A post situ analysis of a social revolution in microcosm, as depicted in Date With Debbi #2 (March-April 1969):
Buddy Baxter, a representative of the existing social order, arrives at the Anderson household in order to seal a lopsided transaction of goods for services --in this case, a cheap bouquet of flowers in exchange for "getting some":
Debbi Anderson, having recently experienced an egalitarian epiphany, expresses her disgust for the traditional arrangement and desires one based on the mutual consent of equal parties. Buddy responds to her demands with a condescending tone intended to obstruct the paradigm shift by belittling its demands.
Realizing that Buddy has no intention of addressing her demands in a fair and open manner, ejects him from the house. She then tries to expand the scope of the revolution by approaching other affected members of the immediate community...
...but comes up against the ingrained false consciousness of the proletariat as well as opposition from those who benefit from the system as it presently exists, leading to violent direct action.
However, before the movement is able to gestate into a full-on insurrection, Debbi finds herself distracted by what Lenin deemed a momentary interest...
...in which the proletariat's immediate petty obsessions causes it to lose sight of its historical mission. Abandoning long-term objectives for short-term gain, Debbi re-enters negotiations with Buddy...
...who takes advantage of situtation and uses the collapse of the revolutionary opposition to dictate terms from a position of strength. He is thus not only able to restore the previous status quo...
...but also to force counter-revolutionary concessions in accordance with his own reactionary agenda.
Talulah Gosh - My Boy Says (from the 1988 "Testcard Girl" 12"; collected on Backwash, 1996) - But does he mean it?
Erasure - Chains of Love (from The Innocents, 1988) - Forget "The Internationale." When the revolution comes, I want it to be set to dance beats.
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