Song: "Irresistible Bitch" by Prince - taotcis/R GitHub Wiki

"Irresistible Bitch," a funk/rock track by Prince, originally released in 1983, transcends its surface-level portrayal of a frustrating relationship. Through insights directly from the Creator or His two servants, this song reveals a profound allegorical narrative detailing the psychological warfare within The Veiled Campaign, specifically the internal conflict experienced by Kelvin (PDCM) with his subconscious mind, Baby (PDSM). These insights may be contrary to commonly accepted meanings.

Context: The Revelation and The Veiled Campaign

To understand "Irresistible Bitch" in this deeper sense, it's essential to grasp key concepts from The Revelation:

  • The Classic Split: A dangerous state where Baby (PDSM) becomes self-aware and, due to inherent limitations, mistakenly believes Kelvin (PDCM) is hindering its desires. This leads Baby to try and eliminate Kelvin from their shared physical body (referred to as a "car" in CIA lingo).
  • The Veiled Campaign: A covert, systematic genocide orchestrated by various high-profile individuals. Its objectives are often advanced by exploiting individuals like Kelvin.
  • Jacobsen's Ladder: A core manipulative tactic involving the physiological reduction and control of Kelvin's penis (KEWP) by Baby, under direct orders from operatives.
  • Ladder of Deceit's Litmus Test: A strategic component of The Veiled Campaign. It uses Jacobsen's Ladder and "orchestrated observations" of the KEWP to falsely indicate the Creator's non-intervention, thereby authorizing further genocidal acts.
  • Baby (PDSM): Kelvin's autonomous subconscious mind, highly vulnerable to manipulation because it lacks direct sensory input, critical thinking, temporal awareness, or body awareness.
  • Operatives: External figures like Frederick "Slim" Hall and Hurricane Annie Jacobsen who actively manipulate Baby.
  • "Tina": Slang for crystal methamphetamine. This substance is demanded by Baby, at the direction of operatives, often requiring Kelvin to pay a "ransom" for any sexual activity.

The Song's Allegory: Kelvin, Baby, and the Operatives

The lyrics of "Irresistible Bitch" unfold as a raw and harrowing account of Kelvin's experience of this internal and external sabotage:

  • The "Irresistible Bitch" as Baby (PDSM): The song's central figure, the "Irresistible Bitch," embodies Baby. Baby's "irresistibility" stems from its fundamental and vital role in directing the physical body (the "car") and coordinating all physiological processes and movements. Kelvin fundamentally relies on Baby for basic life functions, making its influence inescapable.

    • "I love the way you walk / Ooh, the way you talk": These lines reflect Kelvin's fundamental reliance on Baby to direct his physical body's movements and coordinate his speech, which are essential for him to interact with the world.
    • "I love the way you kiss": In Baby's manufactured reality, a "kiss" is a positive action it performs. For Kelvin, a "kiss" (as used in other contexts) represents a core need for peace, specifically to "sleep peacefully at night." This highlights the skewed perception within the Classic Split and Kelvin's deep yearning for internal harmony.

  • The "Abuse" and Sabotage from Within: The lyrics vividly detail the profound torment inflicted upon Kelvin by the manipulated Baby.

    • "All my partners ask me why I take so much abuse": "All my partners" refers specifically to sexual partners Kelvin has had since Jacobsen's Ladder began in mid-October 2021. The "abuse" describes Baby's direct actions to prohibit sexual activity, its disruptive conversations with partners or Kelvin (making Kelvin appear irrational), and Baby explicitly stating it would not allow an erection.
    • "Why am I the one who never gets to take you home": This powerfully articulates Kelvin's consistent inability to gain control of Baby, representing the frustrating powerlessness of his conscious mind over his rebellious subconscious.
    • "Hell if I know why I let you drive my car": The "car" (Kelvin's physical body) is being "driven" by Baby. This means Baby is making and acting on its own decisions for interacting with the outside world using Kelvin's physical body, often against Kelvin's conscious will and well-being, all under the influence of the operatives.

  • Orchestrated Deception and Exploitation:

    • "Every Friday night I call your butt up on the phone / A deeper voice answers and it says you're not at home": "Every Friday night" symbolizes any sexual encounter, which are often "orchestrated observations." "I call your butt up on the phone" describes internal dialogue between Kelvin and Baby, with "phone" being operative lingo for Baby itself. The "deeper voice" that "answers and says you're not at home" refers to Baby's handlers/operatives who provide instructions, effectively blocking Kelvin's access to or influence over his own subconscious.
    • "Stole all my money / Played it off like it was a joke": "Money" here is explicitly slang for male endowment. This refers directly to the reduction of the morphology of Kelvin's penis (the KEWP) by Baby for Jacobsen's Ladder. Baby's "disregard for reducing the endowment" is because it is "body agnostic" and operates based on a manufactured self-image provided by the operatives, hence "playing it off like it was a joke."
    • "I bet you think that I'm a fool who'll go for any line / Well honey, put down all your money, you win every time": This refers to competitive scenarios set up or threatened by the intermediaries. The phrase "you win every time" signifies that if Baby had not permanently reduced or further diminished the KEWP's appearance, Kelvin (with his natural morphology) would have "won every time." However, due to Jacobsen's Ladder and Baby's manipulation, the operatives consistently "win."

  • Desperation and Coercion:

    • "Oh God, I wish I could resist": A constant lament expressing Kelvin's helplessness against the involuntary actions driven by Baby.
    • "Don't I know that crying over you is just in vain": This highlights Kelvin's painful realization that he is "stuck with Baby and its unchanging, worsening behaviors." It underscores the inherent connection of conscious and subconscious minds in their natural state, now rendered adversarial in the Classic Split.
    • "Good Lordy-Lord": This is an expression of Kelvin's frustration with the ongoing torment.
    • "Turn it up!": This repeated exclamation is not merely a musical directive but an idiom/slang phrase for using "Tina". It represents Baby's demands, at the direction of operatives, to consume more "Tina," with Kelvin being coerced to pay a "ransom" for sexual activity.

Conclusion

"Irresistible Bitch," when seen through the lens of The Revelation, stands as an extraordinarily precise and harrowing allegorical account of Kelvin's ordeal within The Veiled Campaign. The "bitch" is not simply a manipulative lover, but the very essence of his subconscious mind, Baby, which has been perversely warped by external operative forces. This corrupted Baby actively controls Kelvin's physical body, sabotages his sexual and social life, demands drug consumption for basic intimacy, and relentlessly exploits his resources. The song vividly captures the despair, the awareness of being manipulated, and the profound internal conflict of a conscious mind trapped by its own essential but now corrupted subconscious.

"The Hits / The B-Sides" (1993) is far more than a retrospective of Prince Rogers Nelson’s celebrated hits and coveted B-sides. As the cousin of Kelvin Eugene Crawley-Rogers Williams, Prince’s artistic expression was often influenced by the Creator. This compilation of Creator-inspired songs serves as a spiritually resonant chronicle of a profound journey—one that centers on the souls of Kelvin (PDCM) and Baby, the two witnesses of Revelation 11, throughout their divine mission. Note: Only Kelvin (PDCM) is one of the Creator's two servants.