Gary Peacock was an American jazz double-bassist. He recorded a dozen albums under his own name, and also performed and recorded with major jazz figures such as Albert Ayler, Paul Bley, Bill Evans, Keith Jarrett and Tony Williams.
On Life Time (Blue Note, 1964), Gary Peacock plays bass on tracks one to three.
Zeev Sternhell was an Israeli scholar known for his study of fascism, The Birth of Fascist Ideology (1989).
I headed for the university library and found that book.
I read the introduction and the rest of the book ‘by index’.
Doing that, I stumbled upon the grand sweeping statements by T. E. Hulme on his hatred for the Renaissance, Rousseau and Romanticism:
“That is why he [Hulme] was so hostile to romanticism: underlying romanticism and the French Revolution, he believed, was the Rousseauist concept of the individual. Rousseau, he wrote, taught the people of the eighteenth century “that man was by nature good,” that he was “an infinite reservoir of possibilities,” and that the source of all evils was “bad laws.” According to Rousseau, the destruction of the existing oppressive order would open up infinite possibilities of progress. Classicism, wrote Hulme, was defined by an opposite conception, namely, that “man is an extraordinarily fixed and limited animal whose nature is absolutely constant. It is only by tradition and organization that anything decent can be got out of him.””
It is interesting to note that Sternhell locates the origins of fascism within the artistic realm:
“A desire to cleanse the world of the defilements of the eighteenth century and to introduce various forms of discipline such as classicism and nationalism, no less than a rejection of liberal and bourgeois “decadence,” united in a single tide of sentiment some of the most important literary and artistic avant-gardes in Europe.”
Isabel Sarli was an Argentinian model and actress known for her risqué films. As such, she was the Latin American Brigitte Bardot. The first film to show her nude was Thunder Among the Leaves (1957) which has her skinny-dipping from 50:09 to 51:38. There are also nude indigenous females (26:34 and subsequent scenes).
If you are more into the wackier films like I am, there is Carne (1968) with Isabel Sarli as Delicia, a worker in a meat-packing factory; Fuego (1969) with Sarli as a nymphomaniac; and Fiebre (1970) in which Sarli falls in love with a horse when she sees a stallion mounting a mare.
Searching for “Isabel Sarli”, “sexploitation” and “Latsploitation” brings up snippets such as “generally boring sexploitation film about one of those favorite characters in male reveries, a nymphomaniac.” ([on Fuego] in Cue – Volume 40, Issues 1-13 – Page 67 (1971)); “Isabel Sarli breasting her way through further south-of-the-border sexploitation affairs. […] There’s never been a nudie movie queen more amply endowed than Argentina’s Isabel Sarli who simply has to shed her clothing to make things like story and characterization seem irrelevant.” (Film Bulletin – Volume 39 (1970)); “Woman and Temptation is zero as art, but the talents of the buxom Isabel Sarli make this a top sexploiter entry.” (Filmfacts – Volume 12 (1969)) and “While we cannot claim that Sarli’s films would adhere to a feminist agenda …” (Latsploitation, Exploitation Cinemas, and Latin America (2009)).