The Eurovision Song Contest Promotes Non-Binary ‘Human 2.0’ Agenda

by Jacob Nordangård, PhD | The Pharos Chronicles

The Eurovision Song Contest is looking more and more like the Hunger Games. A decadent mega-spectacle which this year has adopted the motto “United by Music”. However, unity was not to be found in the heavily guarded Malmö (with snipers on the roofs for security). Instead, booing echoed in the arena while some artists ended up on a collision course with each other.

This applied both to the controversy with Israel’s participation, the disqualification of the shoulder-pad man Joost from the Netherlands (after illegal threats against a photographer) and the discrepancy in the results between the telephone votes and the jury groups.

The winner Switzerland, for example, only ended up in fifth place in the “people’s vote”, with Croatia’s metallic Pain-ripoff and Israel’s power-ballad as first and second. The question is how the jury groups are appointed?

This year, the extravagant stunt was more like a Pride festival set to music, with a disproportionate number of homoerotic, nude and semi-pornographic performances. This contributes to further polarization.

However, the equality ratio was achieved to 100% with both presenters being women—unless, of course, they identify as something else. It is undeniably not easy to be strictly politically correct in the Weirdmageddon that is now unfolding.

The Eurovision Song Contest is also an effective way of introducing new concepts to a younger, malleable audience. It’s been a long time since the competition was about awarding the best song. Instead, external attributes are everything.

Don’t forget Madonna’s eerily ritualistic performance from Israel, one year before the pandemic, where she sang the lines “Not everyone can come into the future, Not everyone that’s here is gonna last”.

This year, the winning entry was “The Code” with Nemo from Switzerland. Nemo refers to himself as non-binary and thus identifies as neither male nor female. This was also clearly underlined by the presenters. The term, which can be most closely compared to androgyny, has more than 25 years behind it but was largely unknown to the public before the 2020s. But not anymore. The “revolution”, orchestrated from above by the usual transformation agents, is now sweeping over the world.1

The winner Nemo

The winning song “The Code” has a very catchy hook, while Nemo masters an impressive vocal range. The song has qualities that makes it likely to be played frequently and is sure to become an anthem for the new gender-confused generation. With exposure to approximately 150 million television viewers, it can be assumed that we will see more and more teenagers who identify as non-binary. Nemo has dissolved the gender code and made it trendy to blur the boundaries. Something David Bowie’scharacter “Ziggy Stardust” already did in the 1970s and Boy George in the 1980s.

Even the artist Bambie Thug who performed Ireland’s entry “Doomsday Blue” identifies as “non-binary”. Bambie was among the first to congratulate Nemo on his victory by giving him her black crown of thorns. Bambie’s goth-inspired look is designed to appeal to the tougher and cooler part of the youth crowd. The character is like a female version of the androgynous 1990s icon Marilyn Manson.

Bambie, who is a practicing wicca, is heard growling and screaming at the end of the song to the tune of rumbling distorted guitars before the song ends with the words “Avada Kedavra, I speak to destroy!” The dark aesthetic including a circle with an inverted pentagram is otherwise seen more frequently in the hard rock scene. The occult symbolism is also visible in Bambie’s earlier production. In the video for the more metallic “Egregore”, Bambie appears, for example, as a red-made-up devil with a goatee.

Is it a coincidence that the demon Baphomet is described as a non-binary and androgynous being? Androgyny is also an ideal in the occult teachings of the Rosicrucians and Theosophy. However, there it is about psychologically uniting and balancing the female and male energies within oneself to become a more well-rounded being. With the distorted logic of transhumanism, this balancing is now instead to be achieved through medical “gender correction” of the body.

Bambie Thug’s spectacular stage show with openly satanic and occult references has not entirely unsurprisingly aroused disgust and horror in the audience that grew up with the Swedish Herreys brothers’ golden shoes (winner 1984) and Carola’s Bible reading (third place 1983) during the first half of the eighties. Back then, schlager music was among the most cheesy things in existence, while flirting with Satan was the preserve of metal bands like Venom and Mercyful Fate. A scene that the “Moral Majority” went on crusade against without any major success.2

A lot has obviously happened since then. It is no longer part of a rebellious underground movement. Now it has become mainstream and prime time Saturday entertainment. It has lost the playfulness it used to have. Instead, the artists have become instruments of power, and (willingly or not) become part of a movement with the goal to change what it means to be human.

It is also becoming clear what is the next step in the transformation of humanity. The trans agenda has connections with transhumanism’s ideas about altering the human. It seems that soon it will be time to unveil Human 2.0.

When last year’s winner Loreen sang her song “Forever/Tattoo”, she sat, wearing cybernetic robot parts with long claws, shackled in a futuristically designed metal chair (called a gyno chair by detractors). The design language showed clear resemblances with the Swiss artist H.R. Giger’s artwork (designer of the Alien monster) or the Matrix movies.

Loreen

It thus seems fitting that next year’s final will be held in the World Economic Forum’s homeland Switzerland. The country (Helvetia in Latin) where Chairman Klaus Schwab holds his techno-utopian revival meetings about integrating man with technology to create cyber-biological systems. It may only be a matter of time before we have a youth movement demanding the rights to be upgraded with brain chip implants or other cybernetic technology to become the superheroes or mythological beings they identify as. Movies and video games have been preparing us for this for decades. With the new technology, pretty much anything becomes possible.

Maybe next year we can see Klaus lead the gala together with the robot Sophia? Why not a duet? Klaus has a huge repertoire of treats to offer, while Sophia has made a couple of valiant attempts to convince the world that the robots are not only better at managing the planet, but that they are also getting ready to take over the Eurovision Song Contest. We so look forward to this…

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