King Kong and Babylon
King Kong loved his woman, but Fay Wray was too small for him to have sex with. In Hollywood, the movie King King (1933) was known as `The Monkey Picture`, which is interesting when we consider that many scientists believe AIDS originated in monkeys. In the film a giant ape brought from Africa escapes from his circus cage in New York and climbs to the top of the Empire State building.
Hollywood is called the `Babylon of the West` because, in the Hollywood `Dream Factory`, the gay play games, that is, 9/11 is a `monkey picture` about AIDS. The terrorists who eluded protocols by being `civil` functioned as a virus. They were airAIDS representing the gay plague aims.
The `circus` is a euphemism in spy circles for eluding detection, and for detecting those who try to elude it. King Kong breaks free because he`s disturbed by Fay Wray`s having to face the blinding flashbulbs of photographers` cameras. As long as he can see her, he`s happy in captivity but, if she`s blind she won`t be able to see, and so he ascends the world`s tallest building so she can see him, and he`ll see her.
Tourists go to the top of the Empire State building to see New York below. However, 9/11`s terrorists bought tickets unperceived by the spy `circus`, and weren`t seen until their planes demolished the World Trade Centre. Interestingly, `yellow monkeys` is how the Japanese were described who, similarly unperceived, launched a `surprise attack` upon the US fleet at Pearl Harbour in 1941, which also featured suicide planes. The solitary King Kong, therefore, denotes the epitome of civilization, that is, Man who wants Woman to see and see him, and doesn`t want her to be seen by other men (and doesn`t want to see them either), whereas the terrorists represent men who`re monkeys and signify the AIDS virus, which remains unseen and is suicide. Because you can only communicate it if you`re a murderer, and receive it only if you`re suicidal, unless you`re raped. 9/11 was a suicide rape in which the gay plague aims were to spread the virus of terrorism, which is why the attack on the Twin Towers may be understood in Hollywood terms as the gay play games.
The gay tell the viewer that they`re gay, and the viewers are programmed to understand that they`re watching because they`re also gay, which is where the gay plague aims begins, that is, men don`t show an erect penis in `A` or `B` list feature films because, if they did, women might show theirs. Because women have a penis of their own, and so are a species, men are a parasitical virus enslaving a host womb and, in Revelation, are depicted as incurable:
`Men gnawed their tongues in agony and cursed the God of heaven because of their pains and their sores, but they refused to repent of what they had done.` (Rev:16.10)
They`re incurable because they don`t want to be cured, that is, `repent`. The red dragon of Revelation that waits to devour the New Redeemer born to `the woman clothed with the sun and with the moon at her feet` has been associated with `Godless Communism`, which was how the Soviet Union was described before it collapsed economically, because of the USA`s cultural hegemony, that is, Communists preferred MacDonalds and overthrew the governments of Eastern Europe so they could eat faster. The red dragon of Revelation is the imago of the devourer that, fire breathing, consumes as fast as the USA`s atomic bombs over Nagasaki and Hiroshima at the close of WWII. Consequently, MacDonalds is analogous to the red dragon of Revelation because it encourages consumption rather than preparation.
A baby takes nine months to emerge from the womb of a woman, whereas fertilization takes a few seconds from a man`s perspective. The woman represents preparation and, as the symbol of the red dragon of Revelation `signposts`, the man represents consumption because he doesn`t value the product or the producer (everything created by man comes from woman`s womb in the final analysis), and so men aren`t preparers, which is what woman is concerned with, nutritionally (breast milk), and developmentally (growth management).
The New Redeemer symbolizes the individual that isn`t preoccupied with consuming but is productive, nurturing and developmental, which is why the future woman of Revelation is `hidden` with `seed` of her own. She has her own penis, and so is self-contained as a species, rather than a self-perpetuating parasitical virus enslaving and devouring her `host` womb, which is what men are. In Revelation the New Redeemer is depicted as protecting the `hidden` woman until she`s ready to leave Earth for heaven where her `seed` prepares to fight against the evil `serpent`s seed`, that is, men, and have her victory rewarded by God`s creation of a new heaven and Earth for her to dwell in forever.
If the red dragon of Revelation is Communism, then the geopolitical influence of the Soviet Union was still being felt on 9/11. The Russian Federation would correspond to the `beast` of Revelation who`s head grew back, that is, Afghanistan before the Taliban was under the control of the Russians, and the terrorist attack on the World Trade Centre may therefore represent the red dragon`s refusal to accept the West`s triumph in the war for consumers. World Trade Centre Tower 1`s `mast` is described:
`The crown of 1 World Trade Center is the 408-foot antenna, which will consist of a mast and a communication platform ring. The mast will be protected by a one-of-a-kind fiberglass panel system that will resist wind loading, and create a protected maintenance area. At the base of the mast, a tetrahedral lattice ring will support media transmission equipment and brace eight radio-frequency transparent Kevlar guy cables that support the mast. When lit at night, a beacon at the top will send out a horizontal light beam that can be seen from miles away.`
World Trade Centre 1 is a `com` Tower and, from the perspective of the Russian Cold War programmers of the red dragon`s `Comrades`, 9/11 is `comma (,) AIDS`, that is, communications between `Comrades`, for the purpose of terrorist airAIDS, is the `virus in the blood` from the devouring imago of the fire breathing red dragon after the `full stop` to the Cold War.
New York`s `Big Apple` suggests an attack on Christianity, that is, upon the wisdom of Eve distilled from the apple of `the tree of the knowledge of good and evil` since the biblical Paradise, and upon Christ`s teaching `God`s love` in the New Testament 2000 years before. Effectively, Towers I and II represent the voice of the West issuing from Eve`s and Adam`s `apple`, that is, the Twin Towers of the World Trade Centre were the `voice boxes` of the USA, concerned with `speaking` rather than devouring before 9/11.
In Hollywood terms, Osama Ben Ladan represents King Kong, that is, `the gay [ape] plague aims`, where `Ben` is the `big monkey picture` in which the terrorists are `AIDS monkeys` infecting the West in true Hollywood James Cagney style from 1949`s White Heat:
`...cackling, psychotically-mad...[he] staggers around on the top of the platform as more bullets tear into him. Now out of his mind, he deliberately empties his pistol into the giant gas-tanks of the chemical plant to ignite them and immolate himself. The men below run from the flaming area, fearing for their lives. And then...[he] hysterically lifts his face skyward, holds out both arms, and cries out to his dead mother...`1
Britney Spears` Lucky presents her as `Ma`:
`Lost in an image, in a dream.
But there's no one there to wake her up,
And the world is spinning,
And she keeps on winning.
But tell me what happens when it stops?`
The allusion is to the musical Stop The World I Want To Get Off, which is about a man who marries, and has affairs because he wants to see through the eyes of someone other than his wife. As `Ma`, in Lucky, Britney Spears is Top Of The World, and not Cagney, whose death in White Heat is reminiscent of King Kong`s on the Empire State building, who also wanted to be seen, and the deaths of the Twin Towers` terrorists of 9/11, who wanted to be seen on CNN, are also reminiscent of King Kong`s self-immolation atop the world`s tallest building.
Britney wants to be seen, and to see herself through the eyes of others. In Lucky, Britney observes her selves from superior and inferior positions because, in the developmental psychology of Carl Gustav Jung (1875-1961), there are four functions of consciousness; `Thinking`, `Sensation`, `Feeling`, and `Intuition`. In Lucky, the Hollywood-style `Extra` Britneys represent the superior, auxiliary, ancillary, and inferior functions, while she`s the ego and `star` that has successfully differentiated, or incorporated, them into her conscious perception, so that they can be seen. In Buddhism, differentiation of eye and ear, which are associated with the `Thinking` and `Sensation` functions, results in the ability to see and hear those who live in the world of the spirit, and so in Lucky Britney Spears represents beauty and music as the constellative factors most attuned to the differentiation of the functions associated with eye and ear.
Because `Thinking` is associated with the `eye`, Britney reflects upon her image in the mirror, and `Sensation`, which is associated with the ear, are the lyrics sung in turn by at least four different selves representing the functions. `Feeling` and `Intuition` are indicated by the flower arrangements, because `Intuition` is associated with `smell`, and `Feeling` is associated with care for the flowers. Herself in black at the video`s close receiving the Hollywood Oscar for Lucky represents the shadow that, in Jungian psychology, is associated with the inferior function, the differentiation of which is necessary for development and success. The fact that the black clad Britney metamorphs into her `Star` suggests that her Oscar symbolizes the aurum philosophicorum of alchemy, which is the `philosopher`s gold`, and here may be a metaphor for `screen` immortality, whereas the philosopher`s believed it to be the distilled virtue of their work that arose naturally and spontaneously from within from their concentrated study of individuational archetypal symbols that occurred in dreams and imagination. Alchemy`s central maxim is `one becomes two, two becomes three, and out of the third comes one as the fourth`, which is a metaphor for differentiation of the four functions, and self-realization often symbolized by a star. However, there are many such symbols in the world`s religions, and the painting of the elephant in her boudoir in Lucky also represents the beginnings of self-realization within the Buddhist philosophical system at the Muladahra chakra which is situated at the base of the spine and, symbolized by the elephant, is usually associated with escape from the devouring parental imagos through successful individual development.
Britney`s red vested selves echo her red character from Oops I Did It Again, who fits the description of `Poddy` from the science fiction story Podkayne Of Mars by American Grand Master Robert A. Heinlein (1907-88), and `Star` is the bride of Oscar Gordon in Heinlein`s Glory Road, which is the story of the `Egg of the Phoenix` and relates to Oops I Did It Again where the USA`s first unmanned mission to Mars was by means of the `Phoenix` or `Mars lander`. The Phoenix is a symbol of resurrection and the `Egg` contains the memories of her predecessors, which she`s to receive cybernetically over a period of decades. Oscar is the hero figure that helps her to find the `Egg`, and so the Oscar in Lucky signifies her quest to become `the elephant that never forgets`, that is, when the elephant at the base of the chakra ladder awakens in `godhead` at the lotus chakra above her head, she`ll have the racial memories of her ancestry:
`Despite her youthful appearance, she is the mother of dozens of children, and has undergone special medical treatments that extend her life much longer than usual.`2
Britney`s avatars are her daughters in terms of the meaning of Lucky, and so she has the role of educator. The archetypal allusion is to the idea of the `Great Mother` who`s the epitome of wisdom because she`s the Resurrection of her previously incarnated selves. In Buddhism reincarnation is death and rebirth, and the mistakes or karma of lives lived before are atoned for. Christianity`s Jesus offers Redemption, which is Resurrection through acceptance of the Holy Spirit or Paraclete, that is, the teachings and guidance of `God`s spirit` over the soul. According to the New Testament of the Bible the Paraclete effectively emerged from the side of Jesus when pierced by the spear of Longinus after his crucifixion and death. In biblical terms the emergence of the Paraclete is prefigured in the emerging of Eve from the side of Adam, and so the Paraclete is often referred to as the `Second Eve`, but older, wiser, and more spiritual: because woman is the `guide, helpmeet, teacher, and comforter` of the soul. Acceptance of the Paraclete, according to Jesus, results not in reincarnation, but Resurrection, Redemption, and Ascension, which is what the Paraclete prepares the soul for. That`s why Britney Spears has the role of educator in Lucky, and why there are allusions to Star`s previous lives in Glory Road, and the Muladhara chakra of the `elephant that never forgets`, which is primarily associated with family and children, because the Paraclete, as Britney`s Lucky Star, is the archetype of the wise woman who`ll receive the wisdom of her predecessors, because she can accept it, and can transmit to her daughters what she already knows.
Britney`s Top Of The World reference to Cagney`s `Ma` in Lucky is probably an allusion to Ma Baker, a pop single by Boney M, which prefigures her own lyrics in Criminal:
`Ma Ma Ma Ma, Ma Baker, she taught her four sons.
Ma Ma Ma Ma, Ma Baker, to handle their guns.`
Britney`s Lucky recognizes Hollywood`s self-destructive `programming` while Britney`s Criminal lyrics embrace Cagney`s role in White Heat:
`...mama I`m in love with a criminal.
He is a villain by the devil's law
He is a killer just for fun, fun, fun, fun.`
Announcing her bisexuality, Britney embraced lesbian affairs, which echoes the aim of the protagonist of Stop The World I Want To Get Off, who wants to see more of the world through `other eyes`. However, bisexuality introduces the element of homosexuality, which is anal sex with men that isn`t designed to be productive of anything other than sterility, and that`s inviting the devouring imago to take hold of your mind. In the developmental school of psychology founded by Carl Gustav Jung (1875-1961) archetypes are posited that function as developmental ideograms or figures that appear in unconscious dream imagery or conscious imagination. One of the more common ideograms is the `self-devouring, self-begetting ourobouros serpent`, which appeared in the mind of one scientist as a clue to the structure of the benzene molecule, and is symbolic of petrol for a car. Another figure is that of the hero, and so the heroic figure of 20th century consumption is the car-driving devouring imago, which suggests that the hero is not an archetype but that which Revelation describes as the `beast` whose image is worshipped:
`Then I saw a second beast, coming out of the earth. It had two horns like a lamb, but it spoke like a dragon. It exercised all the authority of the first beast on its behalf, and made the earth and its inhabitants worship the first beast, whose fatal wound had been healed. And it performed great signs, even causing fire to come down from heaven to the earth in full view of the people. Because of the signs it was given power to perform on behalf of the first beast, it deceived the inhabitants of the earth. It ordered them to set up and image in honor of the beast who was wounded by the sword and yet lived. The second beast was given power to give breath to the image of the first beast, so that the image could speak and cause all who refused to worship the image to be killed. (Rev: 12.16)
In simple terms, the first `beast` is the devouring imago of the 20th century, which includes the devourers Kaiser Wilhelm I, Josef Stalin, Adolf Hitler, and Saddam Hussein. The 21st century would have begun peacefully but for 9/11, which is the revival of the wounded `beast` of war. In biblical terms, fire comes down onto the `Big Apple` of the Earth to announce the beast`s intention of devouring the USA. The worshipped image of the `beast` is Hollywood`s programme for the devouring imago which, appearing as heroic in White Heat, King Kong, and other Hollywood movies, prepared for its worship in the 21st century with 9/11. Moreover, because the devouring imago is a psychologem which is constellated in dreams and the imagination as if it were an archetypal hero, it `speaks` to the mind:
`...the image could speak and cause all who refused to worship the image to be killed.`
Following Cagney`s self-immolation in White Heat, flames are extinguished by giant fire hoses that prefigure the statue of the New York fireman from 9/11. The imagery in White Heat is symbolic onanism. Onan was the figure from the Bible who was condemned by God for favouring masturbation rather than the fertilizing of women. He`s described as a despiser of his own `seed`, and so the giant hoses of White Heat are a masturbatory worship of the imago of Cagney the devourer. The `programme` for 9/11, whether devised in Hollywood or the Russian Federation, was the masturbatory worship of the devouring imago of Osama Ben Ladan.
Another worshipped devouring imago was deposed Colonel Gaddafi of Libya, whose terrorists claimed responsibility for the exploding airliner over Lockerbie in Scotland. Although ancient Babylon was to be found in Iraq in 4000 BC, Hollywood is often termed Babylon because it`s a programmer for the devouring imago, which had been defining itself in the Middle East since 1979 when Saddam Hussein became President of Iraq.
As Cagney dies, THE END zooms out from the center of the screen. It`s Hollywood`s Revelation `programme` for the `Last days`. In choosing Top Of The World (Ma) as her `signifier` in Lucky, Britney Spears recognizes White Heat`s appeal to the movie-going consumer`s imago of the devourer, and so Lucky is in danger of becoming a capitalist Lacky (American pronunciation) if she accepts the devouring imago. The biblical antidote is the woman of Revelation who`s child awaits the devouring red dragon. It cannot be devoured because it`s the New Redeemer that protects her, which means that good works save. If Britney Spears can avoid becoming a self-devourer, in the sense of suicidal, any works that she produces are redemptive.
The epitome of evil works is, of course, the `snuff` movie in which people are filmed being murdered, which is what the terrorists and CNN represented on 9/11. Miley Cyrus` Can`t Be Tamed looks innocuous enough from the point of view of those who`re concerned with the constellating of the devouring imago within the mind. However, it begins with a stereotypical British Oxbridge Communist traitor from the Soviet era who calmly explains that she`s a captured `museum piece`:
`Ladies and gentlemen. Welcome to the museum. Tonight we are proud to reveal our greatest exhibit yet. A creature so rare it was believed to be extinct. Well tonight we shall see. In captivity for the first time, the rarest creature on Earth. Ladies and gentlemen! Avis Cyrus!`
Obviously, it`s the KGB (cage, Great Britain), and they immediately lament their failure to make her extinct in a previous pogrom, which suggests that the worldwide constellating of the devouring imago is an international Communist conspiracy to destroy capitalism from within. In White Heat Cagney`s gangster epitomizes the 1950s era of `conspicuous consumption`, which was prefigured by the atomic bombs that `consumed` Nagasaki and Hiroshima in 1944. By the late 80s the USA had given Saddam Hussein the world`s 3rd largest army, and then used theirs, the 1st largest army in the word, to waste it all in further `binge consumption`.
Britney`s Top Of The World motif in Lucky announces her programmer`s devouring imago of self-immolation, and months later she shaved her head, declaring herself the Antichrist, after leaving the hairdresser`s. Saddam Hussein, `top of the world` in Iraq, announced his own claim to be the `beast` of Revelation when the Taliban attacked the Twin Towers. All he had to do was express sympathy for the American people to `convert` from terrorism, and the USA would have assisted his rehabilitation; even with the Kurds who, according to reports, he`d gassed with poison.
The devouring imago signifies a sterility that doesn`t want life, and so James Cagney in White Heat is the prototypical homosexual. He loves his mother, but isn`t sexual: `Made it, Ma! Top of the world!` The history of Hollywood is of heroic imago figures that aren`t sexual, and so devote their time to homosexual devouring imago `action`, which consists of substituting murder and destruction for showing a woman their penis. 21st century Hollywood is either `spoof snuff` in movies like Scarey Movie, and Scream, or `straight snuff`, like The Ring, or Saw. 9/11 was a typical Hollywood homosexual `blockbuster` in which there definitely wasn`t going to be a visibly erect penis.
The usual claim is that the penis isn`t shown in mainstream movies, television, etc., because it`s immoral. However, if the erect male penis were to be seen, women would be showing theirs, and they have them. Consequently, the reason that erections are taboo in mainstream culture is to prevent a widespread awareness and cultural input from women`s penis. Moreover, because women have their own penis as futanar they constitute a species` alternative to reproduction with men, that is, women don`t need men and can continue as a species without them.
Holywood is `Babylon` because it makes money by focusing on the constellation of a devouring imago that is primarily homosexual in its message, that is, `blockbusters` featuring the heroic imago injected into grandiose scenes of devastation such as Sink The Bismark; a WWII `true story` of sea battles and loss of life on a huge, unprecedented scale; War Of The Worlds; a tale of aliens destroying most of the Earth; Towering Inferno, a 9/11 prefiguration in which the protagonist is a fireman attempting to prevent an immense tower block from burning to the ground; Independence Day, a scifi story of how the Earth gains independence after much of it is destroyed by aliens, Titanic; in which an ocean liner sinks on its maiden voyage - and so on. Similar scenarios of terror inspired by the devouring imago of homosexuality are Silence Of The Lambs; which actually features a cannibal, Payback; in which the hero is tortured, and responds as a successful murderer; Terminator, in which the anti-hero imago is a killer and more attractive than the human woman whose child he`s going to murder; Scream, in which the entertainment consists of watching young women being stalked and murdered; The Ring, in which anyone who watches a particularly strange video is murdered, and so on.
The result of the constellating of the devouring imago of homosexuality in Hollywood`s `Babylon of the West` was the apocalyptic 9/11. The absence of the woman`s penis in Hollywood in favour of movies in which violence is preferable to the male penis` erect visibility would seem to prove that the demolishing of the `Big Apple` skyline`s most prominent erection is a direct concomitant of men`s fear of woman`s penis. One of the main gripes of the Taliban in Afghanistan was that women were receiving an education and there were many reports of students being executed for learning:
`Female students, whom the Taliban denounces as un-Islamic, are at greatest risk. Their teachers are kidnapped and killed. Their classrooms are torched. Their parents are threatened.`3
Clearly the main fear was that they might discover that they were a species of their own by gaining access to https://www.futanaria.com or similar websites. 9/11 suggests that It`s either suicide for mankind, or accept woman as a species with her own penis. Men would destroy the Earth rather than allow women to be seen to have an erection, and they`ve been programming us for generations with their devouring imago of destruction with all of the media technology at their disposal.
Assailing the world`s tallest structure, Osama Ben Ladan`s terrorists were `the gay plague` as the constellated virus of the homosexual`s devouring imago, and a Hollywood programmer`s King Kong; `thug ape plague` gaming at the CPUs of the Twin Towers in sterile reinforcement of the `gay plague aim` of devouring God`s producer`s productions, and maintain their enslavement of women as `host` wombs. The imagery is of the Greek horse out of which Greek warriors emerged when the Trojans were `taken in` by the Greeks and, taking the Greek horse that contained Greek warriors within the walls of Troy, left themselves open to conquest by the Greeks.
The 9/11 planes that attacked the USA were `civil` before being hijacked and so the Americans were `taken in` by them. Greek culture at the time of Troy used women secondarily and practiced pederasty and homosexuality as the `norm` while women were for producing them. The Trojan war began because Paris took Helen, the most beautiful woman in the world, and the wife of the brother of the Greek King, Meneleaus, to Troy as his own. Consequently, the `towers of Ilium` fell because Paris loved Helen, which wasn`t `Greek`. Similarly, the Twin Towers of New York may be said to have fallen because homosexuals wanted to `practise their Greek`, rather than allow women to receive an education that might liberate them.
George W. Bush`s subsequent declaration of worldwide war (2003-) meant that the terrorists` `Greek horse` was successful. Whether the terrorist `AIDS monkeys` were unable to distinguish reality from Hollywood, and the World Trade Centre from Microsoft X-box `game platforms`, or they `intellectually` perceived themselves as AIDS-style computer viruses crashing the USA`s defence systems by avoiding `protocols` and, using the simple expedient of buying tickets and posing as tourists, hijacking `civil` aircraft to impolitely kill 4000+ people in simultaneous airAIDS on the USA`s White House, Pentagon, and World Trade Centre, they had reimposed the ancient Greeks` principle of enslavement and devourment of women as `host` wombs for their perpetuation as a homosexual virus of destruction.
In Revelation the AIDS virus is God`s euphemism for stupidity, which is the absence of God`s desire for procreation, and is represented as the wilful worship of the devouring imago of the `false hero` as the `beast` rather than simple acceptance of God`s woman as the image of God`s goodness: `...ugly and painful sores broke out on the people who had the mark of the beast and worshiped his image.` (Rev: 16.2) In Edenic terms, worship of the devouring imago has replaced wisdom, which is that the eating of Eve`s `apple` is symbolic, and the consuming of 4000+ lives on 9/11 isn`t. The Nazis similarly consumed Jews in Belsen and elsewhere in WWII in their infamous ovens, and God promises them unendurable eternal pain for having done so. Effectively, it`s the simple realization that apples are for eating, whereas human lives aren`t for being consumed. That`s why `hellfire` is described as consuming the evil, because consuming lives is what they do, and it`s the reason why the Bible describes evil men as `faggots`, because they like to consume people in ovens.
The word `faggot` is used of homosexuals, because such sterility is the absence of love for women, which is why witch burning requires many faggots, and women at the stake are often depicted as blatantly sexual, so that the devouring imago constellates in those who`re susceptible to implementing the imagery. Ancient Greek society didn`t use reproduction for anything other than the production of homosexual men, and the perpetuation of war, which results in such sterile scenarios as the defoliation of South East Asia (1955-75) by means of `Agent Orange` sprayed from USAF planes during the Vietnam War, and the genocidal pogroms of `Ethnic Cleansing` in the emerging states of the former Yugoslavia in the 1990s, where it was practised by predominant Muslim or Christian separatist communities and, in Sudan`s Dharfur (2003-11), black West African Muslims were the victims of a genocidal pogrom by richer, and more politically dominant, Muslim migrants from Arabia who wanted to keep power for their own ethnic group.
After the Japanese attacked Hawaii`s Pearl Harbour to disable the USA`s fleet in 1941`s `sneak attack`, featuring `Kamikaze pilots` flying Mitsubishi zero fighters as `suicide bombs`, Americans called the Japanese `yellow monkeys`, which is doubly significant in terms of the concentration camp scenarios where the devouring imago held sway as the 20th century`s consumer of lives. Scientists believe that AIDS derived from monkeys so, because AIDS is a degenerative disease, 9/11`s terrorists were King Kong`s `AIDS monkeys`, programmed by Hollywood`s penchant for disaster `blockbusters` to enter the USA and, eluding air defence system protocols, like a computer virus refusing to wear a `Trojan` condom when invited to the `Big Apple` of Eve`s Western Paradise, began the global spreading of their disease.
In the film King Kong USAF fighter planes attack the giant ape who falls from the summit of the Empire State building to his death, but on 9/11 the `little monkeys` were inside the planes that, effectively feigning to be safe, that is, wearing a condom, politely avoided air traffic control `protocols` by buying tickets to `play games` (plague aims) of hijacking `civil` planes, and penetrating the World Trade Centre. As a computer virus would `hack` CPU towers (gamers unable to perceive the distinction between CPU and WTC), before delivering airAIDS to ensure the certainty of their global `plague aim`. The implementation of constant surveillance for all peoples everywhere, and universal fear of murder and torture by `security` forces. Critical of how much milk Mary put on her cornflakes that morning, and suspicious of the amount of toothpaste she bought that afternoon, labelling her a suspicious character, so began the process of criminalization that would, ultimately, mean imprisonment for all who had the capacity to develop beyond the role of AIDS monkeys crashing planes into large buildings. Because they thought the USA`s role of `global policeman` meant that the USA was a PC and that, in demolishing the Twin Towers, they were a `machine code` virus to test the `X-box` software programme for Microsoft, perceived internationally by sane people as New York`s World Trade Centre.
The concept of `global surveillance` by the CIA, NSA, FBI, etc., means a behaviouralist approach in which everyone is watched. Such criminalizing is terrorism, and results in terror and victims, which was the relationship between the 9/11 plane `hijackers` and the World Trade Centre. The basic perception is that, because women have a penis, as futanar women do, they`re a species, whereas 9/11 suggests that male behaviour is that of the homosexual Greek with a `Trojan horse`. Their interest in Helen of Troy (a district of New York State) is the camouflage of buying tickets so that they`d be `taken in` by the Americans before hijacking the planes that appeared `civil`, that is, a `Trojan horse` for spreading their virus of terrorism, which a reading of Greek history, and its successors (Roman, British, Russian, and the USA`s), reveals is male behavior: they`re a parasitical virus functioning as a devouring imago, whereas woman is the species on the Earth.