Savage Rebellion (10)

 I seem to recall invoking High School Musical awhile back, which some might say is the antithesis of pulp decadence a la Jaime Hernandez. In one way that is so, but one has to give Disney credit for the revivalist theme of 'togetherness through difference' that vibrates through the swinging sequences. 

The only problem is that revival comes from the murkiness that Disney makes a point of steering clear of. It's a fairy tale version that tries not to get into the darkness, though there are often hints of European gargoyles in the best offerings, such as Pinicchio's Stromboli. 

By murky, one really means the original fairy tale influence that sees Red Riding Hood as akin to Red Sonja in her titillating appeal (see Roy Thomas story.) 

There is a weird mixture of naive innocence with the randy and the sultry that is evocative of Margaret Brundage's Weird Tales. Sleeping Beauty, for instance, was not awakened by a kiss but with the bestial lust of copulation. 

In Disney, despite its cartoon origins, the animal side of things is warily traversed, which is the murkiness of the forest glade where animals scuttle and forage, satyrs dance.

Steep incline of the Victorian-flavored leas in my neighbourhood

Roy Krenkel, fighting satyrs 

Disney could be basically slimier and darker and more bestial while still preserving the old values. Troy Bolton and Gabriella Montez could be less squeaky clean and they'd still have a heroic sheen. In the animal cartoons, there is often a subtext that leaves little difference between frolicking and fornication.

Also, that's a type of Black sensibility that later became associated with Elvis Presley. The carnal lust that is lacking in modern Disney is the murkiness that inhabits the pulp ecosphere, largely by way of the naturalistic milieux.

Conanesque murk is the woodland situation where the savagery and lustiness expose ancient instincts of primal combatitiveness and protectiveness of the fertile and precious, men over women.

This physical side also invokes reactionary values. The values were espoused by Sean Connery, who was known for insisting on a sharp slap as a reasonable retort to feminine wiles!

The fertility of women predisposes power and wiles that men combat with a physicality that is restrained and manly. The lust that women inspire was skillfully satirised by BWS in The Pizza Story (prev), featuring Princess Adastra and the worshipful Aran Kashan.

By the end he is so aroused he is dreaming of the velvety down of her backside. R. Crumb had another unstoppable force of nature in Devil Girl, who vibrates with salivating lust to Flakey Foont's demise (the French film P'tit Con, based on the strip by Lauzier who also directed, has a similar theme of the formidable female.)

The murkiness of lust has primeval insistence that song and dance invoke. The sacrificial dancing maiden on Stravinsky's Rite of Spring is a case-in-point. 

So, murkiness is really the absence of light and the places where satyrs frolic in hidden glades. Where light is dominant, one gets the situation of the dual-note of Jirel Meets Magic (prev), the confusion and distortion of endless reflections (SR9).

In other words, where there is no murkiness, light distorts with reflections; where there is murkiness, light is destroyed and converted into leaves (photosynthesis.)

The conversion of light is the cyclical system of Earth (Gaia) or Earthspin. Antagonistic motions, or snake-rhythm, is a celebration of primal fertility. Dance, the celebration of invariable time of which we are part (as opposed to a cog in variable machine-time.) Primeval, sensual and archetypal; the snake as a symbol of the active body in nature, which is easy to relate to Jung, as distinct from Freud. Put another way, sex symbolizes the active principle in nature - see discussion of Freud and capital P218.

With the conversion of light, the cycles of decay and revival are set. The murky and feminine fertility is where one can find fault with Disney. 

Dankness and foul-smelling waters and the decadence of bleak woods make the revival that sustains spirit and the freedom from routines of endless reflections. 

The Disney ideal needs a bit of dirt and smell to retain this type of primal invocation - one could also invoke Moore/Gebbie's Lost Girls as the Dionysian side to lusty and circular living that machine living denies, prev. The political, neutral, numerical zone of words of neutral value - the neutral zone of sex - machine as opposed to bodies-in-motion within a social milieu (nature, cycle of planet.)

"France is a veritable powder keg, that's nothing new", said Guy Groux, social movement specialist at Cevipof, the centre for political research at Science Po. "There is a sort of magic to social anger. It's hard to say how all the ingredients come together. During the first student demos in 1968, some commentators said: 'It's just a few rag parades'. We saw how that ended."

Present day French protests are about money; student protests were about the world view and philosophy of living. Lauzier's film (made 1984) harks back to the hippy era with the guy hanging out with a 'babba cool' in his loose communal home, talking filth at the table, acting loosely in a communal situation.

Savage Rebellion (9)

 VAN LEAR ROSE

The eponymous song off the impeccable Jack White collaboration gets to the root of the physical sequences that establish a community. 

Aging instills a circular revival, somewhat like The Circle R ranch in Red Ryder does. Beauty ages while love - as in EC Tubb's classic Dumarest yarn Kalin - doesn't. When one is pulling or marrying then one has the aging factor in mind, which is part of what love is (attachment.)

The humanoid tendency (SR8) is blind to aging, as it is to sex differences or, clearly, race. Sequential development entails exposure to the physical reality of nature, where the air circulates and freshens the spirit. 

The physical health of young ones clearly impacts on their mental health, as this quote by Mirror columnist Siobhan McNally on her 14 year old daughter (TDL) attests. 

I try to point out to TDL when she and her friends complain they're bored, unhappy and have difficulty sleeping, that it's hardly surprising when the only light they see most days is the blue light from their screens.

More mental health is critical for our young people right now, but many of the teenagers want a quick fix-a pill to take away the pain.

When what they really need is my old granny, who'd switch off their PCs, and say, "Awa' ootside  an bile yer heid." (TDL=The Dark Lord, presumably for her hair.)

Physical sequences are songs playing in invariable time (rhythm), whereas the machine distorts rhythms and places them in variable time (orbitsville.)

Love and beauty and the lifecycle can only be distorted by the humanoid offerings of Musk&Co. In his recent lecture, Musk offhandedly referred to the future 'sexual applications' of his humanoids. 

However, that can only occur with the corresponding corruption of natural rhythms, otherwise known as the profane serpent (prev.) One could imagine a sequel to Van Lear Rose.

When I was old I got me a robot slave

'Cos the Van Lear rose had passed away

It was good in the sack and I had myself a ball

No more need for that beauty now at all

Love & Rockets, in the pulp sense of the Hernandez Bros, always entails a recognition (reimagining) of the shambolic reality of the a priori settings of Americana.

The leftover people who inhabit the fly-infested condo-commune of Capri in Ghost of Hoppers (Jaime, prev.)

The foul-smelling waters of the abandoned swimming pool symbolise the abandonment of government and the seepage of decay into the pseudo-commune of semi-isolated, leftover, Hispanic-slanted weirdos.

Take away governance, and that is the a priori reality of the California ghetto. As government approaches the humanoid and the inhuman, the real world inhabits pulp-oriented milieux that have the aging beauty of natural lifecycles, rather than the hygienic utilitarian. Utility is the absence of physical rhythm, the end result being the pure mental content of ones and zeros. The dual-note of Jirel Meets Magic ( prev) that distorts and confuses with endless reflections (electromagnetism, sun, Newton, induction.)

Decadence invokes a revival of spirit that is in the joy of freedom from routines that benefit only robots. When that happens, the revival of unregimented communal spirit is the payback that no amount of individual wealth can possess. (Incidentally, Tommy Cook who played Little Beaver in Red Ryder was bleating with nostalgia or melancholy in an interview with Skip E Lowe. Perhaps for the antagonistic motions of the horses of yore.)

Appallingly enough, people seem to believe that, because things are hygienic and tidy, they are also beneficial, but the opposite is true. The physical reality is disordered (decay, dried buffalo manure), and the disorder leads to revival of a fertile order.

Within this milieu, loneliness is assuaged by communal bliss. The physicality is a health boon, so both aspects of existence are taken into account by simply letting things be without governing them into extinction.

Governance becomes a mandate for the verbal/numerical future so effectively pilloried by JK Rowling (SR8).

Season of mists and mellow fruitfulness (Keats)

Ghost of Hoppers, Jaime Hernandez 

Savage Rebellion (8)

 My parents definitely pushed history on us; to know the history of the world and history of African-Americans was super important.. I think the most important lesson was for us nor to see colour.. People might see your colour, but that's not how you see the world. (Venus Williams)

This is a very typical outlook of seeming togetherness, whereas the affinity of differences (see passim) depends not necessarily on togetherness but on seeing things from a similar perspective from a psychic affinity of strength (independence, self-reliance.)

This depends on the type of active culture that is no longer that visible in the mainstream. IE the Bones Bros Ranch. This implies a fertile community qbd the sequences of events that herald a community. Birth, growth, motherhood, relatives, neighbours. 

Sequences of events are active, while words are not active per se, or in other words they can describe action or not. The basic conundrum is epitomised by the establishment scholar David Patrikarakos of How Social Media is Reshaping Conflict. 

This has become a favorite of war zealots who seem to think that wars can be harnessed by words much better than they can by battlefield equipment. This is a pretty mad concept that adds to the hyena-like drivel already spewing from super-saturated multimedia channels. 

If we were run by mad Martians it might make sense, but the type of people who represent that world are different to the type who engage in active pursuits, whether on the battlefield, or in the harvesting field.

This was brought home by watching Red Ryder, the 50s Republic serial from the eponymous strip. The plot is a standard good/bad one of corrupt land-grabbers and bankers versus sturdy men and women of the earth defending their landholdings. 

Whereas Venus Williams seems to want to neutralise her racial differences, Little Beaver is an all-out Indian scout speaking cute pigeon english (reminiscent of Connie.)

Little Beaver's resourcefulness and native cunning are constant plot spurs. Despite his age he is an expert horseman and spies villainy from on high riding the sierra. His diminutive stature also enables him to eavesdrop.

Little Beaver makes a good advertisement for native resourcefulness. The problem with moderns is they neutralise differences, tending to diminish the contributions of the traditional, active breeds as opposed to the modern breed which is all words and no action.

Venus Williams doesn't apply her tennis flair to real life. Instead, the active sort of life is cut-off and the black power agenda neutralised.

Nevertheless, the ebony mask is beautiful in a slightly different way to the white nations. In a similar way, the dreamy countenance of Sacheen Littlefeather is representative of native Americans. 

Canned Heat (SR7) have a sort of mixture of dreamy and primal natures, and they represent the type who are by nature active, whether instrumentally or in the field, rather than talkative.

Granted, Alan Wilson could hold a conversation with ease, he was a dreamy individual who would have been lost in the age of social-media (or possibly  orbited)

Similarly, Red Ryder (played by Don Barry) is a man who's words are strictly related to his actions. After all, if you're in a saloon challenging three men to a fight, it's better to stay alive than bandy words. 

Red Ryder represents an era where the culture developed through sequences of events rather than through (the political) verbal sphere. Galloping horses, posses, scouting Indian, rough-house. 

Sequences of events can be described by words (poetically, natch), and that is the traditional, physical reality. Sequences of events imply birth, raising, motherhood, neighborhood. As in the Cannwd Heat song, one gets back 100-fold what one puts in.

Parenthetically, a body has to develop as a sequence of events in a hierarchical sense or nothing would make sense or be enabled to be self-motivated, see prev on DNA etc. Articulate hierarchy is the snake-shape of truth; look at the skeletal legs' entwined vessels.

Tuareg nomads of North Africa

The sequential reality, the biological physical reality, is under threat from words. JK Rowling recently made this acid comment about Scottish premiere Sturgeon..

SS

..relating to Scottish legislation enabling self-defining gender. As Rowling's message implies, it's a purely verbal proposition, not a real one.

The problem with the Venus Williams approach is that if one is race blind one can be sex blind or age blind. Differences are neutralised and it instils a humanoid, neutral agenda (of the Musk, Soros, Patrikarakoses.)

Cowboys and Indians don't need to be verbal, but they are articulate within a hierarchical development of the old communities of the land. They are literate, active people inhabiting wide open spaces that psyche and fire the blood.

RIP Sacheen Littlefeather

Savage Rebellion (7)

 According to Pamela Geller, George Soros is the arch-global parasite of capital that bends people to the corporate will. She quotes this speech by new Italian premiere Georgia Meloni.

It's not in our national interest to sign our borders over to the UN. The Migration Compact is exactly what is needed by those who have used illegal immigration in recent decades to complete the grand plan of financial speculation to deprive nations and people of their identities. 

Because without roots you're a slave, and when you're a slave you serve the interests of Soros.

Geller, for all her faults, is a patriot and the sovereign spirit always has land as a broad concensus, even if several generations removed.

Land is the physical, articulate reality that 'they' (meaning Soros, Musk and cohorts) seek to replace with humanoids and global sameness. Unfortunately, in Britain, Truss adds just another cog (though hopefully the Brazilians willbr rid of ballsy, Bolshie Bolsonaro.)

The similarities that 'they' want neutralise differences, something which Jean-luc Godard likened to the neutral zone in sex (SR5,6). However, this is an illiterate view of reality since large-scale similarities are always seen in the diverse forms of nature - constellations, tree limbs, galloping horses, pansies bending (see passim.)

Large-scale similarities are the result of hierarchical development (or the principle of continuity that implies invariable time, or spin, see P200.) So, one has to differentiate between global capital which denies diverse cultural development (of sovereign states), and simply the capitalist ethic or drive to profit. 

The basic division between the 'good' and 'bad' sides of capital can be seen in a traditional Ranch, and this quote is telling.

We now understand that our soils with grazing animals have the capacity to sequester carbon way more quickly and more efficiently than anything else. So I think keeping grasslands whole and intact is vital, and something that every one of us should care about. (Jeanie Alderson of Bones Bros Ranch - the name originates from cowpoke and B movie actor Floyd Taliaferro Alderson.)

A Ranch has to act as a capitalist enterprise in order to survive, but the a priori aspects of its existence are, according to Jeannie, "grass, water and community."

In other words, capital may have some abstract traits, but the physical reality is dominant. From the physical reality develops the spiritual side and the psyche that relishes the wide open spaces of prairie. 

The physical is the hierarchical reality of antagonistic movement (muscles, galloping), while abstract capital is the mental reality of numbers (algorithms.)

So, American capitalism - because it's American - has always been physical and more or less on the side of the people. Of course, there have been corporate issues, such as Theo Roosevelt's anti-trust laws, which slanted the agenda towards land holders and away from the rail tycoons.

This sort of stuff is a regular plot element in 40s Republic serials, in those cases often dealing with Latin American natives (Tiger Woman) or Africans. In all these cases there are good whites and bad whites, more or less in line with 'good' capitalist and 'bad' capitalist.

The basic problem with the modern scene is that the large-scale similarities (of differences) - health and virtue - are less visible as we approach the neutral zone of sameness - weakness, susceptibility to germs etc. The lab becomes 'real' while reality becomes a fable.

The end result of this is that we are told that beef is 'bad' for a green environment, and probably we'll get exposed to 'clean-meat' (lab bred.) But, actually, soil and livestock, grazing, ranching and activating communities in song and dance and work are what produce green environments. 

This is obviously true worldwide - whether Russia, China, India or Japan - and speaks of the diversity of cultures with active roots on large-scale similarities. 

Of those, India has backtracked from the corporate model (see Modi, prev), while Japan still appears to operate an American-style model. Land-grabbing is another corporate threat that often relates to subsurface fossil fuels. Bones Bros Ranch fended off talk of strip mining and coal bed methane, and Jeannie says,

If you care about your place, if you care about your livelihood, you've got to join with others, and you've got to talk, and you've got to share what you know, and you will get it back a hundredfold... Yeah, it takes some stretching, it takes some courage, but you'll have  community, you'll have a family, you'll have people who will have your back when probably nobody else will.

Land-grabbing and clean-meat are just two aspects of the tendency of a global capital agenda to neutralise differences and instil a humanoid, neutral agenda (of age, sex, race) that is basically infertile and hygiene-compulsive.

Articulate (hierarchical) development and the literate, active people inhabiting wide open prairies are the way out of the conundrum.

LET'S WORK TOGETHERyoutu.be/wGGW4IezbC4