© August 2010 Issue

(Data through August 24, 2010)

When Ted Turner pitched the idea for an all-cartoon

network to investors in 1991, he made one key point: People
love cartoons. In fact, Turner showed, all kinds of people
love them, with nearly half the cartoon viewers not kids but
their parents.1
The assertion piqued our curiosity: With cartoons embraced
by such a broad swath of society, might social mood drive the
sort of cartoons that studios produce and viewers watch?

Bull- vs Bear-Market Cartoons

We found that cartoon styles shift dramatically with social
mood. Positive-mood cartoons are fun and wacky, for example.
Negative-mood cartoons, on the other hand, are usually tragic
or surreal. Bull-market animation is safe for the family. But
many bear-market cartoons contain themes of sexuality, drugs

Figures: Warner Bros.

and even racism.
Figure 1 summarizes the key differences. See how many of
the characteristics you can spot as we review the most popular
cartoons of the past 90 years.

Cycle Wave V of Figure 1

Supercycle (III):
The First Animated Stars
Felix the Cat and Mickey Mouse
The 1920s launched the age of plot and characterization for cartoons.
Most historians consider Felix the Cat, the decade’s most popular cartoon
star, to be the first cartoon character with a distinct personality. Cartoon
critic Maurice Horn calls him “the high water mark of silent animation.”2
Don Oriolo

Felix is creative, adventurous, fun-loving, hard-working and intelligent—a

The Right Hero at the Right Time:
Felix the Cat (1925)
Figure 2
bull-market hero all the way. In the 1926 classic, Two-Lip Time, Felix courts
a Dutch girl. Rather than fight a rival suitor, Felix inflates the man’s pants
with a tire pump and watches him float away into the clouds. It was an
apt metaphor for both markets and cat; success came easily and Felix’s
popularity soared through the decade.

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 The Socionomist—August 24, 2010
As reflected by the stock market, social mood
climbed to extreme heights by the end of the 1920s.
This climate set the stage for Felix’s impish new rival,
Mickey Mouse. Viewers today hardly recognize Walt
Disney’s early incarnation. In Steamboat Willie (1928),
Mickey is a prank-playing river hand who throttles a
cat that looks quite like Felix (Figure 3). Ebullient
audiences loved the carefree, rascally mouse.
Disney
A Mouse Transformed: Pre-1929 Mickey gets into mischief;
post-1932 Mickey accepts his destiny as hero.
Figure 3
Figure 4
2
Supercycle Wave (IV) Down: Sex, Drugs and Menace
in the early 1930s
Mickey’s New Direction; Felix’s Demise
Mischievous Mickey’s run screeched to a halt with
the social mood crash of 1929-1932. Suddenly, Mickey
was out of step with the times, and audiences let Disney
know it. In 1931, Terry Ramsaye of Motion Picture
Herald wrote:
Papas and mamas, especially mamas, have spoken
vigorously … about [the] devilish, naughty little
mouse. … Mickey has been spanked.3
In response, Disney morphed the mouse dramatically.
The 1933 post-crash short The Mad Doctor was released
in the depths of depression. It left all frivolity behind.
The story opens with wind, thunder, a dark stranger
and Pluto’s abduction. A doctor plans a gruesome
experiment: He aims to replace Pluto’s body with a
chicken’s to see whether the new creature will “bark,
crow or cackle.” Mickey dodges traps and undead
skeletons until the doctor’s snares finally catch him.
 The Socionomist—August 24, 2010
In the climax, Mickey eludes a buzz saw, only to
wake up in bed and realize that the whole ordeal was
a nightmare.
The post-crash plot is a major departure from
Mickey’s pre-crash adventures. Nowhere does Mickey
cause mischief. The antics and songs are gone, while the
doctor’s menace and his castle are frighteningly real.
With the subsequent rally in mood in the mid 1930s,
Mickey received yet another role: that of the heroic
leading man. The transformation mirrored America’s
shift toward optimism, and it is this triumphant Mickey
who endures today.
Meanwhile Mickey’s predecessor, Felix, failed
to adapt to the negative mood of the 1930s. Despite
the breakthrough of sound, the cat clung even to his
muteness. His audience grew similarly silent, and his
popularity plummeted. Four times since, producers
have tried to revive Felix—in 1936, 1958, 1991 and
1995, always in bull markets. The most successful was

Kings Features Syndicate

Felix’s run in the 1950s during Cycle Wave III up, when
he starred in 260 new shorts and regained much of his
former purr. Each revival, though, faded when social
mood again turned down. Hollywood plans a Felix
movie in 2012. But the release is years prior to our
forecast final low in 2014-2016. As such, Felix’s sixth
life should be short.
Betty Boop, Vamp
Meanwhile, the Max Fleischer studio struggled to
create a star to rival Mickey and Felix. It finally struck
gold after mood collapsed in the early 1930s. Their
star: Blatantly vampish Betty Boop. Boop routinely
dropped her skimpy top, and her skirt was forever riding
“What follows is downright trippy as
townsfolk, plants, cars and bridges all
collapse into convulsive laughter.”
up. Betty was so risqué that one 1933 short, Boilesk,
proved too much for even bear-market tastes and was
banned in Philadelphia.
Betty Boop tackled both coerced sex and drug
use. In Chess-Nuts (1932), the Black Knight nearly
deflowers Betty before Bimbo the dog comes to her
rescue. In Boop-Oop-A-Doop (1932), Betty is a high
wire performer in a circus as the villainous ringmaster
lusts for her from below. After the performance, the
ringmaster follows Betty to her tent, where he caresses
her legs and threatens her job if she refuses to submit—a
sore topic at the time, with a quarter of the U.S.
unemployed. Koko the clown rushes in and knocks the
Bear-Market Sex Symbol: Her torso covered by just a
lei, Betty dances a near-topless hula (1933).
Figure 5
ringmaster unconscious with a test-your-strength mallet.
When Koko asks if Betty is ok, she answers in song, "he
couldn't take my boop-oop-a-doop away!"
In another episode, Ha! Ha! Ha! (1934), Betty
tries to ease Koko’s toothache. She administers nitrous
oxide but drops the mask and accidentally exposes the
entire town to gas. What follows is downright trippy
as townsfolk, plants, cars and bridges all collapse into
convulsive laughter.
Cycle Wave I Up: The Mid 1930s Suggest Recovery
Betty Slows Down While Popeye Takes Control
The reign of sexy, druggy cartoons was short-
lived. As social mood recovered in the mid 1930s,
Betty’s creators fashioned a more modest wardrobe,
but Betty couldn’t make the transition. Her boop-oop-
a-doop fizzled.
Betty’s successor at Fleischer studios, Popeye the
Sailor, debuted in 1933. His scruffy appearance and can-
do spirit mirrored the battered but upturning mood that
fueled the 1932-1937 bull market. Popeye’s nemesis,

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 The Socionomist—August 24, 2010
Bluto, underwent a fascinating metamorphosis.
Paramount and Fleischer first billed him as “Bluto
the Terrible! Lower than bilge scum, meaner than
Satan, and strong as an ox!”4 But as mood continued
to recover, Bluto’s personality softened from serious
threat to mere rival. Robert Prechter stated in The
Wave Principle of Human Social Behavior, that rising
mood celebrates heroes in “good-guy-versus-bad-guy”
conflicts; by the time mood peaks, “Everybody’s a
good guy.”5 centaur. Because of censoring, it is difficult to locate a color
The specials Popeye the Sailor Meets Sinbad the
Sailor (1936) and Popeye Meets Ali Baba and his 40
Thieves (1937) were prototypical bull market cartoons
containing a hero’s triumph, exotic settings and
rollicking adventure. In fact, the shorts were so popular
that theatres billed them ahead of the feature films for
which they opened.
Snow White and the Seven Dwarfs, released in
1937, also took full advantage of the Cycle degree peak
in mood. Triumph over evil, hard work and adorable
woodland creatures in the film all reflect the strong
positive trend. The film’s wicked witch is an ideal
villain for love to conquer, and Prince Charming is the
quintessential bull market savior. The film was a hit.
Disney spent $1.4 million on Snow White. In the film’s
first theater run, he recouped it all—six times over.
Cycle Wave II Down in the Early 1940s: Racism,
War, the Fall of Man
Pinocchio and Fantasia Struggle to Find the Era’s Theme
The Dow Jones Industrial Average plummeted
52% from 1937 to 1942, and the plunging mood also
expressed itself via worldwide anger and fear. But
animation studios somehow missed the memo. Some
Kings Features Syndicate
Tough, Purposeful: Popeye confronts problems
with bull-market gusto (1933).
Figure 6
4
Disney
A Censored Centaur: Sunflower, far left, Fantasia’s black
image that contains the character. Trouble Brewing: Right,
the film’s bull-market hero leaves bear market audiences
unfulfilled (1940).
Figure 7
of their films contained dark elements, but for the most
part, their themes were just too sunny for the times.
Pinocchio is a good example. The mostly upbeat
film premiered in 1940. It contains many bear
themes, including imprisonment, drinking, fighting
and gambling. But the delinquency belies the film’s
overall positive theme of family love. Fantasia also
premiered in 1940 with magic, demonic gargoyles
and racial stereotypes. Disney’s hero, Mickey, abuses
powerful sorcery and gets in way over his head. But
like Pinocchio, Fantasia’s overall theme—exciting
visuals, beautiful music, Mickey being mischievous—
was too positive, and audiences of the day mostly
yawned, with neither film breaking even until more
than a decade later.
Peace on Earth’s Morbid Message
In contrast, MGM more fully captured the negative
mood with Peace on Earth (1939). In the short, tools of
war litter the world. A grandfather squirrel describes
now-extinct Man to his progeny. After the final two
living men kill one another, the squirrel and his fellow
woodland friends dance among Man’s remains. Only
in an extended bear market would a children’s cartoon
suggest that utopia is born of mankind’s extinction.
Bambi Gets It Right
Just before the low in 1942, Disney finally tapped
the mood with its landmark film Bambi. Ostensibly a
children’s story about happy forest creatures, Bambi
actually reveals deep fear and misanthropy. Though
never seen, Man and his menace pervade the film. The
murder of Bambi’s mother remains one of animation’s
most memorable sequences. The scene continues to
traumatize children 70 years after its release. According
Continued on page 6
 The Socionomist—August 24, 2010

Woody Woodpecker: A (NUT) Case Study

Consider Woody Woodpecker from his birth just before Primary wave 1 up to his demise just after Primary
wave 5. Early Woody (1941) was grotesque, insane and mean, a good example of the kind of characters
bear markets produce. By 1945, Primary wave 1 had removed the psychosis from his eyes and mitigated
his madness.
In the early 1950s amidst Primary wave 3, Woody was lean, determined, and blessed with clever scripts
and fun villains upon whom to exact his heroics. Critics agree that this was the era of Woody’s best cartoons,
including Termites from Mars and Socko in Morocco.
Woody’s appearance continued to sharpen into 1960, but he became increasingly benign. By the late 1960s,

Figure 12

Woody was cute incarnate and, to most critics, utterly boring. Late-bull-trend morality led to heavy censorship,
which took any remaining edge off Woody.
The move toward a benign Woody frustrated Walter Lantz, Woody’s creator. Critic Leonard Maltin
notes that:
For [Woody’s] most recent Saturday morning program on the NBC network, [Lantz] had to remove every sequence in
which a character fired a gun or hit someone on the head with a hammer. Is it any wonder that Woody and his cohorts
became blander as the years rolled on?6

To a socionomist, it is not. Woody Woodpecker’s genesis was in a bear market. He successfully adapted to bull
market tastes, but after reaching his comic peak early in Primary 3, rising mood ground away what had made the
character so funny. By the end of his run he had become so sweet that he did not evolve back to his former self when
he needed to.

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 The Socionomist—August 24, 2010
Formerly MGM, now Warner Bros.
Anti-Man: In Peace on Earth, cuddly creatures delight in humanity’s end (1939).
Figure 8
to boxofficemojo.com, the film made $3 million in its first
release, a remarkable feat given that occupying Germany
blocked its screening throughout most of Europe.
Coal Black and de Sebben Dwarfs
Amidst the deeply pessimistic mood, the Warner
Bros. studio produced cartoons that shock viewers today.
The best example is 1943’s Coal Black and de Sebben
Dwarfs. In his 1983 book Of Mice and Magic, critic
Leonard Maltin writes:
The stereotyped characters and 1940s-style
enthusiasm for sex leave modern viewers aghast.
The dialogue is strictly jive talk, and the pulsating
music bounces the action along as the evil queen
calls Murder Inc. to ‘black out So White’ and keep
her from Prince Chawmin’.7
Warner Bros.
Lucky Sebben: So White and her entourage (1943).
Figure 9
6
Warner Bros. drew both Prince
C h aw m i n ’ a n d t h e d wa r f s w i t h
stereotypically expanded features, and
So White (named Coal Black in the title)
is a Betty-Boop-style sex symbol. Critic
Steve Bailey comments in 2003:
[The dwarfs] are little more than thick-
lipped comic relief. The racial aspect
is merely a smokescreen for what
this cartoon is really about: sex. …
[The Wicked Queen’s first words] are
“Magic mirror on the wall, send me a
prince about six feet tall.” So White, far
from Disney's virginal image, wears a
low-cut blouse and thigh-high shorts,
and sends blazes of erotic ecstasy
through every male she meets.8
Cycle Wave III Up: The Postwar
Prosperity of the Mid 1940s and 1950s
As Prechter and Hall pointed out in
the August 2009 Socionomist, the first
halves of big third waves do not reflect rising optimism
so much as declining pessimism.9 Thus, popular cartoons
in the early 1940s are fun, wacky works that, at the same
time, celebrate residual bear themes. Later in the rally,
the cartoons become one-sidedly “bull market.”
Wolfie and Red Celebrate Life’s Baser Pleasures
As Cycle Wave III began, bull themes returned
and pessimism resumed its retreat. MGM tapped the
complex mid-1940s mood with Tex Avery’s Wolfie
and Red cartoons. Red Hot Riding Hood (1943) casts
Red as a nightclub dancer and the wolf as a lustful
cad. The short was a hit with civilians and soldiers
alike, and Avery released three more in the series to
thunderous acclaim.
Maurice Horn notes, “Avery has been hailed as one
of the most gifted and imaginative cartoon directors, a
‘Walt Disney that read Franz Kafka.’”10 Yet Avery’s real
genius was his timing: Such raunchy cartoons can work
only in a late bear or early bull market. Cartoons would
not openly address sex again for another 25 years.
Tom and Jerry Discover Slapstick Hilarity
MGM also gave violence a bull market spin with
its Tom and Jerry series. Says Horn, “Their whimsical
atmosphere, frenetic motion and choreographed
violence were more in tune with the times than Disney’s
shorts.”11 The cat-and-mouse team engaged in slapstick
antics with zero consequences. Characters might lose
a tooth, get electrocuted or be driven into the ground
by a telephone pole, but they always remained safe and
 The Socionomist—August 24, 2010

Tom’s recital, with Jerry taking credit for

the performance. It was the right cartoon
for the times, and Tom and Jerry won
seven Academy Awards.
Warner Bros. and Disney Mirror
Auto Styles
Warner Bros.

In his 2006 study Social Mood and

Automobile Styling, socionomist Mark
Galasiewski expounded on Prechter’s
earlier observations that cars produced
Hubba Hubba: The Wolf’s reaction to a bear market Little Red Riding Hood in bull markets are angular and sharp-
(1943). Animation aficionados will note the similarities between Red and
another bear-market starlet from a bull-market era, Jessica Rabbit (1988).
edged, while bear market cars are
soft and rounded.12 Now we find that
Figure 10 animation styles at both Warner Bros.
and Disney studios also fit this pattern.
whole to play-fight another day. The sunny, bull-market Warner Bros. found its feet in the 1940s. The studio
mood showed through characters, story, animation and created Daffy Duck, Porky Pig and Bugs Bunny during
gags in nearly every Tom and Jerry short, typified in the sideways/down years of the late 1930s, and their
The Cat Concerto (1946), released the year of a stock early incarnations were flat, dull and surreal. But note
market top. Tom is an esteemed pianist and Jerry the how the renderings sharpen as mood improves (Figure
unwitting resident inside Tom’s piano. Hijinks ensue at 11), just as car lines do. Even Porky becomes leaner and

Figure 11

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 The Socionomist—August 24, 2010
more anthropomorphic. The trio also develops distinct,
complex personalities. The gags become layered, and
the worst that ever befalls any character is a spinning
beak or singed whiskers. Plots lack villains; violence is
caricatured and derives mostly from zany rivalries.
The studio’s beloved Wile E. Coyote and Roadrunner
series (1948-1966) centered entirely on conflict. Yet the
shorts aired during a roaring positive-mood period, and
in an extreme expression of inclusionism, both rivals
manage to win our empathy. We want Wile E.’s elaborate
inventions to succeed, yet we also delight when the same
inventions backfire. We know the spectacular failures
will result in a long, whistling fall punctuated by a puff
of dust. Positive mood appreciates mollified violence;
successful cartoons deliver it.
AUTHORITARIANISM UPDATE
WikiLeaks Takes Center Stage; Government Reactions Intensify
In his two-part April and May study published
in The Socionomist, Alan Hall predicted that:
• A continuing long-term trend toward negative
social mood will cause society to become
increasing fearful. This movement will lead
to polarized views toward authoritarianism.
• Increases in surveillance and other
authoritarian activities will lead to escalating
anti-authoritarian actions.
• Anti-authoritarian activity will in turn
generate legislation and other actions to
curb freedoms.
• Whistleblower websites like WikiLeaks will
increasingly illustrate that an unfettered
Internet undermines governments’ ability
to control information. The days of such
unrestricted sites on the Web are numbered.
• Paranoid governments will seek the authority
to shut down large blocks of the Internet,
citing security concerns.1
Hall’s forecasts are playing out in rapid fashion.
WikiLeaks Becomes the Hotspot
In early July, WikiLeaks released 91,000 secret
documents related to the war in Afghanistan. It was
the largest intelligence leak in U.S. history. The White
House at first downplayed the revelations as well-
known problems. The media did as well:
8
The Wave Principle of Human Social Behavior
(1999) pointed out Disney’s Cycle wave III successes,
with the hits Cinderella, Sleeping Beauty, 101
Dalmatians, and others.13 We call special attention to
Sleeping Beauty, released in 1959 after the midpoint
in rising mood. Sleeping Beauty signaled a new
direction for the studio. The film uses stylized, angular
illustrations for characters and background, a departure
from the roundness of Disney’s 1930s productions. With
social mood strongly positive, the animation style would
define Disney for the remainder of Cycle III—as well
as during Cycle V. n
—Citations, page 11
This concludes part one of our study. Part two will explore
censored, banned and X-rated cartoons, look at animation from the
1960s through today, and offer a forecast for what the coming mood
should mean for the medium. —Ed.
Unlike the explosive Pentagon Papers published in
The New York Times during the Vietnam War in 1971,
the files don’t show top U.S. officials misleading the
public about the war’s course.2
But the dismissive attitude changed rapidly. On
July 25, WikiLeaks’ founder, Julian Assange, claimed
he had evidence of possible war crimes. On July 27, he
started a war of words:
He scoffed when the Frontline’s moderator spoke of
British soldiers “giving their lives” in Afghanistan.
“To what?” he asked.3
“The Washington Post called for the
U.S. government to break international
law if necessary to stop WikiLeaks.”
Just two days later on July 29, the U.S. government
suddenly went from soft on WikiLeaks to very pointed:
U.S. Defense Secretary Robert Gates and Joint Chiefs
of Staff Chairman Admiral Mike Mullen strongly
condemned WikiLeaks … . Gates said the [early
July] leak was “potentially severe and dangerous for
our troops, our allies and our Afghan partners … .”
Mullen was even more direct and said that WikiLeaks
“might already have on their hands the blood of some
young soldier.”4
 The Socionomist—August 24, 2010
A former CIA director followed up by describing the
leaked documents as “priceless” to America’s enemies.
On August 3 the Washington Post joined the chorus,
calling in an editorial for the U.S. government to break
international law if necessary to stop WikiLeaks. The
government should “contravene customary international
law” and use “intelligence and military assets to bring
Assange to justice and put his criminal syndicate out
of business,” it said.
On August 3, just nine days after the White
House dismissed the revelations as old news, a U.S.
Congressman said that U.S. Army intelligence analyst
Private Bradley Manning, the alleged source of the
leaks, should be executed for treason.
Rising Polarization
WikiLeaks’ quick rise to firebrand status is but
one fulfillment of our forecast for increasing conflict
over authoritarianism. In the three short months since
Hall’s study, the Washington Post published its “Top
Secret America” investigation, a two-year project that
describes the immense post-9/11 national security
buildup in the United States as “a hidden world,
growing beyond control.” Even more significant is
“The Baltimore Chronicle describes
the proposed law as a ‘kill switch for
the (entire) internet.’”
the “Protecting Cyberspace as a National Asset Act of
2010,” introduced by U.S. Senator Joe Lieberman on
June 10. The law would empower the president to “shut
down the Internet, disconnect its networks, and force
web sites, blogs, providers, search engines and software
companies to ‘immediately comply with any emergency
measure or action.’” The Baltimore Chronicle describes
the proposed law as a “kill switch for the Internet.”5
Meanwhile, a number of other nations continue
to negotiate the sweeping Anti-Counterfeiting Trade
Agreement (ACTA), which the European Commission
says would establish international agreement on
enforcement of intellectual property rights but which anti-
authoritarians claim will curb freedoms. An international
panel convened in June by the American University
Washington College of Law said the ACTA has:
… grave consequences for the global economy … .
[It would] curtail enjoyment of fundamental rights
and liberties, … encourage internet service providers
to police the activities of internet users, ... [and]
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encourage this surveillance, and the potential for
punitive disconnections by private actors, without
adequate court oversight or due process.6
Negative social mood is eroding fundamental rights
in the European Union (EU). Member states have
varying standards of civil liberty. The Union allows
each country to use a “no-evidence-needed” European
Arrest Warrant to require any other member state to
arrest, detain and extradite criminal suspects—even if
those suspects have committed nothing deemed a crime
by the extraditing state.
The number of European Arrest Warrant detentions in
Britain has risen 43-fold since 2004 … . They can spend
long periods in jail – here and abroad – for … offences
which are not crimes in Britain. Foreign prosecutors
do not have to present evidence to the British courts,
just demand the person be “surrendered.”7
Why This is Happening
In April, Hall explained how such major
ideological conflicts can develop rapidly in formerly
concordant societies:
A society’s authoritarian impulse is rooted in social
mood ... A bearish mood can push a society with
very low interest in authoritarianism into a significant
authoritarian/anti-authoritarian conflict.8
Hall’s study included a five-step graphic illustrating
the process. Figure 12 shows step 3, which depicts where
Hall believes the U.S. is situated currently. To see the full
graphic from the April issue, click on the figure below.
Anarchist
Far Left Far Right
Authoritarianism/Totalitarianism
Mood decline accelerates: Polarization
increases, as do calls for separation, opposition
and destruction of the status quo. Society’s
sense for what is “normal” loses definition.
Figure 12
 The Socionomist—August 24, 2010

What’s Next? graymail—a thinly veiled threat to reveal state secrets.

WikiLeaks continues to push its agenda. On July
16, Assange said that the video it posted of a U.S.
helicopter killing a dozen civilians in Iraq had inspired
“an enormous quantity of whistle-blower disclosures
of high caliber … . There are many things which are
very explosive.” The founder also threatens to release a
video purportedly showing a U.S. massacre of civilians
in Afghanistan. CNN reported, “[Assange] said the site’s
hope is that such video ‘will change the perception of
the people who are paying’ for the war.”9
The site also posted for download a huge, en-
crypted file labeled “Insurance.”4 The file appears to be
Time Running Out?: WikiLeaks’ hourglass
logo may be more appropriate than its
advocates realize.
Should something happen to Assange or the web site,
those who have downloaded the file would need only
the password, not yet disseminated, to open it. On Au-
gust 5, the Pentagon demanded that WikiLeaks recall
all the leaked Department of Defense documents from
the web and return them. Recalling the documents is
impossible, as Hall noted in his study. On August 10,
the Obama administration asked allies Britain, Germany,
Australia and others to crack down on WikiLeaks with
criminal charges and severe limitations on Assange’s
international travel. On August 12, the Pentagon warned
that WikiLeaks’ next posting will be more damaging
than the initial release. As the conflict festers, the U.S.
is no doubt rethinking its relations with Iceland, whose
parliament voted unanimously in June to offer legal
protection to whistle-blower sites like WikiLeaks and
their employees. One sponsor of the legislation said,
“They are trying to make everything opaque. We are
trying to make it transparent.”10
Serious authoritarian/anti-authoritarian conflict
is just beginning, Hall reiterates. “As Primary wave
3 accelerates, so will the conflict,” Hall says. “The
WikiLeaks saga could end abruptly if the authoritarian
impulse to extinguish the site prevails. Regardless, the
struggle between secrecy and transparency—and au-
thoritarianism and anti-authoritarianism—will continue
to intensify.” n
—Citations, page 11

The Socionomist is a monthly publication of the Socionomics Institute designed to help readers understand and
prepare for major changes in social mood. To learn more and receive additional excerpts from The Socionomist and
other socionomics resources, sign up to receive free occasional email updates from the Socionomics Institute at:
www.socionomics.net/august-email-updates

Upcoming Socionomics Conference: Our plans for a one-day conference in Atlanta are coming together. We expect
a small, intimate gathering, which will give attendees a chance to soak in new ideas and mingle with top socionomics
thought leaders and like-minded individuals. Speakers tentatively include Robert Prechter, John Casti, Cambridge
Research Fellow Matt Lampert and others from both inside and outside the Institute. If you would like more information
on details as we settle them, please email a request to conference@socionomics.net. —Ed.

citations
of mice and mood
1Turner, T. (Producer). (1991). Cartoon network 1991 presentation reel. [Web]. Retrieved from http://www.youtube.com/
watch?v=b0Wm-VaYxeA
2Horn, Maurice, Felix the Cat. (1980). The World encyclopedia of cartoons. New York City: Chelsea House

Publishers, 271.
3Maltin, Leonard. (1980). Of Mice and magic: a history of american animated cartoons. New York City: Penguin Books, 37.
4Ibid, 110.

10
 The Socionomist—August 24, 2010

5Prechter, R. R. (1999). The Wave principle of human social behavior and the new science of socionomics. Gainesville, GA:
New Classics Library, 232.
6Maltin, Leonard. (1980). Of Mice and magic: a history of american animated cartoons. New York City: Penguin Books,

186.
7Ibid, 250-251.
8
Bailey, Steve. (2003, April 04). Imdb user reviews for coal black and de sebben dwarfs. Retrieved from http://www.imdb.
com/title/tt0035743/usercomments
9Hall, A, & Prechter, R.R. (2009, August). The Wave principle delineates phases of social caution and ebullience. The

Socionomist, 1(3), 3.
10Horn, Maurice. (1980). Tex Avery. (1980). The World encyclopedia of cartoons. New York City: Chelsea House Publishers,

103.
11Ibid. 683.
12Galasiewski, M. (2006, July 14). Social mood and automobile styling. The Elliott Wave Theorist, 7(28), Retrieved from

http://www.elliottwave.com
13Prechter, R. R. (1999). The Wave principal of human social behavior and the new science of socionomics. Gainesville, GA:

New Classics Library, 242.

authoritarianism update
1, 7Hall, A. Authoritarianism:the wave principle governs fear and the social desire to submit. (2010, April, May).
The Socionomist. 1April, May, entire issues; 7May, 1.
2Page, Susan. (2010, July 27). Army begins probe of leaked secret afghan war files. USA Today, 1.
3Associated Press. (2010, July 7). Editor says source of afghan info is unknown . Retrieved from http://www.usatoday.com/

printedition/news/20100729/wikileaks29_st.art.htm
4Zetter, Kim. (2010, July 30). Wikileaks posts mysterious ‘insurance’ file. Retrieved from http://www.wired.com/threatlev

el/2010/07/wikileaks-insurance-file/
5Lendman, S. (2010, July 15). Under threat: a free and open internet. Retrieved from http://baltimorechronicle.

com/2010/071510Lendman.shtml
6Text of urgent acta communique. (2010, July 23). Program on Information Justice and Intellectual Property. Retrieved from

http://www.wcl.american.edu/pijip/go/acta-communique
7Gilligan, A. (2010, August 21). Surge in britons exported for trial. Retrieved from http://www.telegraph.co.uk/news/

newstopics/politics/7958202/Surge-in-Britons-exported-for-trial.html
8The wave principle governs fear and the social desire to submit. (2010, May). The Socionomist, 1.
9Galant, R. (2010, July 16). Wikileaks founder: site getting tons of ‘high caliber’ disclosures. Retrieved from http://www.cnn.

com/2010/TECH/web/07/16/wikileaks.disclosures/
10Mackey, R. (2010, June 17). Victory for wikileaks in iceland’s parliament. Retrieved from http://thelede.blogs.nytimes.

com/2010/06/17/victory-for-wikileaks-in-icelands-parliament/

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