Britney Spears` 50s Alien Invasion Movie And The Culinary Triangle
In the video single for Oops I Did It Again Britney Spears` planet is `invaded` by a spaceman who wears an Apollo spacesuit similar to Neil Armstrong`s when he was the first man to walk on the moon in 1969: `One small step for a man, one giant leap for mankind.` Although the pop video isn`t couched as an `alien invasion` Britney, in her red suit, and in her white bikini dress, have to deal with the alien invader who doesn`t fit into their scene because they`re wearing futuristic costumes in a planetary setting that isn`t a throwback to 1950s alien invasion fears. In her red pilot`s suit Britney represents the original NASA space program`s aim of having a `space plane` piloted to the moon, but that project was terminated because of `blackouts` experienced by the pilots. Britney`s album Blackout contained Piece Of Me, and the famous line:
`I`m Miss American Dream since I was seventeen.`
The `American Dream` is of space and the `final frontier`, as the TV show Star Trek (1965-) describes it, of going `where noone has gone before`. Originally the TV series had the line `where no man has gone before,` in the `voiceover` to its original credits, which was changed because of the USA`s growing awareness of feminism and its commitment to `Liberty`, which was once again threatened by the terrorist hijackers crashing of planes into the Twin Towers of New York on 9/11, 2001. Blackout means `censorship, but also unconsciousness, which is the result of memory loss, but can also be understood as the result of a lack of education or ignorance, which is unconsciousness through `censorship`.
Britney Spears` Blackout refers to Oops I Did It Again insofar as, in her red pilot`s suit, she`s reflecting upon NASA`s cancelled `space plane`, which constitutes a reduction, in consciousness terms, of aspiration, and acceptance of slowed technological development. Although the lyric `I`m Miss American Dream since I was seventeen` is about American optimism `since` 1776, which enabled them to put a man on the moon in 1969, the destruction of the Twin Towers, which were constructed in 1970, suggests development was being slowed once more is a form of `censorship`, or `blackout` of conscious aspiration, and knowledge and wisdom symbolized by the `Big Apple` and the statue of `Liberty` in New York harbor.
Read correctly, Britney`s spaceman in Oops I Did It Again is 1969 and Britney, `twinned` in her red pilot`s suit and in her white bikini dress, represent the `Twin Towers` constructed in 1970. In her red pilot`s suit she hoists her spaceman above her so that, looking down upon her, he can film her wearing a white bikini dress with his spacesuit`s camera. It`s an `eternal triangle` with a difference. Britney`s `set` is 1969 television`s, because the spacesuited astronaut represents the 1960s Apollo space program that saw the first man on the moon, Neil Armstrong, `live` on television.
In Egyptian mythology Set is the evil brother of the `sky god` Horus, who fight continuously. Consequently, when Britney suspends her astronaut above her with a camera, she`s depicting the relationship between `Babylon`, that is, the Hollywood movie industry, and `MYSTERY, BABYLON, THE GREAT, MOTHER OF HARLOTS AND OF THE ABOMINATIONS OF THE EARTH`, who represents the women of Horus, the `sky god`, insofar as they cry `Whore us!`
Ancient Greek society was based on the principle of homosexual pederasty`s enslavement of women`s `host` wombs as a biological parasite to produce more homosexual pederasts to wage war against other city states and convert them to biological parasitism by enslaving women`s `host` wombs further. Consequently, the `blood plague` of the `red dragon` of Revelation is HIV/AIDS, which is homosexual pederasty`s valence of `biological warfare` against the `host` wombs of women. In simple terms, Britney`s spaceman is the `sky god`, Horus, being prepared for the USA`s airstrikes against targets in Arabia and Afghanistan after 9/11.
Oops I Did It Again depicts the `eternal triangle` of mother, daughter, and son is being depicted, but because Britney`s `twinned` she represents self-production, which is a movement away from the dragon and the whore towards the female valence of woman with a penis of her own as a species with its own economic valence that won`t accept `rough trade` as the product of its `host` wombs any longer, that is, woman will no longer raise hordes as the whored for television`s Set and Horus` periodic onslaughts against her art, culture and civilization, so that Hollywood can magnetically assert in the personae of its `leading men` that socio-history is the story of how they won, while the penis of the woman is repressed as an aspect of homosexual pederasty`s preference for violence against woman and her Earth. Despite keeping her close throughout the `movie` in order to fill the camera lens with her `protected` image and mask the true meaning of the taboo against the male penis. By not revealing anything but a protection racketeer`s weapon the `red dragon` of devouring homosexual pederasty conceals its true valence, which is male violence towards women as the true species of the Earth. Insofar as it`s the aliens` parasitical intention to devour woman`s flesh by means of the `blood plague` of HIV/AIDS` `biological warfare`, and her planet through more `conventional` marriage between the dragon and the whore of war.
In Hold It Against Me Britney engages in a bare knuckle fist fight with herself, because women`s valence must be trained not to accept being the whored of the bloodthirsty devouring male draco`s warring hordes against her `host` womb and its product of art, civilization and culture. Surrounded by television`s Set, she resists `Whore us!` As the 15th century seer Nostradamus had predicted:
`From the sky will come a great King of Terror.
To bring back to life the great King of the Mongols,
Before and after Mars to reign by good luck.`1
Mars was successful in Gulf wars I and II (1990-2011) because the winning valence is perceived as succeeding, whereas the kings of terror and Mongols correspond to what the Bible describes as the first and second `beasts` of Revelation, which denote the evil valence of television`s Set and his endless struggle with the horde of Horus, the `sky god`, to whom the women of `the whored` willingly cry, `Whore us!` In Oops I Did It Again Britney descends inside a `giant`s ring` to greet her spaceman visitor, `Mars Lander`, but `the rules of engagement` with Mars are changing. She places a hook into his backpack and hoists him above herself in a white bikini dress so that he can see what he isn`t fighting for, `Liberty`.
Woman with her own penis as `futanarian` has an economic valence that is human and not alien. In her red pilot`s suit Britney represents NASA`s decision not to develop but to keep `Liberty` a prisoner upon the Earth to produce wars for television`s Set and cry `Whore us!` Twinned, in her white bikini dress, she`s a self-producer, that is, a prefiguration of woman as a species with her own reproductive valence prefigured by the Virgin Mary who gave birth to Jesus, the `Perfect Man`, without male semen, 2000 years before 9/11.
September 11th 2001 was an attempt by terrorists to prevent the `Second Coming` of Christ, the `New Redeemer`. He is described as the `protector` of the `hidden` woman of Revelation who`s `seed`, that is, the seed from her own penis - as opposed to the evil serpent`s `seed`. It is told by God that it shall have `perpetual enmity` with her `seed`, who receive a new heaven and Earth from God while the evil serpent`s `seed`, that is, the `seed` of the `pre-nuptial agreement` between the dragon and the whore, receive unendurable eternal pain as a punishment.
In the structural anthropology of Claude Levi-Strauss, the mainstay of his socio-economic theory is the `culinary triangle`,2 which is depicted as the geometric formula for historical advancement through technology. The BBCTV series Triangle (1981-3) takes place aboard a European ferry, but the series doesn`t seem to be about technology. It`s about `love triangles` as the basis for female subjugation, repression, and unconscious ignorance. In Oops I Did It Again Britney`s spaceman gives her a ship`s `gift`:
`But I thought the old lady dropped it into the ocean in the end.`
The heart shaped blue diamond is a pendant dropped into the ocean by Rose, the `old lady`, in the Titanic (1997) movie. Because the `eternal triangle` of love and betrayal sorrowed her. Her former lover had placed the jewel into the pocket of her new lover to frame him for theft, and he was subsequently drowned when the Titanic hit an iceberg and sank in 1911. The BBCTV series reflects on `love triangles`, that is, `love affairs` between `shipmates`, while their more permanent relationships on land remain unconsciously unaffected. In short, the concept of the successful `love triangle` in Triangle is shown to be dependent on ignorance, that is, if women with a penis, and an economic valence of their own, as the human species `futanarian`, knew they were ignorant of men`s true nature, they`d prefer a `love triangle` that consisted of women as fatherers, and daughters of mothers. Women are `fartherers` in the sense they`re concerned with their species` nurturing and development. So they can progress to the stars in heaven before men devour them as possessors and consumers through enforced unconsciousness, that is, `blackouts`.
Effectively, the couple who are having an affair require `blackout`, that is, the blinding and stupefaction of their `permanent mainstay` by themselves or their `confederates`. Analogously, those who fought for the Confederacy against the Union Army of the United States of America in the Civil War (1861-5) were, in terms of Hollywood`s `Babylon`, television`s Set and the `sky god` Horus, whose whored horde cry `Whore us!`. As did all those who knowingly sent their men to lose their lives in World War I (1914-18), World War II (1939-45) and the Gulf wars (1990-2011). However, if women have a penis of their own, and so constitute the human species, which is not a valence of the evil serpent`s `seed` in its wars against women, that is, the fake symbiote`s periodically alien parasitical devourings of woman`s art, culture and civilization in its wars against her `product`, they represent the valence of humanity that doesn`t want to be blacked out in censorship and unconsciousness. Because they want to escape to the stars. Away from the `red dragon` of devouring homosexual pederasty, war, and its whores that produce it and its `biological wars` against woman`s enslaved `host` wombs.
In Revelation the virality of homosexual transmissions during the apocalypse `live` on television Set is the `gay boy sons` of the `red dragon` of pederasty`s evil serpent`s `seed` and its killers` murder valence. They`re the `gay poisons` of the whores` child, that is, HIV/AIDS, and its undeclared war against the `host` womb of the `woman clothed with the sun and with the moon at her feet` as she gives birth to the `New Redeemer` while the `red dragon` waits in vain to devour. Although George W. Bush immediately backed the `War On Terror` (2003-) with US$ trillions, the budget for defence against HIV/AIDS, that is, the killer disease produced by the dragon and the whore, for the `hidden` woman of the Earth and the `New Redeemer` of her `futanarian` future, isn`t that great.
Cooking is the basis for socio-historical progress. As evidenced by Cain`s murder of Abel in Genesis because Abel was able to cook and Cain wanted the laziest life that was possible outside of Eden, which was picking fruit and eating it. Consequently, Cain was the protypical murderer and thief, because he represented the individual who would rather take from others, including taking their lives, rather than work. Cookery is the prototype of work, which has been thought of as women`s work for generations because Cain, that is, the evil serpent`s `seed` since Eden, would rather someone else worked.
In terms of Claude Levi-Strauss` theory, Cain couldn`t construct a `culinary triangle` with Abel, although Abel was able to cook, which means the evil serpent`s `seed` are those criminals who murder the cook after the meal has been prepared, because they`re only concerned with picking fruit as monkeys from the trees rather than grow food. In simple terms, trees are analogous to humans from the murderers perspective, which is why murderers aren`t human, in accordance with God`s laws for humanity.
According to Claude Levi-Strauss the first stage in human development is growing food, and the second stage is cooking, while the third stage is fermentation, which produces cheese, wine, etc. However, Cain didn`t get to the second stage because he doesn`t want to produce, or reproduce, with Abel, and doesn`t want to. He wants to pick fruit and murder those who prepare food for him. Because he`s evil and that`s what the Bible tells us. Consequently, if Cain doesn`t want to cook and Abel wants to, Cain will murder Abel for the food he`s cooked. If Abel is able enough to marry and build a house, where his wife can cook, Cain will murder Abel for his wife who cooks, and murder her so that he can have the house. Moreover, if Abel is able enough to build a civilization and culture, Cain will murder him because, if Abel and his wife can escape him, he`ll have no one to steal cooked food and property from.
rotten (cheese, yoghurt)
If a woman produces a daughter who can `cook` as she can, it means that the pair correspond to what Claude Levi Strauss describes as the `human valence`, which is that of the individual that can grow and `cook` food. Not because Cain can have a free meal, if he murders Abel and his wife, but because Cain can have a house that he hasn`t built, which is the response of the evil serpent`s `seed` to the `human valence`.
Clearly the `human valence` is inadequate from the able person`s point of view. If Claude Levi-Strauss` `culinary triangle` is growing food, cooking food, and allowing milk to rot in order to produce cheese, a woman doesn`t need a man. Consequently, she`s escaped if she can reproduce without a man, and women have a penis of their own as `futanarian`, which means the `human valence` has woman as a species, whereas men isn`t because men can`t reproduce without women. In terms of the `culinary triangle`, men can`t reproduce together, which means that the triangle has only one side insofar as the mother-daughter reproductive valence represents an `eternal triangle` in which the daughter can marry with her own species as the third woman in the triangle, because she has a penis of her own as `futanarian` woman.
Because men can`t reproduce together, the `culinary triangle` collapses at the picking fruit stage, because Cain murders Abel. The more able person is identified as a threat, because they might escape, and Cain would have to work rather than steal and murder. Consequently, because Cain and Abel`s valence is that of the evil serpent`s `seed`, insofar as they can`t reproduce together, and they destroy whatever emerges from the `host` wombs of the women they have parasitically enslaved in their periodic wars against her Earth, the `human valence` is woman`s, as a nurturing species with her own penis` reproductive capacity, and what`s to emerge in women`s future as art, civilization and culture that isn`t preyed upon by the male parasite.
If you`re Abel you can escape, but if you`re not Abel you can`t. And Cain won`t let you escape, so you must be disabled from Cain`s perspective. Consequently, the aliens have emerged upon the Earth as the locusts of the Bible that are foretold in Revelation, and they don`t want to improve technology because that would enable those who didn`t want to be locusts to escape. Ancient Greek society was based on the principle of homosexual pederasty`s enslavement of women`s `host` wombs so that wars could be waged and there`d be more homosexual pederasts.
In the Bible the `red dragon` is depicted waiting in vain to devour the `New Redeemer` while the woman of Revelation is giving birth. `MYSTERY, BABLON, THE GREAT, MOTHER OF HARLOTS AND OF THE ABOMINATIONS OF THE EARTH` is a mystery because she is enslaved by the parasites of homosexual pederasty to produce `gay boy sons` to fight the red dragon`s wars. In the late 20th century warfare had become `biological` insofar as the `gay boy sons` had produced `gay poisons`. HIV/AIDS prevented the woman `clothed with the sun and with the moon at her feet` from giving birth to the future of humanity. By forcing her to cleave to monogamy as the basis of her enslavement by homosexual pederasty`s misogynist devourers of the products of her `host` womb in their endless wars. `Babylon` is woman as the enslaved species, which is why she`s `the great`, because she`s in thrall to the warring aliens and represents woman`s unwilling subjugation. The woman giving birth to the `New Redeemer` is freedom because she represents the `futanarian` valence of woman with her own penis as a species with a human economic valence that resists enslavement.
Most 20th century literary critics perceive that aliens are extrapolations of men`s fears, but few have conceived that the aliens are men and that what they fear is that the `hidden` woman of Revelation, whose `seed` is to receive a new heaven and Earth while the evil `seed` receive unendurable eternal pain as a punishment, will escape. Consequently, events such as 9/11 are the marriage of the devouring dragon and the willing whore, whose child is war against woman and her womb, and is designed to prevent her new economic valence as the human species of woman with a penis of her own from emerging as `new humanity`, which is why the World Trade Centre was attacked. Because `rough trade` is war and homosexual pederasty.
The hijacked planes that crashed into the Twin Towers from Logan airport represented men`s fears couched as a 50s `scifi` movie, that is, the fear that women would escape them. In the movie Logan`s Run (1975) everyone over the age of 21 is murdered, and so 9/11, 2001, was the attempted murder, at the beginning of the 21st century, of woman`s human valence, whereas Revelation describes the advent of the `New Redeemer`, who protects the woman of the Earth with an `iron scepter` after the dragon waits in vain to devour him, which probably corresponds to the events of 9/11, and the subsequent second Gulf War (2001-11) and the War On Terror (2003-).
9/11 was a 50s `scifi` movie because men are the alien threats that they use to enslave woman as the Earth`s species, whereas the typical 50s scenario is of aliens threatening to enslave humanity, which is in fact what men do. As aliens that are living as parasitical devourers of the species woman on the planet Earth. The aim of the 9/11 `alien invasion movie` starring men as the 50s aliens was to reestablish business suited males as the `owners of the means of production`, that is, women, and restore the 50s `alien invasion` movie they`d been the 50s aliens in. Threatened by a 21st century that was 50 years too far ahead of them, further advances in technology might result in women`s escaping the 50s and its men who had invaded and enslaved them as their devouring aliens.
1 Nostradamus, Michel Les Prophecies Century 10, Quatrain 72, 1555.
2 Lévi-Strauss, Claude in Brooks, Peter (transl.) `The Culinary Triangle` in The Partisan Review , Autumn, 1966, # 33, pp. 586–96.