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The Moral Of The Bible: Virality Is Not Virility

29/08/2012 15:02

The Moral Of The Bible: Virality Is Not Virility

 

Oops I Did It Again is Britney Spears` science fictional mimodrama after the fashion of Marcel Marceau, the mime. The video single takes place on Mars because she mimes her meanings as Marcel does, and the first allusion is to the original Star Trek episode, The Cage, which is an environment created for two crippled space explorers. Tab Hunter, the disabled first captain of the starship Enterprise, and Susan Oliver, the only survivor of a ship`s crash landing on the planet Talos. The big brained Talosians create The Cage by the power of their minds, which is what science fiction is before it becomes reality of course. The Cage is a `cell`, but the hero and heroine are kept because otherwise they could not live.

 

 

 Oops I Did It Again is `Mars cell`, that is, Star Trek, The Cage, which is an illusion but real, because the big brained Talosians have created it on a video CD, and Britney is a storyteller in the tradition of the Arabian Scheherezade`s who picaresquely `sew` their story into a fabrication pleasing to the eye or ear. Consequently, she is `Mars cell`, and alluding to the proverb, `it is easier for a camel to pass through the eye of a needle than it is for a rich man to enter into the kingdom of heaven`, she is `Mars sew` because Oops I Did It Again is a reference to the pricking of the finger as the Sheherezade attempts to push and pull the thread through the needle`s eye.

 

 

 The `framing device` for One Thousand And One Nights is Sheherezade`s story of Shah Jehan, who had his faithful wife`s head cut off, after accusing her of unfaithfulness, so that he could marry a new woman each day, and cut her head off in the same way, but Sheherezade kept her head, and the heads of the other women, by telling him a long `cliffhanger`, so signifying that it is possible for faith to exist in the imagination and for it to be real.

 

 

 Sheherezade must keep the thread of her story going, according to the One Thousand And One Nights and, by keeping her head, the women will be saved. Britney appears in at least three different guises during the video. She is shown in her red suit hooking her spaceman `visitor` before suspending him above herself in a white bikini dress, and afterwards she somersaults in her red suit while transforming in mid-air into herself wearing a white blouse, black skirt and boots. When the spaceman visitor presents her with a gift, she asks:

 

`But I thought the old lady dropped it into the ocean in the end?`

 

 

 The reference is to the `heart of the ocean`, a blue diamond pendant dropped into the ocean at the end of the movie Titanic (1997), because of the heroine`s mourning of her lost love, who downed when the Titanic hit an iceberg. Hooked on her crochet needle the spaceman is in suspense. Britney is `creating [the] fabric [of her story] from yarn, thread [and] ... other material strands [of fiction] ... ` 1 The three Britneys are symbolic of the women to be saved by Sheherezade, and the spaceman `visitor` who appears part of the thread of the fabric of her story has brought her `the heart of the ocean` from the deep. She shows him the `deeper space` of her heart, and he dependant above. He is enthralled and she must tell the story that will save her.

 

 

The book of Revelation in the Bible contains ideas similar to One Thousand And One Nights because it requires faith in the imagination, and Britney`s Oops I Did It Again can be read as a biblical commentary on `the woman clothed with the sun and with the moon at her feet` while the `red dragon` waits in vain to devour the `New Redeemer` she is giving birth to, and who corresponds to the `deep pendant`, that is, the `New Redeemer`, as the `heart of the ocean` of the archetypes of the collective unconscious. Posited by the developmental depth psychologist Carl Gustav Jung (1875-1961) as necessary for individuation or personal growth, the `New Redeemer` represents abstract and personified images contained within dreams, art and reverie, which are the impulse engines of the instinctual drive of the spirit of humanity to the stars.

 

 

 The distinctive emblem of Marcel Marceau is a red `pom pom`. Britney mimodramatically acknowledges his influence in Oops I Did It Again as `Mars cellphone video technology, and `Mars sew` because of her employment of the crochet motif in the fabrication of her fictional web. Britney, in her red suit, is `Major Red`, that is, a majorette, whereas `pom pom girls` are `cheerleaders`, which is just one of the roles she has in the video single, Hit Me baby One More Time:

 

`In the past few years, a practice called yarn bombing, or the use of knitted or crocheted cloth to modify and beautify one's (usually outdoor) surroundings, emerged in the US and spread worldwide. Yarn bombers sometimes target existing pieces of graffiti for beautification.`2

 

 

 A `pom pom` is crocheted using a `pom pom circle` that resembles a CD. Because Britney is carrying a `hoop` when she first descends to her set in Oops I Did It Again inside a giant`s ring as a `small woman`, her mimodrama is both mourning and celebrating NASA`s space programme. Such hoops as the one she carries are used in the construction of a `pom pom wreath` and Britney is lamenting the lack of political will in the United States of America to actually get from the moon to Mars. The giant`s ring inside which she descends with her hoop is a symbol of her preparing to lay a wreath at the temple of greatness, but `yarn bombing` is the beautification of achievement, whether small or large, which is a parallel theme of the mimodrama because the hints and clues with regard to meaning often reveal surprising depths if penetrated.

 

 

 In terms of technology, a `pom pom` is like a CD because it is made flat but opens out to reveal its `valences`. Oops I Did It Again is Britney`s red, white and black `pom pom` because she wears these three colours in the making of the video. Her `sphere` of endeavour is the crochet work of beautification through `yarn bombing`, where the embroidering of a story`s valences is a part of the interactive enjoyment that a viewer can have with her image `on screen` to decipher her meaning and develop their own personal growth through depth analysis of the archetypal material she presents.

 

 

 One Jungian archetype is the `New Redeemer` of the Bible, who protects the `hidden` woman of the Earth in Revelation until she is ready to leave and `sow` her `seed` in heaven, which suggests that she is a woman with a penis of her own, that is, futanarian, and so definable as a species apart from men. Revelation describes how she and her `seed` fight and win a war in heaven against the `red dragon` and the evil serpent`s `seed` grown since Eden. She receives a new heaven and Earth and the evil receive perdition. Because the woman with a penis, that is, futanarian woman, is `hidden`, Revelation requires faith in imagination, and belief in God`s storytelling. Otherwise it would not be possible for the thread of the story to be perceived. The proverb `it is easier for a camel to pass through the eye of a needle than it is for a rich man to enter into the kingdom of heaven` relates to the perception that men`s valence is not enough to carry them through the `needle`s eye`, and so `yarn bombing`, which is the beautification of what is unsightly using a crochet `hook`, and not a needle, is Britney`s consoling alternative.

 

 

 The `red dragon` of Revelation may be considered to be `nature red in tooth and claw`, which is a line from Sir Alfred Lord Tennyson`s 19th century poem In Memoriam and is often used to support capitalism and the economics of `survival of the fittest`, which is essentially the observation that consumption is success. Of course it begs the question: what should be produced? The 20th century put Neil Armstrong on the moon but used rocket technology to threaten the world with nuclear holocaust, which corresponds to the devouring `red dragon` of Revelation as a consumptive. The `New Redeemer` of Revelation is depicted as helping to hide the woman and facilitate her escape from the Earth, whereas the red dragon is associated with the `blood plague`, which was revealed in the last quarter of the 20th century as HIV/AIDS, a valence of homosexual pederasty`s psychological and biological terrorism against the wombs of women.

 

 

 In ancient Greece the wombs of women were enslaved by homosexual pederasts that spread their plague by means of war. At Troy they constructed the prototypical medium for infecting other societies with their virality in the form of a huge wooden horse inside which they hid and pretended to be leaving it as a gift for the Trojans who took it into the city of Troy where the Greeks emerged and enslaved the wombs of the women for the future of their `boy sons`, that is, the future `poisons` of HIV/AIDS and other STDs communicated by the devouring red dragon`s valence of homosexual pederasty and `blood plague`.

 

 

 On 9/11 the friendship feigning of homosexual pederasty`s valence saw terrorism emerge in Boston, Massachussetts, when hijackers pretended to be visiting New York and crashed their `civil` aircraft into the Twin Towers of the World Trade Centre so promulgating machismo virality and plunging the globe into terror. That the HIV/AIDS virus, or `blood plague` of Revelation, is a valence of the devouring `red dragon` of homosexual pederasty and war is unmistakable because of the methodology of the HIV/AIDS virus. During its attack upon the defence systems of the body, it feigns friendship for the white cells that defend the red cells that are its life and, after they have been accepted, like the `Greek horse` or the hijackers` plane ticket, the virus kills the body. 9/11 was a viral attack because it wasn`t designed to defeat the United States of America but spread its valence of terror.

 

 

 Microsoft, and other computer oriented companies, assisted the virus by defining virality as `Trojan` rather than `Greek`, which is a worldwide euphemism for homosexual pederasty, and an insult not only to those of the rescue services who `worked like Trojans` on 9/11 but also to those living in upstate Troy, New York, which was on the flight path of the terrorist `plague game` and could have been next.

 

 

 Britney Spears is a genius in Oops I Did It Again because she perceives that it is the eye that is deceived in its relations with the world. Much of the imagery is of the eye of the camera and how she appears beneath it. At one point she appears in her red suit to suspend her spaceman visitor above her `double` in a white bikini dress, so that the spaceman can film her with the camera attached to the side of his space helmet and relay pictures back to `Mission Control`, who are observable watching her through the lens of the camera which appears as an eye. The symbolism is sexual because the eye is that of the penis because it finds her desirable.

 

 

 Suspended by the side of the spaceman`s helmet are the tines of a huge fork, which suggests the devourer, and indicates the problem. If women have a penis of their own, as futanarian, and so are a species, then men are an alien viral parasite that seeks to enslave and devour her. In other words, the penis of men sees with the eye of the devourer. In the New Testament Jesus` dead and crucified body is pierced by the spear of the Roman centurion Longinus, and the Paraclete effectively emerges from the side of the `Second Adam` as the `Second Eve` to be the spiritual `guide, comfort, helpmeet, and teacher`.

 

 

 Men are not women, and if women have a penis of their own, the Holy Spirit or Paraclete corresponds to the female `spirit of God`, that is, the Shekinah of the Old Testament. She who dwelt in the place of the law in the Ark of the Covenant of God`s promise to the `chosen` becomes, after Jesus` Resurrection and Ascension to heaven, the spiritual `guide, comfort, helpmeet, and teacher`, and so the eyes of the penis of woman as a species` guide has female eyes in the person of the Holy Spirit.  However, if men`s eyes do not accept women, or men and women`s eyes are possessed by the eyes of the evil serpent`s `seed` of homosexual pederasty, and cannot see with the eyes of the spirit of God, they have accepted the devouring `red dragon` of the red planet Mars, the god of war, and HIV/AIDS` `blood plague` of terrorism, which is foreshadowed in Jesus` torment and crucifixion, and God`s warning is the destruction of Sodom and Gomorrah, which were the `cities of the plains` (Gen: 18,19) thousands of years before 9/11`s terrorists` reawakening of the devouring `red dragon` of the `blood plague` of homosexual pederasty and war at the `cities of the planes`, New York, and Arlington`s Pentagon, Virginia, 2000 AD.

 

 

 In the developmental psychology of Carl Gustav Jung (1875-1961) the `transference` is the single most important aspect of the individuation process whereby the individual achieves self-actualization or consciousness. According to Jung the process is determined by the individual`s recognition of projections of the soul or female anima, in the case of a man, which is an archetype amongst many that exist in dreams, imagination, art, or reverie. The archetypes function as images or personified aspects of the psyche that impel consciousness, and the Holy Spirit is archetypal insofar as it impels individuation. A successful transference is the awareness that, if you are not looking with the eyes of a woman, you are not looking with the eyes of the penis, because women with a penis are the species of the planet Earth, and so the penis is female. If you are looking with the eyes of a man, you are possessed by the `demon` of homosexual pederasty and devourment, because you are looking with the eyes of that which is neither human, that is, female, nor Godly, because it is not you if it is not female, and that is the secret of God.

 

 

 Oops I Did It Again refers to a woman`s dilemma with regard to how she appears to the eyes of those with the penis that watches her. Obviously masturbation is an aspect of the relationship between her image and the viewer, which means that the eyes of the devourer are upon her. Oops I Did It Again means that an `I` can see, and it masturbates because it wants to see more. The Holy Spirit is the guide for the eyes that want to see, but the evil do not want the Holy Spirit. Because they don`t want the eyes to see. That is why they encourage the false machismo of the virality of the `red dragon` of the homosexual pederasty of war; for example, Saddam Hussein and those who are like him. Because true humanity is the virility of women with a penis of their own as the species of the Earth, and they don`t want her to see either.

 

 

 One of Marcel Marceau`s more famous mimodramas was also called The Cage, which again helps us to penetrate the clues and hints of Britney`s science fiction mimodrama in Oops I Did It Again. When her spaceman `visitor` arrives on Mars, she in her red suit is discovered living with herself in a white bikini dress, which is both an interesting reference to the Jungian transference by way of the ability of the Talosians in Star Trek, The Cage, to transform the hero and heroine by mental power so they can live together, and a representation of the valence of women`s love for each other, which is often defined as psychologically `abnormal`. However, because women are a species with a penis of their own, lesbianism is the human species` natural valence, and corresponds to Sheherezade`s faith in imagination in One Thousand And One Nights through which all of the women are saved.

 

 

 Because lesbianism is the valence of the human species, sexual desire for the woman is female, and so is the penis. Consequently, the machismo of devouring homosexual pederasty, symbolized by the `red dragon` of Revelation, and its `blood plague` of HIV/AIDS, is what men define as masculine, whereas maleness is rather virality than virility. Appearing as the Gemini twins, Britney in her red pilot`s suit and white bikini dress is an allusion to NASA`s `Gemini` space programme, but Britney is also calling herself `Chairman I` because of the commonly held 50s precept that science fiction should portray Chinese communists as identical aliens (Britney`s `triplets`) who share a `hive mind` that is antithetical to capitalism. Indeed, the movie Starship Troopers (1997), where the brave `boy sons` of Earth fought against the undifferentiated `bugs`, was a metaphorical release of hatred, that is, the `poisons` of the real `red dragon` of homosexual pederasty and war against communal life, which appeared alien because peaceful. Starship Troopers was originally a 1959 juvenile novel by the American Grand Master of science fiction, Robert A. Heinlein (1907-88), and celebrated the founding of the USA`s Green Berets by President John F. Kennedy, so representing tacit acceptance of President Richard Millhouse Nixon`s subsequent deployment of the Green Berets to dehumanize and exterminate Indo-China`s `gooks` in Korea, Vietnam, and Cambodia with carpet bombing, napalm and the defoliant `agent orange`. Before Mao Tse Tung`s (1893-1976) China stopped it. Mao founded Chinese communism, and his `little red book` contained over four hundred realpolitik insights:

 

`No political party can possibly lead a great revolutionary movement to victory unless it possesses revolutionary theory and a knowledge of history and has a profound grasp of the practical movement.` 2

 

 

 The notion that communism is the product of an alien `collective` is no more obvious than that `Germany`, which word has a pronunciation similar to `Gemini`, was what Jung termed a shadow collective of inflated negative personality traits in the 1930s. Britney`s video Oops I Did It Again is her `little red book` in `letter box format` presenting her manifesto for change. At one point she somersaults in the air to stand before her spaceman, and transforms en l`air from red pilot`s suit to white blouse with black skirt and boots, which was the uniform of the girls of the `Hitler Youth` in the 30s. Receiving a gift from her spaceman, she asks:

 

`But I thought the old lady dropped it into the ocean in the end?`

 

 

 The allusion is to the movie Titanic (1997) in which the `heart of the ocean`, a blue diamond pendant, is dropped into the ocean at the end of the movie because the heroine is mourning her lost love who drowned when the Titanic hit an iceberg and sank. Although Britney appears `mousey` in Oops I Did It Again, she is the Mouse, `Say Tongue` because of her former life as a child star with the Mickey Mouse Club, who later provided the impetus for `Saytonguism`, that is, sinking her marital relationships by plaguing her with slander. In fact the video opens with `Mission Control`:

 

`Earth to Mars Lander. Report status please.`

 

 

 They are asking for the latest gossip on Britney Spears` relationship with herself, that is, the `Mars slander`, but Britney`s message from her `little red`s e-book` is a universal one. Don`t believe what you`re told. The Chinese aren`t identical and neither is she and her `Martian` sister. The devouring `red dragon` of homosexual pederasty and war would eat her because she is a woman, not because she is part of a `hive mind`, or `Hitler Youth`. In the Bible the `chosen` have a `little Red Sea book` of their own. God promises a `land of milk and honey` if they obey the `book of the law` and traverse the Red Sea.

 

 

 For Britney it is faith in imagination, because the mind of God is revealed to the faithful as the story unfolds, and they read it from the Bible. Oops I Did It Again is imagination in faith, because the red planet Mars is a sterile place of sand without the waters of a Red Sea and, as T.S. Eliot`s 1920 poem The Wasteland advocates, imagery from the archetypes of the unconscious have to be employed by the writer attempting to stimulate spiritual growth in the sterile mind of the reader, and on into the world outside of the poem or, in the case of Britney`s Oops I Did It Again, after stimulating the arid mind of the viewer, the world outside the video will bloom.

 

 

 Britney employs mimodramatic effects to stimulate the imagination of the viewer at an unconscious level but in a determinedly awakening style that presupposes enough faith in the watcher to want to decipher her meanings and so grow and develop spiritually through her `teaching`. Her mimodramatic movements are difficult to understand, but they are neither for the blind or the deaf, and her lyrics are not for those who can`t read. Several times in the course of the video Britney makes the sign of the wine glass by raising her hands, which is both a symbol of the Holy Grail, that is, the bowl from which Christ ate and drank at the `Last Supper` before his crucifixion, or the cup from which `Babylon, the Great, mother of harlots, and of the Abominations of the Earth` drinks in Revelation. The cup of Babylon contains `fornication and abominations` because it is a poison cup full of HIV/AIDS and STDs that represent the `blood plague` as a valence of the `red dragon` of homosexual pederasty and war. Jesus` cup denotes `the body and the blood`, because the Holy Grail is a bowl from which he ate and drank. In offering the `bread and the wine`  in fellowship, Jesus was indicating that his `body and blood` was not diseased, which is why he was conceived without the semen of a man and born of a virgin. In other words, everyone must be born without the semen of a man, that is, from the futanarian woman who has a penis of her own, and is the species of the Earth as woman. `Babylon, the Great` is great, because she is able to survive with the virality of men, and the cup as the symbol of the `mother of harlots and of the Abominations` is of the `Greek whores` who are forced to give birth to the `boy sons`, who are the `poisons` that make of her womb a `Greek horse` from which they emerge to make war upon her citadels of culture and civilization to enslave her, and further spread their plague of devouring homosexual pederasty and war.

 

 

 In Oops I Did It Again Britney is intelligently appealing to the penis of the woman, that is, the several eyes of the camera which are depicted within the video, and are aspects of the eye of the video itself, which the viewer perceives as a single eye also, is representative of the eye of the penis which cannot see, but is the desireful focus of the visual material. If the video is purely sexual, the meaning is the erection of the masturbator`s penis, whereas if the video contains material designed to be thought upon, its meaning is developmental. Consequently, there is an admixture, in terms of meaningfulness, between the cup of Jesus and the cup of Babylon, that is, desire stimulates development. Britney is aware that she must communicate sexually in order to communicate. For the penis of the woman sex is good and not `poison`, because `boy sons` will no longer be produced when futanarian woman with a penis of her own ceases fornicating with the virus, that is, men, and so stops producing the `abominations`. Britney`s mimodramatic depiction of herself as a `glass of red wine` represents desirefulness as good per se, because it`s developmental. Whereas the Bible describes the woman drinking from the `cup of her fornications and abominations`, that is, her `boy sons` who are `poisons`, the penis is the woman`s. What is attached to it is only a valence of virality, that is, the `poisons` of male homosexual pederasty`s `boy sons`. Although the penis represents the source of all developmental functionality, it is the valence of woman as the Earth`s species, which is `futanarian`, and the measure of virility is development, represented by `scifi` Britney in Oops I Did It Again, and not the developing of better valences for the virality of the `red dragon` of devouring homosexual pederasty, which is represented in Oops I Did it Again by `Mission Control` who appear to be guiding the spaceman, but actually function as misleading demons because they have confused the penis into believing it is virile whereas it is in fact viral.

 

 

 Britney`s feelings of being `misled` found her adopting the title `Miss American Dream` for Piece Of Me (2004), and the cover sleeve for the single featured her crucified. Identifying with Christ`s work of Redemption is what her `piece of ass` had been led to. However, as a `piece of work`, Britney is the `American Dream`. Christ`s side was opened by the spear of the Roman centurion Longinus at his crucifixion, which effectively signaled the emergence of the Paraclete or Holy Spirit from the side of Jesus as the `Second Eve` from the `Second Adam` as humanity`s `guide, teacher, comforter, and helpmeet`. The spear of Longinus was afterwards known as the Spear of Destiny and the USA adopted it as a symbol of Manifest Destiny and the American Dream, which is why Britney Spears` name insofar as it is symbolic of the Paraclete or Holy Spirit as a `piece` of the female `spirit of God` represents the `dream` of e pluribus unum, `the many and the one` God:

 

`I`m Miss American Dream since I was seventeen.` Piece Of Me

 

 

Celebrating an airship disaster in New Jersey 1939 on the cover of their first album was miss `American Dream` for `misled Zeppelin`, which was what Keith Moon, the drummer of The Who, said of the `69 inception of rock band Led Zeppelin, `It will go down like a lead balloon.` Jefferson Airplane knew enough to change their name to Jefferson Starship, but the idea of naming the future of pop music after a First World War German balloon most famous for dropping bombs on Liverpool was obviously retrogressive. The second studio vinyl album Led Zeppelin II (1970) featured a gatefold sleeve for the vinyl recording that depicted a gold Zeppelin airship, which reflected upon alchemy, that is, the transmutation of lead into gold as a metaphor for artistic and individual development. However, in WWI it was simply the precept that people stay alive if you don`t shoot them, which was the idea behind the Led Zeppelin `live` career celebration CD How The West Was Won (2003).

 

 

 The goal of the alchemical opus is described variously as `the pearl of great price` or `the elixir of immortality`, but in essence it`s that lead is poisonous, which means that Led Zeppelin was `misled` Zeppelin. In the `publicity blurb` on the cover of the `live` CD album, How The West Was Won, Led Zeppelin are described as `Satanists`, which essentially entails killing the penis so that it can`t see, that is, preventing development, and so the first Led Zeppelin symbol was a crashed airship because `misled` rivalry doesn`t want to see anyone else at the top, even if it`s desirable.

 

 

 In Britney`s Oops I Did It Again Mars has `98% oxygen`, which is certainly enough `air` for the penis, which needs blood oxygenation to inflate its desirefulness for woman and development. John Bonham, Led Zeppelin`s drummer, died in 1980 after a `choking fit` and Moby Dick had been the title of John`s Led Zeppelin `signature` drum solo which title was chosen from a novel by Herman Melville that had the first line:

 

`Call me Ishmael.`

 

 

 In Arabia the `Eid` is the `feast` that celebrates God`s sparing of Isaac when Abraham is asked to take Isaac up the mountain to be sacrificed. God relents and the Eid is the celebration of the sparing of Isaac, which is paradoxical because the line of Isaac founded Judaism, while the line of Abraham`s son Ishamel became Islam. If John had lived, his son Jason`s band Bonham would have been the rival of Led Zeppelin, but Satanism, which Led Zeppelin are proclaimed as espousing on the `press blurb` for How The West Was Won, would have killed Jason Bonham`s band. Jason would have been sacrificed to Satanism, if Led Zeppelin had been Satanists. But the `Eid` celebration of Arabia is a symbol of how disparate development is not rivalry. If God had commanded Abraham to sacrifice Isaac on the mountain, Judaism would not have existed, and the line of Ishamael would have prospered. But God did not require Isaac to be sacrificed, because that would have been Satanism, and Led Zeppelin did not prevent Jason Bonham from forming the Bonham band, which means that they aren`t Satanists either because the principle of disparate development has been embraced.

 

 

In Melville`s tale Moby Dick, the white whale, has enough `air` to dive into the ocean of the unconscious contents of the psyche, where the archetypes exist as impulses to development. Indeed, Melville`s symbol of the white whale is perceived in literary criticism as the penis, because of its untamed sexuality, and men`s intention to kill what is in fact the developing futanarian woman`s penis of the future, in Melville`s Moby Dick becomes the quest of Ahab aboard the whaling ship Pequod to kill the white whale as the female penis surrogate, so that woman`s archetype remains an abstract hermaphroditic symbol of male-female esoteric unity murdered in the ocean of the unconscious, whereas the hermaphrodite is in fact a real picture of woman as she is.

 

 

 In the novel Moby Dick, Moby Dick is a white whale which is killed by a whalers` harpoon. However, `dick` is a universal euphemism for penis, because the developmental functionality of the planet Earth devolves from it as the source of instinctual libidic energy transformed into intellect and spirituality through the penis` aspirational desires. Because the developmental penis is, properly understood, futanarian woman`s, putting a man on the moon was a declaration of war against her, which is why the flag of Al Qaeda`s `yellow moon on black` is a symbol of an intention to kill the woman`s penis that is attached to men`s virality, and then her penis won`t be able to see with the eyes of her Holy Spirit.

 

 

 The valence of virality is important because surveillance is what the globe has had to endure since 9/11. If 9/11 is to be understood as a distortion of 911, the number of the police in the USA, and the biblical injunction from Revelation, `the number of a man is the number of a beast, and his number is six hundred three score and six`, refers to 666, which is the reverse of 999, the number of the police in the former British Empire and Commonwealth. The Holy Spirit is the `guide, teacher, helpmeet, and comforter`, because she is the eyes of heaven, whereas surveillance is what the evil `serpent` has been since Adam and Eve felt themselves naked in Eden. Consequently, police surveillance corresponds to what is not the Holy Spirit, because the Holy Spirit wouldn`t require it. In other words, police surveillance is supportive of the criminal, because the Holy Spirit is perceived as `too good`. However, people eat, fuck, and have bowel and urinatory functions, which is physically all that the body is for. A surveillance system that wants to watch that is evil, because behaviouralism is all that surveillance systems are designed for. Good behavior is `nothing but`, as repression psychologist Sigmund Freud could have observed, eating, fucking, urinating and defecating. Anything else, from a police perspective, is unmanageable, because it doesn`t fit ideas of simian behaviour patterns. An astronaut fucks, eats, urinates, and defecates. From a surveillance point of view, the astronaut is functionally normalized while fucking, eating, urinating and defecating, which means that surveillance is designed to reduce the developed individual to fucking, eating, urinating and defecating, so that the police can manage `the zoo`.

 

 

 In pop terms, `the woman clothed with the sun and with the moon at her feet` that gives birth while the red dragon waits in vain to devour her `New Redeemer` is framed by Sun Records, which produced Elvis Presley, the `King of Rock `n` Roll, and Keith Moon, `the loon` of The Who, who was deemed crazy for warning `misled` Zeppelin at the beginning of their `career` in `69 that lead balloons weren`t gold.

 

 

 Satanism is a difficult concept to grasp, because the men of the Earth seeking to prevent woman from escaping perceive her as Satan, which means that, properly understood, Satanists are the women who want to leave with their own penis, and those who want to keep her here so that they can continue their `plague games` of destruction are nihilists. The first man on the moon was Neil Armstrong, and the nihilism of Al Qaeda`s terrorist crashing of planes into the Twin Towers of New York`s World Trade Centre, beneath the flag of a yellow moon on black, with the motto `There is no God but God`, is perceived as antithetical to Neil`s words:

 

 `One small step for a man, one giant leap for mankind.`

 

 However, if the `game` is to prevent woman from leaving the Earth, Neil`s foot has become that of the nihilist on the neck of woman prior to chopping her head off because her penis might be able to see with her, which is what the Arabian Sheherezade works against in One Thousand And One Nights, while Britney`s Sheherezade, in her red pilot`s suit, in Oops I Did It Again, appears as `twin girls` in the eye of the penis of woman as the species for whose freedom she is working in her science fiction mimodrama. One of the more famous Led Zeppelin album sleeves features the band in astronaut suits, which mimics Neil Armstrong`s inspirational landing on the moon but, if the aspiration of men is to use `moonbase ` to keep women here as enslaved host wombs for the spreading of themselves as the virality of the devouring `red dragon` of homosexual pederasty and war, the imagery is delusory.

 

 

 Neil Armstrong flew as pilot on 7 occasions in the X-15 space plane, which was designed to fly to the moon and return, but was cancelled because of `expense`. In simple terms, the United States of America didn`t want to fly to the moon. Al Qaeda, `the base`, whose flag is the masculine moon of Arabia, whereas in the West the moon is female, proclaimed the moon is for men on 9/11, 2000, and they don`t want her.

 

 

 The Led Zeppelin symbol is important because the band bought a plane with the Led Zeppelin logo emblazoned, and after 1977`s concert at Madison Square Gardens John Bonham and Led Zeppelin were told they`d never perform in the United States of America again because John threw a punch at a member of the NYPD backstage. In 1973 and 1977 New York was the `city of the plane` of Led Zeppelin, because they toured in `73 and `77. In developmental, or intellectual and spiritual terms, Led Zeppelin had elevated themselves to the `plane` of Led Zeppelin.

 

 

 Zeppelin airships attach themselves to towers for refueling, or taking on passengers etc., and so the Twin Towers of New York`s World Trade Centre were a symbol for Led Zeppelin even if they were not for Zeppelins. Al Qaeda`s terrorist demolishing of them by `feigning friendship` and hijacking `civil` aircraft to use as incendiary devices was reminiscent of the airship on the cover of Led Zeppelin I, which `spontaneously combusted` while attached to its tower on a `friendship` visit to New Jersey from Germany in 1937. Al Qaeda`s cowardly 9/11 attack on the Twin Towers was `Satanism` insofar as they `feigned friendship` to plant the funereal `yellow moon on black` of their flag upon the ruins in mockery of the aspirations of NASA`s and Led Zeppelin`s `astronauts`, who are those `inspired` by achievement to aspire to their own intellectual and spiritual `plane`.

 

 

 On 9/11 New York was the `city of the planes`, as Sodom and Gomorrah were the `cities of the plains` (Gen: 18,19) destroyed by God for practising Marquis De Sade`s activities likely to cause AIDS activities. The Marquis De Sade was a 19th century writer who advocated sado-masochism and sodomy, and so De Sade`s activities produce AIDS, because of the blood, shit, and semen admixture associated with sadistic sex. From the perspective of the `red dragon` of homosexual pederasty, Led Zeppelin, the Led Zeppelin `plane`, the Twin Towers of Led Zeppelin`s New York, and the aspirations of NASA`s and Led Zeppelin`s `astronauts`, was a `penis inflation` that threatened to take the boys away from the homosexual pederast.

 

 

In Jungian psychology shadow-inflation is quite common when the ego identifies with instinct and experiences a sense of power rather than power itself, which D.H. Lawrence describes as the `gods of the blood` in his semi-pornographic novel Lady Chatterley`s Lover (1928) and elsewhere. Because the shadow represents libido or instinctual sexual energy, `shadow-inflation` is also describable as `penis inflation`, which occurs when the individual believes that they are successful because they are intelligent. The Led Zeppelin airship is a `penis inflation` if the `dark gods of the blood` are worshipped instead of development, which is what success actually depends upon. If individuals aspire to the moon and the stars of heaven, but the `dark gods of the blood`, that is, Sodom and Gomorrah, are worshipped, the `red dragon` of the `blood plague` of HIV/AIDS and the war of homosexual pederasty will devour the Earth, and the `hidden` woman with the penis of her own, who is woman as a species and futanarian, will experience only `penis inflation` and the repeated crashing sounds of a Led Zeppelin.

 

 

 Men prefer ICBMs to space pilots, because it is basic to men`s `Greek philosophy` that women won`t escape, whereas Britney, in her red pilot`s suit in Oops I Did It Again, symbolizes the desire of the woman`s penis to leave Earth and the moon for Mars. But not for Mars, the god of war, who`d be the `red dragon` on her `red planet`. In her red`s suit, Britney is `New Red`, because the symbolic mimodrama of Oops I Did It Again deems woman with a penis of her own to have `the right stuff` for space colonization:

 

`Yeah yeah yeah yeah yeah yeah.`

 

 

 Oops I Did It Again begins with Britney referencing Chuck Yeager, the X-15 space plane pilot, and astronaut who never was, because NASA dropped all those who didn`t have a college degree from the 1960s space programme; although Yeager was deemed to be the best. The concept of `the right stuff` was enshrined in Tom Wolfe`s book The Right Stuff (1979), filmed as a Hollywood movie in 1983 with Sam Shepard as Yeager, and `the right stuff` was the title that all successful astronauts were labeled with, because it was what they were deemed to be blessed with. The `woman clothed with the sun and with the moon at her feet` is deemed good by God in Revelation because she demonstrates `the right stuff`. The `New Redeemer`, to whom she gives birth, also demonstrates `the right stuff`  in desiring space travel for women as a species with her own penis, that is, the `hidden` futanarian woman, which the New Redeemer protects before she leaves.

 

 

 The symbol of the rulership of the New Redeemer is an `iron scepter` or `iron rod`, which denotes a developed perspective that is unshakeable rather than a `penis inflation` or `shadow-inflation` of `the dark gods of the blood`, which in the 1930s produced the extermination camps of the Nazis because of an inability to perceive that women were Jews and that was why the Germans didn`t want them to escape or live. In Judaism you cannot be born a Jew if you are not born from a Jewess, which effectively means that women are Jews. Consequently, the Nazi pogroms of the 30s and ethnic cleansing up until the 21st century and beyond were based on the unconscious principle that the woman should neither live nor escape. Viral masculinity perceives the `iron scepter` or `iron rod` of the `New Redeemer` as a gun, because a `side iron` is an old metaphor of the `Wild West` for a Colt .45 worn in a holster at the hip and employed by gunmen. The claim that Led Zeppelin worshipped Satan in the publicity notes for How The West Was Won refers to the concept of gunmen who `pump lead`, which won`t inflate an airship, but murdering the developing penis of the `hidden` futanarian woman as the Earth`s species tries to develop beyond the repeated sounds of a crashing Led Zeppelin is Satanical.

 

 

1 http://en.wikipedia.org/wiki/Crochet

 

 2 `The Role of the Chinese Communist Party in the National War`, Selected Works, October 1938, Vol. II, p. 208.