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But I Thought the Old Lady Dropped it into the Ocean at the End?

01/01/2012 15:30

But I Thought the Old Lady Dropped it into the Ocean at the End?

 

 

Britney Spears Oops I Did It Again is interesting in mythic terms as a science fictional essay. Her cryptic remark about the Old Lady when the astronanut gives her the boxed gift is a reference to the `heart of the ocean`, a jewel which the Old Lady, Rose, drops into the ocean at the site of the salvaging of the Titanic at the end of the movie Titanic. The `unsinkable` ship sank on its maiden voyage in 1912 and Rose, the woman whose heart is betrayed by her ex-lover framing her new boyfriend by placing the `heart` into his pocket and accusing him of stealing what she`d freely given, finds her heart weighing heavily upon her. She remembers her new fiancée drowning as the Titanic sank, while she escaped in a lifeboat, and she lets the jewel fall from her fingers into the deep:

 

`Well, baby. I went down and got it for you.`

 

 

 Britney`s spaceman is a deep sea diver who represents the sea of knowledge. In Egyptian mythology, it`s the heart of Osiris that he brings from the Titanic which, at the ocean`s bottom, denotes the trunk into which the evil Set placed the dismembered pieces of Osiris in the Egyptian myth. In Egyptian mythology, Ammit, the Devourer, is the female deity that weighs the truth of the heart before the owner of it is permitted to make the journey to heaven. The goddess Maat is `truth`, according to the Egyptian mythologem, and she signifies the Word of God as it is conceived to the heart by what Christianity would call the Paraclete or Holy Spirit:

 

`Maat bound all things together in an indestructible unity.`1

 

 

 It`s an `unsinkable` Titanic concept, and that`s why the jewel of the `heart of the ocean` is represented in the dialogue between Britney and her spaceman. Maat`s `feather`, which she wears in her headgear in depictions of her, is placed in the balance along with the heart and, if it is proven false, the Devourer, Ammit, devours it. The heart contains the souls and they cannot enter heaven if they aren`t true. The notion of plurality of souls within the heart relates to the idea that Osiris is incarnated as Ra upon the Earth and so, like the Paraclete of Christianity, is omnipresent because he is multi-egoed as many individual persons and personalities.

 

 

 The dismembering of Osiris by the evil Set is a metaphor for the way in which Osiris` original knowledge of his unity with God is corrupted as Man becomes more egotistical and selfish, to the point of murder.  These are the souls that are eaten by Ammit, the Devourer, and they can`t enter heaven because they`re evil. Those with a pure soul make a `perilous journey` to Aaru, which is the heaven guarded by Osiris, and so Britney`s set on Oops I Did It Again is heaven.

 

 

 The arrival of Osiris` heart indicates that Osiris` heart is to be weighed by the goddess Maat before he resumes his place as heaven`s guardian. Because it`s 21st century sci fi, Britney`s Osiris would have to accept the teachings of Jesus, and the guidance of the Paraclete, in order to have Resurrection and Redemption in completeness of memory across reincarnations and lifetimes. But some hearts would be evil and they would be devoured by Ammit after being weighed in the balance of Maat, which is her feather against the heart.

 

 

 The feather and the heart have to balance before the souls that were Osiris can go on or have to remain in the Duat, which corresponds to `entombment`, but is interpretable as `imprisonment`, because the remaindered can`t ascend to heaven. The Earth remains the place of death and rebirth in ceaseless reincarnations of enslavement and devourment by men as parasitical viral organisms that want to replicate themselves through Woman as the `host womb`.

 

 

 As God`s producer and product, Woman`s devoured by men in ceaseless wars against her art, civilization, and culture. In Revelation, she`s the woman that gives birth to the New Redeemer, who protects her with the` scepter`, and she remains `hidden` until she leaves to spread her `seed` amongst the stars. According to Revelation, she defeats the evil `seed` of the serpent there, and God creates a new heaven and Earth for her to dwell in. Because it`s her `seed` that defeats the evil, she`s woman with a penis, and woman has a penis as futanar (http://www.futanaria.com), which means that the future of humanity is her.

 

 

 Britney suspends her spaceman above her to weigh his heart, and so she is Ammit, the Devourer, and Maat, the truth. In her red suit, she receives the heart of Osiris, and in her white bikini-dress she moves as a feather beneath the suspended spaceman. If the spaceman`s heart is hers, in truth she`ll perceive it. If not, she`ll devour it, and no `memorial`. It`s her memory that`s important because he is physically unimportant because, if his heart is truly hers, he is her. In the Christian tradition, the Paraclete is God`s omnipresent aspect, so Hathor`s time`s memory with Osiris, and if she remembers him, he`s remembered. He is everything that he has seen, so if he has seen everything with her, she`ll remember, and he`ll be remembered as her. What isn`t memorable is what`s evil, and so won`t be recorded; but is `eaten` or erased. Her red disk is to record `the best of` Osiris and, according to the myth, Osiris is `risen` as the `sky god` Horus, who takes the form of an all-seeing `hawk`, which is Osiris` recordable form`s symbol.

 

 

Britney runs toward a tree, and somersaults through the air before landing. Her feet firmly planted in front of her spaceman, she receives the `heart of the ocean` that she`s weighed, and it`s a Titanic work of Salvation. The heart of Osiris has been `read`, and she`s determining the worth of the souls that are within it. The spaceman leaves her walking backwards because, in Greek mythology, it`s how Hermes, the protector of travelers, erases the tracks of the evil souls so that they can`t follow him to Horus` heaven.

 

 

 Britney`s Hathor on Mars is recording Horus: The Best Of for Christmas. Although she`s in the red `Santa`s suit`, he delivers the Christmas present, which is Horus` because it`s her happiness that`s important, so it`s his Christmas present to himself. When the spaceman leaves, the work is complete. He represents the heart`s fullness, followed by fulfillment, that is, the recording of the work of art, and the emptiness of heart that ensues. It`s a vacuum susceptible to the darkness that has been kept at bay, and which wants to destroy both work and artist.

 

 

 Britney`s spaceman`s return to Earth is the Egyptian `Al-Khem`, the alchemical process whereby a work is conceived, produced, edited, and recorded. In Christian terms, the `hand of God` is in the work of the heart`s creativity through the `tutelary guidance` of the Holy Spirit.  Al-Khem is `the black earth` of alchemy, and represents the return to creativity.

 

 

 In Egyptian mythology, Hathor is the goddess of music, and Oops I Did It Again represents that creative process whereby the artist constructs a personal psychic shield of protection. Upon completion, the shield is felt to recede or retract, as it were, like a hardened aura, and the work may then be exposed to what the artist has been shielding, that is, the obverse, which is the devouring imago of the destroyer. In reality, that`s criticism, whether from the self or others, and in the 21st century many are paid to destroy as critics. It`s an aspect of men as parasitical viral organisms that feed upon Woman as a `host womb` as replicating enslavers that, ultimately, destroy her. Because she`s God`s producer and product, and that`s how the evil devouring imago of men within the psyche functions:

 

`The singer, who performed in Los Angeles Monday, is called "entertaining" and "a mess pretty much from start to finish."`2

 

 In the developmental psychology of Carl Gustav Jung (1875-1961), the heroine is the anima as the soul. Because Woman has a penis of her own, the emergence of the hero, in dreams for example, though traditionally perceived as `normal`, is abnormal because it represents the emergence of that which is antithetical to the developing ego, which is female in terms of species` survival. The hero image is actually the imago of the male destroyer and devourer, which is why Ammit is female. She`s the devourer of male souls that are evil, and that would destroy the creator and the creator`s producer and product, that is, Woman, and so Ammit functions not as a devouring male imago, that is, as a`censor` of the naturally hermaphroditic mind`s sexual impulses, but as Woman`s `editor`.

 

 

 Oops I Did It Again represents the creative`s protection through her creator`s knowledge of the process of reproduction. Indeed, one famous `bootleg` album of the 70s was Led Zeppelin`s Destroyer. The role of Ammit is to erase what isn`t deemed worthy of being preserved. Hathor`s disk corresponds to the compact disk of the 21st century. She records the creation, and Ammit, in mythological terms, devours the evil souls. It seems simple, but Gulf Wars I and II (1990-2011) denote Ammit the Devourer`s erasure of evil souls from what is created, and while 9/11 represents the activation of men as the devouring imago, which corresponds to the evil Set, so the antidote, Ammit, is also activated as the devourer of evil souls. Weighed in the balance against the feather of Maat, they`re not recorded, and so can`t enter Horus` Mansion, which in Oops I Did It Again is the heaven that, resurrected and redeemed from `the black earth` of ceaseless creativity and destruction, Osiris returns to – as a part of the mythic cycle`s completion – recorded as Woman with a penis.

 

 

 Artists require a period of detachment from their creation, because it loses its value for them once it has received completion and, particularly in an era of mass production, is often deemed intrinsically worthless, because of its `pop` status; for example. In Christian terms, Woman`s work of Resurrection and Redemption is, in terms of mass consumerism, Consumption, whereas the Assumption of the Virgin Mary, by the Catholic church, for example, is a symbol of Woman`s inevitable Ascension to heaven and God.

 

 

 In simpler terms, men represent the `black mass` of the imago that wills the devourment of God`s Assumption of Woman, and mass production is a metaphor for the ways in which, trivialized, God`s producer and product, that is, art, civilization and culture, is made to seem worthless, and so is prepared for devourment by the imagos of men. These are not from God, whose image is good. Men are cancers that evilly unmake God`s Assumption of Woman.

 

 

 Men`s devouring male imago is constellated within her unconscious self as a false hero` . Dreams of life, without men, are manufactured by the soul. If they are not devoured by images of the male cult of the personality. Images of the local Set, the Devourer, were found everywhere in Libya, after the toppling of Colonel Ghadaffi, and in Iraq after the local Set, Saddam Hussein. The phenomenon isn`t new. In Egypt, Pharaoh Akenhaten implemented monotheism, and rid Egypt of the evil Set, the `false idols`, whereas images of the evil Set, that is, Stalin or Brezhnev, were `images graven` on the psyche in Russia as enablers of devouring egos.

 

 

 By means of the `tutelary guidance` of the anima or Paraclete, comes Woman`s Resurrection and Redemption for Man, and she has the Assumption, which means that she`s Man`s `fool`, because she`s `God`s love` and, as God`s omnipresent spirit on the Earth, she tries to give Resurrection and Redemption to Man. Woman`s the fool, or she `plays the fool`. If intelligence is at the mercy of stupidity, it`s either because Woman is fooled by men`s imagos, because she doesn`t believe in God, or she `plays the fool` to enable the devouring imago, so that her `sons` become, or remain, stupified devourers of what others, or even themselves, produce, and that`s what warfare is.

 

 

This `psychological type` of a woman without individuational aspiration wants to enable the evil male spirit of the devourer with her children, so that mankind lives soullessly within the`Consumption Society` by facilitating their constellating `false gods` within her children`s psyches, and that`s why she`s described, in Revelation, as the `Great Whore of the Apocalypse`, and `Mother of Abominations`.

 

 

 For the type of woman, Woman as a species, with her own penis even, is a `host womb` for the parasitical viral organisms that are men, to produce their own evil imago, as a devourer of Woman as God`s product and producer, that is, art, civilization, and culture. To her, daughters are merely moving images on the Hollywood movie screen, Babylon`s whores, born only to constellate men`s devouring imago of the demons of possession, and keep her species in endless slavery as a producer, whose beauty is her product and, knowingly produced by her, she`s devoured by the evil: because she`s evil too.

 


Before dismemberment by Set, Osiris was put into a `trunk` and sunk in the Nile river, but it was snagged by the branch of a tree that grew by the water. Britney`s the `branch` of the `family tree` that, `snagging` the spaceman, raises him. She represents Maat as an aspect of the creation`s `indestructible unity`, which protects Osiris.

 

 

 In the Egyptian myth, Isis, the sister-wife, is that `branch` which puts the parts together and, fashioning a new penis, because Osiris` penis cannot be recovered, she restores him in the guise of Horus, the `hawk` who, in Christian terms, is the New Redeemer who watches over the birth of the `hidden` Woman - and her penis `fashioned anew`.

 

 

 The `hanged man` is a tarot symbol, which means `planning before action`, that is, `suspending judgement`, and Maat, after Osiris` heart is weighed,  decides which of the souls it contains are to make the `perilous journey` to Osiris` heaven.

 

 

 Landing in front of her spaceman, Britney has a red disk above her, which is a symbol of the mother goddess Hathor, who`s another `branch` of the `family tree`. In Egyptian mythology, Horus is `housed in her`, and so she`s Horus` Mansion. Hathor`s a `branch` of Osiris` `family tree`, and represents a stage in Osiris` heart`s recovery.

 

 

 Britney`s spaceman asks her to take heart, and she is given it. It`s symbolic of the `purple heart`, a medal for those wounded in battle in the USA. In some ways, Oops I Did It Again memorializes Gulf War I (1990-1). It`s set in a huge rib cage, symbolic of the evil Set, who`s heart has been devoured by Ammit. It`s Britney`s tribute to the victorious alliance of Arab, and other nations.

 

 

 In her red suit and white bikini-dress, Britney`s Rose, red, and Rose, white. Her allusion is to the story recorded in Hans Christian Andersen`s tale of Rose Red and Rose White in which a `little man` is eaten by a bear because he`s evil to women. The bear is Ammit, in terms of the video`s meaning, and so Britney`s `rib cage` is interpretable as Rose`s bear`s claws - and even its teeth.

 

 

 Oops I Did It Again is symbolic of the `hidden` woman of Revelation who, protected by the New Redeemer, isn`t devoured by the red dragon. Preceded by the woman of Revelation, who gives birth to the New Redeemer in the teeth of the red dragon, she knows she has teeth and claws of her own. It`s a retroactive faith myth. If she`s won, she`ll win. And the Bible says she has. Otherwise, the evil will give the baby to the baby eater, and the woman to those with AIDS. In Revelation, the red dragon waits, in vain, to devour Woman and her child, the New Redeemer, and God sends a more comprehensive plague to underline the `spirit` in God`s Word:

 

`His kingdom was plunged into darkness. 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.`

 

 

AIDS is reified in the Bible as monkeys undeveloping Man. It`s the ape of God`s fulfillment as the devouring imago of men, and the baby eaters have the baby:

 

`God lost. In this game. Oh baby!`

 

 1 http://en.wikipedia.org/wiki/Maat

2 http://www.hollywoodreporter.com/news/britney-spears-femme-fatale-tour-203716