Oops I Did It Again is Britney Spears `Lamaze clock` in which she appears as the Woman of Revelation `clothed with the sun and with the moon at her feet` that gives birth while the red dragon waits to devour the New Redeemer. The spaceman who arrives is suspended over her as a pendulum by the `clock mechanism`, which is represented by Britney in a white bikini dress lying on top of a beach parasol. She`s surrounded by the sands of Mars as the `hourglass figure` who, atop the eight points of her white beach umbrella`s `star`, signifies a day that has three Earth hours for each Martian unit of time.
Britney raises her spaceman symbolically, as her child, and he hangs suspended like the pendulum of a clock. Descending, he appears like a `crane grab` in an amusement arcade machine. It`s an allusion to the role of the Mars Lander, which was a robot placed on Mars by NASA as a prelude to a manned space mission to the red planet. Britney`s spaceman brings her a gift, to which she responds:
`But I thought the old lady dropped it into the ocean in the end?`
It`s a reference to the `heart of the ocean`, which is the jewel dropped into the sea at the scene of the salvaging of the Titanic at the end of the 1997 movie when Rose`s finished reminiscing about the death of her lover by drowning, and their betrayal by her ex fiancée who framed her new beau for stealing the `heart of the ocean` jewel; in psycho-emotive terms because her new lover had `framed` Rose by painting her nude. Rose relinquishes her hold on the jeweled heart because it`s a symbol of lost love and betrayal, and the spaceman gives it to Britney Spears after he`s functioned as a `crane grab`, that is, he descends from where he`s suspended on a chain by her as a `grab`.
The suspended spaceman is a pendulum and so a metaphor for time. In Edgar Allen Poe`s The Pit and the Pendulum the hero finds a way of entering the castle to rescue his wife from her torturer. Imprisoned, Maria has made a friend, Esmerelda, and so Britney`s secondary allusion is to Esmerelda and Quasimodo from The Hunchback of Notredame by Victor Hugo. Because of her spaceman`s bulky backpack. In `98% oxygen` Britney doesn`t have a spacesuit, so the spaceman is her handicapped `hunchback` listening to the `hunches` of `Mission Control`:
`Well I went down [into the ocean] and got it for you baby.`
Because her spaceman descended into the ocean depths to bring Britney the `heart of the ocean`, the girl from Mississippi in the Southern States of the USA is the diver`s `belle`. In The Hunchback of Notredame Quasimodo is deaf because of the unbearable sound of the bells he`s employed to ring: He gives Victor Hugo`s Esmerelda sanctuary at the church after she`s sentenced to death by torture and hanging. Having attempted to murder her lover, because of jealousy, the attempted murderer had accused her. He betrays her even at the sanctuary Quasimodo has given her and she`s hung. In The Pit and the Pendulum the hero fails in his attempt to rescue Maria and is subject to the torturer`s device, `the pit and the pendulum`:
`The victim was first secured to a wooden bench with ropes so that it was impossible for him to move. Above the victim was a crescent-shaped blade which would begin swinging to and from. Gradually the bar to which the blade was attached would be lowered bringing it closer and closer to the victim's abdomen. It would usually be at this point that the victim would confess. If no confession was made, the blade would continue to lower until it began cutting through the victim's torso. Eventually, the victim would be cleaved in two.`1
Raised by her red suited self above herself in a white bikini dress, Britney`s spaceman represents the pendulum, and below she`s the `victim`. Beside the spacehelmet of the astronaut are the tines of a giant`s fork and, because Britney descends into the `bear pit` of her stage set inside a giant`s ring, the tormentor is a an ogre. In The Pit and the Pendulum the crucial factor is time and Britney is waiting for her spaceman to `grab` her. It`s a suspense thriller because she`s not making a pornographic video, which means it`s a horror film because the sex is anticipated but can`t develop. Britney`s observing that movies without sex are horror, and so `mainstream Hollywood` is a `horror factory` and not a `dream factory`.
In Revelation the `red dragon` waits in vain to devour the `New Redeemer` to whom the `woman clothed with the sun and with the moon at her feet` gives birth. In Oops I Did It Again Britney`s observing that anything which devours is a `red dragon`. Anticipated but unrealized sex is a devouring of time and life that the film industry promulgates. Unfulfilled anticipation may be `read` as a `drag on` time, which is a devouring of lives that results in suicidal depression. The suspense genre is a devourer because it denotes unrelaized anticipation. Britney`s suspended spaceman is a `cliffhanger` because he has multiple meanings attached to him. In her red suit Britney`s the devouring `red dragon` because discovering her meaning is time consuming, that is, relations between the work`s interpreter and the artist is that of devourers.
In the psychology of Carl Gustav Jung (1875-1961), the `woman clothed with the sun and with the moon at her feet` is a symbol of the feminine ego, which is luna, because woman`s consciousness is closer to what Jung describes as the `unconscious` that contains psychological contents often represented as scintillae or `stars` of knowledge. Men`s consciousness is depicted as sun-like, because moon and stars disappear when the sun is in the sky, that is, men aren`t concerned with knowledge or wisdom, whereas women are.
The red dragon of Revelation seeks to devour the woman with the stars about her as she gives birth to the New Redeemer, because that`s men`s mode. In Revelation, woman is `hidden` on the Earth until she leaves for heaven and war with the serpent`s `seed` that follow her there, and she wins. In other words, God`s heaven isn`t safe from men, because they`re devourers. Woman is God`s producer and product on Earth, that is, art, civilization and culture, and she`s devoured by men in warfare. If they were in God`s heaven, they`d devour; whether it were warfare or not: because that`s their nature.
For men, the sun is a symbol of darkness, not a symbol of life. The corn grows and woman makes bread. Men eat it. Ceaseless reincarnations of death and rebirth ensue, and the fertilized become fertilizer for the corn. It`s the myth of Osiris, in ancient Egypt, where the corn god is risen each spring, and the corn is harvested at the end of the growing season.
Jesus Resurrection and Ascension was a new concept, based on the notion of completeness of memory from Advent to Ascension, which suggested that there was Redemption from reincarnation, death and rebirth, that is, from endless repetitions of what had been achieved before in previous incarnations by the same individuals. Because men`s egos are like the sun, they paradoxically represent the desire for an absence of light or knowledge and wisdom, and the desire to live in darkness, which is why the night sky and woman is attractive. There is more there for them to devour.
Woman as a species with her own penis, which is what she is as futanar ( http://www.futanaria.com ), is the signifier that tells us why God hides the woman of Revelation prior to her leaving to sow her own seed amongst the stars. Men are her enslavers and devourers. They`re a parasitical viral organism that wants her to exist as a host womb through which they can continue to keep her in unconscious production as devourers of the New Redemption, which is Resurrection in completenenss of memory across reincarnations, and escape to the new heaven and Earth that God promises after Jesus has slain the evil, according to the Bible, and so men receive eternal unendurable pain for their enslaving and devouring of Woman.
Jesus advocates Redemption, but he has Ascension, which means that, for Jesus, Resurrection and Ascension are different to Redemption, Resurrection and Ascension, which is what the Bible promises. Acceptance of Jesus` teachings and the tutelary guidance of the Paraclete, which effectively emerges from the side of Jesus after he`s pierced by the spear of Longinus upon his death after the crucifixion, is necessary for Redemption.
Because Jesus is the `Second Adam`, the Paraclete is the `Second Eve`. In other words, Redemption is primarily for Woman, because she`ll have Resurrection in completeness of memory across reincarnations, whereas men`s egos are irredemptive devourers of her moon and stars, as symbolized by the Woman of Revelation who, with the moon at her feet that is, her own luna consciousness at her command, and `clothed with the sun`, that is, wearing the clothing of her own maleness signified by her own penis, is crowned with stars while the red dragon waits to devour the New Redemption she bears.
Britney`s Lamaze clock is an eight period timepiece of three Earth hours for each period, because there are also roughly twenty-fours in each Martian day too. It`s a birth clock because, as the Woman of Revelation, she`s sun (male), moon (female) and, in addition, in the third hour of each Martian period, she`s birthing what the New Redeemer represents, that is, her own species as futanar.
The devourer is the homosexual element in the parasitical viral organism that is men`s enslaving and devouring of a species, Woman, that isn`t actually significant in terms of her sexual desirability. Having sown the seeds of their future reincarnations, deaths and rebirths, in their sons, and their future as enslavers of women as host wombs for their devouring nature, homosexuality is revealed for what it is. Just as Britney`s three period Martian timepiece signifies the redemptive trinity of Christianity, so homosexuality signifies the unholy spirit of evil that is men`s trinity of enslavement, devourment and possession.
The metaphor is what divers call `the bends`. Britney`s spaceman tells her how he got the `heart of the ocean`: `Well, I went down and got it for you baby.` She replies: `Oh, you shouldn`t have.` Later she titled an album Blackout, which also alludes to the problem of `the bends`, which is what the X-plane series of pre-astronaut pilots experienced when they were testing planes to `fly to the moon`. It was a programme that was cancelled because of `the bends`, which caused the pilots to blackout in pain, as divers do when they`re coming up from the ocean depths, with jeweled hearts, for example.
`The bends` are a metaphor that may be extended to psychological contents, as scintillae or `stars`, which exist as readily available knowledge in the cosmos of a woman`s consciousness, but which `the bends` would deny her; a denial which appears symptomatically as `blackouts`. On Britney`s Mars, her spaceman observes that there`s `98% oxygen`, which means that, if he removes his space helmet for longer than sixty seconds or so, he`ll blackout because of `the bends`.
The X-plane series of planned flight to Mars was cancelled because of `the bends`, and Britney`s drawing the analogy between men as possession and the space programme`s cancelling, that is, on Mars without a spacesuit, she doesn`t have `the bends`, which means that she isn`t possessed by the demon that beset the development of NASA`s space programme that, in Revelation, is defined as the homosexual beasts that are a plague upon the Earth as active parasitical viral organisms that are devouring her as murderers; or, in other words, Britney`s album Blackout means `killer`, and she wants to know who the murderer is.
The main song from Britney`s Blackout was Piece of Me, which is a reference to her psychological deintegrates. `The bends` would make her unconscious of her scintillae, or psychologems that represent her knowledge as Woman which, in Christian terms, is translated into Redemption, that is, Resurrection and Ascension in completeness of memory across reincarnations. Britney alludes to Buddhist karma, which is the concept of reincarnation without Redemption, and is death and rebirth in unconsciousness, which is what blackouts are:
`I'm Miss Bad Media Karma, another day, another drama
Guess I can't see the harm in workin' and being a mama
And with a kid on my arm, I'm still an exceptional earner
You want a piece of me?`
She observes that the media see her as their `bad karma`, which is work done as atonement for sins committed in previous lives or incarnations. However, as a working mother, she`s symbolic of New Redemption, while the media are an aspect of the red dragon of Revelation that lies in wait to devour her child, which observation was borne out when she effectively lost custody of her children because Sean lost his hat in a press melée of flashbulbs and jostling that, in some ways, is reminiscent of the way Princess Diana lost her battle for life with her children when the paparazzi caused her car to crash in the Pont D`Alma tunnel in Paris.
Britney was labeled a `bad mother` because of a brief loss of control over her son`s hat, a temporary `blackout` caused by press attention that is described by the paparazzi themselves as a `shooting`. By extrapolation, being shot is what causes a `blackout`, and so unconsciousness is the result of an individual`s being murdered by those who don`t want that individual to be conscious, and so prevent that individual from experiencing that Resurrection in completeness of memory across lifetimes that Jesus Christ said was the natural inheritance of the innocent, and the prize for those who adapt to his teachings and want the tutelary guidance of the Paraclete, the `Second Eve`, is the path to God and heaven.
The Catholic church announced the Assumption of the Virgin Mary in 1950, which signified the understanding that Woman is assumed by God and the church to belong in heaven if she has Redemption and Resurrection, but the concept of `the bends` indicates the demon of possession, which is men`s homosexual desire to enslave and devour those who would attempt to develop to the point at which they achieve `escape velocity`.
Britney`s Mars is a weather clock and she`s a `weather woman`, which is a name the CIA give to those who observe changing conditions and advise as to the appropriate course of action. There are two of her, one red and one white. The woman that comes out in the sunshine, and the figure that warns of rain. Usually, the clock`s figures are a man and a woman, but here Britney`s weatherwoman is to warn herself of forthcoming events. She`s hypothesizing upon the reign of the beast of Revelation, and the Second Coming of Christ as the New Redeemer, who`s the solar archetype that heralds the dawn of the New Era and inauguration of God`s new heaven and Earth for Woman as a species to dwell in forever.
Britney appears as `Major Red` in Oops I Did It Again, or rather `majorette` who, in charge of her band, must have a baton, which is one of the four suits in the tarot that, according to tradition, is a portable Torah or book of the law of Judaism that was saved from the burning of the library at Alexandria when the Romans sacked the city during their conquest of Egypt in 30 BC:
`And God said 'Let there be Light!' and there was Light.` (Gen: 1.3)
The magician is he who can will into being by thought. At one point Britney throws herself in a twirling arc to land at the feet of her spaceman. She`s the magician`s baton, for he who has her is her Creator: `I played with your heart. Got lost in the game.` The heart of the tarot is the cup, which is the Holy Grail as the bowl from which Christ drank at the Last Supper, and which is symbolized by Britney`s descent `from above` inside a giant superbowl ring, a symbol of the Last Supper bowl, which is the Holy Grail or Krater, that is, the crucible of the magician`s creativity. Britney appears as a `bride of Christ` who believes in the `bread and the wine` as the `body and blood` of Jesus` `magical` Redemption, which is transubstantiation in the Catholic Mass, and in Oops I Did It Again is symbolized by herself as the red suited wine of Redemption and the white bikini-dressed body of Salvation.
When the spaceman arrives on mars, he`s asked by Mission control to report and he discovers an icon of Britney in the sand: `Whoah there horsey!` he says. The magician is associated with Hermes, the messenger of the gods in Roman mythology, and he has the staff of healing, which is often used as a symbol by the medical profession and the pharmaceutical industry.
The symbolism is also found in Tantric yoga from the Indian subcontinent in which the twin serpents entwined about a central column represent the male and female energies as they ascend up the `chakra ladder` of energy centres in a series of mental and spiritual interactions that are of value in raising the body to a higher level of actuality and, according to the mystics, confer immortality upon the disciple. Between Britney and her spaceman, as she lands upon her feet before him after twirling herself through the air as her majorette`s baton, is a symbol of the Egyptian mother goddess Hathor, a red disk that, as Britney`s on Mars, must be symbolic of she whose name means `Mansion of Horus`, and then the spaceman`s cry of surprise is interpretable as: `Woe, there! Horus, See!` A `See` is a seat of authority, and so Britney`s Mars is the `See of Horus` to which the spaceman is bringing `woe`. Her weatherwoman has to recognize the signs and act.
The eye of Horus is represented as a figure with 6 parts, which correspond to the six senses - Touch, Taste, Hearing, Thought, Sight, and Smell. In some ways they correspond to the four functions of Jungian developmental psychology, which are `Sensation`, `Thinking`, `Feeling` and `Intuition` and are associated, respectively, with eye, ear, mouth and nose. Horus` eye is a receptor in which the parts `eat` in order to `sense`.
These are the parts of the eye of Horus and their energy values:
1/64 Touch 1/32 Taste 1/16 Hearing 1/8 Thought 1/4 Sight 1/2 Smell
In the system, `ro` is a single bite and is equal to 5 energy units. The eating of 320 energy units is required in order to experience the fullness of `touch`, and so on. The touch symbol is a planting; as Britney plants herself in front of her spaceman to ask if he`s going to touch her. Taste is the grown food we put into our mouth, so it denotes kissing. Different tastes come from shapes such as an apple, so touch is fundamental, and so her shape is fundamental. When we hear, it`s pleasing or not; `tasteful` or `distasteful`, therefore her singing is desirable. Thought is an audible `sound wave` formulated subvoce, and symbolized in the New Testament by the sword that comes out of the mouth of Jesus as the Word of the Holy Spirit, as taught by her guiding inner light as the anima or soul, which mediates the life of the imagination or soul, and so the lyrics are suitable to the `taste` because, as the psychologists might say, they`re interpretable in terms of what the libido is able to perceive, and so they`re developing, which is what archetypal material is for. Sight, represented by the pupil, is aesthetic `taste` for what pleases us when we look, but it`s educative because what we think is pleasing may not be. That`s why the male devouring imago is able to convince women that `plague aims` of degradation in BDSM are `beautiful`, whereas they`re homosexual marriage, betrayal, torture, and death, which is Jesus` experience of discipleship, and why God destroyed Sodom and Gomorrah, because it was how men `play games`, and God warned them there. Smell is our appreciation of what we are tasting. It evaluates what it consumes, and so we`re not `baby eaters`, which is the difference between a woman who has the archetype of the heroine within her mind, and why the dragon of Revelation is depicted as waiting to devour the New Redeemer. Because the hero and the dragon are the same imago. They`re the devourer of the Woman, who is God`s producer and product, that is, a woman in Libya whose home is destroyed, because Barack Obama and James Cameron see her country as a dragon and themselves as knights in shining armour, doesn`t see them as anything but evil devourers of herself and her daughter. The eye of Horus` 6 parts has energy values in terms of wisdom, which is not that of the devourer, who would be Set, the imago of evil.
The hand of Fatima, in Islam, is a protection against the `evil eye`, and is identifiable as `the hand of Miriam` in Judaism, because Miriam was the character from the Bible who mysteriously recovered form leprosy, and so `the hand of Miriam` is an evocative symbol functioning as an apotropaic (magical remedy) against disease, which men as parasitical viral organisms that enslave and devour Woman`s product, that is, art, culture, civilization, and her mental and psychological equipment, represent:
Miriam was stricken with snow-white scales. ... (Num: 11. 35)
She`s a prophet, but criticizes Moses` marriage to a woman of Cush, that is, a black woman, and subsequently Miriam becomes `snow white`. A black woman is a woman as any other, and God tells Miriam that, when God is speaking with Moses, God is speaking directly, whereas Miriam is divinating God`s intentions and that`s the reason for her becoming `snow white` and leprous, because Moses married a woman of Cush and God was not consulting Miriam.
In Oops I Did It Again Britney appears as the `thumb` inside her giant`s ring, and so represents Horus, because the thumb of the hand of Miriam, and Mary in Christianity, corresponds to the `hand of Horus` in Egyptian iconography, where there are only two digits. Consequently, the Britney who descends in the giant`s ring is the `thumb` and the Britney who reclines under the camera eye of the spaceman while her `thumb` works is a `finger`. To grasp anything, including meaning, finger and thumb are needed. The viewer observes the interactions of Britney`s finger and thumb and learns:
`Horus was told by his mother, Isis, to protect the people of Egypt from Set, the god of the desert, who had killed his father Osiris. Set is depicted as trying to prove his dominance by seducing Horus and then having intercourse with him. However, Horus places his hand between his thighs and catches Set's semen then subsequently throws it in the river, so that he may not be said to have been inseminated by Set.`2
The `red dragon` of Revelation is associated with the `blood plague`, which is identifiable as HIV/AIDS. Ancient Greek society was founded on the enslavement of women as host wombs by homosexual pederasts, and war was the means by which they spread their contagion. At Troy they employed the device of the hollow wooden horse which the Trojans accepted as a gift and the Greeks emerged to take the city and enslave the wombs of the women for homosexual pederasty. HIV/AIDS was the virus` 20th century continuation of biological warfare against women`s wombs by the `red dragon` of homosexual pederasty`s devouring `blood plague` of war and pestilence.
The 21st century began with 9/11 and the Greek horses of the terrorist planes crashing into New York`s Twin Towers to spread the contagion further. In short, homosexual pederasty is the `red dragon`, and the solution is woman as a species with her own penis, which is why Britney is clearly delineated in Oops I Did It Again as two different characters. The Twin Towers were selected as a symbolic target because two women are needed to reproduce without a man and the `red dragon` of homosexual pederasty wanted to maintain its grip.
The thumb and finger of the Egyptian Horus represent mental development through `Feeling`, which is why the finger is against the lips and the thumb is beside the head. In the developmental psychology of Carl Jung the `Feeling` function is associated with the mouth while the eyes, nose, and ear are associated with `Sensation`, Intuition` and `Thinking` respectively. Horus` finger and thumb denote thought `Feeling` as a basis for development. Because Horus is male development is retarded. Women as a species are the future and Horus` `Feeling` and `Thinking` functions need to develop before his `Intuition` is sufficiently differentiated for him to be able to perceive (`Sensation`) the wisdom of it. However, his instincts are sufficiently awakened for him to deny Set as ancient Egypt`s equivalent of the `red dragon` of devouring homosexual pederasty and HIV/AIDS.
In biblical terms, Jesus is of the hand of Mary and corresponds to Horus in mythological terms, because of his preaching of `Feeling` as a basis for human development, which is why the `heart of the ocean` is the symbolic metaphor in Britney`s Oops I Did It Again, where there is a heart and three individuals. In her red `man`s suit` and white bikini dress Britney represents woman as a species with her own penis in potentiam, whereas her spaceman needs a heart if he`s to receive Redemption because he`d have to accept woman as a species if he were to live in heaven with her. Psychologically the penis desires woman and so a man doesn`t see what he wants in the mirror. Only a woman with a penis of her own can see what she wants in the mirror, which means that her penis desires her own species. She would only desire a man if she had the valence of the `red dragon` of devouring homosexual pederasty possessing her, which is anal and contagious so God destroyed Sodom and Gomorrah (Gen 16, 19) as an initial attempt at preventing the spread of the `blood plague` of war and HIV/AIDS as a method of enslaving women`s wombs and devouring her Earth.
The Egyptian symbolism of the eye of Horus is that beauty is an ascending ladder, and if what we see is evil, then either it means that we need to see more beauty, that is, the woman with a penis of her own in the mirror, or we are being kept from what is beautiful, which is the visible signs of her in `reality`. Or we don`t want her, which is evil, and the reason why we are being kept from her. Because evil people want to devour her and her beauty, and keep us in blind ignorance of what they do. The problem is that, the less beauty people see, the more likely they are to be full of hate, because they were kept from it. That`s why Miriam`s rejection of the Cushite woman is punished by God, because Woman is `God`s love` whatever her appearance. Jesus` mother is an archetype of female beauty and love from the `heart of the ocean` of the collective unconscious of humankind, which according to Jung contains the developmental impulses of the human psyche. Because the Virgin Mary reproduced without a man, Jesus represents man`s last chance at Redemption before, as it is written in Revelation, the `hidden` woman of the Earth leaves for the stars to sow her own seed in heaven because she has her own penis and has no need of a man.
Games` systems are evil, because they posit devourment, in games like Pac Man or Space Invaders, which explains men`s `plague aims` of devouring and degradation as `the programme`. God`s punishment of leprosy upon Miriam, and God`s healing again of her, is God directing of Woman, and isn`t men`s `play games` of bio-degradation. If Woman, as a species, represents beauty, then the devouring programmers` game is life as a `snuff movie`. The Eye of Horus is then a symbol of what is beautiful, and those who want to snuff out women`s lives grade her beauty in accordance with the values that are given to the parts of the eye of Horus in Egyptian mythology. In the games` system of the `red dragon` of homosexual pederast 320 units of energy, that is, the snuffing out of a woman`s beauty, would have to be achieved before the evil were able to touch `first base` with Britney, for example. However, if you`d consumed 320 units of Britney` beauty to touch her, you`d be blind. Because you`d have consumed her beauty, and that`s why the eye of Set is evil. You`d never get to see her because you`d never get past `first base`.
In baseball `slang`, first base is `kissing`, which is Earth, and `second base` is the moon, which is Woman`s breasts, that is, the signs of her ability to nurture and develop, so Britney`s singing on Mars is her `oral sex`. The `Grand Slam` explains the `Set` metaphor as `game, set`, and why she uses the `heart` symbolism: because it`s `love, game, and Set` in which a `Home Run` is intercourse, but not fulfillment, which would be sex without men. Woman, as a species, would want a non-penetrative penis. That`s why Oops I Did It Again is couched as science fiction. The concept of Woman, as an immortal species, presupposes virgina intacta, because men are her virus.
Woman`s penis wouldn`t produce ejaculate in heaven and God, save as an internalized system, which is what much Buddhist thought is concerned with. The idea that semen is `food for thought`, that is, for the brain, and not for Woman`s ova. When Eve gave Adam the apple in Eden, she`d tasted the `fruit of the knowledge of the tree of good and evil`, which is wisdom. Adam`s only a muncher because he`s accepted a father imago in the serpent, which is the devourer of the image of God in the brain. This is why Woman`s system is exclusive and, as the Virgin Mary illustrated in her acceptance of Jesus as the `Perfect Man` from God, the hand of Mary is the `hand of God`, because she doesn`t want a devouring father imago for Jesus, but Woman as a species.
9/11 was `play games`, and a `cheat` with `planes, civil`, where the Twin Towers are Microsoft X-boxes in the teachings of 21st century viruses. In other words, men are marriage, plague, treachery, and death. Saddam Hussein was given the 3rd largest army in the world by the USA, and the USA applied `rules of engagement` in his dethronement. Because it`s `war games`. In England anyone can be beaten up in the street and, contrary to public belief, there`s no law against it. It`s a homosexual system of big, and bigger, bullies. If the USA had wanted to stop Saddam they wouldn`t have become `engaged`. It`s a metaphor for the devouring imago of the `dad`. George Bush Snr. won when he ordered A10 anti-virus tank busters to remove Saddam from Kuwait, and George W. Bush lost when he declared war on Iraq rather than on the Taliban in Afghanistan, because he wanted to be a bigger bully, which is what he saw his `dad` as – target Bighdad – because the Taliban weren`t so `security simple`.
In Revelation, `the number of the beast is the number of a man and his number is six hundred three score and six`, or six repeated as 666, that is, a man is a devourer of what he sees, and so is a beast. In terms of Jungian psychology, sight or `Sensation` is, paradoxically, the least of the psychological functions because it is the devouring eye, whereas `Intuition` is the most important because it signifies the evaluative function, and is associated with the symbol of the spear of Longinus, in Christian symbolism, from which piercing of the side of Christ effectively emerged the `tutelary guidance` of the Paraclete as `Second Eve`, and so Britney Spears signifies God`s omnipresent Holy Spirit, and so the omniscient aspect of God`s omnipotence.
To the evil, `God`s spirit` is a spy, and so `blackouts` or incompleteness of memory in an individual are the result of murder, or the devouring of consciousness which, in ancient Egyptian mythology, is represented by the figure of Osiris dismembered by the evil Set. It`s a simple myth which recognizes that a group of individuals living peacefully are in truth of one mind and body, which is why the sun god Ra is depicted as incarnating upon Earth in the person of Osiris. Any lessening of oneness is perceived as a loss of collective consciousness, and is most simply understood as murder by a person or persons represented by Set in the Egyptian myth.
Osiris is remembered, or Resurrected in completeness of memory, by Isis, who fashions a new member or penis for him, so that she re-members him as the sky god Horus who, watching over the Earth in symbolic hawk form, corresponds to the New Redeemer of Christian Revelation who protects the `hidden` woman with his scepter before she leaves.
In Graeco-Roman mythology the figure of Iris is the rainbow goddess, and in medicine the iris is the coloured part of the eye, whereas the rainbow is a symbol of God`s promise of Redemption and Resurrection in the Bible. D.H. Lawrence, in his novel The Rainbow, observes that it`s the bridge between lovers, and so there`s an aspect of sustenance and growth attached to the concept of love through the Holy Spirit, which explains Jesus` `bread and wine` as his `body and blood` at the Last Supper, and Britney`s motif of the Superbowl as she descends inside her giant`s ring. It`s her Holy Grail. The wedding of Christ with his bride, Redemption and Resurrection.
The devouring red dragon of Revelation is a `black mass` of Consumption and men as a parasitical viral organism that represents the `plague aims` of their system, which is the `bread and circuses` of their cancerous devourments as they `play games` of bio-degradation upon Woman as God`s enslaved producer, and destroy her Creator`s productions in art, civilization and culture by means of devouring warfare against her.
In spy circles, the `circus` is murder as devourment, so the `plague aims` of the circus is to `play games` with `performers` such as Britney Spears, and keep her in unconsciousness by playing the evil Set to her Horus and make her `perform` in ceaseless cycles of reincarnations of death and rebirth in which she`s doomed to repeat fragments of her achievements for her torturers` entertainments.
The `circus` is the abandonment of God for coercion. It`s the acceptance of karma as an eternal circus of entertainments in which the role of others is to supply you with pleasures akin to the torments of animals in the Roman amphitheatres where a raised thumb meant that the gladiatorial combatant might live, while a downturned thumb was a sign of displeasure and disapproval of the entertainer and, usually, meant decapitation. Inside her giant`s ring in Oops I Did It Again Britney is a raised thumb descending to her amphitheatre in Roman style, and so her gladiator spaceman faces her decision and is turned down by her `thumb`. He may`ve brought her the `heart of the ocean`, but he hasn`t yet done enough to win her `thumb ring`:
`You see my problem is this.
I`m dreaming away,
wishing that heroes,
they truly agree.
I cry watching the days.
You see I`m a fool,
In so many ways.
But to lose all my senses;
That`s so typically me.
Heroes aren`t to her `taste`. In psychology, dreams contain what have usually been thought of as heroic male archetypes that represent the ego, but if men are concerned with keeping Woman blind and unconscious so that they can maintain her enslavement and devour her in warfare and `play games` in degrading her, the hero archetype isn`t agreeable to her. In Jung`s theory of psychological types, there are types of personality that correspond to each of the four functions of consciousness, that is `Sensation`, `Thinking`, `Feeling` and `Intuition`. Britney says that it`s her type`s characteristic to lose all her senses, which suggests that Oops I Did It Again is actually about the `eye` and it`s devouring aspect, because the eye of Horus is the eye of Hathor, who she represents here as the mother goddess.
The jeweled `heart of the ocean`, that is, `Feeling`, corresponds to Britney`s power to attract her spaceman. But it`s a `game`, because she knows in her heart that men are an alien parasitical viral organism that wants to enslave and devour her as a `plague` within the `Mansion of Horus`, of which the red disk between her and her spaceman is a symbol.
In the Egyptian myth, Horus lives inside Hathor, which signifies the relationship between them as one of child to mother, but in the mythologem Horus` parts are remembered by Isis, who`s the sister-wife, which means that Horus, the sky god inside Hathor, is her male aspect, and so she corresponds to the Woman with a penis that is `hidden` in Revelation until she leaves for the final battle between her `seed` and that of the serpent`s, who is the evil grouping or `Set` of the Antichrist, writ large as the enemies of God upon the Earth and in heaven.
Britney is waiting to be born, which is what the Woman of Revelation represents in simplified language; Woman`s `birth`. She`s Horus living inside her mother, Hathor, and she`s waiting for the heroines who agree with her `taste`. First she`ll declare herself as bisexual on Earth in order to experience the pleasures of women, and then she`ll be reborn in completeness of memory, Resurrected in Redemption with all of her male and female parts in one from previous incarnation upon the Earth, and which is symbolized by the Paraclete`s relations with man and woman as `God`s spirit` there. As Woman with a penis she`ll be `normal` because she`ll be a species, and she`ll continue loving women but not men, because they don`t agree with her. They want to keep her in unconsciousness, blind repetition of a fragmentary awareness of what she has been, and ceaseless reincarnation of death and rebirth for their entertainment as enslaving and devouring circus `trainers`. In Oops I Did It Again she observes:
`I`m not that innocent!`
Descending in her giant`s ring holding a hoop, she indicates that she`s ready to put others through training for her `circus`, and isn`t going to be put through the hoop by them. The circus is for blinding people and maintaining them as unconscious performers of fragments of their previous selves for the torturers` gratification. Moreover, it`s about `the bends` for those who descend into the `heart of the ocean` of the archetypes of the collective unconscious in quest of developmental inspiration, because the demons of possession are the murderers of that shared collective consciousness which, ideally, constitutes Christian fellowship, and so the `bends` of demonic possessors murder the inspired individual who has brought light from the depths of the unconscious in order to `dumb down` what is struggling for the light, by eliminating bright individuals like Jesus that could have shown them the path to God and individual growth within a group.
The difficulty is that Woman`s shared consciousness is with other women, and men`s egos aren`t bringers of sun-like illuminations, but atomic bomb-style devourers of her `moon and stars` consciousness. Britney`s Mars is the construction of her planetary consciousness, as Venus on Mars. She doesn`t want to be devoured by the god of warfare as `food`, and that`s why she`s Hathor, as the eye of Horus which symbolizes the eye as a an `absorber of energy` system that is both male and female, but not that of a man. In simple terms, heroes in dreams and elsewhere are `Trojan` viruses that psychologists have interpreted as archetypes but in fact they`re mind killers because men are parasitical viral organisms, and that`s their `plague aims` system of bio-degradation for Woman as a species:
`Men gnawed their tongues in agony and cursed the God of heaven because of their pains and their sores but they refused to repent of what they had done.` (Rev: 16. 17)
In Revelation God`s seven plagues are actually virus-busters sent to punish men for how they `play games` of homosexual degradation with women and how, as viral parsitical organisms that want to replicate themselves within the host wombs of women, they`re diseases that correspond to STDs and, as the false hero in dreams, are killers of the developmental faculties and functions of that completeness of memory across the generations that, in Sophocles` Oedipus Rex, for example, is depicted as Oedipus` blindness to the fact that the father he kills is himself and the mother he marries is his own wife because he was his father. In dream terms, sex with your Woman, whether ego-anima archetypal, or based on memories of the past, is normal because Woman has a penis, and she`s recognizably Woman because of her features, and she`s nurturing, and so developmental because of her breasts and vagina, whereas the appearance of men in dreams signifies the emergence of her killer or the killer`s imago as the deconstructor of a Woman`s ego into that of a self-devourer. Because the ego-anima archetype is ancient, only she would appear in dreams, as a communicator between the `Self` and God, and she would have much to communicate for those who had accepted her as the Holy Spirit, that is, the tutelary guide who, in completeness of memory across reincarnations, would be God and heaven for her Woman.
Redemption and Resurrection is difficult for Man, because men are killers, but are taught that they want to appear as a `hero` by the devouring imagos that are their fathers, whereas the archetypal heroine is Jesus, because he preaches `God`s love`, which is the love of the virgin who has never used her own penis, because it`s only for emergencies, as she`s immortal according to the Catholic church`s Assumption, and men don`t want her to emerge, which is why Arabian women wear the abiyah and nuns are Catholic, and women don`t live long because the `hero` imago kills them.
The real issue is consanguinity, as Jesus understood. The red dragon of Revelation is a father who wants to devour its son, and is closest in consanguinity, so is nominated, as it were, by the other beasts that are men, to fake the role of the heroine, as the male role model, and take over the nascent mind of the developing adult by having them think of them as a heroic model while, in real terms, they seek to devour their minds and live inside of them as parasitical viral forms that constitute the false ego of possession by demonic evil spirits that are `the bends` that force the individual they torture to struggle up painfully from the ocean depths to the sands of Mars, or from the depths of the oceans like pearl divers of the psychology of the unconscious to scale the heights of developed conscious awareness and individual genius to create the technology that put Britney Spears on Mars, or gave them the insight to develop Jungian depth psychology.
Men as the devourers of their children`s minds and souls are murderers of the ego-consciousness that would be the heroine of the totality of the personality that enthrones Woman as a species at the crown of God`s creation, where she functions as what Jung calls the anima as mediator of the divine archetypes that are those psychological contents of the unconscious that contain God`s knowledge and wisdom, the key to which is the anima, or soul that Jesus calls the Paraclete, or Holy Spirit as `Second Eve`.
Women who believe in the male ego as hero are already partly devoured. It`s how they keep Woman in enslavement and as food to be devoured in their fare which is war, and their `plague aim` as those who want to `play games` of bio-degradation is to be a disease upon her mind in order to replace the `Wise Old Woman` with a non-archetype that is thought of in heroic terms, or as a young girl`s suitor, which is what Britney`s space-suited invading `grub` represents on Mars. If she accepts him, she`ll have `the bends` of demonic possession that want to murder her mind.
Oops I Did It Again is Britney`s description of how the hero as `grub` is transplanted into the developing ego by deconstructionalist picture makers that con the growing child into accepting the parasitical form of the male heroic ego, where it functions as a false alter ego preparing to devour whatever grows in or from the young mind`s developing awareness. Slowly, with the aim of plaguing the intelligent struggler against `the bends` of demoniacal evil men that megalomaniacally seek to live forever as parasites on their dumb, helpless victims; or swiftly, as murderers of what is, from their point of view, only a slave from which they can remove themselves as parasitical viruses and inhabit another unconscious or recalcitrant host.
From the evil`s point of view, it`s the victims struggles that they enjoy. It can`t escape and they`re of the evil group or Set that have enslaved the individual ego to force it to endless cycles of tormented strugglings in rebirths and deaths that allow them to vicariously enjoy or deride the achievemnts of what they`ve set in motion as parasitical demons of body and mind:
`Forgive them Lord, for they know not what they do.`
They do now. Britney`s red and white selves in Oops I Did It Again are red and white blood cells in terms of her immune system. The red cells carry oxygen and we are told at the video`s commencement that oxygen is 98% on Mars and, although higher oxygen content is used in divers` and astronauts` training, it would normally cause `the bends`, blackouts, or asphyxiation after a minute or two. Britney`s red pilot suit of Redemption is an indication that she`s conquered the demons of possession that cause `the bends`, and that caused the cancellation of the X-series programme to fly an aircraft to Mars.
In her white bikini dress she`s a `white cell`, which is a devourer of viral parasitical organisms in the blood. The Martian `clock`, that is, the eight pointed `star` of the white beach parasol on which she lies, signifies a twenty-four hour day of three Martian time units to each Earth hour, and represents her `cell washer`. Atop, she`s exposed to the sun of the spaceman`s male ego as he looks down upon her with camera positioned beside his space helmet; washed and immune.
Before Britney`s spaceman presents her with the `heart of the ocean`, we hear: `All aboard!` It`s a scene reminiscent of Rose`s betrayal aboard the Titanic when her boyfriend `s `framed` for stealing . Britney`s spaceman`s there to put her in the picture, as Rose was painted nude by the lover her ex-fiancée accused of stealing the heart she`d freely given. Britney`s spaceman isn`t returning the `heart of the ocean` to Rose, but `the heart of the ocean` rose to Britney with the spaceman and he films her. In the Titanic movie the nude painting is the jealous centre, and in Piece Of Me from the Blackout album Britney presents photography as the centre of her turmoil:
`I'm Mrs 'You want a piece of me?'
Tryin' and pissin' me off.
Well get in line with the paparazzi,
Who's flippin' me off.
Hopin' I'll resort to some havoc,
And end up settlin' in court.
Now are you sure you want a piece of me?`
Britney`s perception is that photographers are bully`s spies and that the biggest bully is the one who can have her. The `heart of the ocean` was Rose`s, so why did the spaceman bring it to her on Mars? Because a bully forced him to descend to the ocean floor and fetch it. The bully made the spaceman take the `heart of the ocean` to Mars and Britney observes in Piece Of Me that the paparazzi are the bullies` spies:
`His kingdom was plunged into darkness.`
He who sits upon the throne of the beast in Revelation, is the one who blinds, is blind, and believes in blindness for those who want to see. The paparazzi are a symptom. Paris Hilton once observed that `stars are blind`, and the reason is the flashbulbs. When the spaceman arrives on Mars in Oops I Did It Again it`s `Mars slander`. The spaceman films Britney as the `alien` and then she`s alienated. In Piece Of Me she`s slandered:
`I'm Mrs 'Most likely to get on the TV for strippin' on the streets'
When getting the groceries, no, for real..
Are you kidding me?
No wonder there's panic in this industry
I mean please...
Do you want a piece of me?`
Osiris was dismembered by the evil Set and the pieces were put into a trunk and, like the Titanic, sunk. The trunk represents truncation. Osiris is the incarnation of the sun god Ra upon the Earth, and so represents the concept of a collective consciousness that`s developed and is able to recognize itself as a unity corresponding to the concept of God. The evil Set represents an earlier version of the `beast` of Revelation who doesn`t want anyone to see him, which isn`t development, but blindness and unconsciousness.
Oedipus is psychologically blind at the outset of Oedipus Rex, because he doesn`t understand or accept that others are him. In Oops I Did It Again, the spaceman brings Osiris` heart to Britney, that is, he who was betrayed by the evil Set, and the `Mansion of Horus` is Mars, because the red disk symbolism suggests Hathor, and he lives in the goddess in Egyptian mythology, so she`s looking for him. When Britney receives the heart of Osiris, she has a piece of him, and the process of Resurrection and Redemption.
Symbolically, Osiris` body is a trunk, which lies in the depths of the ocean, that is, the Titanic totality of submerged memory completeness across reincarnations that corresponds to God, or the `Self` in Jungian psychology. In the Egyptian myth, Isis remembers Osiris by giving him a new penis, or member, which suggests that Isis, the sister-wife of Osiris, should restore Britney`s penis. In some representations of Isis, the disk between her `deeley boppers` is missing, and makes her appear bee-like, which is interesting because the bee`s `honey` is a symbol of Resurrection in Egyptian mythology. The antennae concept is applicable because of `Bluetooth technology`, which is wireless, and compact disks are designed to be read, so it`s logical to suppose that the relationships between the Egyptian deities represent communication between those who can read each others` disks in order for completeness of memory and Resurrection to occur. The honey bee concept probably refers to the idea of constructing a disk based on the notion that not everything about a person`s past is recorded. Only what is sweet to the memory, as it were.
Britney`s played the heart of Osiris. It`s a computer age metaphor, which suggests that she`s read his heart from his `disk`, so she tells the spaceman: `Oh, you shouldn`t have,` when he arrives bearing Osiris` heart. Osiris was `lost` in the `game`, or rather through `plague aims`, that is, the evil Set, Britney`s aware that God and Osiris is her, because she`s Hathor and her `red disk` symbol says so, so her task is the Resurrection and Redemption of herself as Horus, who lives in her Mansion because he`s she. It`s God`s Mansion in Christian terms.
`I played with your heart.
Got lost in the game.
You think I`m in love.
That I`m sent from afar.
I`m not that innocent!`
Men are evil in Oedipus Rex because they`ve told Oedipus that his mother is his wife, but so is the woman who has the grocery store in Plains, Indiana, and the woman who has the patisserie in Paris` Montmartre. Incest taboos are a technique to prevent God consciousness from developing. Oedipus kills his father by accident, and so his father is him. But if he`d known that men were lying to him so that he`d blind himself for loving his own wife he`d have killed all of them.
Blindness is de-individualization, and is the reduction of developed consciousness, whether a unity that recognizes itself as God, or simply an intelligent individual, such as Britney Spears, the viral metaphor is legitimate. Britney`s spaceman appears as a hero on Mars, so he`s a `dream lover`, but if she accepts him into her dreams he`ll prey upon her mind because he isn`t an archetypal heroine but a devouring plague`s `spore`:
`I`m an American Dream since I was 17.`
Britney is a pop singer, which means that she`s spreading the Word of God because she has vocal articulation that is productive of music, and so she`s the `American Dream`, but the nightmare of devourment, as depicted in Revelation, is the red dragon waiting for the Woman to give birth so that it can devour the New Redeemer. Britney Spears is the archetypal heroine, whereas men are parasitical viral organisms that want a host womb to enslave and devour whatever it produces. That`s why notions of the hero as ego archetype are false, because the developing ego doesn`t devour, it births, and is female. The hero isn`t a part of the unconscious contents of the psyche. It only looks like that to psychologists who`re used to thinking of Woman as half of a species, whereas she`s an entire species with her own penis.
The appearance of the `hero` in the psyche is alien to developmental psychology. If it appears, then it`s the prototypical devouring dragon in disguise. A central motif of Jungian individuational psychology is that of the Ourobouros serpent, which devours itself and gives birth to itself endlessly, a symbol of the relationship between men and Woman. According to Jung, God closely corresponds to the unknowability of the `Self`, but it would be unknowable if men want reincarnated slaves, blind unconsciousness, rebirth and death, that is, endless torture as `entertainment` for those who `run the show`. As God`s producer and product, Woman is the `Self`. Conceptions of God as a father are false. In Islam, God is neither male nor female, which means that the `Self` is unknowable to men because they`re not Woman.
Britney Spears writes SUCKER on the forehead of one of her devourers, a paparazzi that exists as a bloodsucking leech in the video of Piece Of Me. It`s the vampire method of keeping a corpse alive as an zombie in order to make it work. That`s why Britney`s recoding company is called Zomba. In Egyptian mythology the `ba` is that aspect of the individual which is the personality, whereas the `ka` is the spirit, which means that Zomba refers to the absence of spirit but the presence of personality, which the torturers can employ for their entertainment. That`s why God sends the Paraclete, in the New Testament, because the tutelary guidance of `God`s spirit` is needed in order to have Resurrection and Redemption from the ceaseless torments that men have planned for Woman as their `entertainments`. Without the `ka` or spirit, she`s `ba` or personality and, although `star` personalities are favoured by God, without `God`s spirit`, they`re subject to evil.
The red dragon of Revelation is the description of a man who will devour his child, if the child does not accept that it is him, which is why the child is the New Redeemer. Solomon`s wisdom was to give to the woman her child because she wasn`t the woman who would have cut it in half so that she could have half. Piece Of Me is the observation that `ka` and `ba` are inseparable. The cover for the single is Britney on the cross, without the spear of Longinus cutting open her side, which is where the Paraclete effectively emerged from Jesus` side upon his death at the crucifixion. As a whole person upon the cross, Britney represents the unity of Paraclete and Woman, which is `ka` and `ba`. Jesus was tortured by men, because that`s their `entertainment`.
The child of the Woman of Revelation, who is the New Redeemer, is the father who`ll devour itself because that`s another form of `entertainment`. That which has been heretofore understood as the archetype of the hero in dreams is now understandable as the demoniacally possessive false imago of the father figure or `demon lover`, because men are demons who`ll devour your consciousness if you accept that their imago corresponds to God, which is why God prohibits worship of graven images and Jesus advocates acceptance of the Holy Spirit as a tutelary guide. The image of Woman is the image of God, which is why God gives Eve to Adam in the Bible. She`s `God`s love`, and Jesus preaches `God`s love` in the New Testament, and God`s Paraclete emerges from the side of Jesus`, cut therefrom by the spear of Longinus, as the `Second Eve`, a multiplicitous guide to God`s heaven that appears symbolically on the cover for Piece Of Me as - Eve Spears.
In Revelation a double edged sword comes out of the mouth of Jesus. It is the Word of God, and it`s the symbol of his directorship. Christ orders and God`s will is done. If the Paraclete is the spirit of God, then God`s word is articulated through Woman or the soul, which is the anima, as the messenger of the archetype of the ego, which should be the heroine, and the message or Word is from the `Self`, which is God in the individual. The relationship between ego and God is that of a `kiss`, and it comes from Woman`s archetypal form. If the hero or father imago is active within the psyche, then it will appear, and the ego will begin identifying with the ego as devourer; to be a devourer or to be devoured. If Woman doesn`t accept her role as devoured, then the imago of the possessor, that is, men as demons, will endeavour to appear to her as attractive in order to constellate their devourer within her psyche. If a man lives alone, as Jesus endeavoured to do, he`ll be attractive to the devourers, which is why Jesus` discipleship is the `image` of the homosexual marriage; betrayal, torture, and divorce:
`Forgive them Lord, for they know not what they do.`
Jesus doesn`t actually forgive them, he defers eternal unendurable pain for them later; because he knows that men are irredeemable. They don`t accept the archetype of the heroine, who has many facets; not simply the sword. Before his crucifixion, Jesus was anointed:
`...a woman came to Him with an alabaster vial of very costly perfume, and she poured it upon His head as He reclined at the table. But the disciples were indignant when they saw this, and said, “Why this waste? For this perfume might have been sold for a high price and the money given to the poor.” But Jesus, aware of this, said to them, “Why do you bother the woman? For she has done a good deed to Me. For the poor you have with you always; but you do not always have Me. For when she poured this perfume upon My body, she did it to prepare Me for burial. Truly I say to you, wherever this Gospel is preached in the whole world, what this woman has done shall also be spoken of in memory of her.”` (Matt 26: 6-13)
Judas and the other disciples are murderers of Jesus because he has opened their eyes, and they want to see without his to show them the path. They murdered what could see, which is how the disciples function as an aspect of the devouring father imago constellated within the archetype of the ego in order to reduce it to the unconscious awareness level of a chimpanzee, and then all individuals are the same but amongst the `evil dead` as zombies. AIDS is a virus originating in monkeys, because it reduces its host to chimpanzee consciousness, and that`s why Woman, for men, is a host womb to replicate themselves. They`re parasitical viral organisms that want to devour Woman, as God`s producer and product, that is, art, civilization and culture, for a collective individuality that is `chimpanzees`.