Amp Ear Rock
Militarized
retailing is real. Companies with guards, and staff as auxiliaries, where the
custom is slaving to serve the automaton, with a barcode on the receipt for
goods purchased; a prerequisite to have scanned by the automata: or the custom
won’t be able to leave the prison, ‘And that no man might buy or sell, save he
that had the mark, or the name of the beast, or the number of his name.’ (Rev: 13. 7) As foretold by Jesus’
disciple, John, in the apocalyptic vision of the future vouchsafed by God’s
angels, Revelation, from the New Testament of the Bible, which superseded the Jews’ Torah
and Talmud, that is, the history and law of the Old Testament, according to Christians, who believe in the teaching
of the Jewish rabbi, Jesus ‘Christ’, their Messiah, ‘Love your neighbour as you
love yourself.’ (Mk: 12. 31) The
regimentation of social structures belies Jesus’ exhortation, which was his
distillation, into a more readily understandable substance, of the content of Judaic
law.
The military ideal is similar to H.G. Wells’
science fiction novel, The Time Machine
(1895), in which the Eloi of 802, 701 CE, who’d long ago survived a nuclear
holocaust, ‘step lively’ to the nearest metro stations, when they hear ‘air
raid’ warnings, and go underground there, where they’re captured and eaten by
the subterranean cannibal Morlocks,1 who’ve learned to use the sirens to summon
the surface dwellers as food.
In simple terms people don’t know what their
names, numbers, and passwords, etc., actually do, when active in the
labyrinthine entrails after what passes through its cerebrum’s synapses in ‘the
beast’ of the automated system. Practitioners of NLP, that is, neurolinguistic
programing, argue that they can make people do anything, for example, tell a
woman to take off her bra, without taking off her sweater, and she instantly
can, while the same ‘stage show Johnny’ tells a newly-wed he’ll never have sex
with his wife; to the uproarious enthusiasm of the specially invited audience.
That militarized custom can become in-service slavery is a modern feature of
retail, where the point of the tail of the devil is unclear; but it’s evidently
been reattached.
The siren metaphor appears also in the return
of Odysseus from the Greeks’ relatively successful siege of the city of Troy,
believed to have been situated in modern Turkey, with the Greek poet Homer’s 8th
century Odyssey most celebratedly
linked with the mythic fate of the hero. Odysseus has himself bound to the
ship’s mast, so that he can listen to the song of the sirens,2 beautiful
mermaids, whose song is believed to lure sailors into the water, where they
then drown. Programed to service the till is where the custom is to listen to
the sirens, without being bound to the mast of the ship, for example, SPAR,
AUCHAN, ASDA, etc., which is a situation fraught with hidden security issues
kept far from the apparent automatons supplying the money.
To custom program the retailer has to reach
the ears, which is an issue regularly explored in pop music videos; for
example, Britney Spears’ ‘Hold It Against Me’ (2011), where the director has
the performer run the gamut of Jungian imagery associated with eyes, ears,
nose, and mouth, replete with microphones, and television screens, featuring
the star’s earliest recordings of songs advertised as miniature films in the
shape of promotional music videos.
Carl Gustav Jung (1875-1961) was the Swiss
psychologist who elaborated the theory that there were four functions
associated with human consciousness; the ‘Sensation’ function was associated
with the eyes; the ‘Thinking’ function was associated with the ears;
‘Intuition’ with the nose, or sense of smell, and ‘Feeling’ with the mouth,
which was duplex in that it took in oxygen and other sustenance, while also
being associated with speech. This aided Jung’s argument that the use of the
four functions resulted from the differentiation of the four senses, as animals
don’t talk.
That propaganda in the form of brainwashing an
audience to have them accept what is unacceptable has been an issue ever since
National Socialist Germany’s slave labor extermination camps of World War II
(1939-49) in which 6,000,000 Jews were first sent to the ‘showers’, where they
were killed with the poison gas Zyklon B, before being burned in ovens
specificially constructed for that purpose.
The British Broadcasting Corporation’s (BBC’s)
production of the television comedy series ostensibly for adults, but
effectively aimed at teenagers, and/or undergraduates, as well as ‘yuppies’,
that is, the young and upwardly mobile, in socio-economic terms, The Young Ones (1982-84), featured
‘blipverts’ which, although spoof, could only be viewed relaxedly in slow
motion, while the nanoseconds they were on screen were designed to leave an
impression that would be impactful enough to make it a custom program of some
service to retail.
Actor Adrian Edmondson, as Vyvyan Basterd, and
a writer of the show, along with fellow actor, Rik Mayall, as Rick, comedian
Ben Elton, and Lise Mayer, summarized the issue in the episode, ‘Sick’ (1984),
with a tirade about the BBC’s The Good
Life ‘sitcom’, ‘’It's so bloody nice! Felicity 'Treacle' Kendal and Richard
'Sugar-Flavoured Snot' Briers! What do they do now?! Chocolate-bloody-button
ads, that's what! They're nothing but a couple of reactionary stereotypes,
confirming the myth that everyone in Britain is a lovable middle-class
eccentric. And I! Hate! Them!’’3 The point being that re-runs of the situation
comedy are being used as a chocolate buttons ‘ad’, which reductionism is the
custom of the retailer.
That the undeniable sexual desirability of
actress Felicity Kendall on the show is reduced to the attractiveness of a
chocolate button is an aspect of the general dehumanization, making of people
mere numbers, in button-counting exercises, that’s retail. Though the custom is
to laugh, the custom won’t be laughing if they understood that militarized
companies seek to program their ears to obey automatically like soldiers the
orders that they receive in their audial circuitry; either technological or
biological: or a mixture.
Most laymen have heard of AWACS (airborne
warning and control system), the airborne early warning system mounted in
airplanes with curious mushroom-style domes, stuffed with advanced radar and
sonar, not to mention STEALTH, conferring invisibility, but far less are aware
of underground slang for Wacks in the ear, for example, amongst the
Liverpudlians of Merseyside, gangster banter has a dark meaning, ‘Ter ar wack.’
Meaning ‘goodbye’, in the United States of America, ‘wack’ means to kill
(terror wack), and is used by gangsters to speak of the elimination of a
‘business’ rival. Consequently, ear wax (AWACS) is a multiplex gangland
reference to the role of wacks and the ears.
Amongst the Moslems of the nations of Islam,
founded by the Prophet Mohamed, after the angels of God dictated the Koran (610-30 CE) to him, the legend is
of Iblis, ‘the whisperer’, who has no other power, and is a Shaitan djinn, the
equivalent of Satan, in the Bible,
turned into a serpent by God, for tempting Eve to ‘eat of the fruit of the
knowledge of good and evil’, which it was death to taste. For gangsters Iblis
is a type of their ‘ear police’ (Iblis), that is, ear wacks, who kill on the
strength the orders they receive, often subsequent to what they communicate to
their command system, from what they hear, which is why they’re the wacks of
the years in Liverpool.
Although leeches are familiar to the medical
fraternity, as an ancient form of cleaning wounds, by applying the
blood-suckers to the affected area, and removing them, or waiting until the
bloated creature drops off, satiated, that’s what vampires are traditionally
also known for. Usually the parasite is depicted as sinking its fangs into the
jugular, as in the movie, Nosferatu (1922),
for example, ‘At night, Nosferatu sinketh his fangs into his victim and feedeth
on his blood - his hellish elixir of life.’4 Although Egyptology suggests that
the Pharaohs of ancient Egypt used ear vampires in their quest for immortality,
as death was the curse placed upon Eve and Adam, the first man created by God,
for disobeying the injunction to ‘eat only of the fruit of the tree of life’,
which is immortality.
What’s noticeable about Pharaonic
representations is the elaborate headdress, nemes,
blue and white, or gold, which covers most of the sides of the head, where the
ears are hidden, and descends to a region approximately corresponding to the
pits of the arms, which suggests that the ears and armpits were a rich source
for blood that the vampire needed; probably an earwig. That the creature
functioned as a cleaner is plausible, although it’s unlikely that the activity
of such would have any medicinal relevance as a purifying system conferring
longevity.
Jesus’ fate is usually cited as the breaking
of the curse of death, as he was taken to the hill of Calvary, outside the city
of Jerusalem, during the occupation of Palestine by the Empire of Rome, during
the reign of Tiberius Augustus (17-37 CE), and nailed to a cross of wood, he
died, but experienced Resurrection and Ascension to heaven. Called God’s
‘foot’, Jesus is the fulfilment of a promise made to Eve that her ‘seed’ would
prevail, ‘You shall crush the head of the serpent with your foot, but he will
bruise your heel.’ (Gen: 3. 15)
According to Jewish midrash, that is,
exegesis, Adam was a hermaphrodite, while Eve was created by God from Adam’s
side, or rib; a euphemism for self-birth after self-fertilization, which is
what the futanarian species of women’s seed, that is, futa, or ‘foot’, were for. God’s promise of immortality is dependent
on the ability of her seed to produce the brainpower necessary to develop the
medical technology to re-confer immortality upon humankind.
The point is emphasized in Jesus’ disciple
Judas’ betrayal of the Messiah who he finds with a woman. Telling Jesus that
the ‘perfume’, spikenard, is ‘too expensive’ for Jesus, and should be sold to
raise money for the disciples, is what pimps do. Jesus’ mild rebuke was, ‘Leave
her alone.’ (Mk: 14. 6) Judas’
response was to call the Jewish religious police to arrest Jesus, and he was
condemned to execution by the Roman judge, Pontius Pilate, because of Judas’
spy canard that the woman should have been his to pimp; if she wasn’t already.
Leaving aside the testicle snorting aspect of
nose for our two (nostrils), it’s South Korea to look at for an update on ear
vamps, with the all-girl rock band, Blackpink, devoting almost all of the
promotional video for the track ‘Jump’ (2025) to ‘earwigging’, which is a term
for those who overhear what they aren’t meant to, while ‘wigging out’ is an
English term for upbraiding someone so severely that they threaten insanity, or
simply a description of someone who is behaving insanely, often because they
are. Rosé, Lisa, Jisoo, and Jennie’s take on it is that people ‘wig
out’ because of what they’re made to hear, that is, as a consequence of
listening to the band’s music:
‘Are you not
entertained?
I ain't
gotta explain
I'm with all
of my sisters
Got 'em
goin' insane, yeah
You know we
on a mission
All gas, no
brakes, yeah
Breakin' out
of the system
Breakin' out
of this cage, yeah …’5
First
Blackpink are seen on the tongues, and between the teeth, of four different
mouths; perhaps theirs. Then they appear to be in a space where the back of
someone’s head should be, before there’s a scene of Lisa inside a head that’s split
down the middle, with her back to the inside of the head, and her feet against
the other side maintaining the distance between the two halves. The band are
then seen inside an ear, while the street audience of ‘headbanged’, who apparently
all have them, try to loose Blackpink.
The girls inside the ear develop pink laser
beams, and the street audience have the beams coming out of the corresponding
ear. The laser beams confer super powers, and while Blackpink appear unscathed,
the street audience, who’ve been banging their heads against walls and
pavement, etc., lose control completely, and are seen rolling haplessly without
volition along the street, like desert tumbleweed, while the girls use their ‘superpowers’
to fly up to a heart-shaped platform amongst the skyscrapers to finish their
performance.
It’s a description of what populations would
experience, if their custom slave programs, used by business companies, were
utilized by units of military intelligence to subliminally auto-suggest behavior
to adopt in the event of an intervention. As North Korea sabre-rattled its
continuing argument with the United States, harking back to the war waged
against communism in the Korean peninsula (1950-53), resulting in the
separation of North from South, Blackpink’s ‘Jump’ was construable as a warning
of what to expect in a future war of drones, NLP, and unsolicited neurological implantations
amongst an audience unplanning to be involved with Molochs.
As a Moloch, or Moloch as the actual name of a
particular god (Lev: 18. 21), was invariably
associated with child-sacrifice, which largely occurred because the aged hate
the newborn, as reminding them of the short time they have left, it’s logical
to conjecture that ‘Jump’ in some way has relations with Moloch, where the
young generation of innovative Koreans, yet at the mercy of US’ military
ambition’s ‘Old Glory’, informatively dissemble their desperation; at the
forefront of testiness in the aftermath of the Russian Federation’s unanticipated
futuristic ‘drone war’ try-out with the Ukraine.
Banging is of course a euphemism for human
sexual intercourse, which suggests a correlation between heads and banging;
head fucking. Although it’s difficult to imagine, the hole in the back of the
head where the Blackpink quartet appear to be standing at the outset of ‘Jump’
suggests the tool used by head fuckers, inserted into the back of the head, to
make a hole, into which the penis is inserted. According to Jungian psychology,
the soul-image of an individual, called the anima,
is recognizable in the externality in the shape of real women, as the internal anima-figure draws the looker-on to the
object of sexual desire. Roughly approximating to what film-makers think of as
animating, Blackpink correspond to anima-figures
much sought after by head fuckers, while the headbanging scenes of the audience
in the video correspond, in psychoanalytical terms, to their desire to get
these ‘babes’ out of their heads in an externalization resembling sacrifice to
Moloch.
1 Wells,
H.G. The Time Machine, William
Heinemann, 1895, op cit.
2 Homer, The Odyssey, Bk XII, 8th
century.
3 Edmondson,
Ade as Vyvyan in The Young Ones, Episode
5, Series 2, ‘Sick’, June 12th, 1984, BBC2, November 9th,
1982 - June 19th, 1984.
4 Silent era
of film ‘Intertitle’ for Nosferatu: A
Symphony of Horror, Prana Film, 1922.
5 Diplo,
Jesse Bluu, Jumpa, Malachiii, Teddy, 24, Claudia Valentina, and Zikai, ‘Jump’,
The Black Label, 2025.