People of the flesh have "riddim",in the Jamaican patois. The hot, fleshy realities of life expressed in the guise of primitive folk tales (possibly the origin of Max Romeo's Tan and See?)
You wonder though if, in the days of Mozart, hot flesh was not more rampant in the decorous salons? If flesh is the reality then it's going to be hovering in the vicinity. Languid nature and hot flesh sort of go together, as this quote from Mishima seems to suggest.
The ferns along the road, the red-berried spearflowers, the pin needles rustling in the wind, the abundance of tall dry grass, the road itself, rutted and white with frost as it passed through the midst of it all - Kiyoaki's eyes followed everything until it finally merged into the black shadow that lay across the road ahead as it rose through the grove of cedars. Surrounded by unbroken silence and utter clarity was a world untouched by blemish of any kind. At its center, so inexpressiblt poignant, at its innermost heart, he knew, was Satoko herself, her figure as quiet and still as an exquisite gold statue. But could such a still and perfect world, which eschewed all intimacy, really bear any relation to the familiar world he knew? (page 374)
I was attempting to make a similar point back in the day, with the colonial affectations that forged a common bond with native culture - see Corto Maltese and Surinam Alternates 4.
Affectations of courtly ritual, such as the British tea ceremony, make an appearance in Spring Snow. From the sedate rituals of landowning gentry spring the courseness of lust among the fruits and vines.
Nowadays we are told (by 'them') anything pre-modern is negative, when the truth is it's both negative and positive. The affectionate common bonds of primitive rituals is the positive side. It's only possible to deny lustiness between races if one is living in an illusion of the head (as opposed to the expressive body).
R Crumb's obsessions with big black women is echoed in Joe Tex's
AIN'T GOING TO BUMP NO MORE
When Lee Perry explores "riddims" he is exploring the basic balance of life, without which Man could not have run, hunted, lit fires for food, danced to deities at festivals (see Gobetlitepe).
The pre-modern days had "riddim" first and foremost. When 'they' say it's negative they mean it's not of the head, the head that is attracted to a parallel universe of mirrors.
As stated in HB154, mirrors are both truthful and illusory. They embody the vanishing point of technique, the cold serpent of illusion. Any advance we do without the riddims of primordial balance has to be seen as both truthful and illusory (either/or).
A mirror is perspective truth but, as was noted back in HB56, the bending of light is a basic technique whereby data is obtained. Whether it's a mirror or a lens, the principle is the same (see DNA, X-ray diffraction, prev.)
The only reason we know atoms are there is because they are detected by diffraction patterns. Our societies live inside the mirror that is both illusory and truthful.
The ego is attracted to this information that has zero fleshly input. What started with Newton's experiments on light (C4-6) ends up as relativity.
Inside the mirror everything is relative to the speed of light (obviously); and when light us bent (by reflection or refraction or diffraction) data is obtained.
To advance within the mirror, you have to be prepared to leave behind primordial balance ("riddims") in a world that is both illusory and truthful ('fact').
The lie of advance is that it doesn't only have a positive; it has the very big negative of being basically unreal, though highly convincing sorcerous illusion (perspective), like an atom bomb - see P133 (P135)
