DISCO Magic with Dr. Rob [Click to send e-mail]

Sole Solution: Soul Revolution

"Vulgar, corrupt, degenerate," academics contemned jazz in the 1920s; "vulgar, corrupt, degenerate," academics contemned rock & roll in the 1950s; "vulgar, corrupt, degenerate," academics contemned hip-hop and rap upon their infestation on popular culture. In the context of the rich orchestral music of the early-1900s, the street qualities of jazz were and can still be regarded vulgar, corrupt, degenerate; in the context of orchestral music of the 1930s and the big-band sound of the 1940s, the street qualities of rock & roll were and can still be regarded vulgar, corrupt, degenerate; and, one need not exact rigorous psychological evaluation to construe the vulgarity, corruption, and degeneracy of hip-hop and rap. The pattern impressed on this society is that the inane and debased endure, even thrive and proliferate, while the refined perish. Now, a near-century after the condemnatory epithets placed on the form of music, jazz is given the accredited standing of "highly-developed form of music" through honored topic of university study, most of whose curricula display the effrontery of stopping before the 1970s: the one and only time when jazz - because disco-influenced - elevated from its street-status qualities of trios and quartets to become immensely symphony-orchestrated the world-over. It is indeed the case that the distinguishing quality of disco is its having been conceived by academic musicians who with study of and training in music theory and orchestration wove their threads of symphonic sentiments into philharmonic fabrics, and, therefore - because, by nature, were artists, not fighters - were no match when the cancers of society - by nature, viral infections, not artists - launched attack on the artform. Upon examination of the lyrics of the hundreds of disco songs produced between 1974 and 1979 such as those featured every week during The World's Most Sophisticated Radio Show, one cannot even attempt to imagine any other form of music - swing, jazz, soul, blues, country, rock & roll - to educe such uncontrollable emotion, to induce such powerful devotion, to adduce such insurmountable melodic and orchestral beauty as to produce lyrical rhapsody. It is, in fact, the profundity - not the flippancy - of the lyrics that generated an indomitable jealousy in the inept, for the command of the power to elevate participants into the sublime through total control of the heart, mind, and soul - and the putting into words that which the artform is capable of making one feel - remains the highest hope and greatest achievement of any true artist. With neither the emotional nor the intellectual capacity for employing in their own "craft" the mesmerizing magnanimity of this force, adversaries found - and still find - need to destroy the message of the artform whose appreciators would "forsake all other earthly desires."

Narrated for the ears of future generations by documentation of the greatest amount of public resources in all of human history funding social-improvement programs, education, the environment, and environmental restoration after the destructive 1950s and 1960s, the decade represented by the 1970s entifies the uprising and highest-period development of every social group of this former-civilization and the tenderness of treatment of the earth and earthly creatures. As societal symphony became the 1970s melody, the vocabulary of 1970s artforms acquired the highest-level lexicon; and, it was only natural that artists of film, television, and music would, in their striving for perfection, create such magniloquent works of art. Yet, after an over-3-decade timeperiod after The Fall on January 1, 1980, in order to make sure that no resurrection of 1970s principles takes place, '70s-bashing and a tainting of history persist by cancers, in a society that continues to refer to the lowest-class mental-retard that ever cursed popular culture The King. Even in the face of networks like Nick-at-Nite and TV-Land, one can view the blatant contrast between the classless imbecility of the 1950s/1960s and the cultural awakening of the 1970s, which miraculously transformed television from Hogan's Heroes and McHale's Navy to M*A*S*H, from The Beverly Hillbillies and The Addams Family to All in the Family, from Bewitched and I Dream of Jeannie to Maude, from The Flying Nun to The Mary Tyler Moore Show. Even in the face of networks like Turner Classic Movies and American Movie Classics, one can view blatant contrast between the classless imbecility of the 1950s/1960s and the cultural awakening of the 1970s, which miraculously transformed film from shamefully-idiotic science-fiction thrillers to Star Wars and Close Encounters, from productions of 1950s/1960s imbecilic dialogue and revolting colors to 1970s intricate scripting and exquisite cinematography of The Godfather and Roots. Even in the face of contemporary movies like The Spy Who Shagged Me, one can view the blatant contrast between the classless imbecility of the 1950s/1960s and the cultural awakening of the 1970s, which - after the Elvis/The Beatles/Woodstock virulence, for the first time in over 2 decades - brought people of all walks of life, of all ages, of all ethnic groups, together dressed in suits and gowns to revel in the most immense flowering of symphony-orchestral music in the history of popular culture.

Enforced immediately after The Fall on January 1, 1980 was the strict mandate to divert attention away from the glory of the 1970s Age of Enlightenment and toward the 1980s-to-present-day Age of the Classless Mental-Retards. 1950s/1960s Bacteria rampantly mutated, the lowest of lifeforms on the planet - which reside in film, television, music, radio, and journalism - scrapped enticement through creativity and artistic content for appealing to the most vile element of the human character in the manner of 2-year-old mentalities competing with each other for a moment of fame, wantonly shameless against the prospect of future generations' regard on their despicable character. Shock and more shock devoured by audiences of blood-dripping fangs rejuvenated by the witness of the spiritual murder of others through disparagement in a society that looks down upon civilizations that partook of the "barbaric" spectatorship of gladitorial combat, in which, at least, whose victims were humanely ended of their misery, rather than imposed upon the vengeance of "living" among those with the intelligence of a banana in a Planet of the Apes society. With self-respect assassinated and dignity annihilated, the new "standard" that has acquired a stranglehold on every aspect of living in American society since The Fall is now to act like a classless mental-retard is to be handed the pot of gold: the axiom upon which today's role models, icons, and idols are predicated. The frightening reality is that what might have started as acting to be accepted has deteriorated into being, for behavior not tolerated - not even imagined - before The Fall has become mandatory, a prerequisite to success.

A stage glorifying the Age of the Classless Mental-Retards, American television comprises whole networks whose names belie their programming: The "Learning" Channel, The "Discovery" Channel, The "History" Channel, "Arts" & Entertainment - with the intellectual content and artistic delivery of that of junior-high-school students working out of their mommies' basement - have flooded the airwaves to render an over-200-channel cable system piped into the average American home, serving only to add to the accumulating rage of a society searching for quality amid an ever-growing quantity, constructing an ever-accelerating technological forward-to-the-past society based on not the freedom of choice but the slavery to emptiness. Horrifying bacterial nightmare MTV and VH1 quickly crawled up from the squalor of The Fall to embody the bottomless hateful resentment after the Disco Era against those who, in their teens and twenties, no less, composed for, arranged for, produced for, and conducted the world's grandest symphony and philharmonic orchestras. Twenty-years-strong in the moronic marasmus, boundless solely in their septicity are 30- and 40-something malignant tumors, whose "female" patron-saint The Anti-Christ Madonna - pridefully-clad in underwear to brazenly uncover a grotesque form - completely obliterated the 3000-year progression of women through thorough annulment of the 1970s woman's place as composer, producer, arranger, conductor, and concertmaster, and, while revalidating whoredom as womankind's highest aspiration, endures unmercifully to symbolize the diabolic crucifixion of the Woman's Movement; and the "male" patron-saint The Creature from the Underworld Michael Jackson who - more mature in his teens, human, even - shed his 1970s tuxedo for the 1980s-to-present-day preschool-girl leatherette jumpsuit suitable to the gonad-grabbing obsession of a 2-year-old hiccupping defiant chants. No great ceremonial burning of hip-hop, rap, or dance records even in the horizon, for bubbling up from the sewers oozes a fecal infestation of teens and 20-somethings of mentally-retarded English-corrupted names whose greatest talent aside from whining like mating cats and rhyming like brainless brats - with the beltline worn at the crotch, underwear the highpoint of fashion, lips of "females" painted to look like vaginas, and fake hair and fake nails - is fondling their genitalia and thrusting their crotches into the camera. Placement of the stamp-of-approval through adulating commentary in the media by '60s-trash - which actually spend more than an iota of energy reviewing the ghastly grime - unscrupulously memorialize their opinions in print in the last-ditch hope of relieving themselves of the guilt of having raised their children to be bomb-building, gun-toting monsters whose singular passionate ambition is to splatter their parents' innards.

Once upon the 1970s, even the talk-show arena was a source of inspiration and education, with guest-panels comprising scientists and educators until the 1980s certification of the worthiness of nothingness and the irrelevance of substance. Like a weed around a rose, fat-again-fatter-again self-despising Oprah - who could hardly conduct a conversation with a scientist to save her life - propagated until choking out of existence Phil Donahue and all remnants of the cultivated 1970s. The brightest days of heady 1970s Phil-Donahue television - with sapient Gloria-Steinem-esque interviewees - extinguished to become 1980s-to-present-day's darkest night of Jerry Springer and Ricki Lake, whom we now have to congratulate for the daily exhibition of normalcy in a putrid society germinated and fertilized by Oprah, who, not satisfied with the catalystic destruction of a whole culture through one form of media, has branched out. Now, look who emerges - with cultlike following, moreover - as today's heroine amid "trash-TV," goddess of the bookclub in the industrial world's most-illiterate, least-educated society, appropriately epitomized by 1980s-born USA Today, whose solitary truth is in its title, for only its staff of vomit-in-human-form could represent the true condition of USA, today.

The Dumb and Dumber society derived a sadistic pleasure from knocking out 1970s Rocky for 1980s Porky's; exterminating 1970s The Black Stallion for 1980s The Terminator; stomping 1970s Saturday Night Fever for 1980s Dirty Dancing and Footloose; bludgeoning the philosophical intellectualism of 1970s Good Times for the classless mental-retardation of 1980s In Living Color, in which people of color acted with the pre-1970s classless mental-retardation of subhumans - and proud of it - and, with the most egregious form of exploitation on any group of people in modern history, forever reopening this society's just-healing wounds of illperceptions of minorities with the delicacy of an axe; and burning at the stake the philosophical intellectualism of 1970s Maude for the substanceless inanity of 1980s The Golden Girls, in which vindictive 60-somethings took joy in calling each other slut, and whose moronic writers - with no pride for accuracy and even less cerebral tissue - spelled the name of the elderly Italian character not proper-Italian Sofia but Sophia, and whose Italian husband's name was not Italian Salvatore but Salvador. 1970s Sports and sporting events, reflecting the symbiotic synergy evident in 1970s life and lifestyles - and a veritable showcase of artistry in action by teamplayers upholding above all else the spirit of the unit - degraded to 1980s-to-present-day forget-the-team-for-I-am-superstar-(with-a-two-year-old-mind) attitude, who, unable to conjugate the verb to be, are appointed godlike status commanding agents and multimillion-dollar salaries, reducing basketball to a conflict resembling street-gang warfare by men-in-skirts, and baseball to a contest between heavier-and-heavier heavyweights slashing at a ball deceitfully-reengineered to be hit farther. The terms dignity, self-respect, and respect for others have fallen from the memory of a society whose new definition of individuality is based on not the developing of the mind in order to present to the world individual theories and unique arguments but the self-mutilation by placement of which piercing or tattoo on which body-part and the dying of the hair which yet-to-be invented color. Boob-enlargement or penis-enlargement - or maybe both - will gratify the 2-year-old mentality with a fixation on the visual, as Frankenstein plastic-surgery gone mad on brainless, soulless, feelingless mannequins in attempt to mask - or, at least, detract from - the ugliness within. What louder proclamation of a society's self-loathing than by its promoting decomposition of the mind and desecration of the body? Lies, upon lies, built upon and interwoven with lies - to compose a faux-society whose only honesty is in its exhibition of its own classless mental-retardation for the amusement and comical debasement of the rest of the entire world - bestow upon its citizenry the inspiration that, yes, one can accomplish anything with the least amount of class, ethics, and intelligence, even to acquire the position of supreme fraud: chief-executive-officer of The Land of the Classless Mental-Retards.

Probably the greatest detriment to the grandeur of the 1970s is the decade's very glory, for such a crescendo of culture - culminating with the absolute intellectual, philosophical, and artistic pinnacle of human achievement - could have terminated only in complete collapse. To follow the greatest explosion of melodic and symphony-orchestral masterpieces in popular music and the elevating of film, television, and photography to the apex of intellectual and artistic expression with this society's attaining its highest philosophical, sociological, and dignified state could only be a reversion to anarchistic barbarism, with no governing rules of ethics. Though it is the fact that the rest of the world - in true intelligent fashion representative of societies with an elevated sense of culture - venerates the 1970s and exalts the decade's triumphs, a dwindling minority of Americans with a soul, mind, and feeling must abide a society without the skills for multiplication and speaking properly the one language with which its members were brought up, and, what is more and more frightening, in the manner of Invasion of the Body-Snatchers, for to disclose one's abhorrence to the American way is to declare oneself enemy, and, therefore, target for elimination. As Earth is desperately contriving methods to shed the detestable human parasite from its skin - through the ever-increasing prevalence of cancers, flesh-eating diseases, mind-degenerating infirmities, and immune-system disorders - and, as a society more and more "technologically-advanced" becomes more and more barbarian-inclined, requiring less and less the necessity for - and capabilities of - thinking and feeling, those with enough mind and soul to form concern must unite in order to effectuate the decisive revolution of distinction before evolution into extinction.

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The Impact of The Fall (Page 2)


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