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Oops Byzantium!

20/04/2012 08:24

Oops Byzantium!


In the Byzantine period of Christianity (330-1453 C.E.) the child of the Madonna is depicted as a small man rather than as an infant. In the prelude to her performance in the `scifi` promotional video for the single, `Oops! ... I Did It Again` (2000), Britney Spears descends inside a giant`s ring as a `small woman`, so inviting us to look for further signs of small `Byzantine` features in relation to giant size. Wearing a red pilot`s suit Britney uses a hook and pulley to lift up the spaceman `eagle` who`s `landed` on her Mars to where he`s looking down on another Britney lying below him wearing a white bikini-dress. Beside his space helmet are the `tines` of what appear to be a giant`s fork: `byzant` tines. In her red pilot`s suit, raising her spaceman above her own self in a white bikini dress, Britney is a `double headed` eagle, symbol of Byzantia,1 which signifies `doubling` or multiplication by means of an individual dividing into two, or more than two.

 In the Hindu belief system Vishnu is the god who can be all of the women, which is understandable if futanarian women, who can sexually reproduce with each other from their own penis` semen, are Vishnu. Jesus born uncontaminated by male semen from his mother, the Virgin Mary, represents the same principle. Although its gods and goddesses aren`t accepted by Christianity, Hinduism`s a reality critique, and Jesus is equivalent to Vishnu, because he represent women`s capacity for multiplying:


`... a thumb-sized being [is] known as the innermost self or soul [and] dwells in the heart ..`.2


 In the Bible Adam and Eve are exhorted by God: `Be fruitful and multiply.` However, according to Hinduism, the soul is thumb-size, living and spiritual. The five senses of sight, hearing touch, taste, and smell, are the limiters of the `physical` body, of which the conscious brain is that part which we define as the `I`. In `Oops! ... I Did It Again`, Britney is the Hindu `thumb`, as fairytale `Thumbelina`,3 descending inside a giant`s ring. She`s the giant`s soul that, according to Hindu belief, is a spiritual thumb-size being that, unlike the occluded ego of the individual, which here corresponds to the `giant`, can perceive the spiritual realm, and that`s why she doesn`t wear a spacesuit. She removes her spaceman`s helmet after he gives her a gift, of which she asks:


`But I though the old lady dropped it into the ocean in the end?`4


 It`s an allusion to the Titanic (1997) movie in which actress Gloria Stuart, as 100 year old Rose Dawson Calvert, drops the blue heart-shaped jewel, the `heart of the ocean`5 into the sea at the point where the ship is being salvaged where it sank after hitting an iceberg on its maiden voyage from Southampton on April 15, 1912. Rose`s love was subsequently drowned while helping people to the lifeboats. The story`s `framing device` is that of a jealous ex-lover of actress Kate Winslet, in the role of the young Rose, putting the `heart of the ocean` diamond into the pocket of Rose`s new love, accused him of theft and thereby betrayed her love.

 Because the soul dwells in the heart, as a thumb-size being, according to Hinduism, Britney`s descent inside her giant`s ring is symbolic of the soul that dwells in the `heart of the ocean`. If we accept the Hindu notion of the `Cosmic Man`, then the `heart of the ocean` is his. Or, in less anthropomorphic terms, the `heart of the ocean` contains the soul of the cosmos, and is Britney`s `Thumbelina`. The monarchical tradition of Europe is that their `thumbs` rule. In other words, they divide things between themselves in order to `manage` with each other, which is why the `double-headed eagle` is a symbol of empire. Thumbelina`s name is changed to Maia when she becomes a `Queen of Fairy`, and Maia means `Great Mother`, which is an archetype of Eastern religion, according to the developmental psychology of Carl Gustav Jung (1875-1961), who viewed archetypes as God`s impelling of human progress through figures and images appearing in dreams, art and the imagination. Britney`s a `Great Mother` because she`s a `thumb`, who makes more of herself. In the USA alone `Oops! ... I Did It Again` sold more than 10, 000, 000 copies and went `diamond`. `Oops! ... I Did It Again` is, therefore, the `heart of the ocean`, a `blue diamond`, which the English rock group, Led Zeppelin (1969-80), perceived as the collective unconscious of their audience. Led Zeppelin`s archetypal material emerged from a dialogue between themselves, their audience, and the archetypes, for example, in The Ocean, the archetype is the `little girl`:


`Now I'm singing all my songs to the girl who won my heart. She is only three years old and it's a real fine way to start.`6


 It`s the reciprocated love of the soul for her `giant`, whose spirit may first be awakened by his daughter`s first steps, although the `small woman` is much older and wiser, which is why Thumbelina`s name changes to Maia in the fairytale in which she marries her prince. The name Maia means `Great Mother`, but also `illusion`. The thumb-size living soul is wise, but the `giant` lives an occluded existence in which the `real` is only perceivable by the soul, which attempts to communicate what she sees and knows to be the truth to the `giant`, who is living an illusion and is taught to think of it as reality. In `Oops! ... I Did It Again` Britney is the soul of the blue diamond `heart of the ocean` pendant, which the English nursery rhyme, `Little Boy Blue`, identifies as an archetype seeking to awaken:


``Will you wake him?`

`Oh no, not I,

For if I do

He will surely cry.``7


 Thumbelina is Maia, the `Great Mother`, and `illusion`, because the `giant` is her `little boy`, and she keeps to herself the knowledge of what transpires with him in the realm of the spirit. He lives an illusion she doesn`t want to roughly awaken him from, so she creates stories like `Oops! ... I Did It Again` that contain enough discoverable truth to allow him to live within the illusion, for example, the lie that women can`t sexually reproduce with each other, without being disillusioned. The `giant` is `Purusha` in Hinduism, and is `Purusha Atman`, because the light of God, that is `Atman`, is visible to the soul, which Hindus call the `thumb`, through Purusha, the `Cosmic Man`.

 If man accepts there`s a separate living relationship between the soul, as `thumb`, and God, throughout the cosmos, that individual living soul is there to help man out of his occlusion. In `Oops! ... I Did It Again` Britney presents herself as a Byzantine `thumb` that, `doubled`, or dividing, represents the Christian concept of the Paraclete, or Holy Spirit which, according to the New Testament, emerged from the side of Jesus as `Second Eve`, as it were, when pierced by the spear of the Roman centurion Longinus; a spear that was consequently known afterwards as the `Spear of Destiny`. Symbolically, Britney Spears as a `doubled` or dividing ` thumb`, signifies the multitudinous Paraclete that, in Hinduism, is a separate living soul or `thumb` of the collective, or `giant` individual. This explains the existence of the `giant` motifs, of fork and ring, in `Oops! ... I Did It Again`. By asking us to understand their meaning, Britney`s `thumb` is pointing towards a more conscious awareness of `Purusha Atman`, the `Cosmic Man`, that is, she`s showing a path out of occlusion.



 In the language which was Byzantine`s a `byzant` is a gold coin. Britney appears below her spaceman surrounded by the points of a star. It`s a symbolic `pentacle` in which golden haired Britney in her white bikini dress is a `byzant`. In terms of Tarot symbolism, which has pentacles or coins, swords, spears, and cups to represent the Torah of Judaism`s advice to the soul journeying through life, CD sales of `Oops! ... I Did It Again` are highly anticipated. Britney lies abed betwixt the points of her star, a white circular counterpane stretching beneath her body. It`s a fairytale, and the giant `byzant` tines of its fork, that is, Spears` sword, is poised above the ogrish giant `s table.

 In the legends of King Arthur and la table ronde the symbol of the heart is the cup of the Holy Grail,8 the vessel containing food and drink used by Christ at the `Last Supper`, before his crucifixion, death, Resurrection, and Ascension to heaven. At the `Last Supper` Jesus offered `bread and wine` from the Grail as `tokens` of his body and blood. In real terms, eating and drinking in fellowship is good for the heart, and so the cup is the second of the four symbols of Britney`s Torah, that is, Britney`s spaceman`s `mysterious gift`, which is the box she opens:


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


 The spaceman`s gift is a symbol of the heart`s love; the cup of the Holy Grail. Britney`s allusion is to the Titanic movie in which Rose drops the blue diamond, the `heart of the ocean` overboard at the scene of the salvaging of the sunken liner. It`s the story of how an ex-lover betrayed her by framing her new fiancée for stealing the jewel by placing it in his pocket. Rose`s love subsequently drowned in the disaster when the Titanic hit an iceberg and sank. She drops the heart-shaped blue diamond into the sea at the film`s close as a remembrance.

 The heart is a symbol of the cup that, for example, overflows with tears, and is among the four symbols of the portable Torah; the Tarot deck. Britney`s allusion is to the `byzant` as Byzantine gold, which in the Tarot deck is the pentacle, that is, `Oops! ... I Did It Again` was to be a big disk.



 Britney`s suspension of her astronaut relates to the figure of the `hanged man` of the Tarot, who hangs by his foot and represents treachery. She`s alluding to the ex-lover that betrayed Rose aboard the Titanic. In fact, before Britney`s spaceman gives her the gift of the `heart of the ocean`, a voice is heard calling `All aboard!` Although the Titanic sank, many lives were saved. Britney`s winching of the spaceman above her is the hanged man `reversed`. He doesn`t hang by his foot. Reversed, the card signifies `limbo`; a drifting lifeboat, for example.



 The giant`s ring, and the spaceman`s hands that contain the gift of the `heart of the ocean`, signify the Irish `Claddagh` or `friendship ring`,9 which is constructed in three parts;  a pair of hands holding a heart surmounted by a crown. `Oops! ... I Did It Again` is Britney`s `friendship`, and she recovers the spaceman from his `lifeboat` as a voice calls: `All aboard!` He`s the `heart of the ocean`, and she`s the safe pair of ship`s `hands` that receive him for `touchdown`. The giant`s `superbowl` ring is Britney`s small woman`s. The `crown` is Jesus`. Depicted born fully formed but small in Byzantine icons, Jesus is a `baby man` from the womb of his Madonna, whereas Britney`s a `small step`, that is, a representative of God and Jesus` plan for women`s futanarian future.

 Below her suspended spaceman Britney`s a `starfish`, a symbol of the archetype of the `Self` in Jungian developmental psychology. According to Jung the `Self` exists in an unconscious state but can be realized or made conscious by means of the individuation process, which Jung likens to the descent and ascent of a `pearl diver`. Jung`s characterological and symbolic `archetypes` represent stages in the growth or individuation of the psyche. Descent into what Freud termed `the oceanic` is a journey into the imagery of the unconscious self. The `starfish` symbolizes self-actualization or the individuation of the soul in accordance with the promptings of the `star` archetype, which is a symbol of God`s wisdom and knowledge from the heavenly realm of the spirit.

 In Jungian psychology the unconscious is instinct and so the `star` of the individuated `self`` is symbolized by the `starfish` hidden in the depths of the psyche. Jung argues that instinct is transformed into spirit and that water is a symbol of the deep unconscious. Consequently, the `starfish` is a symbol of instinct that`s transformed into a spiritual `star`. Symbolized by the `star of Bethlehem` at the Advent of Jesus, the beginnings of self-actualization in the Christian era appeared as a `star` in `heaven` in 1969, when the technology of the Saturn V rocket, representing the power of Christ, Logos, to transform instinct from within the New Testament of Jesus` Gospel, placed a man on the moon:


`One small step for a man, one giant leap for mankind.`10


 In `Oops! ... I Did It Again` Britney`s a `small woman` and her `place` is the red planet Mars. In Jungian psychology, red symbolizes instinct and so Britney appears in her red pilot`s suit. The `heart of the ocean` is a blue jewel, a symbol of spiritual love, because the colour blue is associated with instinct transformed into spirit in Jungian psychology. In her white bikini dress, beneath the visored eye of her spaceman`s helmet, and that of the camera lens affixed to its side, Britney is the anima or soul as archetypal guiding muse; the `wishing star` that increases desire and fulfils yearning. To live is to live comfortably, and financial development defines how comfortably life is lived. Consequently, the `star` archetype represents the desire to achieve and attain to a life within the `comfort zone` of high technological advancement represented by Britney`s `byzant` disk. In her white bikini dress she signifies sexual desire, and its zenith, which is to live `in the zone` of technological comfort:


`I’m not ashamed of the things that I dream.

The more I come to understand

The touch of my hand.`11


 `The Touch Of My Hand`, from the 2003 album In The Zone, is about `masturbation`12 and the spaceman above Britney, in her white bikini dress, is her pornographer. Filming her with the lens of the camera eye, his other eye is the visor of his spacehelmet, which is the focus of the consciousness contained within his spacesuit. He`s an ogrish symbol of the `sex starver`, who wants others to develop his `comfort zone`, and who is represented by `Mission Control`, which is `directing` the spaceman. When sexual desire for the woman is repressed, the `spiritual` aspect of the penis emerges as a `space rocket`, that is, technological development through repression. The repressed seek escape, and sexual fulfilment through technology, while the repressors enslave their desire for liberation, take the technology, remain in the `comfort zone`, and maintain the prisoners.

 The Earth`s social malaise became recognizable to the early pioneers of late nineteenth century psychology (Freud, Jung, Adler) with Communism, where the concept of `sharing` was perceived as excusing the powerful from dispossessing the less powerful, and Capitalism subsequently represented the dispossessing of the poorer by the wealthier. The 20th century was one of humanity dispossessed and demoniacally possessed. Although a space rocket represents `escape`, an Intercontinental Ballistic Missile (ICBM) doesn`t. Consequently, demonic repression is the same as demonic possession. Humanity can`t escape from the possessive demon it has created for itself upon the Earth. The ICBMs produced by demonic repression won`t allow it.



 The Apollo space programme `boosted` the growth of technological society, but Britney`s spacesuit-encased astronaut, helplessly suspended above her, represents her denying of sex to him. The camera affixed to his spacehelmet by `Mission Control` signifies her role as a soft core porn `star`. Suspended above Britney, who`s wearing her white bikini dress, the spaceman is repressed by her denying of sex to him and possessed by his desire to masturbate, which is denied him by `Mission Control`, that is, pop video conventions.

 In Jungian psychology there are two basic psychological types; the `Extraverted` and the `Intraverted`. Britney`s sexually inhibited spaceman is a metaphor for enforced technological development by means of the harnessing of intraverted sexual energy produced through sexual repression. In Britney`s apocalyptic `Hold It Against Me` (2011) her `star` is seen crashing into the Earth. The demons of introverted repression and extraverted possession (ICBMs) won`t allow her to leave. Its reminiscent of a short story by Grand Master Of Science Fiction, Isaac Asimov, `Hell-Fire` (1956), narrating the slow motion film of a detonated H-bomb:


`The oval fireball had sprouted projections, then paused a moment in stasis, before expanding rapidly into a bright and featureless sphere.

 That moment of stasis – the fireball had shown dark spots for eyes, with dark lines for thin, flaring eyebrows, a hairline coming down v-shaped, a mouth twisted upward, laughing wildly in the hell-fire-and horns.`13


 In Britney`s `Till The World Ends` (2011) there`s an apocalyptic vision of fireballs crashing into the Earth reminiscent of the `giant hailstones` Revelation depicts as plaguing mankind`s `last days`. Because meteors are largely composed of frozen water, Britney`s fireballs in `Till The World Ends` are `hailstones` that combust as they enter the Earth`s atmosphere. In Catholicism, hell is ice and fire, a symbol of that repression and demonic possession which has resulted in the production of `weapons of mass destruction` and the `nuclear winter` that`d follow upon the `Armageddon` of an ICBM  war. In `Hold It Against Me` Britney fights herself but doesn`t overcome self-hatred. The American poet Robert Frost, in `Fire and Ice`, describes the end of a relationship as the end of the world:


`Some say the world will end in fire,
Some say in ice.
From what I’ve tasted of desire
I hold with those who favor fire.
But if it had to perish twice,
I think I know enough of hate
To know that for destruction ice
Is also great
And would suffice. `14



 In `Hold It Against Me` Britney is the `Snow Queen`. The fairytale describes the mirror of an evil troll that fails to reflect all the good and beautiful aspects of people and things while it magnifies all the bad. However, the evil laughter of the mirror causes it to shatter:


 `... splinters are blown around and get into people's hearts and eyes, making their hearts frozen like blocks of ice and their eyes like the troll-mirror itself, only seeing the bad and ugly in people and things.`15


 The `troll mirror` is a metaphor for possession by the shadow, which in Jungian psychology is defined as the inferior aspect of the personality projected onto others so that they are perceived as evil. Jung argues that shadow-projection has to be recognized so that through projecting the personality can be made whole as the shadow receives integration. According to Jung the shadow makes one of the four functions of consciousness, that is, `Thinking`, `Sensation`, `Intuition` or `Feeling`, into an inferior or undifferentiated function. The shadow-contaminated anima is a concomitant feature of such `abnormal` psychologies. To become individuated an ego personality has to differentiate the inferior function (`Thinking`, `Sensation`, `Intuition` or `Feeling`) and integrate the projected shadow, which is a defragmentation of the psyche corresponding to the `introjection` of the shadow-contaminated anima, which corresponds to the thawing of the block of ice around the heart caused by the pieces of glass from the metaphorical `troll mirror` that have found their way into the eyes.

 In the `Snow Queen` the cure for one infected by the `troll mirror` is to spell `eternity` from the pieces of ice in the palace of the `Snow Queen`. Eternity represents those aspects of the soul`s wisdom occluded by the metaphorical splinters from the mirror of the troll who represents actual evil and not the shadow personality that merely feeling itself inferior, projects it upon others to where the individuating ego, perceiving it, reintegrates itself into a more consciously differentiated, and therefore less inferior, totality.

 In `Piece Of Me` Britney is again the `Snow Queen`. The CD cover features her upon the cross in the place of Christ. Those who tortured Jesus were the victims of the `troll`s mirror` insofar as they were projectors of their own inferiority upon the crucified, but evil insofar as they didn`t. In Jungian psychology the cross is a symbol of the four functions of differentiated conscious wholeness, that is, `Thinking`, `Sensation`, `Intuition` and `Feeling`. `Piece Of Me` therefore refers to Britney Spears` ice palace, while `Hold It Against Me` depicts the flaw in her oeuvre of immortality represented on the `small screen` of the television monitors as she fights herself assertively before her ego disintegrates with `Till The World Ends`:


`Next one on my hit list;

Baby, let me blow your mind tonight.`16



 In Jungian psychology the four functions of consciousness, in undifferentiated form, are associated with the ear (`Thinking`), eye (`Sensation`), mouth (`Feeling`), and nose (`Intuition`). `Hold It Against Me` focuses specifically on ear, eye, nose and mouth. Surrounded by microphones, Britney`s mouth (`Feeling`) and ears (`Thinking`). Promoting a perfume with the name `Radiance`, she`s alluding to a heightened sense of feminine `Intuition`, the nose and `smell`. Her brown eye, however, appears with two pupils, which suggests an abnormal `Sensation` function.



 `Sensation` and `Thinking`, the eye and ear, are usually associated in Jungian psychology with being masculine functions, whereas the functions of `Feeling` and `Intuition` are feminine. Masculine is `extraverted` whereas feminine is `intraverted`. The dual pupil in Britney`s brown eye suggests a struggle within a psychological type between `introverted` and `extraverted` `Sensation` in which repression and possession define her as someone with `bipolar disorder`:


 `... a mixed state in which features of both mania and depression are present at the same time.`17

 The `Intraverted` type is associable with repression, and consequently `depression`, and the `Extraverted` type is associable with possession or `mania`. In the promotional video for the single, `Lucky` (2000), Britney appears in front of a curtain with the masks of comedy and tragedy printed upon it. She is playing the role the fate of the Earth demands, which is to struggle between repression (depression) and possession (mania), that is, the manic depression of the artist who only experiences freedom as a slave to her art:


`All you people look at me like I'm a little girl. Well, did you ever think it'd be okay for me to step into this world?`18


 In `I`m A Slave 4 U`  Britney`s a `little girl`, and `Oops! ... I Did It Again` presents her as a `small woman` on Mars descending inside a giant`s ring, where she only appears to be a `little girl`. She`s the `Snow Queen` in the fairytale, `Hold It Against Me`, and on Mars she takes that `small step` for a `Byzantine` futanarian woman, before her spaceman arrives from the moon where he took that `small step` to reach her.

 On Mars her Apollo wears a spacesuit, while she`s appears `doubled` in a red pilot`s suit raising him above herself in a white bikini dress by means of a hook and winch. It`s a symbolic fantasy in which she doesn`t have to wear a spacesuit, because she`s women`s futanarian future in which pilot`s fly spaceplanes to Mars, but he does, or he can`t visit, because he`s trapped in the bullet from a gun conventions of male penetration, whereas human futanarian women with their own penis` semen are a single species without alien rape. Raised above her, he`s helpless to do anything other than look at and film her. It`s a woman`s illusion of power over men. Britney`s `small step` on Mars is `great leap` for herself, but a `giant step` on Earth, as a `small woman`, is Land Of The Giants (1968-70) territory:


`When those clothes you're wearing are full of holes, you'll be glad we collected these giant rags.`19



 In Land Of The Giants, a 60s TV show in which small people `crashland` their damaged spaceship on a planet similar to their own Earth`s, the inhabitants are `giants`. Britney`s giant`s ring and fork allude to her role as a `small woman` with her own Mars` `giant` to deal with. In the biblical Revelation the `red dragon` waits to devour the New Redeemer who protects the `hidden` woman until she and her `seed` are ready to leave. The giant fork by the spaceman`s helmet as he hangs over Britney in her white bikini-dress in `Oops! … I Did It Again` is a Byzantine`s symbol of the devourer in Revelation, which devours men and women born small, as Jesus is depicted in Byzantine`s icons of the Madonna, but fully grown. As a `small man`, Jesus` offering of the `bread and wine` (a symbol of his `body and blood`) from the `last supper bowl`, that is, the Holy Grail, is a test to see if he has friends. Judas betrays Christ to the Roman Empire. As a man born uncontaminated by male semen from his mother, the Virgin Mary, Jesus represents futanarian `woman`s seed`. As a `dissident` against male braining, Jesus is crucified before his Resurrection and Ascension to heaven prefigures that of futanarian human women`s own species. Britney descends in what is, symbolically, the last super bowl napkin ring, a symbol of her spaceman`s `touchdown` on the red planet, Mars, who`ll be a New York Giant in friendship and eat with her, rather than an ogrish giant devourer.

 On September 11, 2001, Al-Qaeda terrorists tried to put a viral worm in the `Big Apple` of New York`s city of the Giants and the Jets as the four horsemen of the apocalypse rode their four hijacked airliners as `Trojan horse` to crash them into the Twin Towers of New York city`s World Trade Centre, Arlington, Virginia`s Defense Department of the Pentagon, and President of the United States, George W. Bush`s Washington, D.C. residence, the Whitehouse, before passengers forced that hijacked plane to crash enroute at Shanksville, Pennsylvania. In American football terms, the Jets were devouring the Giants, that is, the terrorists, proclaiming an `Islamic jihad`, were spreading aggression as a plague virus promoting war, pestilence, famine, and death:


` The Arab Spring ... is a revolutionary wave of demonstrations and protests occurring in the Arab world that began on Saturday, 18 December 2010. To date, rulers have been forced from power in Tunisia, Egypt, Libya, and Yemen; civil uprisings have erupted in Bahrain and Syria; major protests have broken out in Algeria, Iraq, Jordan, Kuwait, Morocco, and Oman; and minor protests have occurred in Lebanon, Mauritania, Saudi Arabia, Sudan, and Western Sahara. Clashes at the borders of Israel in May 2011, as well as protests by the Arab minority in Iranian Khuzestan and a rebellion in Mali have also been inspired by the regional Arab Spring, while the Malian coup d'état has been described as `fallout`.`20


 Land Of The Giants relates what `small people` invariably discover; there are bullies. Repression of sexual desire leads to becoming possessed by insatiability. To satiate is to devour, which is what the `H-bomb` represented for the Japanese citizens of Nagasaki and Hiroshima when the jets, `Enola Gay` and `Bokscar`, dropped their bombs, `Little Boy` and `Fat Man`, on August 6 and 9, 1945, to leave those cities giants` craters. In simple terms, killing is what men possessed by insatiability do. The fork poised above Britney in her white bikini dress in `Oops! ... I Did It Again` is a symbol of the male brained `red dragon` of Revelation waiting to devour the New Redeemer, who`ll protect the `hidden` woman of the Earth`s futanarian `seed` from being farmed for cannibals, who`d murder `woman`s seed` after having enough sex; or eat her simply because she`s `bite size`. In primitivism mana or `power`21 personalities are devoured by those who want the power or mana that they have. As a `bite size` pop superstar, Britney`s `small woman` in `Oops! … I Did It Again` represents mana personality. The crew of the crashed spaceship in Land Of The Giants spend the entire series` attempting to repair their craft and leave. It`s a biblical metaphor for the perceived `smallness` of futanarian woman who, `hidden` from our knowledge of her as a species, seeks escape from the giant slave ring of the devouring ogres with their New York jets.



 Earth`s paradigm is that of the maniac who doesn`t want others to be bigger, and so the bigger man (or woman) is bullied until the bigger individual is depressed or `small`. Small can be best, but bullies want what is big to be `manageable`, which makes them identical to the paedophile, who wants sex with children rather than adults, because they can`t `manage` developed individuals. Their methodology is that of the bully who wants children to remain undeveloped and `smaller`, which of course is suicide in terms of societal growth.

`Small-mindedness` is a concomitant of the mentality of the bullying paedophile as a viral form reducing everybody in size by means of what might be described as the `cowardice` infection. The 9/11 terrorists that began the `Islamic jihad` hijacked their planes to transform themselves into the transmitters of warfare as a viral infection inside the `Trojan horse` jets they crashed into New York city`s giant Twin Towers of the World Trade Centre, and through the wall of the Pentagon. The `small minded` want human women`s futanarian nature smalled and managed, while in Moslem Islam four wives are permissible in marriages that afford the possibility of sexual reproduction between women. In the United States of America `Trojan` is a brand name for condoms, while American women without penis` semen of their own as futanarian humans are condoms spreading the infection.

 In Revelation the biggest bully, amongst the cowards who have the virus, is the `beast` who sits upon their throne: `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. 10) The virus that represses, and possesses demoniacally, is HIV/AIDS which promulgates fear of sex as a `demon driver` channelling sexual libidic energy into activities other than sexual fulfilment, and so represents enslavement by a coward or cowards. In Revelation the coward is identified as the `beast`. Enslavement by men as a parasitical organism is that which the cowardly men ruled by the `beast` refuse to repent of. Scientists believe that AIDS originated with monkeys, which Sir Charles Darwin, in his seminal The Origin Of Species (1859) depicted as being the evolutionary antecedents of men. Men who want futanarian humanity to be smaller are a cowardly virus equivalent to AIDS, a regressivity that will result in the success of the biblical `plague aims` of reducing the Earth to the rubble of monkey men`s evolutionarily regressive `play games` system of producing ICBMs for the Earth`s `shoot-em-up` destruction, rather than Saturn V rockets for humanity`s expansion to the stars.



 In Revelation the `hidden` woman of the Earth is explicitly protected by the New Redeemer born to the `woman clothed with the sun and with the moon at her feet`. The concept of expansion by humankind to the stars is no longer a proposition and the `hidden` woman is depicted as escaping with her `seed` to live amongst the stars where she and her `seed` shall fight a war against the evil serpent`s `seed` and God shall create a new heaven and Earth for her and her `seed` to dwell in forever while the serpent`s `seed` shall have eternal unendurable pain in hell. Because the `hidden` woman has `seed`, the implication is that she has her own penis. If so, then woman is a species and men are `leeches`, which is how they`re defined by the Koran of the Moslems: `... the embryo ... obtains nourishment from the blood of the mother, similar to the leech, which feeds on the blood of others.`22


 Women with a penis exist upon the Earth, are intrinsically beautiful, and are described as `futanarian`. But they are `hidden` because the only medium where a person unaware of the system of ignorance perpetrated upon the Earth could discover them pictorially is pornography, which is a male braining `taboo`. In `Hold It Against Me` Britney`s `Snow Queen` fights herself. Bisexual, her struggle is with repression and possession, symbolized by her brown eye with dual pupils that signify a `Sensation` function that wants to touch something she can`t yet see. Because of pop video conventions, the viewer can`t detect whether Britney`s alter ego has a penis; but she could have.



 In `Oops! ... I Did It Again` Britney appears `doubled` in a red pilot`s suit and white bikini dress, and the filmmaker`s metaphor is a girl`s innocent struggle with narcissistic self-love and intimations of a lesbianism that she accepts as psychological bisexuality, rather than knowledge of women`s futanarian humanity which would heal a schizophrenia induced in male braining`s taboos so that young women don`t want what they see in the mirrors of their dreams. In `Hold It Against Me` Britney struggles with herself in symbolic differentiation of the `Sensation` function, which wants to touch what she only intuits. Her earlier divided nature in `Oops! ... I Did It Again` represents an intuitive grasp of woman`s hermaphroditism as a futanarian species. The perfume `Radiance` in `Hold It Against Me` signifies sudden enlightenment and Britney surrounded by microphones symbolizes her desire to broadcast her newfound woman`s self-knowledge: `If I said you had a beautiful body, would you hold it against me?`23

 In Revelation a sword is depicted coming out of the mouth of Jesus, because he speaks with true feeling from the heart and, therefore, authority to be heard. In Jungian psychology, the `Feeling` function is associated with the mouth, but the `Thinking` function is associated with the ear that listens with `Feeling`. Britney, surrounded by microphones in `Hold It Against Me`, signifies a heart that`s listened and is speaking authoritatively.

 Although Britney`s `Mission Control` in `Oops! ... I Did It Again` symbolizes sex starvation, the spaceman is denied sex, though he`s required to film her. She`s `soft core` pornography and, although Draconian restraints have often been used to curb it, masturbation is enjoyable. In Islamic culture, hand restraint is common, to persuade the individual to use the right hand in eating etc., because use of the left hand in is `forbidden` or haraam as `unclean`. In Western culture the fork is used in the left hand, but left handed people naturally use the knife in the left hand, so are often `trained` to use the right. Draconian measures to cure `handedness` involved restraints akin to those employed in curbing masturbation.



 In `Oops! … I Did It Again` the giant tines of a Byzantine`s fork are visible beside the spacehelmet of Britney`s astronaut, because it`s a symbol of a gigantic repressed desire to see the ejaculate, rather than fertilize the ovum, that is, waste the penetration, which is what the hijacked jets crashed into the giant twin towers of the WTC symbolize. The giant`s fork suspended over Britney`s small woman is the `biz` & tines, because the business of devourers, and those who cater to them, is to farm to produce small men and women, whose concentrated mana or power is wasted by cowards for `live` entertainment.



 In the icon art of Byzantium Jesus is the `baby man` born fully grown but `small`, so vulnerable to the ogre who`d eat him for the mana power he contains as a `small man`. What passes for human amongst ogres are the babies they reproduce themselves as, which is what men correspond to. In `Oops! ... I Did It Again` Britney`s spaceman finds her icon in the sands of Mars as Byzantine`s `small woman`, that is, a `baby woman` who`s human futanarian. Her spaceman is from the jets and the giants` New York city, but the ogrish symbols in the video, that is, Britney`s butcher`s hook and giant`s fork, are draconian images of human futanarian desire repressed through sex starvation to create a giant ogrish ego before its unleashing as the Earth`s insatiable devourer.

 The draco, that is, the `red dragon` of Revelation, waits to devour the New Redeemer born to the woman `clothed with the sun and with the moon at her feet`, who symbolically corresponds to Britney on Mars in `Oops! ... I Did It Again`, where the sun is behind her and the moon is beneath her feet as Mars is closer to the sun than the Earth and its satellite. The New Redeemer protects the `hidden` woman of the Earth until she`s ready to leave. The symbol of the power of the New Redeemer is an `iron sceptre`, which represents the `will of God`. According to Revelation the `seed` of the `hidden` woman will fight against Earth`s evil serpent`s `seed` in heaven, and win, before God creates a new heaven and Earth for her and her `seed` to dwell in while the evil serpent`s `seed` receives perdition, which is unendurable eternal pain.

 The role of the New Redeemer is of one who fights repression and possession, which means that the New Redeemer is a meritocrat; the raising of people on merit. However, Britney raises her spaceman above her in `Oops! .. I Did It Again`, because he`s meat on her butcher`s `hook`, while the viewer sees a giant`s fork beside his spacehelmet, as he films her with his camera eye, because she`s meat too. In Communism or Capitalism, which are the basic socio-economic principles of Earth, the focus is on state power (serfdom) and wealth (wage slavery), where Communism is `collective ownership of the means of production`, that is, women, and Capitalism is the individual ownership and disposal of property, that is, the civilization, culture and art that women perforce are still able to produce from their host wombs in parasitism; despite their parasitoid devourer`s depredations in its wars against futanarian human nature`s `woman`s seed`.

 Descending inside her giant`s ring, Britney is alluding to the fairytale of the giant that cannot be killed, because his heart, a symbol of love for the image of the soul which brings knowledge and wisdom, that is, woman as an anima figure, is `hidden` outside his body. The giant`s ring suggests that Britney`s `married` to the giant. In symbolic terms, the setting for the `heart of the ocean` blue diamond is Britney`s giant`s ring. Her heart is, metaphorically, a giant`s. Because the spaceman brings her the heart shaped blue diamond, he`s a Jungian diver into the developmental depths of the unconscious to bring her the archetypal `treasure` of immortality. Suspended above Britney in her white bikini dress, he looks down upon her as his `fish` surrounded by the points of her `star`; a `starfish` in her white bikini dress representing wisdom discovered by means of the journeyings of the soul into the depths of the unconscious.

 Britney`s star has eight points, which means that it`s Arabian, rather than Judaic, which is the six pointed star of Solomon, the wise, who advised women, who were quarrelling about which of them a child belonged to, to cut it in two, whereby the true mother`s more genuine concern became evident. In her red pilot`s suit and white bikini-dress Britney`s `starfish` points to the Koran of Moslem Islam for an Arabic solution. In `The Cave` Moses travels to the Red Sea where he loses a fish he`s brought for a meal. The fish disappears in the waters,24 but the figure of the wise Khidr emerges and teaches Moses to bear with patience what he doesn`t comprehend. Khidr corresponds to the `Wise Old Man` archetype of Jungian psychology, although there isn`t a `red sea` on the arid red planet of desert Mars in `Oops! ... I Did It Again`, where water and `starfish` are rare.

 In novelist J. R. R. Tolkien`s Lord Of The Rings Sméagol is a member of a people that dove and ate fish from the river,25 so he`s analogous to Britney`s spaceman/diver, while she`s Jung`s `Wise Old Woman` of the soul, his counterpart. Sméagol discovers a ring of power in the river cut from the hand of the `Dark Lord`, Sauron, which devours him if he wears it. Consequently, Britney`s giant ring inside which she descends to her stage set in `Oops! … I Did It Again` is a symbol of the devourer, Dark Claude. Although the `fish` is also a Christian symbol, Khidr`s wisdom is that life is water, and the fish is nature`s power to sustain, rather than devour. To want power for anything other than living or helping others to live, is evil. When Britney`s astronaut arrives he relays to `Mission Control`: `Ninety-eight per cent oxygen.`

 Humans, with bodies comprising 60-70% water, are like fish. They extract oxygen from water, which is why `the fish` is both a Christian and Moslem symbol. Jesus feeds five thousand people with five loaves and two fish, which precedes his offering `bread and wine` as his `body and blood` to the disciples at the `Last Supper` before his crucifixion, death, Resurrection and Ascension to heaven. Christianity`s birth ceremony of `baptism` is a protection against evil and requires total submersion of the infant, and conscious reaffirmation in later life, which is the meaning of the `fish` symbol. Just as the eating of `bread and wine` as a wafer and sip from the officiate`s chalice connotes acceptance of `woman`s seed`, betrayal is represented by Jesus` `body and blood`, that is, Jesus` crucifixion and death. Consequently, the symbolism of `starfish` and desert aridity on the red planet of Mars in Britney Spears` `Oops! … I Did It Again` signify that what`s needed is water. In the miracle of the loaves and fishes, Jesus observes that bread, water and fish are for life, that is, the power to give life, and live, whereas the giant ring inside which Britney Spears` `small woman` descends to her stage set in `Oops! … I Did It Again` is the symbol of her devourer.

 In `The Giant Who Had No Heart In His Body` the heart of the giant is `hidden`,26 so that he can`t be killed. It`s reminiscent of the `hidden` woman of Revelation whom the New Redeemer is able to protect knowing that the `red dragon` can`t devour him. The New Redeemer`s heart is `hidden`; because she`s the woman of Revelation who`ll defeat the evil serpent`s `seed` and receive a new heaven and Earth as her reward through Jesus` rule. Consequently, that giant can`t be killed, because she`s his heart.

 In Revelation God punishes by means of a plague in which all water turns to blood and every living thing dies. In other words, water is most `precious`, which is the name Sméagol gives to his ring of power as it devours him. The blood disease AIDS, which is transmitted by homosexuals mixing blood, shit and semen in each others` anuses in rejection of `woman`s seed`, is men`s `biological weapon` keeping women in fearful faithfulness to monogamous ring slavery of their host wombs for the parasitoid alien devourer, and which corresponds to Britney Spears` ring of Dark Claude , who is attempting to kill the `heart` of the giant, Jesus, that is, the `hidden` woman`s.

 If the blue diamond `heart of the ocean` is given to Britney by her spaceman in `Oops! ... I Did It Again`, together with a red-suited Britney and a Britney in a white bikini dress, it signifies the red, white and blue of the `star spangled banner`; blue for water, red for haemoglobin, and white for the phagocytes, 27 which kill the viruses that would harm the body of Hinduism`s `Cosmic Man`, futanarian Vishnu. The virus is the 21st century metaphor for terrorism (AIDS), and Britney Spears is the soul of the `giant` that lives, in the heart, so that the giant cannot be killed, as she`s `hidden` there: `I`m Miss American Dream since I was seventeen.`28




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