Erykah Badú Speaks on The Difference Between Her Witchcraft & Beyoncé’s: It takes more then just talent to make someone pay $2000 for concert tickets
An American pastor also claimed that Queen Bey is a witch. Self-proclaimed ‘prophetess’ Tiphani Montgomery, who founded the Covered By God ministry, shared a video on her TikTok and YouTube earlier this year in which she said: ‘Any of you who are going to Beyoncé’s concert I rebuke you in the name of Jesus, how dare you call yourself a Christian.” She continued, “’I don’t care what pastor you got who’s OK with it, I don’t care what pastor you got that thinks it’s cool, I don’t care what pastor you got that sings along to the songs because they want some clout.’
This part of the text explores bizarre allegations and conspiracy theories surrounding Beyoncé and Erykah Badu, particularly focusing on accusations of witchcraft. It mentions a 2018 incident where Kimberly Thompson, a former drummer, sought a restraining order against Beyoncé, alleging harassment and involvement in dark practices.
The narrative then introduces an American pastor, Tiffany Montgomery, who called Beyoncé a witch and rebuked Christians attending her concerts. The pastor suggested that Beyoncé’s fans are part of a “lady beehive” or coven, connecting them to alleged witchcraft.
Erykah Badu is also discussed, with mentions of an urban legend claiming her mystical powers, specifically in relationships. Badu refutes the idea that her powers lie between her thighs, emphasizing that it’s about intellect rather than physical attributes.
The text later touches on conspiracy theories associating Beyoncé and Jay-Z with the Illuminati, referencing Jay-Z’s hand signal and their use of religious iconography in performances. The connection to the Illuminati is depicted as a form of brainwashing and ushering in a New World Order through their music and visuals.
There’s also a mention of Beyoncé’s album “Renaissance” and its imagery, including horse-related symbolism. Some theorists associate this with the Four Horsemen of the Apocalypse, suggesting an apocalyptic theme in Beyoncé’s work.
The text acknowledges the absurdity of these conspiracy theories while also noting that Beyoncé directly addresses them in her lyrics. The mention of an Instagram comment claiming she is secretly Italian adds a humorous touch, highlighting the unfounded nature of these theories.
It concludes by discussing a writer’s perspective on Beyoncé’s success, attributing it to her hard work, talent, and dedication to her craft, rather than supernatural or Illuminati affiliations.
This section of the text delves into several alleged feuds involving Beyoncé and other female artists, examining whether these conflicts were based on real animosity or simply speculation. The narrative first discusses the comparisons between Beyoncé and Ashanti during the early 2000s when both artists were rising stars in the R&B and pop music scene. Despite media comparisons and an opinion piece favoring Ashanti’s star power over Beyoncé’s, both artists have emphasized mutual respect and denied any personal feud.
The text then explores an alleged beef between Beyoncé and Kellis, particularly concerning the use of Kellis’s song “Milkshake” in Beyoncé’s album “Renaissance.” Kellis expressed frustration over not being informed about the interpolation and accused Beyoncé and Pharrell Williams of lacking integrity. However, this conflict seems to be centered around professional disagreements rather than personal animosity.
The text touches on the impact of these alleged feuds on the careers of artists like Ashanti, Kellis, Sierra, and Joseline Hernandez, with some fans attributing downturns to conflicts with Beyoncé. However, these claims are subjective and lack concrete evidence.
In summary, the section explores various rumored feuds involving Beyoncé, highlighting instances where conflicts appear to be more about professional differences than personal animosity. The text emphasizes the complexity of celebrity relationships and the potential impact of media speculation on artists’ public images.
