A Transvestite Is A TV?

01/09/2016 19:22

A Transvestite Is A TV?


Transvestites either want acceptance of their being a woman; or to fool others` perception to inculcate a belief in transvestism. Although John Logie Baird invented the television machine in 1926, by the late 20th century that home entertainment system for receiving transmissions of recorded film and `live` events through a central transmitter often located in outer space was commonly described as `TV`, but though television isn`t automatically associated in the minds of viewers with transvestism, transvestites are also commonly described as Tee Vees. The first `TV` aerial was the wooden cross that Jesus Christ, the Jewish Messiah, was nailed to by the Romans during their occupation of Palestine. Jesus, born from his mother, the Virgin Mary, uncontaminated by male semen, was the picture that the Romans didn`t want. Accused of being a `dissident` against the Roman Empire, Jesus experienced Resurrection and Ascension to heaven, according to the New Testament of the Bible, which superseded the Old Testament of the law and history of the Jewish `chosen people`, that is, the Torah and Talmud, which vindicates his simple Christian teaching that superseded the Jews`: `Love your neighbor as you love yourself.` (Mk: 12. 31) Jesus` Ascension to heaven was the first aerial transmission of the `TV`, although his birth from the Virgin Mary, his mother, uncontaminated by male semen, suggests that he was futanarian `woman`s seed`, that is, he was transmitted by the `TV`, which is what men and women were to the Roman Empire. In the Old Testament of the Bible Eve is born from the side of Adam, that is, she`s created as the first woman from the rib of the first man, Adam, by God, which is sometimes interpreted as a product of masturbatory desire on the part of the man for a host womb to use for perpetuation of human `seed`, whereas futanarian women can self-fertilize. That suggests Adam was a futanarian woman and Eve was from her womb, that is, Adam is depicted as a wombless female, whereas the evidence suggests she was a penisful woman.

 Eve`s encounter with the serpent, Satan, transformed by God into a serpent for rejecting God`s plan that the human host be greater than the angelic, depicts the enslavement of the human host womb by an evil parasite, which is male. In the Revelation of Jesus` disciple John, written after Jesus` death, the `serpent` is depicted as having grown since the paradise of heaven on Earth, which was Eden, where Eve and Adam were tempted to `eat of the fruit of the tree of the knowledge of good and evil`, that is, enslaving death in memoryless ephemerality: `The dragon was wroth with the woman and went to make war on the remnant of her seed.` (Rev: 12. 17) Satan had told Eve and Adam: `You will be as gods.` (Gen: 3. 5) Because slavery to death and war is the power of Satan. God told Eve her `seed` would have `enmity` with the `serpent`s seed`, but her `seed` would have Redemption if Adam labored, although Eve would experience labor pain after they were expelled from Eden as their punishment for preferring death to the `tree of life`, which conferred immortality of memory. Permanent knowledge of how to operate and maintain those liberation conferring labor saving devices that would emerge from the brainpower sexually reproduced by uncontaminated humanity was the fruit of immortality that Eve and Adam had lost in acceptance of death in slavery to war as gods in Satanism. Because Eve and Adam were futanarian `woman`s seed`, that is, they were women, who could sexually reproduce with each other, the brainpower they needed to develop technologies to take them to colonize the planets and stars of heaven above, men and women, after Eve and Adam`s acceptance of parasitism upon the futanarian human species` host womb, were a Roman `TV`, that is, a single male brained creature wearing each others` clothes as a transvestite `TV`.



 During the Roman Empire`s occupation of Jesus` Palestine they were already the builders of huge amphitheaters in which viewers watched human kill each other. In parasitology a parasite that emerges from the host womb to kill the host is termed `parasitoid`, and so the death throes of the host species dying in the clutches of the viral alien is what was transmitted by the 20th century `TV` home theater. Science fiction writer, Robert A. Heinlein (1907-88), in his twelve juvenile novels written between 1947 and 1959 depicted the United States of America`s hope in a space program, which culminated in the landing of a man on the moon, Earth`s satellite, on July 21, 1969, UTC: 2. 56, Apollo 11 mission astronaut, Neil Armstrong: `One small step for a man, one giant leap for mankind.` In Heinlein`s Rocket Ship Galileo (1947), Dr Cargraves is a man leading a group of youths who discover Nazis on the moon planning to attack the Earth. The Nazis were the German National Socialist (Nazi) Party elected in 1933 and led by Adolf Hitler who proclaimed himself dictator after the fashion of Benito Mussolini, the Italian leader, who`d proclaimed himself dictator in Rome after the election of 1922. Hitler adopted the symbol of power of ancient Rome from Mussolini, the fasces, a bundle of wood with an axe in the center that represented Roman planners who`d build a hide behind which they`d plan an encampment and the Empire would spread. Hitler built home entertainment theaters, `concentration camps` inside which the `chosen people` of the Jews were killed and stacked like logs of wood before being incinerated, which was another `TV` transmission equivalent to the Romans` transmission of Jesus. The theater of war in which fascist Japan, Italy and Germany were engaged against their opponents for Empire was another `TV` transmission, but not home entertainment `TV` represented by the Nazi `death camps`.

 In Heinlein`s Rocket Ship Galileo Cargraves` youths destroy the Nazi base and represent hope in planetary exploration and colonization for the people of Earth, which necessarily means car graves, that is, the abandonment of the car for space. By Starship Troopers (1959) Heinlein`s spaceship pilot was Carmen Ibanez, a woman, whose role was dramatized by actress, Denise Richards, in the movie Starship Troopers (1997), and whose name, Carmen, represents the refusal of car men to let go of the reins of the chariot, that is, the wheel of karma. The term karma appears in the Vedas (1500 B.C.) of the Hindus living in the Indus Valley of India as meaning the problem associated with reincarnation, that is, the refusal of men`s car nations to let go of the reins and allow `woman`s seed` to escape, because men can`t sexually reproduce with each other, whereas women can, so women are the race that should run to colonize the planets amongst the stars of heaven above. Refusal to allow `woman`s seed` to produce something different to men`s `TV` is karma. Consequently, Carmen in Heinlein`s Starship Troopers, who is amongst a cadre of women spaceship pilots called `mothers`, drops her boy sons onto a male extrapolated version of what a woman`s universe would look like if she were left to breed unrestrictedly. Her `troopers` fall on the `bug world` of Klendathu as her boys sons and boys` owners, that is, poisons and poisonous (fathers), and exterminate the arachnoid indigenous inhabitants. The plot device is that the arachnid `bugs` attacked Earth destroying the city of Buenos Aires in Argentina, home of Juan Rico, who becomes platoon leader of `Rico`s Roughnecks` in the subsequent interstellar war. However, because women are a sexually reproductive eight limbed single into being owned by a womb parasite, she`s extrapolated as a spider to be exterminated, which is why Heinlein`s last juvenile, Starship Troopers, was rejected by publisher Scribner`s as `fascistoid` before it was published by Putnam`s. It depicts Nazi pogroming of `woman`s seed` extrapolated as spiders to encourage boys to hold onto the wheel of karma, as car men do, and Carmen perforce must, but without hope.

 On March 23, 1982, US President Ronald Reagan announced his `Strategic Defense Initiative` (SDI) for a `ground and space base missile system`, which was known as `star wars` after the movie Star Wars (1977) featuring an evil Empire`s building of a `Death Star` to orbit planets and kill them. Ronald `Ray Gun` Reagan`s idea of a `missile shield` to prevent intercontinental ballistic missiles (ICBMs) armed with nuclear warheads from destroying the Earth seemed cogent, but it was a women`s prison. In science fiction alien invaders are `bug-eyed monsters` (BEMs), that is, icy BEMs are what ICBMs are. The absence from the mass media of representations of `woman`s seed` suggests that Ray Gun`s `SDI` wasn`t a shield but a coffin lid. Or, rather, the lid of a `snuff` video box, which is a recording of a killing that has occurred for the replaying and entertainment of the parasitoid viewer who may`ve killed the victim originally and is representationally comprehensible as reincarnation through men`s refusing to relinquish their parasitical hold on the wheel of the karma of women`s species` host womb. As a `TV` transmitter, the machine of television transmits the dying throes of the species of `woman`s seed`, which is what men breed her for. The term `snuff` comes from the way in which a candle flame, signifying life, is extinguished, for example, in the lyric to pop singer Elton John`s `Candle In The Wind` (1973), which was used as a lament for the 1997 death of Princess `Di`: ``Your candle burned out long before your legend ever did.`1 According to some reports, the death of England`s Diana in a car crash in the Pont D`Alma tunnel in Paris was mysterious, and the connection between Reagan`s SDI and Princess Di is. Diana was a United Nations` (UN) ambassadress who worked to draw attention to the difficulties posed by anti-personnel mines remaining after a battle and people returned to live there. The term `mine` is a euphemism for possession, and Diana divorced England`s future king, Charles, which meant at the very least a battle for possession of the children`s affection, that is, William and Henry`s. As an analogy of women`s struggle to escape men`s possessing of their host wombs and children, Di`s campaign against mine warfare was paradigmatic, that is, as an aspect of Reagan`s SDI. She didn`t want the coffin of the `TV` snuff video for her `seed`, because grown boys are taught Starship Troopers, that is, the role of the alien parasitoid invader gloating over the extinction of the human futanarian race of `woman`s seed`. Although there`s little evidence to suggest that the death of Di was nefarious, the event is indicative of parasitoid car men`s refusal to let go of the wheel of karma and facilitate the woman`s leaving without employing a plot device equivalent to the `TV` aerial of Jesus` crucifix, that is, a mobile `TV` auto`s transmission.



 Although Robert A. Heinlein`s juveniles seem full of optimistic hope, Dr Cargraves` role in Rocket Ship Galileo leading a group of youths to defeat the regrowth of Nazism faces defeat in the depiction of Carmen Ibanez`s dropping of Mobile Infantry (M.I.) on her own species of `woman`s seed` extrapolated into spiders in Starship Troopers, although Heinlein`s women readers had a surprise coming with a novel written for adolescent girls, that is, the juvenile Podkayne Of Mars (1963), which describes the adventures of Podkayne, who wants to be a pilot: `Poddy Fries, free citizen of Mars, female. Future pilot and someday commander of deep-space exploration parties. Watch for me in the news.`2 Kidnapped by terrorists, she`s accidentally killed by her brother, Clarke, who detonates a small atomic device to escape. Heinlein`s readers protested and, in a rewrite, Poddy Fries was resurrected, so didn`t fry. Clarke may`ve been a depiction of British science fiction writer, Arthur C. Clarke, whose novel, Childhood`s End (1953), treats of the `Overlords`, a race of leathery winged, cloven footed, horned devils, who supervise the extinguishment of the human race, and its addition to their `Overmind`, which contains many species that are ineffectual and unthreatening to the Overlords, because formerly corporeal. Poddy`s resurrection, in defiance of Clarke`s extinguishing of her, is a rejection of the Overlords, and their Overmind, in favor of `the Poddy Beautiful` and a heaven made up entirely of `woman`s seed`, because its transmissions aren`t contaminated.


1 John, Elton (music), and Bernie Taupin (lyrics), `Candle In The Wind`, Goodbye Yellow Brick Road, MCA, 1973.

2 Heinlein, Robert A., Podkayne Of Mars, Putnam`s, 1963, Ch. 1, p. 3.