In this Easter week in the year of our transgression, 2007, for political gratification, we lavish romance in a hot bed of subliminal messages, capturing the funky spell of a vulgar brawl in nostrils already filled with shitty stenches!  So be it.  Father forgives us if we know not what we do.

 

The “Gore’s Carbon Swap” political “ad” cartoon came to our attention via a Lyndon LaRouche email in March, 2007.  My first reaction was utter disgust; then out of a sense of duty, or rather anguish to present an Image Coverage here, we fall into the tradition with continuities telling of its “other” implied subliminal, racist images and symbolism.

 

Figure 1.
“Gore’s Carbon Swap”

{Editorial Direction:  Please view the “cartoon” at this hyperlink for the full context of its arrival, and return to our discussion, as you may.}
http://www.larouchepac.com/pages/youth_movement_files/articles/lym/2007/gore_cartoons.html

 

This so-called “candid” cartoon of Gore’s carbon swap may be a reflection of many things—glorious and not too sanguine.  Chuckle over Gore being in bed with his carbon Olympia, her pyramid head pillowed on a soft white cloud, aha, heaven!Is Gore’s private part a real for real “phallus” symbol?  Why then?  Who is getting screwed?

 

Take a look on the “wall,” for example, and observe the framed photo, showing a procession of a likely marriage with a “black heart” fronting sacredness and sanctity of holy matrimony.  This is a somewhat broken affair as we may tell for “old wife’s tail,” Tipper, is dumped in the trash can and summarily “put out” the window in preference of the swap—an atavistic female, or one might say, a concubine Death’s-head, the curvaceous and carbonic, black other.

 

Never mind the Cinderella Shoe being left behind just in case Tipper’s Prince Charles comes along on her watch, nor the hand-jive, gimme five, no good dog of hers.  Chuckle as Gore’s overstuffed body [body politics, maybe] is “formed” into a gobbling, monstrous face, enormous nose, with the “tits” beaming two ravenous eyes, and with “tricky dick” tongue in cheek as a linguistic weapon of mass destruction, chewing morsels of “food for thought” carbon, and with the subterranean phallus as a lascivious, penetrating poker, lavishing a French Kiss, slopping and licking clean, enough of that “funky stuff” on the dignified dinner table—perhaps, soon after Thanksgiving prayer, blessing the meal, is said and done.

 

We may view this as a window to an unpardonable sin occurring before our eyes and enthralling us at various subliminal levels. Literati and niggerati may call on poetic justice in memory of the Scarlet Letter “A” (as in Al) symbolizing adultery.

 

But what may extend the imagination by arousing the mind for an association that contextually heightens this dead spot on Gore’s pilgrimage?  One possible answer is the history of images of the male members of generation, leading to the act of intercourse itself.  Thomas Wright in Sexual Sumbolism informs us that “the practice of placing the figure of a phallus on the walls of buildings, derived…from the Romans, prevailed also in the middle ages, and the buildings especially placed under this symbol were churches” (p. 32).

 

Source:  Sexual Symbolism:  A History of Phallic Worship, by Richard Payne Knight (1786) and Thomas Wright (1866). Introduction by Ashley Montagu, April 1957. The Julian Press, Inc., New York, 1957 and 1962.

 

Let us image for a moment, by being carried away by the cartoon, that there is no separation of Church and State.  The marriage is on, how be it secular or sacred—nay, or even repulsively vulgar!  Wright tells us about an Easter week (March 29-April 5) of years gone by, when “a parish priest of Inverkeithing, named John [can be read “Black John” … see cover of the ML, Graham], performed the rites of Priapus, by collecting the young girls [the woman-formed, carbon black heaps of lustful appetizers] of the town, and making them dance round the figure of this god; without any regard for the sex of these worshippers, he carried a wooden image of the male members of generation before them in the dance, and himself dancing with them, he accompanied their songs with movements in accordance, and urged them to licentious actions by his no less licentious language” (p. 32).  Wright provides, also, some figures to juggle minds on Plate V, p. 33.

 

In our time, we are left to ponder the Gore “screw,” if we can call it that. In terms of subliminal racism, therefore, let’s take the candid cartoon to another level.  We are not forgetting the sexist messages on “wife” Tipper getting the boot.  But let’s focus on the “black” carbon in bed with that “dirty” old “white boy!”  What a scandal, indeed. Here is some speculation on “black carbon”:  “Black is Beautiful” was contentedly coined and clandestinely brought into popularity by Arthur Graham in the sixties, a phrase Malcolm X certainly did not coin because it came into vogue after his death.

 

Here is another:  “Beauty is in the eyes of the beholder,” a phrase ascribed to Francis Jeffrey who entered it in definition of beauty for a British encyclopedia.  Here comes another context in our celebrated cartoon:  The carbon heap of goodies is transformed and transmuted into the FORM of one who is “lowest in the scale of the brute creation,” a high butt, high on the “rock” (or “cock”), sub-human, a Hottentot Venus who we may well demonstrate existed, within the context of a dialectic for self-preservation and social control.

 

“The Hottentot Venus,” Georges Cuvier, “Extraits d’observations faites sur le cadaver d’une femme connue a Paris et a Londres sous le nom de Vénus Hottentote,” 1817. “The exhibitition in 1810 of Saartjie Baartmam, also called Sarah Bartmann or Saat-Jee and known as the Hottentot Venus, caused a public scandal in London inflamed by the issue of the abolition of slavery.”  See pp. 232-33, “Race.”  SOURCE:  “Black Bodies, White Bodies:  Toward an Iconography of Female Sexuality in Late Nineteenth-Century Art, Medicine, and Literature” by Sander L. Gilman.  This essay originally appeared in Critical Inquiry, autumn 1985 (vol. 12, no 1) and was reprinted in “Race,” Writing and Difference, published by the University of Chicago Press, 1986. For update on the exhibition and on the return of Saat-Jee’s remains to South Africa in 2002, see files @ Emory University English Department.

So, presently, in terms of conveying skin color symbolism and devising identity formation, a contemporaneous black woman is imagined to be the Evil-Eve “instigator” of the Goregian fiat about a global warming catastrophe for which he recently won an Oscar at the 79th Academy Awards.

 

Enough is said. Now it’s time to test your cutting edge skills. You be the judge or final analyzer of the candid cartoon under scrutiny; but be advised of two or possibly three other “white boy” replacements as contemporary connoisseurs of wine-tasting and rose sniffing.  First, put Ex-President Clinton in the bed—be he be or not to be a Pablo Picasso courting Manet’s Nana and/or her servant on his own Olympian term.

 

 

Imagine presidential candidate Hillary Rodham Clinton in the trash can and her rival, the sucker hussy who a “legendary,” field-nigger basketball player labeled “ugly,” laying on the love-set, sofa bed—“What a pair!”

 

But here’s the clincher: Replace steady roll Gore, or his “I did not have sex with that woman” boss, Clinton, with centurion, pecker wood, red-neck, Sen. Storm Thurmond, best known for advocating segregation, in de bed with his house nigger, servant harlot.

 

“Take all this and hurl them back at the white honky capitalist swine!”
(Source:  The Nationals:  A Black Happening in Three Acts, page 47.)
http://www.doollee.com/PlaywrightsG/graham-arthur-j.html

 

Who knows, the next cartoon by CELANI may/could “clean up” at the box office by revealing the artistry of a genealogist, slick-hair and articulate, reposing upon the mercy seat with Thurmond’s daughter—ranting tenderness:  “Be the shock of my life, Shuga Tits.”  And Old Wench Gal, Essie Mae Washington-Williams—imploring reconciliation:  “Be hard as nail, honey child, and go as deep as you are my Ace of Spade!”
http://www.cnn.com/2007/US/02/25/sharpton.thurmond.ap/index.html

 

Amen, so let it be—“still” heaps of black carbon given subliminal forms—all very well within ubiquitous tradition!  Shame on me, too, for indulging in gratuitous masturbation.

Email:  Tuesday, March 27, 2007:  6:14 PM

 

There ain’t nothin’ subliminal about Al Gore’s racism.  There are those who don’t want to confess to it, like those congressmen last week who fawned as he refused to answer a single question, deal with a single objection, other than to insist it’s settled, the debate is closed.

 

Gore has called this a war between human civilization and the environment, but it’s clear that he’s putting one particular segment of humanity on the front line.

 

Go back to his own history in Tennessee, his campaign against local anti-Aids drug production in South Africa, his insistence on the bombing of that pharmaceutical plant in Sudan—a major supplier of medication for the entire continent, and his insistence now, that Africa is on the front line, Africa must take the hit, in the war against “climate change.”

 

He’s a good ole boy from Tennessee, and poor Tipper just leaves him coaled.

 

Stan

 

Email:  Tuesday, 27 March, 2007:  7:53 PM

 

Your email on “The Gore of Babylon” came just as I completed a near final draft of our Image Coverage on “Gore’s Carbon Swap”   … linking the carbon to subliminal racism and sexism.

 

This coverage will be posted on our website www.subliminalracism.com within a couple of weeks.  Feedback welcome.

 

Arthur

 

Email:  Wednesday, 28 March, 2007:  9:09 AM

 

Dear Mr. Graham,
my colleague Stan Ezrol passed your “Gore’s Carbon Swap” article on to me.  I understand, however, that you might have received two different cartoons; mine is only the one with Tipper in the garbage can.

 

I must thank you for having opened my eyes on my subliminal instincts, which made me think back critically to all my work.  I therefore discovered of being not only a subliminal racist and a sexist, but also a subliminal anti-Semite (I made cartoons on Sharon, Greenspan and Rohatyn), a subliminal anti-animalist (I often portrayed dogs, baboons, birds etc.), a subliminal anticlericalist (sometimes I portrayed priests) and even a discriminator of handicapped people (I portrayed Bush and Gore as Siamese twins).

 

However, Mr. Graham, you should be honest and apply your method on yourself too.  You should humbly admit that your critique against my cartoon was dictated by (subliminal?) racism against an Italian.

 

Mr. Graham, coal is black and there is only one race, the human race.

 

Best regards,
Claudio Celani

 

Email: Wednesday, 28 March, 2007:  4:14 PM

 

Your reference to Gore’s “war against ‘climate change’” drew me to p. 49 in my book THE MANICHEAN LEITMOTIF … a section dealing with “The Newfoundland Dog.”

 

“According to Smith, through favorable CLIMATE, the natives of Africa and America will ‘acquire the high perfection of the human form.’”  p. 49 ML.

 

Thanks for the response.
Arthur

 

Email:  Wednesday, 28 March: Reply.

 

Of course, for Gore (and his type), the “high perfection of the human form” for “the natives” is prostrate or dead.  That IS what his “climate change” policy is attempting to accomplish.

 

Stan

 

Email:  Wednesday, 28 March, 2007:  3:11 PM

 

I found both cartoons repulsive, but the fact that he [Claudio Celani] responded at all is amazing.

 

Joyce

 

Editor’s Note:  With cartoon issues and subliminal imaginaries put below and out of view, we may now return to the real Gore and to “extraits d’observations faites sur le cadaver de” Al Gore, Jr. for mendacious “reasons for being.”
See: THE CULT OF THE OLIGARCHY:  The Gore of Babylon, by Lyndon H. LaRouche, Jr.

 

http://www.larouchepac.com/pages/writings_files/2007/gore_babylon.shtml
http://www.larouchepub.com/lar/2007/3413gore_babylon.html
www.larouchepub.com/eiw (EIR Volume XXXIV #13)