The Exploitation of Billie Eilish

What your preteen is listening to is an important question that parents need to take the time to ask. As many of you are aware, it isn’t a safe or happy world in which we live today.

As Christians, we understand that the ruler of this world is Satan and we are aware of his connection to the music industry, so the timing for a new nubile female pop star for young girls to emulate and the media to fawn over—not surprisingly—just happens to coincide with Taylor Swift’s expiration date (she just turned 30).

Enter Billie Eilish, the 18-year-old pop sensation who just became the youngest artist to win album of the year for her “When We All Fall Asleep, Where Do We Go?” track. Eilish also became the second artist, and first female artist, in the Grammy’s history to sweep the big four categories—record, album, song of the year and best new artist.

When giving thanks for her award, Eilish said, “We didn’t write a piece for this. We didn’t make an album to win a Grammy. We wrote an album about depression, suicidal thoughts, climate change, and being the bad guy, whatever that means. We stand up here confused and grateful.”

The record was previously set by Taylor Swift, who won the golden statue at age 20 for “Fearless” in 2010. But time moves on and the industry needs another sacrificial female artist in which to influence young girls—and wholesomeness isn’t on the menu.

Rather than the good girl image of Swift, the industry wants to serve up a demonically inspired hot mess to exploit. According to her stylist, Samantha Burkhart, the pop star is dressed in baggy, ill-fitting and frankly, ugly attire so she isn’t sexualized.

But if one watches her music videos, when Eilish isn’t propagandizing demonology, she can be found writhing and mimicking sexual poses. She has even posed for a suggestive Rolling Stone magazine cover obviously designed to exploit the young girl’s sexuality.

One only need remember Britney Spears dancing a few decades ago in her short school uniform and knee socks. Today, although she is a grown woman, Spears still regularly appears on Instagram in cutoffs and midriff tops doing cartwheels. It’s extremely sad. There has been no evolution. And she has lost her mind and her own children.

Elish’s suggestive cover shoot for Rolling Stone.

But is there something darker at work than just pressing an ugly androgynous look on her purportedly 89 million social media followers—most of whom are girls—and the popular progressive gender confusion ideology?

Eilish is said to employ her parents Maggie Baird and Patrick O’Connell as her personal assistant/fan-outreach coordinator and utility player, as well as her older brother, Finneas O’Connell, as a co-writer. But since Eilish just turned 18 in December, one wonders if the parents haven’t been the ones to exploit their own child for fame.

Mother Maggie is an actress best known for her work on Life Inside Out and Mass Effect 2 . She also taught improv at the Groundlings Theatre in Los Angeles where Melissa McCarthy was a student of hers and who now calls herself a big Eilish fan. She also turned to country music and songwriting in 2009 when she released her album “‘We Sail.”

Eilish’s father, Patrick O’Connell, is also an actor, known for his roles in Iron ManThe West Wing and Supergirl.

Obviously, Eilish isn’t the spontaneous young artist that appears to have come out of nowhere. Eilish hails from a family with serious show business ambition. But the media—and her parents—prefer the narrative of a young artist who went viral on Spotify at age 14 rather than a likely calculated roll out of her music.

According to the Rolling Stone cover article, “Eilish’s debut album, When We All Fall Asleep, Where Do We Go?, was released this past spring and has already been streamed more than 2 billion times. The week it came out, she had 14 songs in the Top 100—more than any other female artist ever. Last week she was touring Australia, tomorrow she leaves for a festival in the U.K., and for the rest of the month she’s playing amphitheaters and arenas across the U.S.—every one sold out.”

Somehow all of this doesn’t convince me that Eilish’s fame evolved organically as we are led to believe. The Stones journalist did mention that her parents had small acting bits, but the article misleadingly portrayed them as mostly a middle-class family living in a crowded home with little fame or connections.

So what is this demonic, bad girl that the industry seems all too intent on feeding her mostly teenage girl audience all about? Darkness. A lot of darkness. Her hit single “Bad Guy” says it all: “I’m the bad type, make-your-mama-sad type. . . might-seduce-your-dad type.”

Eilish’s videos feature her sophomoric and sometimes playful (and quite lovely) voice accompanied by demonic themes or shots of her with blood leaking from the corners of her mouth, spiders crawling on her face, levitating or falling from heaven.

She told Rolling Stones that after her career took off, her nightmares got more intense. “I actually had to stop watching horror movies, because everything started flipping me out,” she said. “I saw creatures outside my windows. I had sleep paralysis. I’m done with the fake shit—real life is way too scary.”

Despite her fear of watching horror movies, Eilish said she gets much of her inspiration from the Babadook, a 2014 Australian psychological horror film that features a dark, monster-like character.

Her videos attack wholesomeness, goodness and Christianity, such as her song “All the Good Girls Go to Hell.” In the video, Eilish is shown having her back poked with needles followed by wings growing from her back. The video then cuts to an image of her falling like lightning from the sky like Satan. She lands on earth in a big tar pit and begins to sing, “My Lucifer is lonely.”

And typical to the feminist movement, Eilish turns the pronoun for God from he to she as her wings begin to burn along with the earth around her.

When discussing her music videos, Dave Daubenmire of Pass the Salt ministries said on his “Coach Dave Live” webcast on September 20, 2020, that Eilish was being manipulated by Satan.

“Do you think Billie Eilish came up with this idea on her own?” he asked, rhetorically. “Do you think this imagery and these songs and these videos, do you think she just kinda did it on her own in her basement, like me? There are forces of dark beyond what we can even imagine that [are] full-bore after our children.”

The progressive Guardian defended the demonology featured in Eilish’s videos and pooh-poohed any criticism of its dark iconography by Christians, saying the video was about climate change. Okay boomers, but why sing to Lucifer?

The danger isn’t in Eilish herself adopting demonology as her icons and, frankly, she isn’t the first pop or rock start to do so. No, what is so insidious about the contrived videos and themes is the particular message being transmitted to her young fans.

Her video “All the Good Girls Go to Hell” had 37 million views in the year of Jeffrey Epstein and Hollywood pedophile rings being exposed. It begs the question of  why are middle-aged promoters (and her parents) picking these particular themes—demonology and the sexualization of children—to influence preteen minds.

It is well known that TikTok, a Chinese-owned app, is a hunting ground for pedophiles, so why would Eilish’s own mother mention it in an Instagram post with an image of Eilish wearing a TikTok sack? Even if it was to promote climate change hysteria to the progressive left, she certainly knows better. Anyone who has brushed elbows with Hollywood knows what happens to young children in tinsel town.

Even the late Sen. John McCain’s wife, Cindy McCain, revealed that everyone knew about Epstein’s child trafficking when answering an attendee’s question at the State of the World 2020 Conference in Florida this January.

“We all knew about him. We all knew what he was doing, but we had no one that was—no legal aspect that would go after him. They were afraid of him. For whatever reason, they were afraid of him.”

Eilish does seem to be under some type of demonic control, saying herself that she suffers from nightmares, sleep paralysis and draws inspiration from fictional dark characters from horror films. Eilish also admits she suffers from Tourette Syndrome, which some believe is a side effect of demonization. She also suffers from body dysmorphia, depression and self-harm. Oh, and she sees creatures outside of her window.

Every single parent should be concerned whether their own child is listening to these dark lyrics or absorbing her demonic iconography. Rather than uplift our young children with inspiration and beauty, this industry seeks to indoctrinate them in darkness and futility. If you don’t believe their is a contrived plan to steal the souls of our children, you are either extremely naive or just plain stupid. #Reignwell