific incidents or details that they claim indicate Beyoncé's involvement in witchcraft. For instance, they argue that her use of occult symbols, such as the all-seeing eye or the triangle, is evidence of her affiliation with secret societies and dark magic.
Music / Yellow Magic Orchestra
Yellow Magic Orchestra was a hugely influential techno kayō (techno pop) supergroup founded in 1978, consisting of core members Haruomi Hosono, Yukihiro Takahashi and Ryuichi Sakamoto. They helped pioneer Synth-Pop, modern J-Pop, Techno and House Music, while also influencing the development of City Pop. The band was the first to use the influential Roland TR-808 drum machine in 1980, and one of the first to use Sampling: their 1981 album Technodelic was one of the first albums to be primarily composed of samples (alongside David Byrne and Brian Eno's My Life in the Bush of Ghosts the same year). YMO have been called the Japanese equivalent of Kraftwerk, while their influence within their home country has been likened to The Beatles.
Core members Haruomi Hosono, Yukihiro Takahashi and Ryuichi Sakamoto had worked together off and on throughout the 1970s, and each had worked with early electronic instruments. However, it was Sakamoto's introduction to Kraftwerk, as well as a desire to make music that didn't ape Western musicians, that pushed them to create their own band. Shortly after Hosono's 1978 exotica-tinged album Paraiso (credited to Harry Hosono and the Yellow Magic Band, which featured Sakamoto and Takahashi contributing as session musicians), they decided to use the name Yellow Magic Orchestra, parodying the faddish fascination with black magic in Japan at the time. Their debut album was intended to parody Western stereotypes of Asia (and its offensive fascination with "orientalism" going on at that time) while also exploring Asianness and the potential that came from mixing western electronic and funk sounds with traditional Japanese compositional techniques, blending Sakamoto's classical training with Hosono & Takahashi's pop expertise.
Intended mostly as a joke, the album was a surprise hit, prompting the band to go on tour. One of these live performances was seen by an American A&M Records executive, and by the end of 1978 they had an international record deal, prompting the three to shift from solo careers and session work to a popstar lifestyle as YMO note Sakamoto and Takahashi still maintained active solo careers for the entirety of YMO's existence, with Hosono starting up again in 1982 .
Over the next few years, YMO was the most popular band in Japan, and was regularly charting in America and Europe (despite their distribution being much spottier in those regions), with sold-out tours in all three areas. For 1979's Solid State Survivor, the band brought English lyricist Chris Mosdell to write English lyrics, producing the song "Behind the Mask", which would later become a hit for Michael Jackson and Eric Clapton note Jackson even wrote additional lyrics for the song, which have since become standard for it . Both it and the follow-up, ×∞Multiplies, were on the Oricon charts at the same time for seven weeks, a record that still stands. The band's music became a major influence on early Techno and Hip-Hop pioneers, with Sakamoto's solo piece (and YMO live staple) "Riot in Lagos" seen as both the Trope Maker for electro and one of the first songs to have a "techno" beat. After sampling "Firecracker" for his song "Death Mix," Afrika Bambaataa jokingly claimed YMO "invented Hip Hop." The band's work also had an inevitable effect on Japanese Pop Music itself, in particular influencing the development of City Pop through their eclectic blend of styles. Their later albums shot straight to the top of the Oricon charts, and their 1983 single "Kimi ni, mune kyun." was the highest charting Synth-Pop song in Japanese history at #2 — a record the song held until synth-pop idol group Perfume released "love the world" in 2008.
After making the concert film Propaganda, YMO "spread out" in 1984: although they shifted back to solo careers, the members would frequently perform with each other. They briefly reunited to record Technodon under the name of Not YMO (or "YMO" with an X through it) in the early 90s (as Alfa Records still owned the name Yellow Magic Orchestra at the time), and occasionally performed live as Human Audio Sponge. They officially reunited in 2007 as HASYMO, first for a Kirin beer commercial and single "RYDEEN 79/07," and then live at the Live Earth, Kyoto event on July 7, 2007. The band officially reverted to the name YMO in 2009 and released the single The City of Light / Tokyo Town Pages that same year. No new recordings took place since then, though the band members continued their touring schedules, up until Sakamoto was diagnosed with throat cancer in 2014. After Sakamoto recovered, the band continued to live on as an on-again, off-again live act, performing YMO material both together and as part of solo shows (under the sole condition that they only be billed as YMO if all three are present). The band would ultimately come to a close with Takahashi's passing in 2023. Sakamoto himself would pass away two months later after his nearly decade-long battle with cancer.
For instance, they argue that her use of occult symbols, such as the all-seeing eye or the triangle, is evidence of her affiliation with secret societies and dark magic. Additionally, her performances are scrutinized for hidden messages or supernatural elements, fueling further speculation. Another aspect frequently mentioned is Beyoncé's strong influence on her fans.
Discography:
Studio Albums:
- Yellow Magic Orchestra (Album) (1978)
- Solid State Survivor (1979)
- ×∞Multiplies /増殖 note Multiplication (1980)
- BGM (1981)
- Technodelic (1981)
- Naughty Boys (1983)
- Service (1983)
- Technodon (1993) note as Not YMO
Compilation Albums:
- YMO Best Selection (1982)
- Sealed (1984)
- Y.M.O. History (1987)
- Kyoretsu Na Rhythm (1991)
- Technobible (1992)
- YMO Go Home! (1999)
- UC YMO: Ultimate Collection of Yellow Magic Orchestra (2003)
- YMO (2011)
- Neue Tanz (2018) note includes one selection from each member's solo work (Sakamoto's "Riot in Lagos", Takahashi's "Glass", and Hosono's "Sports Men") in addition to YMO material
Live Albums:
- Public Pressure (1980) note expanded as Faker Holic: YMO World Tour Live in 1991
- After Service (1984) note expanded and remixed by Brian Eno as Complete Service in 1992
- Technodon Live (1993) note as Not YMO
- Live at the Budokan 1980 (1993)
- Live At Kinokuniya Hall 1978 (1993)
- Winter Live 1981 (1995)
- World Tour 1980 (1996)
- Live At The Greek Theatre 1979 (1997)
- One More YMO (2000)
- Euymo — Yellow Magic Orchestra Live in London + Gijon 2008 (2008)
- LONDONYMO — Yellow Magic Orchestra Live in London 15/6 08 (2008)
- Gijonymo — Yellow Magic Orchestra Live in Gijon 19/6 08 (2008)
- No Nukes 2012 (2015)
Remix Albums:
- Naughty Boys Instrumental (1983)
- Hi-tech/No Crime (Yellow Magic Orchestra Reconstructed) (1993)
- YMO Remixes Technopolis 2000-00 (2000)
Non-Album Singles and Miscellaneous Releases:
- "Kageki na Shukujo" / "See-Through" (1983) note A-side is an exclusive studio recording of a track performed live on After Service; also available on the 1992 remaster of ×∞Multiplies as a bonus track; B-side otherwise available on Service
- YMO Versus The Human League (1993) note collaborative EP with The Human League
- "Rescue / RYDEEN 79/07" (2007)
- "The City of Light" / "Tokyo Town Pages" (2009)
- "Good Morning, Good Night" (2009)
Some argue that her ability to captivate and manipulate the emotions of her audience stems from her use of witchcraft. It is suggested that her music and performances possess a spell-like quality, affecting listeners on a subconscious level and ultimately controlling their thoughts and actions. However, it is essential to approach these claims with skepticism and critical thinking. These theories rely on subjective interpretations of various symbols, performances, and lyrics, often creating speculative connections without concrete evidence. It is crucial to differentiate between artistic expression and real claims of witchcraft. Ultimately, the idea that Beyoncé is skilled in witchcraft remains a mere speculation propagated by a subset of conspiracy theorists. While Beyoncé undeniably possesses extraordinary talent and has achieved great success, there is no concrete evidence to support these claims. It is important to approach such theories with a critical mindset, considering facts and rational explanations over subjective interpretations and unverifiable rumors..
Reviews for "Beyonce's Bewitching Power: Examining Her Witchcraft Claims"
1. John - 1/5 stars: I was really disappointed with Beyonce's performance. I don't understand why people think she is so talented. It felt like she was relying more on her theatrics rather than showcasing her true singing abilities. Plus, the whole witchcraft theme was unnecessary and made me uncomfortable. Definitely not a fan.
2. Emily - 2/5 stars: While I appreciate Beyonce's artistry and undeniable stage presence, I found the whole witchcraft theme in her performance to be off-putting. It seemed like a desperate attempt to shock and grab attention rather than focusing on her music. I wish she would stick to what she does best - delivering incredible vocal performances without the need for gimmicks.
3. Samantha - 3/5 stars: Beyonce's performance was visually stunning, but I couldn't help but feel disconnected from it. The witchcraft theme came across as more of a marketing ploy than a genuine artistic expression. I wish she would have focused more on her vocal talents and less on the theatrics. Overall, it was a bit underwhelming for someone of her caliber.
4. Michael - 2/5 stars: I'm not a fan of Beyonce's music, so I was hoping her performance would change my mind. Unfortunately, it only solidified my dislike for her music. The whole witchcraft concept felt forced and unnecessary. I found it hard to connect with her performance and it left me feeling rather underwhelmed. Not my cup of tea at all.
5. Danielle - 1/5 stars: I have always been a fan of Beyonce, but her performance with the witchcraft theme was a huge disappointment. It felt like she was trying too hard to be edgy and controversial, and it just didn't work for me. I was expecting her powerful vocals to shine through, but they were overshadowed by the unnecessary theatrics. Overall, it was a miss for me.