Half-Time Worship: Pop Stars, Empowerment and the Prostitution of the Goddess Archetype
The Super Bowl LIV Halftime Show
Shakira opens with the words “Empires of the World Unite. We are alive. And the stars make love to the universe.” A most peculiar phrase that seems out of place since the rest of the lyrics suggest that this is a love song. Apart from the occult reference to the stars and the Universe, her opening sentence appears to be an allusion to the ‘Workers of the World Unite’ slogan of Karl Marx. It would be appropriate to snug this line in for a pop music industry product since their assistance in the establishment of a One World Order is mostly through cultural marxist means. In the middle of her performance, Shakira was joined by a rapper who wore a silver suit, jacket and hat that reminded me of the Tin Man from The Wizard of Oz, the classic movie based on the book by the theosophist L. Frank Baum. This movie is a favorite archive for subliminal symbols and is often used in MK-Ultra mind control programs. The Tin Man symbolism might be a subtle feminist reference to the ineptitude of men, as he is a helpless character without a heart that was saved by a young woman called Dorothy, a name that means “the gift from God.”
Jennifer Lopez arrived on the scene standing on top a reconstruction of the Empire State Building, reminiscent of the movie King Kong. However, this time it’s not the horrific (male) monster, threatening the damsel in distress that is standing on top of the world, but the super powerful woman… with a pole between her legs. Later, La Lopez did an actual pole dance which she called “a little nod to her movie Hustlers” that tells the tale of a group of strippers who drugged and stole from their rich male clients. Some media considered this story a compelling statement about female solidarity in a patriarchal world replete with toxic males. Others even claimed Lopez’s performance to be worthy of an Oscar. The almost mandatory (Freemasonic) black-white symbolism, was expressed in the outfit of a group of male dancers. When the daughter of Jennifer Lopez appeared on stage, we saw 18 other children in what appeared to be cages, virtue signaling the singer’s concerns about the United States immigration policy. Finally, just before the last section of the show, featuring several South-American dances, an overhead shot showed the stage being lit up in the shape of the gender symbol for women: the symbol of the goddess Venus.
Overall, in the context of symbolism, and compared to previous years, it was a rather modest show. Nevertheless it did spark some controversy among the public because of a sexual gesture Jennifer Lopez made when she did ‘her slide’. Soon after the show a meme started circulating on social media and a heated debate broke out with one camp suggesting that the hand gesture was inappropriate and the other defending it as a sign of female empowerment through sexual expression. In my opinion the discussion suffered from some confusing generalizations and misunderstandings that I would like to address, while also adding an analysis of some occult aspects in the entertainment industry.
- Female sexuality vs. the objectification of women
- Feminism and the empowerment of women
- Divide and conquer
- Occult entertainment
- Black magic for the masses
- Sacred Union
Female sexuality vs. the objectification of women
One of the accusations towards male protesters was that their disapproval revealed their own insecurity when being confronted with female sexuality. Personally, I believe that the female body is a marvelous thing of both function and beauty that should be celebrated. Likewise women should be able to express their sensuality and enjoy their bodies in whichever way they please. That being said, living out your sexual fantasies in private is one thing, however it is a whole other discussion when sexual deviancy becomes the standard for a cultural phenomenon.
Sex infused pop music is a trend that has become increasingly worrisome since it began with the “sexual liberation” in the sixties and saw its first peak in the eighties with Prince and Madonna. From 2000 onwards porn gradually became the norm. Nowadays, if you watch a pop music video, all you see are tits and asses flying around and young women virtually naked in a pornographic setting, often slithering on the ground among a variety of barely dressed males. At the same time the videos of rap music have become one big decadent lap dance where women are degraded to nothing less than paid bitches who are there to be fucked and thrown away. Someone who raised the alarm about the rise of this ‘raunch culture’ and its adverse effects on the sexual liberation of women, back in 2005, was feminist Ariel Levy:
Passion isn’t the point. The glossy, overheated thumping of sexuality in our culture is less about connection than consumption. Hotness has become our cultural currency, and a lot of people spend a lot of time and a lot of regular, green currency trying to acquire it. Hotness is not the same thing as beauty, which has been valued throughout history. Hot can mean popular. Hot can mean talked about. But when it pertains to women, hot means two things in particular: fuckable and salable. The literal job criteria for our role models? The stars of the sex industry… The truth is that the new conception of raunch culture as a path to liberation rather than oppression is a convenient (and lucrative) fantasy with nothing to back it up.
– Ariel Levy, Female Chauvinist Pigs: Women and the Rise of Raunch Culture
We have to keep in mind that pop music is mostly directed at young people and children. From a very young age they are bombarded daily with this imagery that normalizes explicit eroticism and extreme sexual behavior. The demoralizing effects that this has can not be denied. For example it has already been shown that it makes rape more acceptable amongst young people (Dutch). And although Jennifer Lopez’s performance wasn’t as extreme as some of the others pop stars, it was seen by many as yet another example of a teen idol exposing herself in an unnecessary sexual way. Saying that “you’re just an insecure male” when someone disapproves of this, is denying the legitimate concern that many people have for the psychological well being of their children.
That all this degeneracy, which is also related to the postmodern philosophy of deconstructionism and conceptual art was able to permeate into the fabric of our societies is no accident of course. Ever since it was popularized by the spoiled and disgusting mind of the original sadist and pedophile, Marquis de Sade, during “the height of the Enlightenment”, sexual perversion has been used as a weapon for psychological warfare. In more modern times it was the eugenicist, Rockefeller funded pederast and depraved hero of the sexual liberation movement, Alfred Kinsey, who was the most important figure in the promotion of sex as a tool for controlling the public. Catholic historian E. Michael Jones, in one of his monumental works, describes why and how pornography has been developed into a weapon during the past 250 years:
What all of these histories have in common is a transgenerational project that would come by way of trial and error and with an intention perverted by passion to the same conclusions that Augustine reached at the end of the Roman Empire. A man has as many masters as he has vices. By promoting vice, the regime promotes slavery, which can be fashioned into a form of political control. The only question which remained was whether that slavery can be harnessed for financial and political gain and, if it could, how to do it. The best way to control man is to do so without his awareness that he is being controlled, and the best way to do that is through the systematic manipulation of the passions, because man tends to identify his passions as his own. In defending them he defends his “freedom,” which he usually sees as the unfettered ability to fulfill his desires, without, for the most part, understanding how easy it is to manipulate those passions from without.
– E. Michael Jones, Libido Dominandi: Sexual Liberation and Political Control
Feminism and the empowerment of women
While all the above is going on, simultaneously, we also have the issue of Third and Fourth Wave Western Feminism, ‘#Metoo’ and widespread indignation about men’s conduct towards women, for a large part coming from these same media and the entertainment industry. Men are continuously shamed by these movements for showing any natural behavior towards women in a romantic or sexual context, while at the same time they find themselves in a world awash with sexual imagery that objectifies women in the most denigrating ways. How can anyone not see the conflict in this? How are (young) men to behave if on the one hand they are all misogynists but on the other hand women are continuously portrayed as sex dolls? It’s like one of the men who posted the J-Lo meme put it: “Liberals, please tell me how I’m supposed to view women because right now my penis is confused.” Exactly. In the media, Jennifer Lopez is now celebrated as a ‘Power Mom’, linking her performance to the empowerment and the independence of women. And while there may be some truth to this, next to putting even more pressure on women in our already hyper-demanding societies, in a broader context, this might also be interpreted as a mature woman unnecessarily exposing herself.
More importantly, we have to consider the message this conflicting view sends to girls and women. The general idea coming out of pop culture these days, is that to be a strong woman you have to use your sexuality to place yourself above those loathsome men. Just like Lady Gaga, Miley Cyrus, Nicki Minaj and other promiscuous pop stars you should use your body (and the insinuation of sex) to seduce and control your male counterparts. What has this to do with the empowerment of women? Nothing. True power comes from internal stability and has absolutely no need to subdue another person. It’s the ability to find balance in your own psyche that will empower you, not the externalization of your inner conflict. All that the promotion of this kind of behavior accomplishes is turning the tables. Now it’s men who are worthless pieces of shit that deserve to be stepped on and need to obey the All Powerful Woman at all times. Or else you ain’t gettin’ any.
Divide and conquer
This brings us to another important point. The attempt to further separate the sexes and the subversion of our societies as a whole. As I said, in life, as in the Universe, it’s all about finding the balance between polarities and then bringing these together as a whole. This is true for our own psyches and for the world we live in. As above, so below. Clearly, the dynamics I described above are the exact opposite of this. Instead of bringing the sexes together they are being polarized to an extreme. Men are projected as unworthy, sexist, incompetent losers, the opposite of what a strong man should be in order to protect and provide, and women are portrayed as (weak) oppressed victims who are relentlessly preyed upon. The only way for them to overcome this is by becoming totally independent from men and only use them when necessary by exploiting their sexuality. That this neutralizes women’s caring, nurturing and stabilizing power goes without saying.
Now, please don’t misinterpret my words here. Both male and female characteristics are expressions of Universal principles, known as the Divine Feminine and the Sacred Masculine. Both men and women have both these energies in their consciousness and express them in physical life, but they are of course most present in their respective sex. It’s the coming together of these two aspects that results in a Sacred Union that also forms the basis for the nuclear family, and in a larger context, the cohesion of our societies. On a side note, the fact that I feel obliged to make this nuance in advance tells a lot about our culture where the traditional family is increasingly seen as something negative or even needs to be abolished, and women who decide to be a caring housewife are marginalized and ridiculed.
But back to the point, if you want to undermine a population, inverting the natural roles and pitting the sexes against each other is a perfect way to do it. It’s divide and conquer on a psychological or spiritual level, a form of social engineering that is largely based on a Freudian concept called pansexualism that was later developed into a mass manipulation tool by the marxist ‘Frankfurt School’. In his refutation of anarchy, Michael Tsarion portrays one of the School’s prominent members as follows:
Herbert Marcuse (1898-1979), the Fabian-Marxist philosopher who believed that mass control was assured by enhancing the Pleasure Principle, making sure people are constantly titillated, distracted, infatuated with worldly stimuli, and able to satiate all their banal desires and cravings. The affluent society gives away its rights willingly as long as sensual gratification is instantaneous, unhindered and perpetual.
– Michael Tsarion, Anarchy Refuted
Where it all comes down to is that what often passes for sexual liberation is not just, as an other Fabian socialist, Aldous Huxley, put it: “compensation for diminishing political and economic freedom,” but also part of a deliberate attempt to engineer a gradually demoralized and docile society through the pornification of our culture. If then, on top of that, you also support and incentivize extreme opposition against it, i.e. Third and Fourth Wave Feminism, you have created yet another perfect cocktail of chaos and confusion amongst a population that is once more internally divided and thus easily controlled and ruled over.
When we take this psychological manipulation one step further something even more insidious is revealed, because the ultimate secret that the architects of control don’t want you to know is that in the end this is a war on our consciousness; a siege on your Soul. Whether it is our greedy consumerism, our Luciferian complex with the environment, our hedonistic societies or the objectification of women through entertainment, the end goal is to keep our attention focused on our lower nature, the negative aspects of our root chakra, and the worship of the High Priests and Priestesses that celebrate this kind of culture. “All the world’s a stage” is a massive understatement when talking about the entertainment industry, because as I pointed out in my article about Extinction Rebellion’s occultism, the Super Bowl and other similar shows of this scale are often used to channel the world’s energy through sympathetic magic and subliminally push certain agendas. With women this is mostly through variations on the archetype of the earlier mentioned goddess Venus.
Venus, who is also known as Astarte, Ishtar, Isis, Aphrodite and Freya – where we get the word Friday from, is the goddess of love, sexuality and fertility. She is the All Mother, the Universal Queen and symbolizes the blossoming seed, the sustaining energy that makes all life possible. That is why she is often depicted as a woman in a garden full of fruits and grain. The 19th century magician and creator of the world’s most famous Tarot deck, Arthur Edward Waite depicted her as the Empress.
“The symbol of Venus is on the shield which rests near her. A field of corn is ripening in front of her, and beyond there is a fall of water. The sceptre which she bears is surmounted by the globe of this world. She is the inferior Garden of Eden, the Earthly Paradise, all that is symbolized by the visible house of man… Above all things universal fecundity and the outer sense of the Word. This is obvious, because there is no direct message which has been given to man like that which is borne by woman; but she does not herself carry its interpretation. In another order of ideas, the card of the Empress signifies the door or gate by which an entrance is obtained into this life, as into the Garden of Venus; and then the way which leads out therefrom, into that which is beyond, is the secret known to the High Priestess: it is communicated by her to the elect.“
– A.E. Waite, The Pictorial Key to the Tarot
As pointed out by the Swiss psychologist Carl Jung, archetypes form a part of our collective unconscious. So when we are confronted with imagery or symbols that are connected to a certain archetype we automatically relate to it and the energy it represents. That is why it is such an effective method to subliminally condition the public and why this symbolism is used in the entertainment world, particularly by those high up on the Female Illuminati ladder. An excellent example of this kind of magic was the 2018 Coachella performance of Beyoncé.
First let’s start by decoding the singer’s best known nickname: Queen B. On the surface this seems to be a simple reference to her artist name and the fact that she has achieved the highest position in the pop star hierarchy. However it takes only a little bit of symbolic literacy to know that ‘Queen B’ is actually a reference for the Queen of Bees. Beyoncé’s fans are even referred to as the Beyhive.
Bees and beehive symbolism go back to classical times and before. The bee is considered to be the symbol of Menes, the pharaoh of the first Egyptian dynasty, it was used by royal bloodlines like the Merovingian sorcerer kings to claim ancient descent and Napoleon Bonaparte used bees to decorate his robes. The concept of the beehive as a symbol is also important in the context of secret societies as it relates to the Eleusinian mysteries and represents industry and cooperation. The 18th century revolutionary Cercle des Philadelphes (meaning lovers of Delphi, the Greek sanctuary of the Pythia oracle) used “a hive of swarming bees as a symbol,” it is one of the main symbols of Freemasonry and Adam Weishaupt, the infamous founder of the Bavarian Illuminati considered changing the name of his order to the Society of the Bees. Diligent researcher, Terry Melanson, in his excellent reference work on the Illuminati, also points out the aspect of secrecy that is associated with beehive symbolism:
“The Beehive is symbolic of the lodge itself as only the bees in the hive are aware of the activities inside … but under the guidance of the queen bee, the worker bees cheerfully and industriously perform their duties.” Bees and beehives are thus perfect symbols for the collusion of a secret society. Quoting from the Masonic Journal Sakul Gibi (Like a Plummet), Harun Yahya reiterates, “Bees cannot work unless in darkness… Your left hand must not know what your right hand does. Symbols are effective in the countless purposes of secrecy, and also in greater things.”
– Terry Melanson, Perfectibilists: The 18th Century Order of the Bavarian Illumminati
That the 2018 ‘Beychella’ performance was going to be an esoteric symbol-fest became clear from the very start. The show opened with the singer dressed as the legendary Nefertiti, a powerful symbol of the queen archetype, further emphasizing the perception of Beyoncé as a royal or divine figure. Queen Nefertiti was also the alleged stepmother of the famous boy king Tut-Ankh-Amon. What is conspicuously less known however is that she was the wife of the last important Hyksos – Israelite king of the 18th dynasty: Pharaoh Akhen-Aton (Amenhotep IV). The reason why Akhen-Aton is so important is because he introduced many unpopular reforms for which he was eventually exiled, the main one being monotheism. Instead of worshipping a multiplicity of gods, Akhen-Aton only worshipped one god, the solar deity called Aton or Adon. The same word the Hebrews use to refer to their god: Adonai. So long story short, Akhen-Aton was a “Jewish” king, sitting on the throne of Egypt, who was later exiled for installing the exclusive worship of a god different from the religion at the time. If that story sounds familiar then that is because it’s the same story as that of Moses in the Bible. There is convincing evidence (Dutch), that the biblical Moses may have been Akhen-Aton and that the Bible story is simply an adjusted version of his rule and life.
All of this is relevant because Akhen-Aton, apart from being the esoteric originator of the three main Abrahamic religions, Judaism, Christianity and Islam, is also considered the main representative of solar worship or Atonism, a powerful religious current in occult circles and secret societies. So whenever you see symbolism of Akhen-Aton or his family, i.e. queen Nefertiti, know that these are archetypes through which this solar deity and its powers are invoked.
That this solar, Egyptian-Atonist symbolism was not just an accident was confirmed by the sweater Beyoncé wore later in the show. On the coat of arms we see the crucifix, a symbol for the sun in the zodiac, surrounded by a profile of Nefertiti, a black panther’s head, a bee and a raised fist, topped by Egyptian wings and the all-seeing Eye of Horus. The bee symbolism and queen Nefertiti we have just discussed, the other two symbols on the crest are a reference to the ‘Black Panther Party’ and its contemporary offshoot: ‘Black Lives Matter’. This again demonstrates the (cultural) marxist nature of these movements that are funded by leftist billionaires and promoted by pop stars. The aim here, by referencing ‘Black Lives Matter’ and queen Nefertiti, is that Beyoncé is perceived, not only as the All Powerful Woman, but as the All Powerful Black Woman. She is presented as an icon in the fight against the oppression of two minorities: blacks and women. Like Nefertiti, Beyoncé is the victorious queen, the superlative woman, who like a goddess, has overcome the racist patriarchy and now calls to arms all her busy little bees. And what is the battle plan? If we can go by the lyrics of her celebrated hit song ‘Formation’, once more it appears to be the elimination of anything that has to do with masculinity while still enjoying an occasional fuck with that useless creature called man.
Bitch, I’m back by popular demand
Y’all haters corny with that Illuminati mess
Paparazzi, catch my fly, and my cocky fresh
I’m so reckless when I rock my Givenchy dress (stylin’)
I’m so possessive so I rock his Roc necklaces
Oh yeah, baby, oh yeah I, ohhhhh, oh, yes, I like that
I did not come to play with you hoes, haha
I came to slay, bitch
I like cornbreads and collard greens, bitch
Oh, yes, you besta believe it
Okay, okay, ladies, now let’s get in formation, cause I slay
Okay, ladies, now let’s get in formation, cause I slay
Prove to me you got some coordination, cause I slay
Slay trick, or you get eliminated
When he fuck me good I take his ass to Red Lobster, cause I slay
When he fuck me good I take his ass to Red Lobster, cause I slay
If he hit it right, I might take him on a flight on my chopper, cause I slay
Drop him off at the mall, let him buy some J’s, let him shop up, cause I slay
I might get your song played on the radio station, cause I slay
I might get your song played on the radio station, cause I slay
You just might be a black Bill Gates in the making, cause I slay
I just might be a black Bill Gates in the making
– Beyoncé, Formation
These words by the Black Queen of Pop perfectly illustrate the fallacy that such a woman could be in any way a role model for a free and moral society. Gratuitous arrogance, shameless avarice and talking to men and women in a condescending and insulting tone isn’t exactly the behavior that you would expect from a supposed paragon of equality and liberation. In fact, it is the exact opposite. While she poses as the virtuous Nubian queen, she fills your head with greed, gluttony and hate, desecrating the legacy of human rights heroes and the divine powers of the maternal goddess she pretends to be. Also note the phrase “Y’all haters with that Illuminati mess.” The reason why she felt the need to put this line in was because by the time of the release of her album ‘Lemonade’, her use of Illuminati symbols had become so ubiquitous that conspiracy theories about her and her husband Jay-Z were literally all over the place.
How ironic then that she used the most famous of all Illuminati symbols as the model for her stage: the infamous pyramid with the missing capstone, the symbol for the unfinished work of the New World Order. At one time during the show we could see Beyoncé standing on top of the pyramid with behind her a solar eclipse. As we all know from official history, solar eclipses were considered in many cultures to be announcements of transformational times. Often the initiated priests used these astronomical events to do rituals and demand sacrifices from the ignorant people. A darkened sun is also a reference to the setting of the sun, the moment when the sun travels into the underworld. This aspect was personified by the Egyptian deity Set(h) and is worshipped by the Setian branch of the Atonist cult. It is from this god that we get words like ‘sun-set’ but also the Hebrew ‘Satan’ meaning “adversary.” Set represents the Dark powers of the sun’s energy as opposed to the Light powers of Horus. The concept of the Black Sun also constitutes an elaborate mystical philosophy that was the foundation for the secret occult orders behind the German ‘Nationalist Socialist Party’ like the ‘Germanenorden’ and the ‘Thule Society’. Historian and professor of Western esotericism, Nicholas Goodrick-Clarke at the University of Exeter, explains:
By tracing [Karl Maria] Wiligut’s [Heinrich Himmler’s Rasputin] own inspiration back to this period, one discovers an even earlier source for the Black Sun in Theosophy, which had been highly influential in German esoteric circles since the turn of the century. In her major opus The Secret Doctrine (1888), Helena Blavatsky occasionally mentioned a “central sun” in the Milky Way, “a point unseen and mysterious, the ever-hidden center of attraction of our Sun and system.” As the energetic center of the galaxy or even the universe, this dark central sun represents the mass of potential energy prior to the Big Bang of modern cosmology. While the Jewish Cabala described its “black light,” Eastern initiates of Aryan tradition regarded it as the source of “creative light” and the “center of Universal life—Electricity.” Blavatsky thus emphasized a distinction between the Semitic and Aryan cosmogony: the former materializes and humanizes the mysteries of nature; the latter spiritualizes matter.
– Nicholas Goodrick-Clarke, Black Sun: Aryan Cults, Esoteric Nazism, and the Politics of Identity
Black magic for the masses
We could talk endlessly about occult symbolism in popular culture but I think the point is clear. It is an undeniable fact that in the highest echelons of the entertainment industry, archetypal symbols are used to subliminally amplify the indoctrination of the public with social engineering agendas. This is a form of black magic and it is paramount that we recognize this is happening, because no fundamental change in our societies can ever be achieved until we face the unbelievable truth that at the top of the pyramid of control we are dealing with dark Luciferians, sorcerers and witches of the Left Hand Path.
The involvement of occultists in the creation of the ‘superstars’ of their day, such as Mozart, Beethoven and Haydn, cannot be ignored. Indeed the occult influence in music has always been a factor and today is absolutely rife throughout the whole of the music industry.
– John Hamer, The Falsification of History: Our Distorted Reality
The idea that magic doesn’t exist and that it is nothing more than some ridiculous Harry Potter hocus-pocus is probably the biggest conspiracy of them all. The problem is that few of us ever come in contact with the true principles of magic, let alone have an understanding of it; hence the all too common, dismissive attitude whenever someone mentions the possibility of such a wondrous thing. True magic is a science. It requires a lifetime of spiritual studies, relentless introspection, dedication and discipline. Consequently, this makes it even more unapproachable for the general public that mostly strives for comfort and convenience. The black magician, although in principle he requires the same amount of commitment as his white competitor, may also resort to more vulgar means to achieve his goals, as he feeds off of other beings to quench his thirst for power. It’s these foul techniques that are used by the high priests and priestesses that populate the temples of illusion known as the entertainment industry.
Whether it’s the mass rituals of the blasphemous Queen of Pop and Qaballistic witch Madonna, or the subtle indoctrination by Beyoncé, the unholy Queen of Bees, these are practices that are based in magical traditions to create changes in the behavior of the people. The dark (satanic) twist is the inversion of those symbols that represent the beauty of creation and spiritual uplift. With their rituals and Babylonian black magic they distort, confuse and destroy all that is natural and true. They mock anything that is considered moral and good, especially in relation to Christianity, while impersonating the very icons that represent these values. In this way they are able to imprint the unsuspecting mind with whatever nefarious intentions they wish to manifest.
Mesmerized we gaze at these stars and their heavenly bodies. In blind admiration we throw ourselves at their feet and voraciously swallow the poisoned cup they offer us. The elixir of a decadent life filled with gratification. Every pleasure indulged, no desire to low. False idols, statues of fake beauty and fast success; golden calfs sacrificed by corporate bulls that we worship in ignorance as they feast upon our souls. Dark Venuses that lure us into their traps with promises of cheap sex and power, when all we truly desire is a genuine connection with a partner we love. Instead of preparing the fertile ground on which the man can plant his tree, these sirens of sin suck the land dry and leave a barren waste on which no crops can ever grow.
The way to counter all this spiritual warfare is, as with almost everything else, a return to Selfhood; an understanding of who we really are in the grand scheme of things. The more power we gain over our own psyches, the less those that wish to control, can use our demons against us. This is true for the men who are lost in this world, where they are demonized for having natural desires, while these same desires are artificially inflated to unhealthy levels, but also for the women who feel compelled to direct their anger for all the injustice they perceive, towards men.
We should always remember that in the game of manipulation the main tactic is division. Not just divisions in the world out there, but also within. No peace has ever been found by projecting troubles on external issues. True spiritual work is a process of facing your own darkness; a journey through the underworld of the Soul, so you may return victorious, blessed with the Light. Understanding that most of our problems can be resolved by going inside, no matter how painful they might be, will neutralize the influence that manipulators can have over us. Only then, when internal balance is restored, and we are liberated from excessive desires and endless struggles against ‘The System’, will we have a chance at creating a world where we are free.
Similarly, we should also try to balance male and female energies on a societal level. Regardless of all the possible variations, women will always be the life givers, the supporters and nurturers, and men the builders, protecters and providers. This is an immutable law of Nature and its power lies in recognizing and respecting these sexual differences, not in their homogenization. In this way these opposites can fulfill their divine purpose: harmonizing into a Sacred Union, a Hieros Gamos, and do what the Universe is made to do. Create.
2 thoughts on “Half-Time Worship: Pop Stars, Empowerment and the Prostitution of the Goddess Archetype”
Iagree with everything you have said
Thank you Neil