If Music Be The Foot Of Love Play On

If Music Be The Foot Of Love Play On

 

If Music Be The Foot Of Love Play On

 

In the Bible before Adam and Eve are expelled from Eden as the first man and woman for disobeying God`s injunction upon them not to eat the `fruit of the tree of the knowledge of good and evil` because they would die and so should eat of the `tree of live`, which was immortality, God told Eve her `seed` would have `perpetual enmity` with the `seed` of the serpent that had tempted her to eat of the `tree of the knowledge of good and evil` although she would:

 

`… crush the head of the serpent with her foot as she leaves.` (Gen: 3. 15)

 

 

 Because `futanarian` women have their own penis` `seed` they`re the `foot` which needs to sexually reproduce their own brains` power in order to develop the advanced starship technologies she must have if she`s to leave Earth and the parasites that have enslaved her host womb. Acceptance of the forbidden fruit was the acceptance of enslavement and devourment by the serpent and its `seed` of men`s ceaseless wars of `perpetual enmity` against the `seed` of woman, which would be born as `futanarian` woman with her own capacity for self-reproduction, whereas men cannot sexually reproduce without women`s host wombs and so constitute her parasites as the worms in her future `apples`.

 

 

 Longevity would give women longer memories and knowledge of her own penis` semen of which she remains unconscious and blind due to the extinction of her own species  through men`s murdering of her. Medicine remains at a low level of technological development and the seeming unwillingness of the medical establishment to find a cure for what is effectively a `biological weapon`, that is, the `killer disease` of HIV/AIDS,  created by men in the mixing of blood, shit and semen in each others` anuses in  order to spread its expensive contagions of war and plague, reflects upon the ancient `Greek` model  in which women`s host wombs were enslaved for the spreading of warfare through homosexual pederasty. Against the city of Troy particularly where the Greeks deployed the huge hollow wooden horse as a `friendship gift`. When the Trojans took the horse within the city walls, the Greeks emerged to enslave the host wombs of the women to spread their contagions of war and plague further. Without memories of men`s virality women succumb to the `killer disease` more quickly and accept enslavement and devourment in war readily:

 

`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5)

 

 

 Babylon is `a woman` and it`s no mystery that this is what happens to women if their memories are short-lived and they`re unable to remember through the sexually reproduced brains of their own penis` `seed` because they have no penis` `seed` to fertilize with. Jesus was born uncontaminated by male semen from his mother, the Virgin Mary, because`futanarian` women with their own penis` semen need to sexually reproduce in order for the Resurrection of `woman`s seed` to take place upon the Earth. Jesus was the host betrayed by the disciple, Judas Iscariot, for `thirty pieces of silver` to the Roman occupiers of Palestine as a `dissident`, because he was `woman`s seed` born from the host womb of his mother without male semen. Judas was betraying the host womb of the human race, but Jesus` Resurrection and Ascension to heaven fulfills God`s promise to `the chosen people`, who are women. In Judaism it isn`t possible to be born a Jew unless born from a woman, so Jews are women. The concept of a species sundered from itself by brain damaging contamination from a viral parasite that has inveigled itself into the host womb of the human species of woman to kill her `futanarian` mate is what Jesus teaches and God warns Eve of in the Bible:

 

`At the resurrection people will neither marry nor be given in marriage; they will be like the angels in heaven.` (Matt: 22. 30)

 

 

Because they`re `futanarian` woman with her own penis` `seed` and so constitute a generic species or family separated from her parasitical virus in heaven by God`s will, while the evil parasitical vermin receive perdition, that is, eternal unendurable pain, as a punishment from God for enslaving her women`s host wombs to wage war and spread plague against her. As a `biological weapon` of homosexual pederasty, the biblical `blood plague` of HIV/AIDS  maintains women`s monogamous enslavement to her parasites by keeping her in fearful faithfulness, while her eyes remain blinded in unconsciousness to her own `futanarian` human species of woman with her own penis` semen. Men`s censorship and media blackouts prevent women from gleaning enough knowledge to breed and save herself from men`s depredations. Men, likeElizabethan dramatist William Shakespeare`s Duke Orsino in the play Twelfth Night (1601-02) have used her host womb to produce art, civilization and culture, with God`s spirit to guide her soul, in order to destroy her and the Earth demoniacally and Satanically:

 

`If music be the food of love, play on,
Give me excess of it; that surfeiting,
The appetite may sicken, and so die.` (I, i, 1-3)

 

 

 `Satanic messages` are what popular music was criticized for throughout the modern recording era, because the meaning of the words often remained unclear in what were conceived by the critics as `twisted lyrics` in which the actual words of the song were being interpreted by the hearers in a way that was different to the song sung. It`s a common problem with critics, who dispute to this day over the meaning of the passages in Shakespeare`s plays, and the text is written. With the advent of the video age it was no longer possible to accuse the singer songwriter of failing to communicate the content of the lyrics, because the visual medium permitted of an exactitude that was unmistakable in terms of intentionality. Before video artists, record companies and the entirety of human culture and civilization could be attacked on the basis of what someone thought they could hear. After the dawn of the visual medium of pop music, the work of artist`s like Don Henley, former drummer with US rock group, The Eagles (1971), could only be criticized on the basis of what anyone could see repeatedly, for example, in a replayable recording of Henley`s `Boys Of Summer` video, rather than by reference to the album sleeve, which bore the biblical title of Building The Perfect Beast (1984) and featured `the devil himself` on the cover:

 

`But I can see you;  your brown skin shining in the sun: you got your hair combed back and your sunglasses on baby. I can tell you my love for you will still be strong after the boys of summer have gone.`

 

 

 What became quickly apparent in the video age was the role of the human woman in pop music, which was sexual. Male pop stars discovered that the presence of semi-nude nubile women in their promotional videos increased sales, while female pop stars discovered they sold more records if they revealed their true nobility. The result was all women bands, because the young nubile woman`s body was what the listener wanted to see. What audiophiles had been hearing over the modern age of popular songs was the voice of the woman struggling to be heard and that`s why the evil described her as `Satanically messaging`, because they didn`t want her voice to be heard and certainly didn`t want her body to be seen, which in full is the `futanarian` woman with her own penis` `seed`.

 

 

 With digital remastering and CD higher audio definition the woman on the beach in `Boys Of Summer` was revealed to have been `topless`, that is, the `bra strap shining in the sun`1 lyric as heard was discovered to be `brown skin shining in the sun` audibly, which meant that `Satanic messaging` had been attempting a `cover up` because Christianity didn`t want the woman`s body to be seen naked on the beach as that would reveal her penis. The Eagles had a song, `Hotel California`(1977), in which Don Henley`s `beast` first appeared in the lyric:

 

`And in the master's chambers, they gathered for the feast; they stab it with their steely knives: but they just can't kill the beast.`

 

 

 The `master` in Christianity is Jesus, who was called so by his disciples, and so `the beast` is what the disciples are unable to kill because it`s what men are; as Judas Iscariot showed at the `Last Supper` in the `master`s chambers`, where the disciples `gathered for the feast`. But `the beast`, Judas, betrayed the host, and so the womb of the human species, because he didn`t want `woman`s seed` to prosper.  Bands like the United Kingdom`s The Sweet (1968-) and the United States of America`s Kiss (1973-) discovered that they could wear heavy make up like women and be successful, whereas bands with women, such as Fleetwood Mac (1967-) with Stevie Nicks and Christine McVie, and Heart (1974-) with sisters Nancy and Ann Wilson, learned that pouting and being sexually female attracted lots of `groupies`. Because `futanarian` woman with her own penis is the human species and woman, while young men and boys grew up believing that the `gay scene` of homosexual pederasty was where it was at, man, because of their fathers` pouts and lip gloss.

 

 

 As the presence of women in videos for pop songs became more necessary to sell the music, films in Hollywood Babylon became more violent as the studios documented and glorified terrible historical events like the Vietnam war (1956-75), with superstars like Sylvester Stallone embroiled in mayhem and disaster as Rambo (1982), and directors like Steven Spielberg, who as a Jew should have known better, making Schindler`s List (1993) about the Nazi extermination camps for the `chosen people`. In Spielberg`s Sophie`s Choice (1982) actress Meryl Streep has to choose between her daughter or her son at the gates of the camp so takes her daughter because Jewish women are taught they`re the `chosen people`. Despite that graphic lesson in Judaeo-Christianity from Hollywood Babylon`s `family movie` savior of the late 20th century, aggression towards women became de rigeur amongst the new wave of directors, like Jonathan Demme, in movies like Silence Of The Lambs (1991), where serial killers and stalkers preyed upon young nubile women as the psychopathic killer of the human race of `futanarian` woman, who hadn`t yet even been seen on the `big screen`, because of `Satanical` taboos against the penis, went about its misogynist pogroms.

 

 

 The true heroines of the 20th century were the pop music stars who looked good and paved the way for Hollywood, Babylon`s metanoia of repentance because they were prepared to thrust their hips and pout provocatively as if they had the penis` `seed` which their human `futanarian` species of woman needed. `Glam Rock` queens like Suzy Quatro competing for the lipstick with men desperate to maintain their ascendancy in homosexual pederasty  were icons for both boys and girls because she represented the `hidden` penis of the woman `clothed with the sun and with the moon at her feet`  giving birth to the `New Redeemer` who `will rule with an iron scepter` while the `dragon waits in vain` to devour her son, Jesus, in his `Second Coming` to the Earth after his Resurrection and Ascension to heaven earlier in his story of the Redemption of humanity:

 

`The woman was given the two wings of a great eagle, so that she might fly to the place prepared for her in the wilderness, where she would be taken care of for a time, times and half a time, out of the serpent's reach.` (Rev: 12. 14)

 

 

 The woman is protected by the `Great Seal` of the United States of America with its eagle symbol, or by any nation that believes in the eagle as a symbol of freedom, while `Liberty` is the woman with her penis `hidden` beneath her skirts in New York harbor, where Osama Ben Ladan, killed by Navy Seal Team Six at his hideout in Pakistan on May 2nd 2011, had sent Al Qaeda terrorists to hijack planes and crash them into the Twin Towers of New York`s World Trade Centre on Manhattan island on September 11, 2001, and so precipitate the Gulf war (2001-11) with Iraqi dictator Saddam Hussein, who`d promised bases to Al Qaeda , to reestablish the `rough trade` of homosexual pederasty`s `brutality and violence` of global war.

 

 

 `Liberty` was `clothed with the sun` after the United States` defeat of the flag of the `red sun` of Japan at the end of the Second World War (1939-45) and `with the moon at her feet` reflected in New York harbor`s `birth waters` after the defeat of Al Qaeda`s flag of the moon. Because Arabian women wear the one-piece coverall of the abiyah to conceal themselves in public, they`re the hymens of the `futanarian` human species of woman with her own penis` `seed`, `hidden` in the desert. Arabia`s women remained victoriously discrete, with their hymens having been defended by the Navy Seals of the Great Seal of the United States, beneath the eye of the American eagle, and after the twenty year Gulf war to remove Saddam Hussein`s invading army from Kuwait (1990-1), and its threat to `woman`s seed` in the Middle East, where the Redeemer, Jesus Christ, first began to spread God`s `Word` of `futanarian` woman`s future Resurrection and Ascension to heaven, with or without mankind.

 

 

 Music has a voice but, although what is heard can transform thought, visual descriptivity attached to lyrics and sounds reveals what humans want to think and see. By the onset of the 21st century all women bands like Destiny`s Child (1990-), All Saints (1993-), Sugababes (1998-) and Pussycat Dolls (1995-) were presenting what the Spice Girls (1994-), who`d effectively begun it all, had called `girl power`, which amounted to a form of feminism that stressed the feminine and the female, that is, woman as a mode of being, rather than angling for political and social equality with men, which was perceived in the opening lines of the song `Too Much`, from the album Spice World (1997), as a false paradise, `Love is blind, as far as the eye can see. Deep and meaningless, words to me.` If women are `futanarian` with their own penis` `seed`, men are `the number of the beast` that blinds and, as the Spice Girls sing in `Too Much`, `illusion ain't no revolution`:

 

`Let he that has wisdom understand, the number of a man is the number of the beast and his number is six hundred three score and six.` (Rev: 13. 18)

 

 

 `666` can be translated as what a woman sees in the mirror of her own sexual desire for her own species` semen, that is, 66.6% of the `futanarian` woman`s  human race with her own penis` `seed`, and 100% if men aren`t visible in the mirror, which they needn`t be because they can`t sexually reproduce without her. In Eastern European legend the vampire can`t be seen in the mirror, which corresponds to Arabian women`s perception of the devil, `Iblis`, who can whisper but has no power and is invisible, because men don`t have any power and would be invisible if women didn`t sexually reproduce them. The biblical number says that women are the humans upon the Earth and men are disenfranchised if that becomes common knowledge. Women will rule the Earth if they sexually reproduce with each other, because they`re two thirds of the potential for sexual reproduction before they begin, while men can`t sexually reproduce without women and so are 100% of nothing if they don`t accept `woman`s seed`, which gives them the possibility of rebirth through the host wombs of `futanarian` women in heavenly Resurrection and Ascension in accordance with Jesus` teachings of Redemption and God`s promise to Eve and her `seed`.

 

 

 The history of mankind seems to have been of a creature, men, that can`t sexually reproduce and doesn`t want the human species to, because it`s sterile without women and doesn`t want them for anything other than to reproduce itself by means of their host wombs in order to destroy the art, civilization and culture she`s able to produce despite the depredations of her parasite. In Hollywood Babylon the `Hays code` for the movie studios was interpreted as meaning women should keep at least one foot on the floor at all times during bedroom scenes, because of the possibility of sexual arousement in female members of the audience in the cinemas. God told Eve her `foot` would `crush the head of the serpent` before she left Earth for the planets and stars of heaven, so Hollywood Babylon`s `foot` is the `futanarian` human `seed` of woman with her own penis` semen who the film production companies were told mustn`t raise her foot from the floor.

 

 

 Although female pop stars, like Christina Aguilera with singles such as `I Hate Boys` from the album, Bionic (2010), became the doyen of millions of teenage girl fans across the Earth in the 21st century, pop music will only escape from its label as a `Satanic` medium when the `all girl pop group` with penis` `seed` of their own takes to the stage and has a number one hit single on the American Billboard chart, which is the benchmark of success in the music industry as it represents the highest number of retail sales recorded by the pop music artist over a given period:

 

`Little dicks. Use them up. Spit 'em out. I H-A-T-E boys!`

 

 

 Feminist `political correctness` labels women as `lesbian` and homosexual if they`re sexually attracted to other women. But such desires are normal if women have their own `futanarian` penis` `seed`.  Feminism is supporting the labeling of female normality as abnormal in order to support men`s creating of her as a clinically diagnosable schizophrenic species sundered from interacting sexually with her own race. Because she`s been taught that an alien parasite, that is, men, is her sexually desirable compliment, and that isn`t naturally true:

 

`We would all be happy all be glad, if sweet mama nature never had, a-all this dirty little boys who think that the girls are only made for toys. Boys wants them women, though they barely can remember.`

 

 

 Pornography is understandable as lies masquerading as truth, where even heterosexual acts of simulated sexual reproduction are definable as parasitical and homosexually pederastical because the aim of the instruction is to enslave the host womb of the woman for the production of more viral life forms to spread their plague of war`s contagion. Daily `topless` newspaper photographs of nubile young women exposing their breasts present the female form as alien to the penis of the boy, whereas `adult` magazines present naked women without penis of their own, and so `sex education` tells the youth that women are aliens to be impregnated in order to reproduce more aliens, because he isn`t aware that `futanarian` women have penis` `semen of their own to sexually reproduce their own brains` power and so the description of her as an alien by the parasite dominated society of `serpent`s seed` isn`t true:

 

`You're swelling out in the wrong direction. You've got the bug, superstar you've been bitten. Your trumpet's blowing for far too long. Playing the snake of the ladder, but you're wrong. I said, `Who do you think you are?``

 

 

Pop groups like the Spice Girls presenting women as socio-economically and sexually empowered in songs like `Who do you think you are?` from the album Spice (1996) is `pornographic` insofar as they`re women without penis` `seed of their own, that is,  representative of the lies about women`s sexual reproduction rather than truth, which is how the term `pornography` may be defined. Videos of `futanarian` women engaged in sexual reproductive activities aren`t pornographic but are educative insofar as it`s a depiction of the human race`s social activities. Human beings are capable of only two things from a physical perspective; taking in nourishment orally and sexually reproducing. Having precluded `futanarian` woman`s sexual reproduction men are now devouring her in a mockery of food:

 

`If music be the food of love, play on…` (I, I, 1)

 

 

 In the story of Oedipus, dramatized by the ancient Greek playwright, Sophocles, in Oedipus Rex (c. 429 BC), the central character answers `man` when asked, `What goes on three legs in the evening?` The true answer is the human species, because the `futanarian` woman with her own penis` semen is the third `foot`, but not if men eat it. If music be the love of `futanarian`, play on, should be the line from Shakespeare`s Twelfth Night, which is about an `impossible love` of Olivia`s for `Cesario` who is a woman, Viola, who finds it expedient in the course of the drama to dress as a boy. In Elizabethan times, performances at Shakespeare`s The Globe theatre in London, were by men only, because it was a `gay scene`. Olivia`s love for `Cesario`, who was really a woman, Viola, was a joke, but not for `futanarian` women with penis` semen of their own to sexually reproduce their own brains` power, because they weren`t admitted to perform, just as women with penis of their own are excluded from Hollywood Babylon.

 

 

 Most people can watch Spice Girls whether the music is present or not. We know this because topless photographs or naked pictures of one of their number, Geri Halliwell, were at a premium for a period during the Spice Girls initial successes as singles` chart toppers. The 20th century`s paparazzi seemed to spend almost their entire lives endeavouring to obtain a picture of Princess Diana they could label `nipple slip`, which eventually led to their getting too close to her car on August 31, 1997, in the Pont D`Alma tunnel in Paris and the death of the intended target for the zoom lenses on Moto Guzzi motorcycles hot in pursuit when her car crashed.  The furore over nude pictures of pop singer, Madonna, discovered as having being taken before she was famous, was almost world shattering from the perspective of the paparazzi programers. Almost any young nubile female, who makes even the barest attempt to have the eye of the public look fondly upon her, is the immediate target of paparazzi who want her to take her clothes off for some magazine or other, so the performance of the video star`s music is secondary to how she might look naked.  For teenagers music used to be background ambience while they made out on the couch or in the car at the drive in. So music and sex go together, which is what 21st century pop music videos tell us:

 

`Us girls we are so magical; soft skin, red lips, so kissable. Hard to resist so touchable. Too good to deny it. Ain't no big deal, it's innocent.`

 

 

Although Katy Perry looked good in her promotional video for the hit single,`I kissed a girl (and I liked it)`, from her album One Of The Boys (2008), the only possible reason for replaying the VCD, after listening to the music, is to experience rapture at the sight of her heavenly body, because making out with your partner might require music but it doesn`t require visuals other than the target for the penis` semen. Without music, Katy Perry`s videos aren`t pornography, but they`re human, because love is the music of `futanarian`, that is, Katy Perry denotes sexual desirability for the spirit and soul of humans who are `futanarian` women, with or without their own penis` semen, and so visual stimulation is their `music`, but that`s what human sexual reproduction needs. Making out in the car or on the couch says so:

 

`I kissed a girl and I liked it. The taste of her cherry chap stick. I kissed a girl just to try it. I hope my boyfriend don't mind it. It felt so wrong. It felt so right. Don't mean I'm in love tonight. I kissed a girl and I liked it. I liked it.`

 

 

 Perversion is what 21st century pop music is, because human `futanarian` woman with her own penis` semen isn`t a part of the picture, which reflects the penis taboo of Hollywood Babylon`s against women`s penis` `seed` being a part of their biblical picture. The `Satanic message` detected within the popular medium of music throughout the 20th century was actually the sound of the struggle of the woman`s voice to be heard because she wanted to sexually reproduce as the `futanarian` human species of woman with her own penis` semen, because to the evil God is `Satan` and it`s the task of the `serpent`s seed` to convince the good of that. Discerning `Satanic messages` in Rock `n` Roll, which is a euphemism for sexual intercourse, is anti-Christian, because `Rock `n Roll` is music played on the love of `futanarian` humanity for itself, whereas men represent the love of humanity as food to be devoured by its parasite to music, like `The Ride Of The Valkyrie` (1851) from Richard Wagner`s opera, The Ring, played during the movie Apocalypse Now (1979), while US helicopter gunships attack defenceless villages during the Vietnam war. Or the ride of the knights of the round table of King Arthur of the Britons in the movie Excalibur (1981) to the tune of Carl Orff`s Carmina Burana (1935-6) as they go to fight Mordred, which will result in the death of Arthur and the ruin of the kingdom. Woman`s seed`s devourment by men of the past and on into the future is the compounding of the `original sin` of disobedience towards God in the betrayal of humanity`s immortal destiny to the serpent in Eden by Adam and Eve who were tempted into accepting slavery and war for their descendants rather than the love of `futanarian`, which was the foot of God`s that the Great Architect had planned to walk beside them set to music as the crown of creation from the womb of Eve:

 

`You shall be as gods.` (Gen: 3. 5)

 

 

 In Greek mythology the `food of the gods` was the elixir of immortality, whereas the `foot` of God, that is, the human `futanarian` woman with her own penis` semen and capacity to sexually reproduce her own brains` power was God`s immortality offered to Adam and Eve by means of the `fruit of the tree of life`, that is, the `family tree`,  which the serpent and its `seed` isn`t a member of, because humans are for sexual intercourse producing children, whereas men can`t sexually reproduce and so are a parasite that has inveigled itself into the host womb of the `futanarian` woman with her own penis` semen to obtain immortality as a parasitical worm in her apple. By devouring the `foot` of God upon the Earth, that is, the `futanarian` woman with her own penis` `seed`, for to grow her own `apples`, men perceive themselves as `gods` with the `food` of immortality as the devourers of the `futanarian`  foot of God to prevent her species from running.

 

 

 Viruses are thought by scientists to be immortal, whereas God had planned for humans to have immortality conferred through sexual reproduction that ensured continuity of memory and the spiritualized soul of development. The `futanarian` mother with her own penis` `seed` would always give birth to the daughter, and so the `family tree` would forever be of one mind. They wouldn`t have any predators to enslave and devour them, because they`d be technologically adept with art, civilization and culture devoted to the medical prolongation of life rather than war`s destructivitiy. In the final analysis, war is for parasitical viruses that want to kill the housed body of the human species, so the sterility of destroyed spectral cities is an aspect of the will of the `serpent`s seed` that woman not sexually reproduce with herselves.

 

 

 Christianity`s perception of Jesus is as an infant beginning in heavenly unconsciousness and faith in God, which is the basis of their belief system, but Jesus` teachings of Resurrection and `woman`s seed` say he`s an adult conscious in knowledge and belief. Christianity always presupposes that the individual is an infant because they`re not priests who`re concerned with teaching the `Word` of God but are the congregation of listeners there in the church to hear. But Christianity doesn`t preach `woman`s seed`, because child bearing women are adults while the church wants infants who have belief based on faith. Based on knowledge, belief requires acceptance of Jesus` teachings of men as parasites. Christianity would find that difficult to spread as truth to women who as children aren`t raised to accept and bear their own `futanarian` penis` `seed`, but believe strongly enough in faith for the pastors not to pursue an argument that could bring about belief in Jesus Christ rather than Christianity, which is what Satanism`s anti-Christ is.

 

 

  One of the basic aspects of the Christian church is `Gospel` music, which are hymns and songs derived from the content of what were written about the life of Jesus by his followers, Matthew, Mark, Luke and John, which are known as the four Gospels because they constitute the corroborated truths about Jesus` teachings that the New Testament of the Bible is comprised of. Pop star Madonna Ciccione was taken to task by Pope John Paul II (1978-2005) for `blasphemy`, encouraging people not to support her 1990 `Blonde Ambition` tour, because of salaciousness in promotional videos  for songs such as, `Like A Prayer` (1989), which transposed Gospel music with `Rock `n` Roll`. However, sexual reproduction through her own `futanarian` human penis` semen is what `woman`s seed` is for:

 

`When you call my name it's like a little prayer. I'm down on my knees, I wanna take you there. In the midnight hour I can feel your power. Just like a prayer, you know I'll take you there.`

 

 

 The lyric from the song, `Like A Virgin` (1984), relates to the role of the Virgin Mary in the Assumption, which has been Catholic dogma since 1950, `I`ll be yours till the end of time.` From the point of view of a believer in God`s `seed`, all women are virgin because they don`t sexually reproduce on Earth, whereas Jesus` concept of the Resurrection is that there`ll be `no giving or taking in marriage in heaven` because the assumption is that women will sexually reproduce without men there, which is immortality for their species. If men were believers in God`s `seed`, they`d improve technologically, but it`s in the interests of the enslaving and devouring parasite to have the human make the coffee rather than the machine, because the human is a slave to the machine if the coffee has to be made. Keeping humanity at a low level of technological development is what the `serpent`s seed` are for, because robots would liberate the human. Scare stories about machines replacing humans are based on men`s fears of being replaced by liberated women who have their own `futanarian` penis` semen and so are capable of sexually reproducing their own brains` power and becoming socio-economically independent of parasitism upon their host wombs by their `serpent`s seed`.  Men`s redundancy is built into the sexual reproduction cycle of women as the `futanarian` human species with her own penis` semen, which means that advanced technology would free women from their enslavement to men and the human race would escape from its parasites` yoke.

 

 

 The invention of the Sony Walkman by the Japanese in 1979 may not have set the world to Gospel music. But for those listening on personal headphones it became a movie in which there was no dialogue but lots of scenery, and that`s fine from a film maker`s point of view, because uninterrupted music in scenes is what scriptwriters and directors dream of, before they begin to script and direct.  What the devoted Walkman listener discovers is that women are the music because they represent the human scene, which is borne out by the role of women in pop music videos, where they appear either as enticing sexual metaphors or as the artists themselves, because `futanarian` human sexual reproduction by women with their own penis` semen is what humanity is for. The absence of the woman from the picture denotes the desire that she be absent, which means that such devices as media blackout and censorship imposed upon the woman`s penis` visibility is designed to extinguish her:

 

`I get the tingle, I wanna mingle, that's what I want (that's what I want). Hey, listen, baby, turn up the fader … try to make you understand you're on my radar (on my radar) on my radar (on my radar) on my radar (got you on my) radar (got you on my) radar (got you on my) RADAR.`

 

 

 If the woman can`t see a copy of Futanar magazine next to Penthouse at the newsagents, she`s blinded. Britney Spears` lyric in the song, `Radar`, was from the album, Blackout (2007), which featured a Catholic priest`s confessional in the small booklet given away with the CD. If the preacher isn`t going to tell the woman the truth she doesn`t have anything but radar for the blind. Just as Madonna was criticized by Pope John Paul II so Britney Spears was accused of `blasphemy` for placing herself in close proximity to religion in Blackout, whereas her perspective was similar to Madonna`s.  Appearing on the cover of her CD single, `Piece Of Me`, in the place of Jesus Christ crucified, Britney Spears was raising the plight of women as a species for Pope Bendict XVI`s (2005-13) consideration:

 

`I'm Mrs 'Most likely to get on the TV for strippin' on the streets'. When getting the groceries, no, for real … are you kidding me? No wonder there's panic in this industry.  I mean please ... do you want a piece of me?`

 

 

 Appearing in the lap of the priest in the confessional box traditional to Catholicism where the parishioner confesses sinfulness and receives a penance to assist with metanoia, which can be as simple as repeating a formula about the sanctity of the Virgin Mary, Britney Spears was decried as `blasphemous` and, because Jesus` celibacy was a sign of his faith in the Resurrection of `woman`s seed` in heaven, the accusation contains truth, because of the traditionally celibate role of the Catholic priest amidst the congregation praying for Redemption from sin. But Britney Spears` conversion therapy requires the priest to experience metanoia in order to be able to preach on the subject of the acceptance of `woman`s seed` to the churchgoers and so heterosexual arousal is indicative of the acceptance of Jesus` teachings on the part of the pastor:

 

`… she's everything I'm in got to have it everyday.`

 

 

 What the Sony Walkman says is that the world is music, because it`s clearer without distraction that the human `futanarian` penis` `seed` of woman is present but invisible from the scene as a palpable absence, which can be perceived by the listener on headphones to Madonna`s single, `Music`, for example, because the sounds are sexual, but the woman`s penis` semen isn`t a part of the observable scene.  That tells the listener-viewer that they have to accept sundering on Sundays, which of course is the ring of the `futanarian` human species of woman with her own penis` `seed`, sundered from her own selves, and they`re not churchmen advocating the marriage ring on Sunderer`s day, but she`s the womb that`s host to their parasite.  The paradox is that, if music be the play of `futanarian` humanity with her own penis` `seed`, the variations upon the theme of the sexual reproduction of `woman`s seed` can`t be seen because the medium is censored and blacked out by its parasite who sees it as a threat to its worming its way into her affections. Music, film, and even pornography is sexy but, without any sign of the human species, woman is only offering to give birth to the serpent from her host womb to enslave and devour her humanity after its `seed` has properly germinated and become the `dragon`:

 

 `… the dragon was enraged at the woman and went off to wage war against the rest of her offspring - those who keep God’s commands and hold fast their testimony about Jesus.` (Rev: 12. 17)

 

 

 One of the more technologically innovative developments of the 21st century were the wraparound spectacles that allowed the wearer to watch music videos on the backs of the lenses, which had the effect of shrinking the visible world even further, and narrowing the vision of the individual to the point where the external reality of the world, created by the `serpent`s seed` as its lies about the human race, disappeared entirely from view. The danger for the 21st century and beyond was that media such as `virtual reality` (VR) would be constructed as the container within which the serpent would secretly exterminate the humans it trapped there, while the world of reality continued to be nowhere the human species wanted to live. It was the threat foreseen by movies like The Matrix (1999), starring Keanu Reeves as Neo, and cyberpunk novels like William Gibson`s Neuromancer (1984) in which individuals live inside reality in drug induced fantasies, because the world is a nightmare constructed by the `serpent`s seed` as a `snuff movie` that they`re making into smaller scenarios or `snuff tins`, where `snuff` is the term used by evil movie directors for the film recording medium that features humans being killed in reality, and is what was really going on:

 

`…  reality as perceived by most humans is actually a simulated reality called `the Matrix` … their bodies' heat and electrical activity … used as an energy source. Computer programmer `Neo` learns this truth and is drawn into a rebellion …. which involves other people who have been freed from the `dream world`.`2

 

 

 As usual Hollywood Babylon blames the `sentient machine` that would in reality liberate the humans. The better washing machine would be washing the clothes, whereas the woman is perceived as having to, because that`s `serpent`s seed` chauvinism. Hollywood Bablyon`s `big screen` is perceived as being confined to the cinema, but the Gulf `TV` wars and the crashing of the planes into the Twin Towers of the World Trade Centre on  9/11, 2001, `live on CNN` and other television channels were just `the tip of the iceberg` for `small screen` Hollywood Babylon, where 99% lie unseen, because the noise abatement societies of the `serpent`s seed` want the human race to be quiet while she`s dying and listening to headphones in wraparound `snuff films` where the serpent kills her as she marvels at X-Men (20000) movies in ever shrinking video theatres of their wars against her:

 

`Mutation: it is the key to our evolution. It has enabled us to evolve from a single-celled organism into the dominant species on the planet. This process is slow, and normally taking thousands and thousands of years. But every few hundred millennia, evolution leaps forward.`3

 

 

 As with machines in The Matrix, `mutation` in the movie X-Men is perceived as the enemy of humanity, because women with their own penis` `seed` are mutants from the perspective of the `serpent`s seed` who`re the real mutated virus and would have the human `futanarian` woman with her own penis` semen understand that machines are her captors and not her liberators in The Matrix and its sequels, because she`d be able to escape if she bred her own brains` power and used it to develop the machine technology to leave Earth and her parasites behind her.

 

 

 In X-Men and its sequels the superheroes and superheroines are depicted as living perforce outside human society, but working together as an `evolutionary leap forward`, whereas `futanarian` woman with her own penis` `seed` is genuine human evolution, which has been halted. Although mutant superheroines, like Storm or Rogue in X-Men, represent what could be perceived as the human species of `futanarian` woman with her own penis` semen, Halle Berry and Anna Paquin are unwittingly collaborating in Hollywood Babylon`s desire that everyone should accept the `serpent`s seed` as `normal`, whereas the sundering of woman from her own `futanarian` species with her own penis` `seed` in the mirror of her sexual desire promotes schizophrenic abnormality in her perceptions of reality to the extent that she`s unable to accept Jesus` teachings that she`s God`s `seed` and not the evil parasite`s.

 

 

1 http://www.amiright.com/misheard/stories/donhenley.shtml .

 

http://en.wikipedia.org/wiki/The_Matrix .

 

3 Stewart, Patrick as Prof. Charles Francis Xavier in The Matrix, Warner Bros. Pictures, March 31, 1999.