(Musical) Anatomy of Female Power

[Evola As He Is]

A few years ago, before starting to write the afterword to Anatomie and when I had only read the book four times, I tried to heal the wound that the knowledge that Anatomy was written by a black man can cause in any white man's self-esteem, by observing that almost all the parts of the body which is meticulously and conscientiously dissected in it are to be found, in whole or in part, rather like the members of the body of Osiris, scattered throughout European literature, particularly French literature, from Villon to Henri de Montherlant via Flaubert and Baudelaire. Since then, I have realised that I have misjudged things. What we find in all these white authors is a penetrating "psychological analysis of women.

"Psychological analysis"? What an awful and, above all, inappropriate term. For example, these four lines (see evolaasheis.proboards.com/thread/129/matriarchy-gynaecocracy-current-state?page=5 for the translation)

Songeant de poisons et de glaives,
Eprise de poudre et de fer,

N'ouvrant à chacun qu'avec crainte,
Déchiffrant le malheur partout,

are anything but analytical. It is a synthetic, immediate transcription of an intuition that the poet had while observing a woman, her attitude, her gestures in an episode of daily life, and which a moralist, in his attempt to define and describe "woman's nature", would translate more or less as follows: the woman is a being by nature fearful, pusilanimous, timorous, wicked. Those who open Anatomy expecting a study of 'woman’s nature' will get little for their pains. Above all, Anatomy is  above all a survival manual.

Whatever the powers of observation of our writers, obviously related to their idiosyncrasy, there is nothing in their works, directly or indirectly, about the five pillars of female power, let alone kitchen power. None of the promotional clips to be posted here of the songs that best illustrate the other four, whether visually, lyrically or both, makes the slightest reference, visually or otherwise, to kitchen power either; none, apart from www.youtube.com/watch?v=CMThz7eQ6K0, which has already been mentioned.



Today's women, whether employees or company directors, no longer have the time to cook for - or against - their husbands or partners?

  does.



Of course, no one is saying that the artist in question was fully aware of the relevance of the image in question; more generally, no one is saying that the artist is fully aware of the relevance of the images he creates – or, for that matter, that others create – to illustrate the lyrics of his songs. This is not the place to explore the thesis that the artist is a mere medium. What matters – what matters to us –, is that the image exists as an illustration, a thousand times bigger. of a given reality. The image should correspond as closely as possible to the lyrics, which, as far as they are concerned, are usually written by the artist. Unsurprisingly, the choice will be very limited. Not surprisingly either, it may be that some of the exemplary musical works that evince the considerations of a Masculinist were composed by muchos. Still unsurprisingly, the compilation will include very few female singers; in fact, only one, the only one, to my knowledge, who has spilled the beans in public.

Give credit where credit is due, so we'll start with her song, which was a huge hit in 1981, but first it would be good to re-watch a crucial work that has already been mentioned: www.youtube.com/watch?v=9m9m5-n-aP8 - released the following year.

[Evola As He Is]

The few works concerned are audio summaries, sonic concentrates of Anatomy (except for the last chapter, "On Masculinism"). They will be presented in descending order, starting with those with the greatest degree of concentration. In the case of the first two, the degree of concentration is so high that it is superfluous, it makes no sense to quote specific passages from the book. The first was developed from a feminine point of view, the second from a masculine one.

At evolaasheis.proboards.com/thread/148/miscellanea?page=6, I've quoted a number of novel incipits, of which the shortest are certainly the sharpest. What do you think of :

Her hair is Harlow gold

?

As I am not a music critic (https://www.youtube.com/watch?v=tWinLssDyqg), I will confine myself to pointing out that those who live in New York Coty in winter cannot help but fully appreciate this particularly caustic oxymoron:

She’s pure as New York snow.

The lyrics were written by two women.

The promo video clip is available at www.youtube.com/watch?v=EPOIS5taqA8&ab_channel=KimCarnesVEVO. "Live" (in quotation marks, because her gestures and "body language" are much less explicit, revealing) : www.youtube.com/watch?v=dqN_9Pu3-Ic&ab_channel=ReelinInTheYears66/. In 2011, on a TV show (https://www.youtube.com/watch?v=pJj0e3thbkU&ab_channel=MorenoJRemixes), the footwork, not to mention the slapping, was completely erased. The TV programme in question was French, as was, no doubt, the hairdresser. Judging by www.youtube.com/watch?v=y0-aA5QhoBI&ab_channel=earthquake1755, which also shows that she has aged less physically than the keyboard player has musically, she has fortunately recovered from her hair suicide attempt.

In the forests of Tacitus's Germania, there must have been plenty of women like her.

[Evola As He Is]

Now, from a masculine standpoint: www.youtube.com/watch?v=KEcx9F_FW2U.

Il feel like I'm holding on to nothing.

[Evola As He Is]

Consider a beautiful girl and a strong boy. When they are successfully reared by motherpower, they mature into their respective gender ideals: the dolly bird and the macho. To bring this about, the girl is taught self-worship or narcissism; the boy heroism or self-sacrifice. Her narcissism induces an absolute self-centredness which smothers those self-sacrificing impulses which are fostered in the boy by male codes of honour, gallantry and heroism. When they grow up, the dolly. bird will worship herself; but the macho will worship woman and serve her, even to the point of sacrificing his life to preserve hers.

www.youtube.com/watch?v=eBCq0pzr8io

Mother, I wrote to you.

In the Jesuit secondary schools born out of the Counter-Reformation, the classes, which could have two or three hundred pupils, were divided into groups of ten; each of these groups was placed in a camp, the Roman or the Carthaginian. From the 18th century, the methods changed: the school space became serial; classes were only composed of individual elements, defined by their position in the system of age classification, performance and evaluation of behavior. The current tables layout was established.

Unsurprisingly, the time-table determined the whole course of school life. As early as the end of the 17th century, Jean-Baptiste de La Salle advocated in his Conduite des écoles chrétiennes – The Conduct of Christian Schools a day and week schedule that dictated not only the hourly distribution of tasks, but also the series of gestures and postures which had to be adopted by the pupils.

“At the last stroke of the hour, a pupil will ring the bell, and at the first sound of the bell all the pupils will kneel, with their arms crossed and their eyes lowered. When the prayer has been said, the teacher will strike the signal once to indicate that the pupils should get up, a second time as a sign that they should salute Christ, and a third that they should sit down.” (La Salle, Conduite des écoles chrétiennes, pp. 27-28, in Discipline and Punish, 1975, trans. Alan Sheridan, 1977, cited, p. 150)

While the pupils were taught, their bodies were subjected to a systematic training. Learning to write, for example, required a complex gymnastics that involved them entirely.

“The pupils must always hold their bodies erect, somewhat turned and free on the left side, slightly inclined, so that, with the elbow placed on the table, the chin can be rested upon the hand, unless this were to interfere with the view; the left leg must be somewhat more forward under the table than the right. A distance of two fingers must be left between the body and the table; for not only does one write with more alertness, but nothing is more harmful to the health than to acquire the habit of pressing one’s stomach against the table; the part of the left arm from the elbow to the hand must be placed on the table. The right arm must be at a distance from the body ofabout three fingers and be about five fingers from the table, on which it must rest lightly.” (La Salle, Conduite des écoles chrétiennes, pp. 63-64, in Discipline and Punish, 1975, trans. Alan Sheridan, 1977, cited, p. 152)

As later in the army and prison, the succession of gestures was ordered by a sequence of signals, whistles, drum rolls, commands, which must both accelerate the learning process and teach speed. Jean-Baptiste de La Salle described a reading exercise as follows.

“When prayer has been said, the teacher will strike the signal at once and, turning to the child whom he wishes to read, he will make the sign to begin. To make a sign to stop to a pupil who is reading, he will strike the signal once [...]. To make a sign to a pupil to repeat when he has read badly or mispronounced a letter, a syllable or a word, he will strike the signal twice in rapid succession. If, after the sign had been made two or three times, the pupil who is reading does not find and repeat the word that he has badly read or mispronounced —because he has read several words beyond it before being called to order—the teacher will strike three times in rapid succession, as a sign to him to begin to read farther back; and he will continue to make the sign till the pupil finds the word which he has said incorrectly.” (La Salle, Conduite des écoles chrétiennes, pp. 137-138, in Discipline and Punish, 1975, trans. Alan Sheridan, 1977, cited, p. 167)

A report from 1816 described in very similar terms a writing exercise.

“9: Hands on the knees. This command is conveyed by one ring on the bell; to: hands on the table, head up; 11:clean the slates : everyone cleans his slate with a little saliva, or better still with a piece of rag; 12: show the slates; 13: monitors, inspect. They inspect the slates with their assistants and then those of their own bench. The assistants inspect those of their own bench and everyone returns to his own place.” (Writing exercise, in Discipline and Punish, 1975, trans. Alan Sheridan, 1977, cited, n. 5, p. 154, cf. p. 315)

The school was one of the first institutions to systematize supervision practices. In his Instruction méthodique pour l’école paroissiale – Methodical Instruction for the Parish School (1669), Batencourt proposed to choose among the best pupils a series of “officers,” called “intendants,” “observers,” “admonitors,” “visitors,” etc. Some of these pupils, the “officers,” had to perform material tasks (distribute ink and paper, read spiritual texts), but most of them were assigned to supervision tasks.

The “observers” must record “who left his bench, who was talking, who did not have his rosary, or Book of Hours, who did not comport himself properly at mass, who committed an impure act, who indulged in idle talk or was unruly in the street”; the “admonitors” were placed in charge of those “who talk or hum when studying their lessons and those who will not write and who waste their time in play”; the “visitors” called on the families of pupils who had been absent or who had committed serious offences. The “intendants” supervised all the other officers. (Batencourt, Instruction méthodique pour l’école paroissiale, 1669, pp. 68-83, in Discipline and Punish, 1975, trans. Alan Sheridan, 1977, cited, p. 176)

At the same time as these techniques of physical training and supervision, the school adopted a system of corrective, hierarchical and graduated penalties, shared by the army and the workshop, which was to become one of the foundation of the individuation devices of the democratic era.

The workshop, the school, the army were subject to a whole micro-penality of time (latenesses, absences, interruptions of tasks), of activity (inattention, negligence, lack of zeal), of behavior (impoliteness, disobedience), of speech (idle chatter, insolence), of the body (“incorrect” attitudes, irregular gestures, lack of cleanliness), of sexuality (impurity, indecency). (Discipline and Punish, 1975, trans. Alan Sheridan, 1977, p. 178)

The school was, finally, one of the oldest institutions to link and systematize disciplinary practices, methods of supervision, punishments, and knowledge. Through the observation of children and the constitution of a memory of their attitudes and performances, a new pedagogy developed, whose main characters were to break down the teaching subjects into elementary elements, to control in detail the students, to classify each of their phases of progress, and to intervene punctually through operations of correction, punishment or elimination. (https://www.rhuthmos.eu/spip.php?article2481)

There were very few headmistresses at the time. What did it matter, as long as, behind each headmaster, there were, depending on the guy's purchasing power, one or more mistresses.

[Evola As He Is]

The matriarchist, who peeps around at the very beginning and at very end of www.youtube.com/watch?v=eBCq0pzr8io, has always kept – for good reason – a low profile in art. Media representations of the tomboy have become less rare as the purchasing power of lesbians, like that of pederasts, has increased over the last few decades. The termagant is still not selling, while the 'stupid blonde' is more popular than ever; she’s sold on camera around the clock, to her great profit. We still need to find an anatomy of the 'stupid blonde' from the male point of view. We will.

Meanwhile, this is one of the very few portraits of the termagant: www.youtube.com/watch?v=n4oFcaVY8iQ [Hergnies, 1987; Brussels, 1991).

[Evola As He Is]

Assuming - allow me to digress slightly - you have the choice, is it better to pull the supermarket trolley (www.youtube.com/watch?v=n4oFcaVY8iQ) than to be in it?

www.youtube.com/watch?v=yuTMWgOduFM

She came from Greece she had a thirst for knowledge
She studied sculpture at Saint Martin's College

[Evola As He Is]

The tomboy, as seen from a penetrating Mancunian perspective : www.youtube.com/watch?v=xxDv_RTdLQo&ab_channe

Oh, you've got green eyes, oh, you've got grey eyes
Oh, you've got blue eyes
Oo, you've got green eyes, oh, you've got blue eyes
Oh, you've got red eyes

40 years later : www.youtube.com/watch?v=hZXxmhok1AU&ab_channel=NewOrder. A synthesis of Mr Bean and Lost Highway, if that's possible.

[Evola As He Is]

Before moving on to two graphic portraits of the "stupid blonde", it would be a shame to omit equally graphic portraits of the macho and the musho, more specifically the "lapsing macho" (yet married) (https://www.youtube.com/watch?v=SsKyxkfj8ak&ab_channel=DepecheMode) and "the great macho dictator presented in so many Latin American novels" (https://www.youtube.com/watch?v=Ezm2CeAckX4&ab_channel=TBBM%5BTheBlueBallMusic%5D), and the (still single, but most probably « bilingual ») musho (https://www.youtube.com/watch?v=Pn43O3ZKN_c&ab_channel=BeBotExpress).

                                                                                                                             

[Evola As He Is]

In the West, some of these men, especially the brawny robots who are so easily manipulated by women, will go so far as to speak of the "dumb blonde" as the ultimate in human stupidity. Yet, to look into the matter is to discover that the allegedly dumb blonde is no such thing! She lives rich by expending little more than the yellowness of her hair. She uses her yellow hair to rule the heart and pick the pocket of some blonde-obsessed macho with more money than sense. She laughs her way through an easy life and into a hefty inheritance. If anything, she is a great maximizer of returns, cleverly getting the best of life with the least effort. Frankly, the proverbial "dumb blonde" is probably the cleverest thing in the world. And if a "dumb blonde" is actually stupid at things which need intellectual sophistication, well why not? In her world, all the mental calisthenics she needs is to say her wish and some blonde-struck macho would move mountains to satisfy it. Any wonder if she should fail to exercise, let alone build up her brainpower? Anyway, however dumb a "dumb blonde" actually is, she is still cleverer than any man she rules through his worship of her yellow hair; for how can one be cleverer than one’s ruler? In any case, the degree of a "dumb blonde’s" dumbness is a direct measure of just how little brains it takes a woman to rule even the cleverest of men.

To illustrate this more than musically, let's move from Manchester to Sheffield again, with Jarvis at his cockerest:

www.youtube.com/watch?v=38by00DGid0


www.youtube.com/watch?v=JXbLyi5wgeg&ab_channel=PulpVEVO


[Tottenham Court Road, 1999]

[Evola As He Is]

Apr 15, 2024 17:57:01 GMT Evola As He Is said:

"2024": www.youtube.com/watch?v=lOQo8u4niSE (https://www.youtube.com/watch?v=7ZP_QUQJGAY; www.youtube.com/watch?v=gYqj4Gf56ng; www.youtube.com/watch?v=2Ur3L4PVCSI; "Etc.").

[Evola As He Is]

Stendhal called it "vanité", the French philosopher Jules de Gaultier (1858- 1942), « bovarysme », the French naval doctor, novelist, poet, ethnographer, sinologist and archaeologist Victor Segalen (1878-1919) "exotisme" (https://www.chaosmotics.com/en/variations/essay-on-exoticism) that is, a feeling of dissatisfaction with one's social condition and emotional life, leading one to seek escape from day-to-day life through fiction. René Girard, in Mensonge romantique et vérité romanesque, an analysis of several literary works such as Don Quichotte (1605), Madame Bovary (1857), The Eternal Husband (1870) and The Red and the Black (1830), drew on their intuitive analyses to build his theory of mimetic desire: a subject, an object, and a mediator are all involved in desire. The subject is the desiring person; the object is the thing being desired; the mediator is the person modeling desire. A triangle is formed when these three points are mapped. The subject sees someone else desiring an object, and he consequently takes him as a model to imitate, thus beginning to desire the object which the latter, that is, the mediator, desires: he comes to see the object as desirable just because the latter desires it. This mediatorship is bound to create deep ambiguities and violent conflicts.


This is one of the tactics that is

still available to the woman who wants to hurry her suitor to propose. She can end his reluctance by hinting at, or even producing, rivals to whom his ego would be loathe to lose her. When such a woman seems determined to flirt with other men in her suitor’s presence, her game is clear. [emphasis mine]

www.youtube.com/watch?v=FniF0kSvWGg