by Laurie Higgins of Illinois Family Association, part of the American Family Association in an email that went out yesterday
This past Sunday night’s Grammy awards was a tragic freak show that demonstrated the entertainment industry’s arrogance, ignorance of marriage, and disregard for children. It was a gawdy (sic) spitball hurled in the all-seeing eye of a holy God.
The spectacle was bookended by a soft-core porn performance by the not-single lady Beyoncé who twerked and jerked her half-revealed derriere in a series of “dance” moves that simulated sex and stimulated sexual appetite, while the crowd cheered in puerile excitement.
Beyoncé was later joined by her husband Jay-Z who seems to revel in the lustings of strangers for his wife. What kind of man gets pleasure from his wife’s flaunting of her sexuality and from the certain knowledge that men desire to do things to his wife because of her arousing dress and actions? Is it money that motivates his eager embrace of his wife’s immodesty, or pride that he has access to her body when all other leering men do not? If it’s money, how is he different from a pimp?
Beyoncé’s performance reinforced the cultural deceit that modesty and the notion that conjugal love is private are archaic puritanical irrelevancies. Beyoncé has abused her power as a beloved role model for young girls to teach them terrible lessons about sexuality and marriage. Her performance raises many questions:
Beyoncé’s vulgar anti-woman, anti-marriage performance foreshadowed the climactic setpiece of the evening: Queen Latifah, long-rumored to be a lesbian, officiated at the “weddings” of 33 couples, many of whom were same-sex couples, while accompanied by the preachy, feckless song “Same Love” by Macklemore and the song “Open Your Heart” by the Dorian Gray-esque Madonna. It was a sorry, sick, non-serious ceremony that looked like something from the garish dystopian world of the Hunger Games, replete with a cheering sycophantic audience, faux-stained glass windows, a faux-choir, a homosexual faux-pastorette, and “Madonna” with her faux-face. It was a non-wedding festooned with all the indulgent gimcrackery of Satan’s most alluring playground: Hollywood.
- What motivates a young, married mother to flaunt her partially-exposed sexual anatomy to the world and simulate sex movements?
- Deep down is this what she truly wants to do?
- Deep down does she really want her husband to delight in the objectification and commodification of her body for the prurient pleasures of other men?
- Would Jay-Z and Beyoncé want their daughter to one day perform like her mother for the pleasures of men? What would they think about an 18-year-old Blue Ivy recreating her mother’s performance but in a seedy club for the eyes of less expensively attired and botoxed men and women?
- Is Beyoncé comfortable with her father watching her performance?
- What kind of mixed message does this performance send to children? Parents and pediatricians tell children that parts of their bodies are “private parts” that only parents and doctors should look at or touch. We convey that message to them from the earliest prepubescent ages. So, what happens after sexual maturity? Do those “private parts” suddenly become public parts?
- Is modesty in dress the same as prudery, or is it a virtue to be cultivated?
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QUOTING QUIVERFULL is a regular feature of NLQ – we present the actual words of noted Quiverfull leaders and ask our readers: What do you think? Agree? Disagree? This is the place to state your opinion. Please, let’s keep it respectful – but at the same time, we encourage readers to examine the ideas of Quiverfull honestly and thoughtfully.
NLQ Recommended Reading …
‘Breaking Their Will: Shedding Light on Religious Child Maltreatment‘ by Janet Heimlich
‘Quivering Daughters‘ by Hillary McFarland
‘Quiverfull: Inside the Christian Patriarchy Movement‘ by Kathryn Joyce