Is Est Miseratio Versus Inter Ignarus Quod Suscipio Is

19/08/2012 11:27

Is Est Miseratio Versus Inter Ignarus Quod Suscipio Is


`Babylon` is the place of `Mystery, Mother of harlots, and of the Abominations of the Earth`, according to Revelation, and someone wanting to be alone in a bar wants to  hear the legend of Babylonia.




 The concept of the bar is ancient. Proverbially, `bars do not a prison make`, which is supposedly true of coffee bars and wine bars. Whether chocolate bars are included in the definition, the Mars Bar is the topic of Britney Spears scifi video single Oops I Did It Again, which takes place on Mars.

 In her red suit, Britney immediately imprisons the spaceman visitor that has arrived. Getting her hook into his backpack, she hoists him above herself in a white bikini dress. He can only gaze upon her and be a camera while `Mission Control` looks on. Beside his spacehelmet are the tines of a huge tablefork, which suggests that the Mars Bar is edible.

 Britney`s allusion is to the `Ba` of Egyptian mythology, which is the personality, whereas the `Ka` is the spirit, and the conjunction of `Ba` and `Ka` is called the `Akht`, which is the `magical personality`; or, in Western pop music terms, a `good act`.

 In Oops I Did It Again Britney appears as a `double act`, in red and white, which suggests `Ba` and `Ka` are separate but an `Akht`. When she stands before her spaceman, she`s transformed. Wearing black skirt, boots, and white blouse, she receives his `gift`:


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



 She`s alluding to the `heart of the ocean` from the movie Titanic (1997), which Rose dropped into the sea at the close as a sign of her sorrow at the demise of her lover who`d drowned when the ship hit an iceberg and sank. Because of the `heart` symbolism, we understand that Britney`s transformation declares her as an `ib`, which is that aspect of the self which is the `heart` in Egyptian mythology. The suspension of the spaceman is then comprehensible as the weighing of the heart in the balance of herself as the Egyptian goddess Ma`at to decide whether or not he can accompany her. If the heart balances with the feather of Ma`at, symbolized by Britney in her white bikini dress, he can go on with her to the heaven of Aaru. If not, his heart will be devoured by Ammit, which in Christian iconography is the `red dragon` of Revelation that waits to devour the `child` of the `woman clothed with the sun and with the moon at her feet`. In Christianity the devourer waits in vain because the child is the `New Redeemer` who will protect the woman until she leaves for the stars. In Egyptian mythology, the individual whose heart is weighed has to travel through the underworld of the Duat before he can live as an `Akht`:


 `The ancient Egyptians believed that the soul resided in the heart. Those whose heart did not match the weight of the feather of Ma'at due to their sins were excluded. They were said to suffer a second death when devoured by another being, Ammit, while still in Duat for judgment.`1



 The weigher of the soul contained within the heart is, in Egyptian mythology, the dog-headed god Anubis, and Britney, transformed from the red of her heart`s suit into black skirt, boots, and white blouse is her `ib`, that is, the woman from her side, which is the Paraclete of Christianity, and her `rib` waiting to be judged. In Egyptian mythology dogs are depicted as scattering the pieces of the god Osiris to the four quarters so that the evil Set, who is his dismemberer, can be sure that Osiris shall never be remembered. In the myth, Isis collects the pieces, and Osiris is remembered as Horus, who is `housed` in the goddess Hathor. Because the spaceman visitor brings Britney the `heart of the ocean` he`s her dog that she`s taught to play `fetch`. At the end of the video single we see him walking backwards; as if to return to his position. Britney`s video is an e-card, re: Set. Reset means she sends her dog to play `fetch again, which means that there are more pieces to collect.



 For the cover of the single Piece Of Me Britney appears as Christ on the cross because, at his death, Jesus was pierced by the spear of the Roman centurion Longinus. Effectively, the Paraclete or `Second Eve` from the side of the `Second Adam`, corresponding to the `ib` of the Egyptians, and the `rib` of Jesus, emerges from the wound caused by the spear. On the cover for Piece Of Me Britney Spears symbolizes the Paraclete by the side of all the daughters of Eve as `guide, teacher, helpmeet and comforter` after Jesus` Resurrection and Ascension to heaven. The Piece Of Me is the Paraclete as the soul of the heart, which continues if Anubis finds it well. According to Britney`s lyric, in Oops I Did It Again, she `plays` with the `heart`, and isn`t `serious`. Anubis, however, is Sirius, because it`s the `dog star` of Egyptian mythology:


`... he who awakens the gods of the air, and summons them to their office of bringing the rain.`2


 Britney`s Mars is sterile and needs water, and so the allusion is to T. S. Eliot`s poem of regeneration and renewal, The Wasteland, a text that itself borrows heavily from myth, especially that of the Arthurian legends of the knights of the Grail that correspond, in spiritual terms, to the disciples of Jesus at table with him during the `Last Supper` before his crucifixion.

 Essentially, Britney Spears Oops I Did It Again follows in the tradition of T.S. Eliot`s exhortation to the artist to regenerate and renew through meaning, and the giant tablefork by her spaceman`s helmet, as he hangs suspended above her, alludes to the Egyptian devourer of the `evil` heart, Ammit, but also to the `rotary club`, which is modernity`s version of Jesus` discipleship and King Arthur`s knightly fellowship. In simple terms, good fellows don`t eat the `hostess`, which is what men have been doing since the time of the ancient Greeks when they spread their plague of warfare by means of homosexual pederasty`s parasitical enslavement of women`s wombs in order to produce `boy sons`, that is, `poisons`, to invade neighbouring city states and enslave the women`s wombs there.

 The prototypical instance was the `Greek horse` of Troy where, `feigning friendship`, the Greeks left the `gift` of the huge wooden horse inside which they were hidden and, when the Trojans took it into Troy, emerged by night to capture and enslave the wombs of the women for homosexual perderasty`s `boy sons of war` and `poisons of plague`, which emerged as a valence of the devouring `red dragon` as the `blood plague` of Revelation in the 20th century as HIV/AIDS, and again on 9/11 as the `Greek horses` of the terrorists feigned friendship and crashed their hijacked `civil` aircraft into the Twin Towers of New York`s Ilium to make explicit what had been HIV/AIDS` implicit psychological and biological war against women`s wombs since the last quarter of the 20th century and plunge the globe into the self-devouring madness of the second Gulf War (2000-2011).

 In Arabia, `Eid` is the Moslem symbolic fellowship gathering equivalent to that of Christianity, and comes after the annual prayer and fasting month of Ramadan, which celebrates the sparing of Isaac, son of Abraham, who was patriarch of both Israel and Islam, because just as Isaac`s line founded Judaism, so the line of Abraham`s other son, Ishmael, founded Islam. God asked Abraham to take Isaac up the mountain to sacrifice him. God relented and, paradoxically, given the enmity between Israel and Islam, the great feast of the Moslem world, that is, `Eid`, celebrates the saving of the state of Israel in its patriarchal figure of Isaac.



 Because of the `Eid`, Judaism, Islam, and Christianity represent the unrecognized possibilities of fellowship, which is nicely subscribed in the Latin phrase is est miseratio versus inter ignarus quod suscipio is, `there is a fine line between ignorance and maintaining it`. The Gulf Wars were based on perceived religious differences that, in actuality, either didn`t exist or were resolvable, because the `red dragon` of devouring homosexual pederasty didn`t want fellowship at all.

 Oops I Did It Again is Britney`s Mars `Ba` because she`s a personality, and so she appears in red, to symbolize the persona, white to signify the `Ka` of mind and spirit, and `black and white` to represent the balancing of the soul of the heart as the `ib` against the feather of Ma`at, represented by Britney herself in her white bikini dress beneath the appreciating gaze of her spaceman visitor. Conferring progress to the Aaru of heaven, if heart and feather `balance`, the various aspects of the self conjoin to live forever in blessedness as the `magical` Akht.

 The symbolism of the giant tablefork denotes both the devouring `red dragon` of homosexual pederasty and warfare, but also Ammit, the devourer of evil hearts and souls in Egyptian mythology, which means Britney, in her white bikini dress, symbolizes the relationship between women and men, but also the women of ancient Egypt`s relations with the god Anubis:


 `The distinctive black color of Anubis ... [was] the color of rotting flesh and ... the black soil of the Nile valley, symbolizing rebirth.`3


 In her black skirt, boots, and white blouse, Britney represents the role of Ma`at`s feather and Anubis before her spaceman visitor because, when she receives his `gift` of the `heart of the ocean`, we understand that she`s raised him as her judge. If her spaceman is understood as a `critic`, the debate would be as to whether Oops I Did It Again is a satisfactory work stimulating rebirth in the way advocated by T.S. Eliot in The Wasteland, and so can her `magical` Akht leave? As the `hidden` woman of Revelation leaves to sow her seed in heaven, and escape from the `blood plague` of the `red dragon` of homosexual pederasty`s enslavement of her `host` womb for the purpose of promulgating war against her Earth. Because she has her own `seed`, she has her own penis, and so is `futanarian` woman and a species in her own right, which doesn`t need men. Revelation describes the ensuing war in heaven between the `seed` of the woman and the evil serpent`s `seed`, that is, the devouring `red dragon` of enslaving homosexual pederasty, which she wins, and receives a new heaven and Earth from God while the evil receive perdition as punishment.

 Effectively, the knowledge that women have a penis of their own as `futanarian`, and so are a species, is the wisdom that the penis is female. So the basis of regeneration and renewal, which is at the heart of T. S. Eliot`s The Wasteland, is whether or not the material is sexually arousing for the female penis. In Oops I Did It Again Britney`s spaceman visitor is `well hung` as he dangles above her filming for `Mission Control` as the `camera`. When Britney `hooks up` with him, she shows the camera the chain by which the spaceman is raised and, because the Egyptian Aaru or heaven, is a place of `alternatives`, the `alternative` reality in her science fiction cosmos of references and allusions is being `discovered`.



 In the Titanic movie the `heart of the ocean` is a blue diamond pendant, and Britney`s spaceman visitor`s penis would be the lodestone of attraction towards her except that, in her white bikini dress, she`s a white cell and not a red cell, as she would be in her red suit, which means that Britney is testing the virus to see whether or not it`s a `devourer`. The HIV/AIDS` virus feigns friendship before killing the white cell that defends the body`s red cells. Consequently, Britney`s spaceman visitor exclaims with delight when he picks up a stone with her image upon it in the sands of Mars. It`s a pathway for his viral `Greek horse`:


`Whoah there horsey!`


 The body`s red cells contain the iron admixed with oxygen that a lodestone would be attracted to. When the spaceman visitor reports to `Mission Control` of what he finds Mars to be like, he says: `98% oxygen.` Hanging above Britney in her white bikini dress, the spaceman visitor`s penis is a `lodestone`, because it fills with blood when a desirable female appears. For Britney, as a researcher into HIV/AIDS, the penis is a `magnetic attractor` towards the iron in her blood, and isn`t a `love reaction`, but a valence of the virus as `devourer`. Because her Mars has `98% oxygen`, Britney`s spaceman visitor has a huge reservoir to increase the supply of iron in his blood, and oxygen for the iron valence to make of his penis an `iron rod`, which is what the `New Redeemer` of Revelation is described as ruling with while he protects the `hidden` woman of the Earth before she leaves to sow her own seed amongst the stars in heaven. The developmental focus of Oops I Did It Again indicates that the `iron rod` of the penis, that is, the transformation of instinctual to spiritual or intellectual `work`, is what saves woman as a species upon the Earth. The `New Redeemer` is able to focus people`s minds upon the meaning of the `blood plague` of the `red dragon` of Revelation as a `valence` of homosexual pederasty and war. The `iron scepter` of the `New Redeemer` is indicative of an unswerving devotion to the penis` developmental functionality, which reveals woman as a species, and the penis as hers, while men are deciphered as a viral alien parasite that seeks to imprison and destroy her before she can develop and leave.

 In the `periodic table` oxygen is `8 O` and Jamie Spears was eight years old in 1999 when Oops I Did It Again was produced. Because Britney appears as `doubled` in the video single, references to Jamie are discernible. When red suited Britney `hooks` her spaceman`s backpack before suspending him above herself in a white bikini dress, we are invited to observe the `chain`, which suggests `Chanie`, that is, an alternative reality contained within the Egyptian heaven of Aaru, which is what Aaru is defined as containing in Egyptian mythology. The science fictional basis for developmental alternative constructions of `textual` input is `Grand Master` of science fiction, Robert A. Heinlein`s (1907-88) The Number Of The Beast (1980) where `Gay Deciever`, a `multiversal` car, is able to access all fictions as alternative realities, and Mars features in two of the alternatives `visited`, that is, an alternative in which Mars is divided by the Russians and the British as an Imperial colony, and another in which Mars is the `Barsoom` of Edgar Rice Burroughs` series of novels based on his covert sex fantasies of  A Red Martian Princess. In her red suit Britney corresponds to the `Princess`, but one of the more famous later photographs of her sister, Jamie, is of her wearing a tiara as `Miss Spears`, which suggests that Jamie Spears is at least a part of her sister`s `iron` imagination in Oops I Did It Again, and `Chanie` is the alter ego Britney is using to explore her thoughts.

 The spaceman visitor is called `Mars Lander` by `Mission Control`, but NASA`s `Mars Lander` was an `unmanned vehicle` and so entirely female. In terms of our quest to discover her alternate fictional realities, Britney`s `hook` in the backpack of her spaceman, prior to her raising him to be the appraiser of her flesh, makes him `Judge Camera`, where camera is Latin for `private`, and Private is the name for a sex shop chain, where penises are encouraged. Britney`s perception is that lovelorn `Chaney` is a masturbating `hunchback`, if we accept the `chain` motif of the dog`s `lead` as Britney`s SM training for those who have a `hunch`:


`All of the boys and all of the girls are begging to if you seek Amy.` If You Seek Amy (2009)



 The title of the song If You Seek Amy is usually interpereted as `F*U*C*K me`, so Britney is a `word game` adept. In Oops I Did It Again `Chanie` Spears is the video single`s alter ego and alludes to Lon Chaney (1883-1930), whose role was The Hunchback Of Notradame in the 1923 movie. The construction of alternate fictional realities, at its simplest level, requires the changing of a single letter, which is why Heinlein`s multiversal car is `Gay Deciever`, a `prismoncstrution`, and not `Gay Deceiver`, which is correct spelling. `Launch Jamie` is the secret code couched hidden within Britney`s `Carnelli` video `text`, because it `sounds like` Lon Chaney, the actor of The Hunchback Of Notredame that symbolizes the dysfunctionality of a masturbative individual whose creative potential is handicapped so that he can`t develop.



 Before `Mars Lander` it was believed that there were `canals` on Mars, and a `canalle` is a critical perspective that denies the validity of a work, which means that Britney`s `Carnelli`s` of Mars are aimed at those who don`t believe in development, that is, they`re the `car nellies` who don`t accept science fiction and fantasy, because it represents a biblical future for women`s penis without men, whose gas guzzling autos farting attractively in front of each other`s exhausted anal ideology are the developmental zenith of their penile ambition for each other, and which Revelation describes in a phantasmagoria of non-fictional horror:


`The locusts ... had breastplates ... iron, and the sound ... was like the thundering of many horses and chariots rushing into battle.` (Rev: 9. 7-10)




 Men prefer `pedal cars` and their role as `demon driven` along well worn paths to nowhere new, and in preference to `the best of all possible worlds`, which is what Voltaire`s central character of the eighteenth century, Candide, sought for himself as long ago 1759.  Voltaire`s Candide preceded the invention of the `pedal car` by 150 years. Beginning with the Model T Ford (1908), the mass produced automobile remains what it has been now for over a century, a `pedal car` and a gas guzzling locust that moves a bit quicker, much in the way that rocket technology can now hit Moscow or New York with enough devastation to remove either city rather than allow the woman to escape at least as far as Mars, which is probably why Oops I Did It Again is decipherable as `Launch Jamie`, because Britney doesn`t want `Lon Chaney` for her species of women with a penis, that is, the tortured bell-ringing of The Hunchback Of Notradame, whose kidnapping of Esmerelda glosses the predicament of the deformed masturbator whose penis is the `bell` he`s `ringing`. If women have a penis of their own, and the best they can do with the developmental instinctuality of their `tool` is the automobile and ICBMs, then Britney Spears` observation that she wants to `Launch Jamie` away from Mars, the god of homosexual pederasty`s war against her, to Venus, the goddess of love, is a laudable `alternative`.



 The red, black and white wrapper of the Mars Bar chocolate are the colours chosen by Britney for her symbolic costume changes in Oops I Did It Again, which are meant to presage Aaru for her sister, Jamie Spears. The `Ba`, `Ka`, `ib`, and `Akht` symbolism is important because Britney and Jamie have `Bas`, that is, personalities, which need to be freed from imprisonment so that they can at least see out of their `Kas` far enough to understand that they`re `ibs` for each other (ribs) and they must get together their `Akht` well enough to escape from enslavement by the devouring `red dragon` of homosexual pederasty that would keep them from being women independent of men`s virality. The notion of men`s virility is often asscociated with `Babylonia`, but their desire is to be alone in bars with each other, where they can worship Mars, the god of WWI, WWII, Gulf War I, Gulf War II, etc., as the `Martians of the Mars Bars`:


Bar: Be Alone Here



 The huge numbers of prisoners behind bars, suggests the valence of the `blood plague` of the `red dragon` of homosexual pederasty requires togetherness in alienated unspoken hatred for women, because the parasites are criminal aliens who want to be alone together and plan women`s extinction, which their surrogates, as the `Martian` valence of the `red dragon` of the `red planet` of the god of war, Mars, in the variant movies of H.G. Wells War Of The Worlds and the `comedic` Mars Attacks, presents neatly.