Pursuit of Authentic “Soul” Takes Wrong Turn From White Soul: Eat It - Humble Pie & Black Coffee Black Coffee and Humble Pie - Eat It: British musicians quest for authentic organicism in their rock n’ roll took a turn to estrangement from Whiteness. To the British hippie looking to pursue his dream of rock stardom unfettered by the inorganicism of letters and to facilitate his effort to outflank musical competitors by dint of his capacity to assimilate black organicism - black soul - his motives might have appeared one and the same as self actualization in the hippie agenda - appearing as universal expression, absent as it were authentication through confrontation of his own mortality, in the draft and the stark contrast with the reality of MLK’s “dream”, let alone Malcolm X’s. There was a significant difference in motivation between British and American hippies in that the British context lacked the personal being toward death that confronted American hippies through the Vietnam draft; and the collective being toward death confronting them directly in day to day life with blacks in numbers; especially absent, as Americans were, the deep, historically confirmed social group of their (White) people and place, which British hippies took for granted. Taking that for granted, the British hippies had a distorted view on blacks, largely seeing the pleasantly presented musical aspects of blacks, initially by ((Chess Records))); or representations in (((American and British media))) of blacks as “arbitrarily” oppressed. Without the lived experience of having to deal with blacks in numbers, on equal nationalist footing (actually not equal - blacks had an advantage in the sense that they were allowed to organize in their group interests, having had strident and powerful Jewish backing as such), but by contrast, given British hippies’ capacity to rely on the superior warrant of their White historical people and place, their native experience lacked the existential circumstances of crisis which made for the profound element of hippiedom - its quest for midtdasein - especially for the White male part. It is not that I lack of sympathy for their mistake, since when I was yet to be confronted on the precarious recourse of civic nationalism by blacks in numbers - as I would be in a few years, with “school integration” - I myself looked upon American southerner’s “prejudice” against blacks as “abhorrent.” I didn’t know from experience, but rather from what (((TV))) had told me. In fact, I incredulously asked my cousins from Alabama “why southerners were prejudiced against blacks?” But whereas I merely needed to be bused to the black side of town, as I would be in 1971, to learn my lesson and eat humble pie, it could take considerably more to disabuse a British musician of his dream of being a part of the British rock n’ roll invasion of America. He had brushed-up for months on his black licks while he spun Howlin’ Wolf and Muddy Waters records as an isolated variable in his house - safely ensconced in a White nation (while perhaps envious of American success and seeing his superior lack of prejudice as means to rise above the crude, nouveau riche Americans) - removed from the American black movement’s disconcerting contrast with the hippies’ weird, organic expressions of White male midtdasein. On the one hand, there was the contrast of the intimidating aggression of black power as compared to the hippie goal for peaceful communal being; and on the other hand there was the awkwardness of the weird and unkempt hippies by contrast to the studied dress and manner (horn-rimmed glasses, thin ties and uniform black suits) that the Marxist Highlander School of Tennessee taught black civil rights activists to carry themselves with - an air prim and proper, full of “integrity” and “dignity” was to be projected with black “civil rights activism.” To the British hippie looking to pursue his dream of rock stardom unfettered by the inorganicism of letters and to facilitate his effort to outflank musical competitors by dint of his capacity to assimilate black organicism - black soul - his motives might have appeared one and the same as self actualization in the hippie agenda - appearing as universal expression, absent as it were authentication through confrontation of his own mortality, in the draft and the stark contrast with the reality of MLK’s “dream”, let alone Malcolm X’s. He was not quite getting that the emulation of black organic being lacked the requisite delimitation of White midtdasein, the authentic, organic expression of its peoplehood; at that time organic White male being sought crucial reprieve from the habit of war, alleviation from monocultural (nee universal) male rites of passage and the overcompensating traditional male role of tribal aggression as a result. Having his ancient national recourse to duck the repercussions and the direct experience of living with blacks pursuing their own power nationalism and civic motives made it harder to dismiss the Enlightenment’s prejudice against prejudice and the Jewish hard-sell misrepresentation of prejudice against blacks was invalid. The British rock musician could more easily fancy his grand tour of The US market as a gospel barnstorm; imagine his band on an evangelical mission, to demonstrate non-prejudice and good will toward blacks et al; he could not fully appreciate that his vision was a controlled illusion of (((The Western Media and Powers That-Be, generally))) that might be woken up to reality if only cold water were thrown in his small face by tour’s end, when it was time to retreat home. Still there was this great pitfall besides brackets for White males in their pursuit of authentic Being at this point. Their pursuit of midtdasein in correction of past over compensations that resulted of didactic incitement to arbitrary competition remained stigmatic against traditional gender roles - midtdasein was not only going against the male role of aggressive competitor, but against his pursuit of sheer victory and achievement, going against the pinnacle of stand-out actualization above society, or rather atop, but still comfortably aligned, which was the linear traditional direction of male quest. Moving beyond mere custom and habit of tradition, to reject this quest of pinnacle actualization as a priority nevertheless remained stigmatic from the newly hegemonic modernist standpoint also - its sanctioned pursuit of self actualization as a universal good and in a universal context, transcendent of group interests, was the offered reward for any man who’d compete for it and win it - but offering no sympathetic rest for midtdasein. No, the naively anti-social, a-historical, a-contextual pursuit of self actualization was not only the upshot of traditional objectivism itself, but exploited and exacerbated by Jewish tribal interests who maintained group organization for themselves while inciting profound group competition for others: pandering to female inclination to incite genetic competition in modernist feminism; and otherwise distorting beyond reason the modernist rule structure; saliently, by means of “civil individual rights” and the prohibition of group classification and discrimination by Whites as “racism”; i.e., aiding out-groups, and leaving midtdasein a highly unsympathetic quest by contrast. But another large pitfall of the hippie movement and why it did not succeed in becoming articulate in promulgating its organic motive of midtdasein, its profound importance, was that in an initial phase, at least, Being would move toward organic synthesis and against analysis - rebelling against the artificial divisions of analysis, whether the analysis facilitated by mere words or the more baroque analysis of academia and its traditions. Furthermore, males, especially in the disorder of modernity, tended not to be in the addressive position (how are you? can I have a date? Oh, I care about your feelings, why did he hurt you? etc.), a position that contributes to becoming articulate, a position that females occupy increasingly with the upshot of modernity, with the assumption that their intrinsic feelings and thoughts are worth consideration and worth more on the market - with incentive to maintain that increasingly competed for one up position through didactic incitement. Lacking that second person addressive position by contrast and incitement, males would tend to overcompensate, seeking stilted prosthesis in the detached third person position - e.g., a rock star to his audience. This could result in a kind of estrangement, superficiality and naivete in the pursuit of authentic self actualization, particularly when pursued by alpha male musicians flouting education, “jive-talk” (as opposed to the basic talk), flouting the awkward sublimation, the nerdishness that is characteristic of a good part of authentic White male being. Again, this European soul, as it were, was distinct form the black power and civil rights movement which would view White organic variants as geeky White jive, lacking in the black man’s “sou- ee oo - ee ou—- ooouwel - oou - ouwhel” and “in-teg-ritae.”
Because authentic White male being will manifest the quirkiness of our optimal sublimation, the appreciation of which is a part of our K selection strategy, its authentic expression was revealed in initial spontaneous, organic expression - that is essential to why this celebration of the weird was a part of hippiedom as well. Blacks, and R selectors generally, are not circumspect enough in their concerns to be weird in the flighty way that Whites are - blacks are cool and overly comfortable, at home in the world, their patterns are too old, stable, masculine and no-nonsensical to be weird in the White way. If sufficiently understood, the appreciation of this optimal White male sublimation would serve to gauge authentic praxis, between the Cartesian extremes of empirical myopia and abstract universalism. This median male sublimation, as opposed to over-confidence, gives us sufficient empathy and pause to spawn intellectual creativity. But within the inciting context of modernity, the pursuit of midtdasein for White males, was but a flicker that was extinguished when it was no longer required consolation against the absurdity of the Vietnam war. Hippie midtdasein was reacting to the rupture of its patterns as it was subject to the destruction of modernity’s prohibition of discrimination on their basis, and particularly as discrimination on behalf of these patterns was attacked by Jews - who would pander to the antagonists of White men, including heavily, even to their co-evolutionary but nevertheless untrusting puerile White female. With Herbert Marcuse and the YKW pandering to her inclination to incite genetic competition - in the idea of “free love” and other taboos being altogether reversed, to where discrimination against blacks was the taboo - she will naturally look askance at the quirkier, speculative and protracted White male patterns given the requirement to survive the atavistic common denominator left in the disorder of modernity - masculine idealization will take on a more atavistic (read African) kind of behavior and hyper-assertive confidence; a more episodic and momentary measure, the acceptance of such measure becoming a litmus test conducted by females in initial interaction episodes - “isn’t prejudice (implied against blacks) terrible?” Unfortunately this perspective was fed by a confluence of many streams antagonizing the White prejudice that protected its more speculative and ambitious patterns. These streams fed an overly simplistic line to the inarticulate hippie - particularly the hippie devoid of the reality testing context of blacks on equal civil footing and the draft. His motive of Being having taken the initial direction away from analysis and intellectualism, left him susceptible to estrangement from the next step in homeostasis - of midtdasein - a cultivated turn, the turn into the culture of his people, particularly as he was inarticulate to defend against the awkwardness of an “Itchykoo Park” (“lets feed the ducks with a bun”). He would be susceptible to attempting to prove his more masculine masculinity, vulnerable to the didactic incitement to subject himself to primitive rites of passage and the criteria of universal maturity. But just because the British music invasion was not generally a wave central to the essence of the hippie movement, does not mean it was not hugely influential - obviously it was. Though one could argue that the British knew enough about war, racial antagonism and ill fitting requirements, midtdasein was not the epicenter of their concern, largely because they still had their historical midtdasein in tact - the yearning for that was not new; liberalism and its quest was new to them.
If the British hippie was not experientially lacking and uneducated to the fact that discrimination against blacks is necessary; that slavery and exploitation of blacks was strictly the right wing’s doing, he might not seek authenticity in taking-up the cause of blacks. He would realize that he had enough on his hands and no responsibility for them. But given the alphas, their lack of sublimation and circumspection regarding their own group patterns, they would be prone to this wrong turn to try to assimilate the authenticity of the black cause as “underdogs” - which, like themselves, they were not, by the way, in a brute physical sense. This was sheer alpha competitiveness. The inexperienced and inarticulate alpha male’s narrow perspective could fall into the groove of emulating black primordiality and hyper-assertiveness - a second hand version - lacking the sublimation and circumspection on White systemic patterns that characterize the full authenticity and complexity of White midtdasein.
Universal Maturity“Authentic and organic man”, unmediated by sublimation and social concern of their own folk in this context equals negritude and a lack of empathy and appreciation for the corollaries of distinctly White awkwardness, sublimation… If you were to ask many White pop musicians of the fifties and sixties and in fact, ever since, many were trying to sound black, specifically to emulate black rhythm, gospel, soul and blues artists. Many singers were trying to sound black - not always with success. Rod Stewart “desperately wanted to sound black”, but couldn’t quite do it. Others were successful - notably Steve Winwood and Steve Marriott. But whereas Steve Winwood went from an orientation in black blues with The Spencer Davis Group to sublimate his musical efforts into the more far reaching social breath of English culture, psychedelia and the mysteries of the eastern cultures that the empire had encountered - i.e. to succeed in the cultivated turning into the riches of his social sublimation with Blind Faith and Traffic.... Steve Marriot did not take the turn where it was called upon by midtdasein - the call to turn from psychadelia’s initial organic emergence in being’s defense of organic synthesis against the rupture of analysis in education and intellectualism, the call to turn where this move, itself, began to go against his organic system. In fact, it was because Marriott and the rest of Humble Pie were so committed to becoming more black (with Eat It), that Peter Frampton left the group, not being able to relate to that quite.
After all, what did they really know about what it was to live with American blacks; or for that matter, what it was to be authentically motivated as a White man searching for communal peace in the absence of a nationalist underwriting of his folk, to be with the strains of his people nevertheless, as opposed to being drafted into the Vietnam war? Pursuit of authentic black American soul caused them to lose (track of) their White English soul.While Humble Pie blamed Eat-It’s commercial failure on Steve Marriott’s home recording studio as it overloaded base frequency, it would seem rather that Frampton’s instincts for a different direction were more in keeping with White interests and commercial success in America. But whatever the reason for Eat-It’s commercial failure, it was “the point where the freedom that [Steve Marriott and Humble Pie] had been given was starting to be questioned by (((the Gerry Moss’s))) of the world….because expectations of that record didn’t meet up with what [they] hoped it was going to do…that was going to be [their] coup de gras, that was going to be the big one..and instead of that, [they] literally did eat it.” “His personal life was becoming a mess; at that point he was about to lose the love of his life, Jenny” He was never the same after that. Thus, when Steve Marriott and Humble Pie went for this more “authentic” black sound and inspiration in their 1973 album “Eat It” - what was supposed to be their break through - it failed, as it should have - it lost connection with authentic European being, it had assimilated Jewish universalizing misdirection for goyim. It was ‘73, the draft was over, altercast sympathy for midtdasein was over, the YKW were taking feminism into overdrive.
The alpha male who could pull this off is already well prepared to assimilate and model not just negrophilia and the actualization of this (Enlightenment and Jewish altercast) pop-stardom, but to establish the pathway to wiggerdom for many a White teen as they emulate the “universally authentic” organicism - of a “man,” a “woman”, etc. As mentioned a moment ago, there were distinct advantages to keeping White midtdasein on track for Americans at the time - even after the life and death confrontation of the draft was ended, the day to day confrontation with the full reality of blacks remained (not just their music or Jewish lawyer’s tales of their oppression). Confronted as they were with the harrowing reality enabled them to see a bit more clearly around the corners of the Jewish media’s misrepresentation of civil rights - at least not to see it as their native cause, let alone identify as black to the soul (as in “Black Coffee: My skin is White but my soul is black”). You really did not see hippies negrophilic to the point of becoming wiggers. P.C. had not taken total hold yet, there was still a lingering respect for the rogue aspects of European culture that they manifest and for the clear fact that they were truly not in every way privileged. But by 1973 the Vietnam was over and in America, White male being was now shunted by the powers-that-be as mere indulgence; while their attack from feminism was being ramped-up to fever pitch, often in hideous tandem with black advocacy - endless, shrill guilt trips - and a mortifying threat - through even a modicum of their experience they could sense that black identity, black power and black civil rights were a completely different motive, heading in a completely different direction from the liberation of White male being. And that their motive to being was in an incommensurate (though potentially complementary direction) with feminists, they were being goaded into an incredulous expectation that our more sublimated and human patterns should fit comfortably next to wild African animals. With White male Being no longer under the didactic threat of the draft, Jews and feminists no longer feeling obligated to altercast American White male Being, whether its legitimate organic expression or the affected black imitation - that White American audiences were not going to be persuaded to identify with anyway - the Jews would task cooperation from the Italian American mafia to make up for their (((Moss’s))) failed investment in Marritott’s ability to sound black, to market something that could appeal to both teenage girls and boys not having a taste for the neo-greaser movement that was the sudden disco fad. Thus, they marketed X-Humble Pie member, Peter Frampton, making his “Comes Alive” rock album the best selling live album of all time - not exactly deep culture, but more accessible as it was to traditional White teenage girls than “hippie-being.” Frampton had left Humble Pie, rejecting the more hard core blues direction that Marriott wanted to take the band; Frampton was instead prepared to issued forth a commercial appeal to more traditional White American teens, who were not going to be converted wholesale to negrophelia and wanted a more uninhibitedly European sound and sexuality - more in line with their albeit still superficial freedom, than chants of deep, African liberation. Humble Pie, Black Coffee: The effort to manifest authentic soul had Steve Marriott take a turn into estrangement - over identification with black American soul caused him to - well, its a bit melodramatic to say “lose” his White English soul, but - to lose track anyway. Humble Pie - ‘Black Coffee’ Lyrics Artist: Humble Pie In America, well it’s the land of the free (Black coffee)Alright Black coffee is my name Way back you all know since I don’t know when (Black coffee) That’s what I’m talkin’ about boys Well you hear that
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Posted by mancinblack on Fri, 23 Dec 2016 09:22 | # The eighty two year old John Mayall gave an interview back in September in which he said “Eric Clapton was the main one that pioneered the love of Blues (in Britain)”. Clapton’s fans referred to him simply as “God”, so here is a link to the word of “God” from a stage in Birmingham, in 1976. This always makes me smile, as it shows what a “hands on experience” can do for a man. 3
Posted by DanielS on Fri, 23 Dec 2016 10:08 | # Mancinblack, how tight a corollary does the use of the term “wog” have with “blacks” (people of African descent) or “Jews”? I’m sure it has a high correspondence to Middle Eastern and Asian Muslims, which is fine, they deserve to be among groups prioritized as adverse to native English interests, but I wonder if to some extent it (“wog”) reflects a sanctioned prejudice - “its more ok and easier to attack these people”, who may not be as acute a problem, as opposed to those people, who are a bit too backed by the powerful and the populace to target as a priority for non-cooperation and exclusion. Would Clapton have called Jimi Hendrix, Muddy Waters, Howlin’ Wolf, John Lee Hooker and some of those Jewish record executives “wogs” and demanded that they get the hell out of Britain? I’m asking in all honesty - I only have the vaguest idea of how the word “wog” tends to play out in patterns of ordinary usage in Britain… 4
Posted by Jimi Henry on Fri, 23 Dec 2016 10:38 | #
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Posted by mancinblack on Fri, 23 Dec 2016 11:59 | # Clapton used it to refer to Arabs and as I understand it he was concerned about the number of wealthy Arabs buying property in London, prior to the back stage incident involving his wife. He obviously didn’t include blacks in his use of the word as he mentioned West Indians separately, however in the sixties and seventies it was commonly used to refer to blacks via an association with “Golliwogs”. Personally, I’ve never heard it used in connection with Jews or Muslims from the sub-continent. In fact I can’t remember the last time I heard the word “wog” in conversation. I guess I must move in more polite circles ) I doubt very much that Clapton would have told the artists you mention to vacate the the country and I have no idea what his opinion of Jews in the music industry were. Today’s “sanctioned prejudice” appears to involve East Europeans and in particular Poles, I’m afraid, as it’s far more damaging to White interests than the word “wog” could ever be. It’s also something I don’t quite “get”. 6
Posted by Eric Clapton on Sat, 24 Dec 2016 13:02 | # Mancinblack, it seems Clapton was quite broadly racial in that tirade…I guess this answers my question, blacks were on the out list indeed:
https://en.wikiquote.org/wiki/Eric_Clapton ...good boy eric. 7
Posted by mancinblack on Sat, 24 Dec 2016 13:33 | # Good boy indeed. I think I made some fairly racial comments but they weren’t directed at any one particular minority, it was a kind of feeling of loss of identity and losing my Englishness 8
Posted by DanielS on Sat, 07 Jan 2017 05:49 | # I’m moving this post here to Central now. I had it in News and Views while it was not quite ready for prime time; and have worked it, I’m sure you will agree over-worked it. I’ve been reluctant to bring it to Central not only because it needed correction and development, but because it could have seemed like I am registering a major complaint against “British hippies.” The issue is there really only to highlight, by contrast, pursuit of authentic midtdasein. Finally, I had this article in News & Views because it is somewhat repetitious of things I’ve said before - but I do that for a reason, because I wanted to apply and develop these concepts through different content. However, in that development, I can see that “the system” that I am following, using, does hold up in its capacity to make sense - as another illustration of that fact, I move the article here to Central MR. 9
Posted by Small Faces coming from the East End on Mon, 09 Jan 2017 16:17 | # Small Faces coming from the East End
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Posted by John Peel branches off on Sun, 26 Mar 2017 04:59 | #
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Posted by Ian McGlagan of Small Faces on Thu, 22 Dec 2016 09:29 | #
Small Faces
Steve Marriott, Ken Jones, Ronnie Lane, Ian McLagan.