Grammys & Superbowl 1/2 time: two sex magick rituals that go together

Mars ad Venus joined together
Mars and Venus joined together

Mark Dice just posted a video saying the Superbowl halftime show with Bruno Mars was a “sex magick ritual,” and I agree. It’s meant to go along with the sex magick ritual that took place at the Grammy’s a few days ago with Katy Perry.

The Superbowl ritual
was a tribute to the energies of the war god Mars. The performer’s name was “Bruno Mars” and included a tribute to the US military. “Bruno” is a Germanic word meaning “shield” or “armor.” Interestingly, the well-known symbol for Mars is thought to represent his shield with an arrow emerging from it. This is also the symbol for the male principle in general. The SuperBowl is itself always a channel for aggression, and in this case led to rioting in the victor’s city of Seattle.

Interestingly, as Dice points out, there is a connection between the origin of the National Football League and the Skull & Bones Society at Yale, the President-making elite boys club also associated with the inception of the Central Intelligence Agency. Let us remember that Skull & Bones meet inside of a gothic ritual chamber called The Tomb which is adorned simply with the words WAR in all capital letters, indicating that they too are dedicated to the energies of Mars.

The ritual at the Grammy’s, however, invoked the powers of the consort of Mars, Venus the goddess of sexual love. Katy Perry sang the song “Dark Horse” about Aphrodite (the Greek equivalent of Venus) and performed a stage act that literally looked like a pagan ritual with dark robes, hoods, horned figures, and a zombified black horse with glowing red eyes, a “nightmare.”

In the lyrics to the song, Perry invites someone unnamed to “make me your Aphrodite,” and to make an irreversible pact to belong to her. She makes references to ritual magick too.

Make me your Aphrodite
Make me your one and only
Don’t make me your enemy, your enemy, your enemy

So you wanna play with magic
Boy, you should know what you’re falling for
Baby do you dare to do this?
Cause I’m coming at you like a dark horse
Are you ready for, ready for
A perfect storm, perfect storm
Cause once you’re mine, once you’re mine
There’s no going back

Katy’s name evokes the memory of Hecate, the darker version of the goddess as an evil witch. I discussed the archetype of Hecate, and the imagery of public sex magick rituals, in my book Antichrist 2012: Will Prince William be King of the World?. I also recommend my article about the sex magick ritual symbolism of the wedding of Prince William and Kate Middleton entitled “Necro-Nuptials: The Myth of the Virgin Queen/Corpse Bride embedded in the royal wedding.”.

The symbol of Venus is also the symbol for the feminine principle in general, just as Mars is for the male principle, and in that way, Venus and Mars are like the archetypal romantic couple, the very embodiment of sex. I do think that these two performances are meant to be taken together subconsciously as invocations of the union of the principles of love and war. Mars and Venus are said to have been the parents of Cupid, whose arrows of desire will soon be celebrated on February 14th.

Venus, Mars and Cupid
Venus, Mars and Cupid

The idea of sex magick or “Hieros Gamos” (divine love) is definitely an undercurrent in the lyrics of the Bruno Mars song “Locked Out of Heaven,” which he performed at the Super Bowl:

“… swimming in your water is something spiritual
I’m born again every time you spend the night
‘Cause your sex takes me to paradise”

In my “Necro-Nuptials” article I wrote about the old traditions of May Day fertility sex rituals involving the king and queen:

In Britain these May Day rituals sometimes included the performance of plays about “Robin Hood” (an incarnation of the King of the Wood, a.k.a. “The Green Man”) and his marriage to “Maid Marion.” These were often accompanied by group orgies in which young men played “Robin” and would metaphorically “wed” the young girls of the village as “Maid Marions,” before deflowering their maidenhood in an entirely unmetaphorical manner. Usually mock sacrifices of the King and Queen of the May followed at the end of the festivities.

In his book “The Golden Bough” anthropologist Sir James Frazer discussed the Roman model of this sacred marriage, and how it was celebrated annually around May Day. The ritual has its origins in an older rite involving the real king and queen of the land, and it really did at one point include the sacrifices of “temporary kings.” The ritual was thought to be integral to the continuance of the harvest, as the health of the land was thought to be tied in with the life of the king and queen, as well as their relationship to their otherworldly counterparts …

So when the king and queen got married, they ritually took on the guise of god and goddess. As such, they were each really marrying not the other person, but the divine personage that he or she represented. So it was a dual wedding — the human king marries the divine goddess, the queen of the underworld, while the human queen marries the king of the underworld.

There is another layer of meaning to the symbolism of these two rituals: the apocalyptic. The rap section of the song identifies this incarnation of Aphrodite/Hecate as a “beast,” like the Great Beast 666, evil and cannibalistic:

She’s a beast
I call her Karma (come back)
She eats your heart out
Like Jeffrey Dahmer (woo)
Be careful
Try not to lead her on
Shawty’s heart was on steroids
Cause her love was so strong
You may fall in love
When you meet her
If you get the chance you better keep her
She’s sweet as pie but if you break her heart
She’ll turn cold as a freezer
That fairy tale ending with a knight in shining armor
She can be my Sleeping Beauty
I’m gon’ put her in a coma

The reference to “Sleeping Beauty” is a clear reference to a well-known version of the “Corpse Bride” archetype as I’ve identified it, the goddess as the undead zombie vampire “Lady in White.” As I wrote in the article:

This is the story of the Venusburg, the mountain at “the center of the Earth” where the tomb of Venus can be found . As she dreams, she sends out magical vibes that create enchantments drawing men into her realm. When they discover her lying naked in her tomb, they are punished with a curse. Each man who stumbles upon her thusly (although persuaded by her tricks to do so) is forced to serve the goddess in the underworld as her husband, until someone else comes along to take his place.

The goddess’ undead vampiric aspects are made even more obvious in the Dark Horse song due to her description as being “cold as a freezer” and that “she eats your heart out Like Jeffrey Dahmer.” This brings to mind the Scarlet Whore who rides the Great Beast in St. John’s Revelation (17: 3-6):

I saw a woman sit upon a scarlet coloured beast, full of names of blasphemy, having seven heads and ten horns.

And the woman was arrayed in purple and scarlet colour, and decked with gold and precious stones and pearls, having a golden cup in her hand full of abominations and filthiness of her fornication:

And upon her forehead was a name written a mystery: Babylon The Great, the mother of harlots and abominations of the Earth.

And I saw the woman drunken with the blood of the saints, and with the blood of the martyrs of Jesus: and when I saw her, I wondered with great admiration.

Of course, the name of the song, “Dark Horse,” may perhaps be intended to invoke the third horse of the Apocalypse (Revelation 6:5-6):

And when he had opened the third seal, I heard the third beast say, Come and see. And I beheld, and lo a black horse; and he that sat on him had a pair of balances in his hand.

And I heard a voice in the midst of the four beasts say, A measure of wheat for a penny, and three measures of barley for a penny; and see thou hurt not the oil and the wine.

The scripture seems to be prophesying an epic disruption of the commodities markets, and perhaps this veiled reference of it is a foreshadowing of this to come this year. We are already seeing major disruptions in the stock market, and experts are warning of major currency devaluations as well. Perhaps this is the “perfect storm” that Katy Perry’s song asks us if we are “ready” for.

Meanwhile, it has been pointed out that the Bruno Mars song performed at the Super Bowl was called “Locked Out of Heaven,” and may be a veiled reference to the Miltonesque concept of the War in Heaven between Satan and his angels, leading to their imprisonment in Hell, or perhaps even the predicted final conflict between them, in which the Devil and his entourage will be exterminated forever in the Lake of Fire.

But as we all know, before we get to this part of the drama, we must have the Anti-Christ, and the sparking of a catastrophic global military conflict the likes of which the world has never seen. And it just so happens that this is exactly what many people think is about to happen.