Saturnin — That Lana Del Ray is a poster child for maximal time preference. “Born to Die” is an anthem to having fun TODAY with tattooed bad boys. Interestingly, this style of music is very popular in Eastern Europe, as the women there aspire to be like their western sisters. They basically have enough money to pull off a lower rent version of it right now in the capitals of Eastern Europe (i.e. Kiev), hence you hear it everywhere.

For Madonna and her ilk music is about projection of power.

A common pattern, and one that we really need a better name for than whatever can be cobbled together from Lasch’s books to refer to it.

Types like this writing music now include Daughter, Azure Ray, and, like her or not, Lana Del Rey. The first two at least seem beautiful and heartful enough to me, if that’s what you’re into. Not sure why you would want beautiful hearts raised up before the gaze of an unappreciating public, as the popular acts of the day. Pearls before swine, and all.

Unless of course the swine decide they’re on the side of the pearls. And so pearls must be what is put on public display for all to see and trample.

In many New Age groups you’ll find the emotional predisposition found in that kind of music manifested as a hopeful ontology. A protective lie. You’ll also find quite a few of these girls on, funnily enough, tumblr, because progressive world-peace feelings are more often attractive to them than eugenics some-people-are-better feelings. More heart, you know.

The New Age is also a massive cointel bullshit machine, full of fantasists, charlatans, and anybody else able to get people to pay them to help be distracted from reality. NRx serves a simliar function, but from a different angle.

NRx similarly manifests an entirely deluded ontology designed to protect a certain psychology from reality. In this case it is one whose core function (of a number arranged in strict hierarchical relation) is the concept of ‘do not know’. Or– ‘must find out’. This combined with a number of politicising/state-of-the-tribe type functions. It tends to come up with new… formulations, in answer to its questions.

Contrarily most of the top political players have a simliarly structued, politicised psychology combined with the idea of ‘do know’ as prime imperative, a kind of databank what-has-been-true-before, program. It seeks to maintain and keep implicit but dominant. Unlike the do not know, who want to bring their great discovery out for all to see. Guess which one predominates in aristocratic lines.

The main error of do-not-know type is that they tend to come from plebian stock and end up in corresponding worldviews. I doubt there are many people of significantly aristocratic blood in NRx. The main issue with this is not extreme lack of intelligence, but just a lack of being versed in the way that everything’s meant to be interpreted, the hierarchy of languages and rhythms by which culture is meant to be accurately read. I.e. they don’t know what situation they’re in. They are too blinded by the ‘brilliance’ of their new ideas.

Thus you have a movement of unformed, vague dissatisfaction (a very common trait to this psychology, with its searching) predicated on some kind of vague rejection and tendency towards finding out a bit more truth than average. But with no grounding in the real meaning of the lies, or of what is already in place, or the true meaning and mode of functioning of class. It’s quite absurd when such a rabble ends up backing, of all things, aristocracy.

I can’t rule out NRx being backed by some real players as some point, just as libertarianism has been, but its members are not real players. They don’t know what’s going on, and have too much attachment to the very few answers they’ve found. Meanwhile real aristocracy operates all around them. Everything touted as revelation in these circles has been known to anybody with real power and insight throughout.

And the same will rise, and the same will fall.

For the proper contrast, think back to the 70s. It was really a golden era of female chanteusses: Rita Coolidge, Carole King, Linda Ronstadt, Karen Carpenter, Stevie Nicks. What emotion did THEY elicit when you heard them? It was more of a desire to POSSESS them — as in love, protect and marry. I’m thinking here of something like Rita Coolidge’s cover of Boz Scaggs’ “We’re all alone,” or of course Linda Ronstadt singing “Blue Bayou.” Half the women in my ’70s list weren’t even all that attractive. Rita Coolidge and Carole King were about average. Karen Carpenter at her peak had a girl-next-door appeal.

So the upshot here is that there has been an emotional collapse in the artistic effectiveness of popular music as sung by women over the past 40 years. Music is now one more dead end for man attempting to access certain types of sensitive emotions. This is one of the reasons I made my defense of the New Agers a couple months ago. If all these art forms are dead, the “way in” to reclaiming emotion is probably through recovery of certain high-intensity spiritual practices — the specialty of the better of the New Agers.

One day, AIs will marvel over the intelligence incarnate in the nexus that is, for example, dark horse. Through her there is dominance (a first requirement of aristocracy– it wins) and a neurocracy (the second requirement) with a meritocratic invitation to the few.

You just don’t see it ‘cos you’re not aristocrats. You’re publics who want to be smarter than the rest of the public. Fledgling intelligence seeks a differentiated form for itself to secure the growth of its character. Greater intelligence plays a game of image and invisibility. It can communicate itself through many images, buildling itself into a ladder of interpretations where nobody ends up in the wrong affiliation by accident, because intelligence and stupidity are never on different sides. Each and all are on the side of manifest stratification.

If you perceieve that you are on the losing side, or a side that hasn’t won yet, that’s usually a hint that you’re not understanding your station. It can be hard to perceive this though, when neurogenetically unable to make the correct links. Malcontents are what we might think of as an inferior class’ abortive attempts at sentience. This take the form of a stepping back, a ‘that’s not me’, a theory, a shielding identity.

So malcontents are sort of demiurgic, Satanic, built from lies; Katy Perry, contrarily, partakes in the true body of God and his natural hierarchical order.