Another bright mid-June day, another Fremont Solstice Parade.

As usual, it featured wordless performances expressing “political” notions of Good vs. Evil.

Shell’s arctic platform and its noble “kayaktivist” opponents were among the principal tableaux of this type.

But there were others as well. Legendary local artist Carl Smool created a kinetic statement about big-money politics and the notion of “corporate personhood.”

A banner decried the “school to prison pipeline.”

A schoolmarm tied up in ropes signified dreary, “to the test” education.

It’s hard to tell from this angle, but these pall bearers are carrying a coffin adorned with the faces of black children and flags of African countries.

But also as usual, there were plenty of other spectacles depicting an affirmation-of-life spirit.

This includes the parade’s famous nudes, on and off of bicycles.

The body, revealed but still adorned, in a non-sexualized “family” context, is the ultimate example of the “Good” half of the parade’s dichotomy.

Many people, including myself and my half-namesake Kenneth Clark, have pontificated on the meaning of the unhidden human body in modern societies. For now, let’s simply say it symbolizes aspects of the Solstice Parade community’s ideals for life: “natural,” free-flowing, post- (or pre-) industrial, un-commercialized, un-stigmatized, un-pressured.

And impracticable for modern urban environs, except on special occasions and in special circumstances.