I Want To Look Like A Woman And Get All The Chicks
One of the more famous `pop` bands of the period known as `glam rock` in music were Britain`s Sweet (1968-), who made no bones about their image, which was to wear lip-gloss and make-up and look like women to appeal to boys` sexuality and girls sexually. The appeal to young men was based on the raison d`etre of much glamour photography of the 1970s, which concealed the photographer but revealed the model`s nudity. Although Bailey and Lord Patrick Litchfield worked for exclusive contracts, such as Pirelli calendars or Vogue fashion magazine, photographers like Beverley Goodway succeeded in promoting `topless` glamour photography for the masses through the mundane proliferation of black and white images in newspapers like Britain`s The Sun or The Daily Mirror , where powerfully sexual images of `motherly` breast-exposing women were deemed acceptable enough to the public taste for any schoolboy to be able to purchase from newsagents and ogle the fecund flesh to the point of masturbation and identification with the object of their lust. The notion of what French ethnologist, Lucien Levy Bruhl (1857-1939), called `participation mystique`,1 in which the subjective perceiver is unable to detach themselves from the object as perceived is an essential aspect of `glam rock` because the lip-glossed and made-up male is describing for young boys why they find the `glam rock` mirror image of the man dressed as woman an object of aspiration.
David Bailey was the photographer famous for his stills of his fashion model wife, Marie Helvin, which appeared in the book Trouble And Strife (1980), but remained invisible behind the camera, whereas Sweet were the `glam` band prepared to show the boys what they wanted to see in the mirror of their own masturbatory reflections, that is, a woman with a penis. Although David Bailey was a man, what humans want to see in the mirror is the object of their desire, which was Marie Helvin in David Bailey`s case, so he took many nude photographs of her body. Looking in a mirror and seeing a woman as beautiful as Marie Helvin with David Bailey`s penis attached to her body is what `glam rock` prefigured as an idealistic vision of the human species. No longer sundered as male and female, the human race could look into its mirror, as what it desired for itself, if man and woman were a single entity emerging from its host womb to reflect upon restored body and eyes. The notion of restoration has been with the human species since at least the time of the ancient Egyptians, where the idea of the goddess Isis as the sister-wife-mother was a religiously held belief. In Christianity, the Virgin Mary gave birth to Jesus Christ as the man uncontaminated by male semen because he prefigured the woman with her own penis` `seed`, who can breed her own brains` power and liberate herself from the brain damaging enslavement of the `serpent`s seed`, which God tells Eve her `seed` will have `perpetual enmity` with before she will:
`... crush the head of the serpent with her foot as she leaves.` (Gen: 3. 15)
The name for women with their own penis` `seed` is `futanarian`, which may be the foot God has in mind for the crushing of the non-human that has invaded her host womb for the purpose of contaminating her brains in slavery and premature extinction to keep her here upon the Earth in blind ignorance with `censorship` and `media blackout` as the tools of her subjugation by the `serpent`s seed` of men who aren`t her race. Christianity differs from ancient Egypt insofar as `woman`s seed` is promised resurrection through Jesus` example, which occurred after the `Last Supper` where he offered `bread and wine` to the disciples as tokens of his body and blood as a good host about to be betrayed by the disciple, Judas Isacariot, who was a traitor to the human species because his rejection of the host, Jesus Christ, was his refusal to accept the child of the host womb of the uncontaminated Virgin Mary as the model for the future of humanity`s development. After the `Last Supper` Jesus was tortured and murdered upon the cross of crucifixion before his Resurrection and Ascension to heaven. In Egyptian mythology the son is the husband of the sister-wife-mother because it`s a metaphor for reincarnation, whereas in Christianity, the concept of resurrection is of the human woman with her own penis` `seed`, born to her mother as sister-wife mother, because she is her bride from the previous eternity of memories her husband has shared together with her.
Transformation is the essence of `glam rock` and, in hindsight, its earliest exponent was the English pop `phenomenon`, David Bowie, whose `Changes` from the album Hunky Dory (1972), for example, deals with the basic impulse of the human to rid itself of masculine animalism in favour of an androgynous human `futanarian` picture of `woman`s seed` as the artist bids to convert himself and others through a feminized pose diammetrical to the perceived norm, which was challenged by David Bowie`s wearing of high-heeled shoes and ear-rings on stage and in video footage:
`And these children that you spit on as they try to change their worlds are immune to your consultations.`2
Accusations were levelled against David Bowie of gender confusion and homosexual tendencies. A song like `Suffragette City` from Changesonebowie (1976), details the singer`s problems with homosexuals interfering in his relations towards women and the plaint of the human that they`re citizens with the vote. Leaving `Suffragette City` is a metaphor for the liberation of the human after the campaign for `suffrage` by women, most notably Emily Pankhurst in England, for their right to vote in the democratic processes:
`Oh don't lean on me man, cause you can't afford the ticket. I`m back from suffragette city.`3
Suffrage wasn`t granted until after World War One (1914-18), which was clearly designed by homosexuals to slaughter the human population while pimping the women at home. Although Emily Pankhurst`s `suffragettes` were persecuted, the vote for women was gained. David Bowie`s lyric reprises the changed situation between humans and animal men after 6 February, 1918, because humans were enfranchsied and, although the animal men would lean on the humans, it wouldn`t be so easy for them to implement their pogroms against her without more devastating weapons` technologies, which surely would reveal their true purpose to the discerning human mind. David Bowie`s influence was extensive and the feminine made up image of eye-shadow and rouge was the obvious and most effective ploy adopted by British band, Sweet, as the `glam rock` movement begun by Bowie gained impetus:
`Hiawatha didn`t bother too much. `Bout Minnie Ha Ha and her tender touch. `Til she took him to the silver stream. There she whispered words like he`d never heard that made him all shudder inside and she said, `"Wig wam bam gonna make you my man."`4
Although `glam rock` in the United Kingdom was perceived as a feminizing process, in the United States of America it was more generally conceived by bands like Kiss (1973-) as an excuse to put their Hiawathas into `war paint` during the Vietnam war (1955-75). The perception from `across the pond` in Europe was the American establishment didn`t want what British pop culture was exporting in the 1960s, but US bands were very good at mimicking and adapting to what was often perceived as the `subversive material` of the `love culture` of the 1970s in order to confuse sex with violence and foist war upon the human race:
`No place for hidin' baby. No place to go. You pull the trigger of my love gun, (love gun), love gun.`5
Jesus Christ was `the first of woman`s seed`, born from the Virgin Mary, his mother, and crucified as a dissident because of his ideas of woman as the host womb of man as the guest of her human species betrayed by the `serpent`s seed` of men like Judas. From the perspective of men, Jesus Christ and his mother, the Virgin Mary, represent the Kore relationship described in the myth of the ancient Greek goddesses, Demeter-Perspehone, which consanguinity is difficult to put sunder; especially if daughters have their own penis` `seed`. Demeter is the mother-goddess of the harvest season, while Persephone is her daughter sojourning beneath the Earth until springtime. The metaphor is of resurrection of the `woman`s seed` but men are the `serpent`s seed` and don`t want her to resurrect because they`d lose the host womb of their enslaving parasitism.
Translated from femininzing to war painting, British `glam rock` is an instance of how the United States Americanizes pop music imports from the old country to maintain chauvinism. In Vitenam the Khmer Rouge were subhuman `gooks` to the US Marine Corps, while the Vietnamese women weren`t even though worthy of considering as the US` plan to defoliate Indo-China with `Agent Orange` was approved by the Richard Nixon administration which had already authorized indiscriminate and wholesale `carpet bombing` of the region to assure the USA`s total victory. The British glam rock` picture of the human species as the women, but the USA hasn`t made the defence of the `woman`s seed` its prime area of concern as the self-acknowledged `global policeman` of the 21st century. The preceding wars were perceived as a titanic struggle between male tigers, whereas the United States` own symbol of `Liberty`, the statue of the woman bearing freedom`s torch in New York harbour, is the more important endeavour of the human `futanarian` woman with her own penis` `seed` to lift her skirts. While the American Marine Corps paid lip service to the idea of freedom, the Vietnamese women were already labelled as subhuman `gooks` because they were women, that is, the objectives of the United States weren`t specifically identified by President Nixon and the Whitehouse administration as the liberation of the human woman; although many American servicemen obtained war brides as her `liberators`:
`I feel beneath the white there is a redskin suffering from centuries of taming ...`6
When Stuart Goddard began the New Romantic wave of pop music in the 1980s with the African drums of the `Burundi beat` and wearing `war paint` with his band, Adam And The Ants (1977-82), like the North American Plains` Indians on his cheeks, which they`d worn when fighting those settlers from Europe (1642-) whose descendants would be American citizens, Britain had come around to the American way of thinking. The Falklands War would begin on Friday, 2nd April, 1982 against dictator, Galtieri, and his junta`s decision to occupy the tiny South American islands, which British Prime Minister, Margaret Thatcher, took exception to and sent troops halfway across the globe to evict Argentine forces, which was satisfactorily accomplished by 14 June. Adam Ant`s war painting was identical to the pose adopted by the American band Kiss during the US` involvement in the Indo-China war, because Margaret Thatcher was the only woman considered. If the video performances of the various Adam And The Ants singles had featured a woman with a fifteen inch penis instead of Adam Ant its doubtful The Falklands War would have occurred, because the spreading of `woman` seed` and her brains` power globally would have made the planet less warlike, which was the true significance of Margaret Thatcher`s refusal to relinquish the islands out of her hands rather than the Imperial image of the Iron Lady brandishing exocet missiles in South American waters:
`Silk or leather or a feather. Respect yourself and all of those around you. Prince charming, prince charming. Ridicule is nothing to be scared of.`7
Of course, if women are ridiculed by men for having their own penis` `seed`, public fear is the result and something to be concerned over for young girls who are the future `futanarian` human race. `Randy Andy` was the prince charming of The Falklands War from Queen Elizabeth II`s House of Windsor, `Don`t you ever stop being dandy showing me you`re handsome.` Her predecessor, George III, had attempted to militarily subdue the North American colonies, which rebelled and declared independence in 1776. Adam Ant`s war paint for The Falklands campaign presented himself as supporting Prince Andrew, while his `indian lover` reputation gained from the song, `Kings Of The Wild Frontier`, linked the defence of the South American islands to the American Plains` Indians supplanting by European settlers upon their illegally colonized continent. The English Royals were attempting to save face beneath the war paint of American indians, but it was too late for the squaw:
`Running Bear never cared enough about Little White Dove and her tender love `til she took him to the silver stream. She told him all about what he couldn`t live without and made him all weak inside and she said, "Wig wam bam gonna make you my man."`
Most epoch changing eras are preceded by a resurgence of the female spirit because God`s human species of `futanarian` woman with her own penis` `seed` seeks to be liberated while the `serpent`s seed` of men resists repentance for their enslaving of the human spirit, which means that deliberate signs of an attempt to prevent the liberation of woman`s human soul and spirit are to be looked for if we`re not blinded so much as to be stupefied by the enslavers. The crashing of `civil` airplanes into the World Trade Centre on September 11, 2001, was an attempt to reestablish global `rough trade` by homosexuality, which doesn`t want `woman`s seed` but `serpent`s seed` to prevail, and consequently the diversion of attention towards the bravery of the male parasite and away from its betraying of her human nature from the host womb of its viral emergence is a sign of woman`s subjection:
`Men cursed the God of heaven for their pains and their sores but refused to repent of what they had done.` (Rev: 16. 11)
Men`s history is of parasitism and virality where the parasite emerges from the host womb to spread the virus of its contagiousness, which in the 20th century was reified as the `killer disease` of HIV/AIDS described as the `blood plague` in the prophetic Bible chapter, Revelation, and represented in its simplest historical form by the Greek institution of homosexual enslavement of women`s host wombs for the spreading of pederasty`s contagion of war from city to city. The name for computer viruses of the 20th century was `Trojan horse` because the Greeks employed the treacherous device of the huge hollow wooden horse with soldiers concealed inside against the city of Troy. When the Trojans took the `gift` within the walls of the city, the Greeks emerged to enslave the host wombs of the women to spread their virus further, that is, women`s brain damaging disease. The computer `geeks` are the successors of the Greeks, because the computer is the censored and media blacked out brains of the human `futanarian` woman with her own `seed`, soul and spirit, that the `serpent`s seed` don`t want to develop high levels of technology, or she`d leave in starships for a better place to live:
`... the man at the back said everyone attack and it turned into a ballroom blitz, and the girl in the corner said boy, I wanna warn ya, it'll turn into a ballroom blitz: ballroom blitz.`8
The perception of the `glam rock` band, Sweet, in `Ballroom Blitz` is that discos and nightlife are battlegrounds, where the human woman is prey to the male animal that doesn`t want her to meet herselves with her own `futanarian` human penis` semen for the purpose of sexually reproducing her own brainpower, so the activities are made as dangerous as possible to disguise the men`s already having pogromed her species virtually into non-existence. Defiant in lip-stick, lip-gloss and make-up, Sweet represented the assumption of the female`s importance for the Earth, which the Catholic Church had made doctrine in the Assumption of the Virgin (1950), and some boys` refusal to reject the feminine for mysogynist chauvinism`s pose of war as protection for the human race while actively engaged in pogroming the human `seed` of woman in a systematic series of conflicts begun at sporadic intervals worldwide with the sole aim of implementing `ethnic cleansing` against `woman`s seed` by the `serpent`s seed` of men:
`No one's gonna tell me what's wrong or what's right, or tell me who to eat with sleep with or that I've won the big fight big fight.`9
Even if the `woman`s seed` wins the `big fight`, as Adam Ant sings in `Goody Two Shoes`, the `serpent`s seed` aim to keep her in occlusion so she won`t know, which is what censorship of pictorial representations of `futanarian` woman with her own penis` `seed` is, that is, paucity of information for dissemination; disinformation about women`s true nature by means of stereotypical schizophrenia-inducing propoganada against `lesbian` tendencies, when women`s sexual reproductions together are normal; pornographic lies about woman`s natural sexual activity masquerading as truth; media blackouts on `futanarian` woman`s image and her penis` semen`s reproductive and sexual capacity, and early death; for example, homosexuality`s `gay` plague of HIV/AIDS` `killer disease` , which keeps woman in fearful faithfulness to her parasite and precludes her developing her own brains` power technologically to facilitate her escape from the brain damage inflicting itself upon her from her own host womb and fulfil God`s promise to her `seed` amongst the planets and stars of heaven:
`Stand and deliver your money or your life! Try and use a mirror; no bullet or a knife! And even though you fool your soul, your conscience will be mine; all mine.`10
Vampires can`t be seen in the mirror, according to legend, because they`re parasites or `serpent`s seed` that don`t want you to know you live in occlusion while they`re drinking your blood, both literally and metaphorically, as the enemies and enslavers of the human race. Legendarily vampires can`t be killed by a `bullet or a knife`, and one reason is that they can`t be seen. Adam Ant`s `Stand and Deliver` posits that humans use mirrors, because they`re the remnants of the `futanarian` human species of `woman`s seed` with her own penis` semen that will again find herself desirable upon reflection. The vampires are the men who know and accept they`re parasites, and don`t want the others to see that they are too. Adam Ant`s advice in `Stand And Deliver` is to keep looking in the mirror, because the feminine soul can`t be fooled. Even though the vampire wants to kill humanity`s `conscience` in the sleep of death and occlusion, the woman will look back at you if you accept her spirit:
`True myth may serve for thousands of years as an inexhaustible source of intellectual speculation, religious joy, ethical inquiry, and artistic renewal. The real mystery is not destroyed by reason. The fake one is. You look at it and it vanishes. You look at the Blond Hero - really look - and he turns into a gerbil.`11
In the story of the Greek demi-god Hercules, the hero slays the female Lernean Hydra,12 who has many heads and is protecting the Danaids, who are women that do not wish to marry. Hercules` mother is Danae so, in symbolic terms, he removes the defences of the Earth, that is, the mother of the human species, in order to breed with her. The Danaids don`t want to be bred with the non-human Hercules, because they represent the desire of the `futanarian` woman with her own penis` `seed` to sexually reproduce with her own selves and have her own brains` power, which would be contaminated and brain damaged if the parasite, Hercules, were to enslave her female host wombs for the purpose of spreading his virality. Because the Danaid women are `futanarian` women with their own penis` semen and capacity for reproduction with each other, Hercules` famed club represents the culling weapon of the male employed against the sealed hymen of the woman with her own `seed` to ensure the ascendancy of the male `Greek` club and spread its virus of homosexual pederasty and contagion, war, against `woman`s seed`.
The `glam rock` era of men looking like women represented the camouflaged bestiality of the male`s feigning feminine traits in order to facilitate an easy cull of the human `futanarian` seed and spirit to reinforce its enslaving of her, or as a `sign` from God that the female soul of humankind would not be subjugated forever. Although many of the `glam rock` spokespersons of their generation were genuine and serious, the unscrupulous used the idea of feminized man to establish `lesbianism` as homosexuality, whereas women whose normal sexual development is `futanarian`, that is, towards each other, because they have their own penis` `seed` and basis for socio-economic independence, are defined schizophrenically as `abnormal` when the perception is that women are homosexual for their natural feelings. By defining the human species of woman as homosexual, the `serpent`s seed` of men have sundered humanity from her own species` `seed` and the `glam rock` era in pop music was turned to the advantage of the evil by condeming the androgynous look deployed by the musicians as `gay`. What that meant was that the idea of the woman with her own penis` `seed` was reviled so she couldn`t appear on stage as a performer in her own right as female glam rockers like Suzi Quatro did. Suzy `Q` once said she`s `unzip` her leather jacket and reveal herself `topless` if she got to the top in the June 1973 hit parade with `Can The Can`,13 whereas it`d have been more feminist if she`d been depicted on the cover of her single with her hand around her penis jerking off:
`Put your man in the can, honey, get him while you can.`14
The lyric is a `futanarian` statement about `woman`s seed` because `the can` is vernacular in the United States of America for both `lavatory bowl` and `prison`,15 although Suzy was a British based American. The lyric masquerades as feminist polemic, but even that stance wasn`t upheld by the singer herself, who was a woman determinedly married to a man, Len Tuckey, playing guitar in her band. Though the lyric remains strongly female, written by the songwriting team, Mike Chapman and Nicky Chinn, as is often the case, it isn`t a true reflection of the artist`s own thoughts, which suggests Chapman-Chinn were more liberated in their thinking than the performer of `Can The Can` and that these men were more perspicacious in their observation that women were reproductively equipped to dispose of men one way or another in `the can`:
`Mystery, Babylon the great, mother of harlots and of the abominations of the Earth.` (Rev: 17. 5)
In Hollywood, Babylon, the notion of getting something in `the can` is a film recording. From 1930 the movie studio `production code` was used to prevent women from being seen with their foot off the floor in bedroom scenes,16 which was symptomatic of men`s design to prevent the `futanarian` woman with her own penis` `seed` from becoming visible in pictures because, if the movie industry acknowledged women as sexually reproductive of each other, men would face `screen redundancy`. Putting a man in `the can` in Hollywood, Babylon, terms is recording him on film, which is what homosexuality is; if women`s `seed` ought to have the picture to herself. Putting `woman`s seed` in `the can` is what men do as `snuff` movie entertainment. Either in reality, or fantastically, in movies such as Sarah Michelle Gellar`s Scream 2 (1997), the continuing movie franchise, in which a killer with a knife stalks young women as the `hero` of his adoring male fans in the cinema audience. Suzy Q`s lyric is feminist in the sense that the man is the meat in `the can`, because the woman is wise to his modus operandi as a `snuff` movie maker in World War One, for example, and its subsequent Hollywood, Babylon franchises, and so `Can The Can` is advice not to let the man escape from the sewer once he`s `canned`.
1 Levy-Bruhl, Lucien `Les fonctions mentales dans les sociétés inférieures` (1910), translated as How Natives Think (1926).
2 Bowie, David `Changes` from Hunky Dory, 1972.
3 Bowie `Suffragette City` from Changesonebowie, 1976.
4 Chapman, Michael Donald and Nicholas Barry Chinn `Wig Wam Bam`, Sweet from the album The Sweet, 1974.
5 Criss, Peter Kiss `Love Gun` from Love Gun, July 31, 1977.
6 Ant, Adam and Marco Peroni, Adam And The Ants, `Kings Of The WIld Frontier` from Kings Of The Wild Frontier, 1980.
7 Ant, Adam and Marco Peroni `Prince Charming` from Prince Charming, 1981.
8 Chapman and Chinn `Ballroom Blitz`, Sweet from the album The Sweet, 1974.
9 Ant, Adam and Marco Peroni `Goody Two Shoes` from Adam Ant Friend Or Foe, 1982.
10 Ant, Adam and Marco Peroni `Stand And Deliver` from Prince Charming, 1981.
11 Le Guin, Ursula K. `Myth and Archetype in Science Fiction`, 1976.
12 Frazer, J. G (transl.) Apollodorus The Library, 2.5.2.
13 Quatro, Suzi Unzipped, London, Hodder & Stoughton, 2008.
14 Chapman, Mike and Nicky Chinn `Can The Can` from the Suzy Quatro album Can The Can, 1973.
16 The Production Code Of The Motion Picture Industry, Sex (II) Seduction or rape (a) These should never be more than suggested, and then only when essential for the plot. They must never be shown by explicit method.