The dragon`s head, or caput draconis in Latin, which was the language used by alchemy to give their experiments with chemicals and substances a technical language that they could understand amongst themselves, is a familiar symbol to psychology, because the developmental psychologist, Carl Gustav Jung (1875-1961), perceived a psychical raison d`être behind the alchemical procedures that ultimately gave rise to modern medicine. According to alchemy, the ancient symbol of the ourobouros serpent, which is also known as the tail-eater, because it is a serpent with its tail in its mouth, represents the alchemical process whereby the lapis philosophorum or `stone of the wise` is produced. Carl Jung argued that the stone was the ego and that alchemy represented the desire to discover a means to immortality, which subsequently resulted in the science of medicine and so a step towards the prolongation of life or longevity that, according to the Bible, had been lost to humanity since the first woman, Eve, accepted the `fruit of the tree of the knowledge of good and evil` from the serpent there, and so was expelled by God from the paradise of Eden by God for rejecting the `tree of life`, that is, immortality, in exchange for death for herself and the first man, Adam, and the serpent`s promise, `You shall be as gods.` (Gen: 3. 5) Jung`s research revealed to him that the German chemist August Kekulé in 1865 had a vision of the self-begetting and self-devouring serpent, as the ourobouros was sometimes known because of its tail in its mouth, which he used to model the benzine molecule. This was important because the benzine molecule was the basic constituent of petroleum and its products, that is, Kekulé`s discovery assisted chemical engineers in the development of plastics as well as other useful fabrics, fuels, and even foods.
Jung argued that the ourobouros was one of the archetypes of the human `Self`, which was a developing totality that remained unconscious until made conscious by impulses during sleep and through imagination or reverie translated into art that he called archetypal. The ourobouros serpent was one of these archetypes, and there were archetypes associated with the ego, for example, the hero, and with the soul, which Jung observed to be female and called the anima archetype who appeared from the unconscious `Self` as an impulse desirous of being made conscious by means of its guidance towards the waking individual along the path to individuation or development that Kekulé had experienced when he used his archetypal vision of the ourobouros to describe the structure of the benzine molecule. In Jungian psychology the self-begetting aspect of the ourobouros archetype relates to the soul or anima as a man`s projected desire for the ideal woman represented by the soul. When the soul or anima had succeeded in guiding the individual towards a woman`s charms, the process of discovering the truth about the soul and the `Self` began as the relationship grew and the individual examined the difference between the soul or ideal image of the woman within and the real woman without, which is how Jung defined `relationship`. As the ego introjected the soul or anima, that is, became aware of the difference between the inner woman and the outer form of the woman, the individual developed or became more conscious of the inner soul and the outer woman. Jung defined this as self-begetting and so the ourobouros was a symbol of individuation or personal development through the introjection of anima projections, which was why the ourobouros was a tail-eater. The alchemists often described encountering a `false dawn` in their work which ended in disaster when it seemed that it had come to fruition, because the caput draconis represented the triumph of the devouring, rather than the birthing, aspect of the ourobouros archetype. In simple terms, the caput draconis represents the `red dragon` of the Bible who attends the `woman clothed with the sun and with the moon at her feet` about to give birth to the redeemer that will `rule the nations with an iron scepter` and the dragon is waiting to devour him. Simple, because the caput draconis is what men use intelligence for, that is, killing and death. From the perspective of the modern age of the benzine driven motor of the car, which was first mass produced in the United States of America as the Model-T Ford at Henry Ford`s Detroit, Michigan, factory in 1908, the car is the caput draconis or head of the self-devouring dragon, that is, a failed race that`s eaten itself, because it has no body only a head:
`One small step for a man, one giant leap for mankind.`1
North American Space Administration (NASA) astronaut Neil Armstrong`s words upon being the first man to land upon Earth`s planetary satellite, the moon, on July 21, 1969 (UTC: 2. 56), seemed brimful of future fulfilment at the time the landing of the lunar module was relayed to people `live` on television, but the image of a Saturn V rocket with a crew of three atop inside a nose cone that ultimately detached itself from the giant structure containing a benzine derivative to hit the lunar surface owed far more to intercontinental ballistic missile (ICBM) theory than human progress. Escape from Earth to the planets and stars was largely abandoned in favor of the arms race between Russia and the United States. After World War Two (1939-45), which followed on from German Imperialist ambitions to enslave Europe in World War One (1914-18), Russia had taken control of Eastern Europe after assisting in the defeat of Germany from the East. Fears about Russia led to an arms race with the US and their President Ronald Reagan announced his `Strategic Defense Initiative`, known as `SDI` or `star wars`, after the science fiction movie epic, Star Wars (1977), then being developed into a series of films in which space war between planets was the theme. `SDI` was a land and space based missile system that would effectively keep humanity imprisoned upon the Earth menaced by the caput draconis of nuclear warheads. Because the motor car hasn`t developed from its basic controls of stick and pedals since 1908, the car is a disabled vehicle, that is, the driver is a disabled pedestrian with a stick who, perceiving that the Earth revolved around him as he sits. thinks of himself as a god, `You shall be as gods.` (Gen: 3. 5) The godlike ambition fostered by the serpent in men since Eden translates into the tank battles of the 20th century in which the pedestrian with his pedals and stick delivers projectiles from shells like those of the Saturn V rocket`s fuel tanks discarded by the NASA astronauts before Apollo 11`s moon landing, which suggests men had already been to the moon as it`s sterile. Consequently, men`s wars represent their desire to check to see if the Earth is still sterile after their last war to ensure its sterility, which of course begs the obvious question: what are they sterilizing? Women, in simple terms; because women can sexually reproduce with each other as `futanarian` humans with their own penis` semen and host wombs for the production of their own brains` powers to develop technology and escape from their sterilizers:
`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5)
It`s no mystery if the woman can`t sexually reproduce outside of the male braining that she`s made to accept perforce, because her extermination is what men as the caput draconis are for. `Kaput!` is the word Germans use to define that which no longer functions. Consequently, the National Socialist `extermination camps` built before and during World War Two after Adolf Hitler became the elected Chancellor of `Nazi` Germany in 1933, were where the Nazis sought to declare the `chosen people` of the Jews, `Kaput!` According to the Bible the Jews were the `chosen people` of God and the Jews` belief is that it is not possible to be born a Jew unless born from a Jewish woman, which means that Jews are women. Consequently, Jesus` birth from his mother, the Virgin Mary, uncontaminated by male semen, is the birth of a Jew, and the Nazis didn`t want any, because that would interfere with men`s caput draconis, that is, their extinction of the human race as the parasite upon women`s host wombs. Jesus is the `Messiah` to Christianity because his death by Roman torture and subsequent Resurrection and Ascension to heaven prefigures the resurrection of `woman`s seed`, that is, women`s `futanarian` sexual reproduction of her own brains` powers for liberation through technology and the life prolonging medical science that would give her an eternal span in terms of memory so she wouldn`t forget who her enemy was. Although Christians and Moslems seem separated by their religions, four wives are permitted in Islam, which is the faith founded by the Prophet Mohamed and established from the Koran (610-30 C.E.) that, according to Islam`s traditions, was dictated by the emissaries of God. Consequently, as Jesus` birth represents `woman`s seed`, so Moslem marriage represents the framework for sexual reproduction between women, which means Judaism, Christianity and Islam are but aspects of God`s plan for human development.
Jesus was called `Logos` in Greek, because he represented technology, that is, as the developing Word of God, which is what Logos means, Jesus was God`s `Word` to futurity. Although Jesus was `woman`s seed` rather than men`s, because future technology from men`s perspective are machines with better killing capacity. In Hebrew, Jesus is `Meshiah`, rather than Messiah, because the age of `Logos` is the Messianic age of the machine, that is, the Meshiahn Age. God told Adam he must labor and Eve would experience labor pain in childbirth before Redemption, which was fulfilled in Jesus` birth and teaching, `Love your neighbor as you love yourself`. Men don`t and that`s why they`re caput draconis. The problem is most clearly described in science fiction because it`s a purported history of the future; for example, British television`s Captain Scarlet and the Mysterons (1967-8) features a huge flying aircraft carrier called Cloudbase upon which are Angel Interceptors flown by young women. The premise is that Captain Scarlet, Cloudbase, and the Angel Interceptors exist to battle the Mysterons, who`re aliens encountered upon the moon, and who`re now threatening the Earth. Captain Scarlet`s command vehicle is a red sports` car, which neatly contrasts with Cloudbase, that is, what is effectively a plane without Captain Scarlet as its pilot. In simple terms, the caput draconis of Captain Scarlet`s car is what humans of the 20th century have, because their more expensive vehicles are for destroying other larger and even more expensive vehicles. Anyone who`s experienced airport travel is under no illusions. The people are herded like animals by security guards with guns and the atmosphere is that of an exclusive abattoir as the livestock moves slowly along to its inevitable fate. Although no one condones the September 11, 2001, terrorist hijacking at Boston, Logan airport, Massachusetts, which resulted in the planes crashing into the Twin Towers of the World Trade Centre in New York, the meat was objecting to the butcher. Logan`s Run (1976) was the Hollywood Babylon science fiction movie based on William F. Nolan`s 1967 novel and its premise that those who reach the age of 21 can`t be supported socio-economically by their society and so must be killed by `sandmen` who pursue those `runners` who want to live, which the terrorist hijacking at Logan airport extrapolates into the human race`s desire that it run beyond the 21st century. The subsequent Hollywood Babylon movie World Trade Centre (2005) and the terrorist bombing of the Boston Marathon on April 15th, 2013, is a variation on the theme that the human race wants to run. Those who want to stop it want to kill it, and those who waste money on glorified abattoirs and ever more expensive ways of exterminating the human race rather than enable the `runners` so they can live independently of spies and pogromers who want to keep human vehicles and homes smaller and much more insignificant than Captain Scarlet`s Cloudbase are alien butchers.
In the United States of America there were civil airliners being flown by United Airlines at the beginning of the 21st century that cost around 50,000 US$ in the 1960s while the average B1 Spirit stealth bomber costs approximately 1,000,000,000 US$ to maintain and keep in the air. Although Gerry and Sylvia Anderson`s Century 21 Productions studio was a puppet animation based on the film techniques known by the generic term Supermarionation, the science fiction treatment of the caput draconis theme is universally applied. In the Gerry and Sylvia Anderson Century 21 Productions British television series UFO (1970-1), for example, the familiar story is of Earth beleaguered by flying saucers while young women in purple wigs and silver leotards adorn the scene and the supposed future wealth of the human race is wasted on vast labyrinthine depictions of technology`s readiness to exterminate the human race`s potential to rise in the form of SHADO, that is, Supreme Headquarters, Alien Defense Organization. Indeed, the UFOs are accurate extrapolations of the motor car with its disabled driver. If the caput draconis doesn`t permit the occupant to leave the vehicle, there`s no possibility of space travel, which is why the UFO s are destroyed by Moonbase`s Interceptors. The premise of UFO is that the aliens are harvesting the Earth for body parts, which is extrapolatable into humanity`s need for `woman`s seed`, that is, `futanarian` women with penis` semen and host wombs of their own to restore the balance to the brains of the human race and remove warfare from the Earth as a means of the parasites` devouring what the women otherwise could produce if they were allowed to drive. Although many boys want to fly airplanes, few want to be passenger aircraft pilots, and being the pilot of one`s own jet requires money, so the piloting of fighter aircraft whose role is to destroy larger and more expensive aircraft is more readily within the purview of boys, which serves the aims of the caput draconis because the size of the individual human vehicle is collapsed to that of the average car whereas the extent of humanity`s resources suggests that the size of the average individual vehicle could be that of the starship Enterprise NCC-1701 as featured in the United States` science fiction television series Star Trek (1965-). The militarized concept of Starfleet`s starships belonging to the United Federation of Planets of the solar system and outward into the cosmos is an extrapolation of the United States` navy, which replaced the British navy as the sea power over the Earth after the British Empire`s (1497-) colonies began to liberate themselves as nations independent from slavery after World War Two. The United States of America had become independent of the British Empire of George III after its Declaration of Independence in 1776, which followed upon its own Civil war (1861-5) to manumit Africans enslaved by the Southern states, but the strict disciplined atmosphere of the Enterprise extrapolates from human slavery, that is, female crew members represent the slave contingent because `futanarian` woman with her own penis` semen and host womb is noticeable by her absence from the censored picture.
The picture began to be revised when President of the Motion Picture Producers and Distributors of America (MPPDA), Will. H Hays, established the `Hays code` (1930-67) by which Hollywood Babylon made it impossible for a woman to raise both feet from the ground in romantic scenes, because her own `futanarian` woman`s penis` semen was made taboo by men who didn`t want her to sexually reproduce her own human race`s brainpower to take her away from Earth and out into the planets and stars of her own imagining rather than that of the creators of Star Trek in which the women are defined pictorially as the enslaved human race`s host womb while the caput draconis heads out in search of fresh planets to devour. Although the film Barefoot In The Park (1967) signaled the end of the `Hays code` and the interregnum in which women`s penis was effectively suppressed by the new evil Empire of the West risen in Hollywood Babylon, actress Jane Fonda as Corie, and actor Robert Redford as Paul, that is, the couple in the apartment overlooking New York`s Central Park, were the signal for men`s foot appearing on the moon rather than woman`s `futanarian` humans, `One small step for a man, one giant leap for mankind.` The optimism belied the reality, which was that the X-15 (1959-68) spaceplane program for a pilot to fly to the moon was cancelled in favor of firing a projectile at Earth`s satellite, because it`s men`s sterile method:
`The key difference between the future and now, and forgive me for being scary in my use of analogy, is we are being given the power to shoot first and ask questions later,`1
Head of the UK`s Financial Conduct Authority, Martin Wheatley, commenting on the FCA`s new regulatory powers to stop good products from being manufactured, isn`t so scary as the heads of Merck KGaA, which stopped the sale of Dr Schuessler`s tissue salts, a prophylactic biochemic treatment for many different minor ailments some had been taking for 80 years. Merck KGaA were believed to have withdrawn them because they were seen as competition for pharmaceutical drugs, although the likelier supposition is that self-treatment by intelligent humans interferes with the caput draconis plan of extinction for the human race. Healthy humans interfere with the pogrom. The planes crashing into the Twin Towers of New York was a `sick` scene, and filming and planning such films is what the United States of America and Hollywood Babylon do. Consequently, Wheatley`s statement for the UK`s FCA is prototypical, `shoot first and ask questions later`. The movie, King Kong, was `shot` in movie parlance in 1933. A giant ape climbs to the top of the then `world`s tallest building`, the Empire State Building, and is attacked by aircraft, while Towering Inferno is the Glass Tower in San Francisco that burns to the ground while fireman Steve McQueen heroically endeavors to save the inhabitants in the 1974 film made from a pair of novels, The Tower (1973) by Richard Martin Stern, featuring The World Tower Building, and The Glass Inferno (1974) by Thomas N. Scortia and Frank M. Robinson. The Towering Inferno was the highest-grossing film released that year. Consequently, World Trade Centre and the conflagration that destroyed Dubai`s Marina Torch Tower in the United Arab Emirates on February 21, 2015, are what Hollywood Babylon programers want, that is, `shoot first and ask questions later`, and indeed movie makers program people to do just that so they can film something remunerative. Consequently, it`s in the interests of Hollywood Babylon that people be `sick` and so Martin Wheatley`s brief to the FCA, `shoot first and ask questions later`, is interpretable as carte blanche to stop the manufacture of good health products, for example, on the understanding that more `sick` people are what`s needed if the movie industry is to flourish.
Flourishing the torch of freedom in New York harbor is the statue of Liberty, while Jesus` mother, the Virgin Mary, represents `woman`s seed`, that is, freedom for humanity, which suggests that the burning of the Marina Torch Tower is mean to be understood as Mary`s bier, because Jesus` `seed` is consumed in passion unfulfilled. Christianity`s pre-Armageddon picture is of a world filled with signs of the end of the world before that last battle between the forces of good and evil that results in God`s punishment of eternal unendurable pain for the evil and heaven for the good, but fulfilling Hollywood Babylon`s programing for Arnold Schwarzenegger`s End Of Days (1999) sequel isn`t the brief of Christianity and the burning down to the ground of Marina Torch Tower is just too Hollywood Babylon to be accidental. In the Gerry and Sylvia Anderson science fiction `puppet` series Thunderbirds (1965-6), 2 New York City authorities move the Empire State Building to a new location to make way for the regeneration of Manhattan island, but the hydraulics fail and the building collapses. The premise of Thunderbirds is of five futuristic vehicles that comprise International Rescue (IR), but disaster movies are what the public are taught by the caput draconis to want. Consequently, disasters are what Thunderbirds are for, but translation to the big screen of Hollywood Babylon in 2004 misses the point, which is that Thunderbirds is `puppetry`, and scenes of a monorail realistically sinking below Tower Bridge wasn`t a healthy program for a London public yet to experience the July 7th, 2005, terrorist bombing of the London Underground, while planes crashing into the Twin Towers of New York city `live on CNN` only appears to be Century 21 Productions in which vehicles guided by wires speed to their destination as if predestined; because that`s what real people don`t want and that`s why Thunderbirds was humanly popular.
1 Holt, Natalie `FCA will 'shoot first and ask questions later', Money Marketing: Trusted Insight for Professional Advisers. Martin Wheatley describing the Financial Conduct Authority’s new regulatory powers to stop good products from being manufactured, September 18, 2012, 1.40 pm, http://www.moneymarketing.co.uk/martin-wheatley-fca-will-shoot-first-and-ask-questions-later/1058107.article .
2 Fennell, Alan `Terror in New York City`, directed by David Elliott and David Lane, Gerry and Sylvia Anderson`s Century 21 Productions, Thunderbirds Series 1, Episode 4, October 21, 1965.