Society Defined – Part I: Decadence and the Entertainment Industry

I believe society in the 20th and 21st centuries has come to be defined by two things: the decadence of the entertainment industry (namely music) and the oppressiveness of government.  What I mean by the latter is that the more oppressive a government is, the more decadent its society becomes.  The bigger the government, the greater the decadence.  A good example of this would be the Progressive Era in American politics under the administrations of Theodore Roosevelt, William Taft, Woodrow Wilson, and Warren Harding, which culminated in the decadence of the “Roaring Twenties” and the fascist dictatorship of Franklin D. Roosevelt.  But for now, I only want to talk about the link between decadence in society and the entertainment industry.

The first American cultural revolution came in the Roaring Twenties, also known as The Jazz Age, and like all cultural revolutions, it began as a sexual revolution.  Greatly influenced by Freud’s Three Essays on the Theory of Sexuality, women came to believe that repressing their sexuality was self-destructive.  Jazz music gave them an outlet through which to express that sexuality.  The birth of the nightclub gave women a place to express their sexuality publicly through dance and jazz, giving rise to the “flapper”.  Women started showing off their legs and bodies with thin, form-fitting, knee-length dresses.  Cosmetics became socially acceptable and were no longer associated with prostitution.  This newfound freedom was fueled by Prohibition, which liberated alcohol through the speakeasy, strangely enough.  The outlawing of alcohol romanticized it, and so did the literary gods of the era, such as Hemingway and Fitzgerald, who not only romanticized alcoholism and promiscuity in their most influential novels, The Sun Also Rises and The Great Gatsby, but were notorious for it themselves and idolized all the more for their larger-than-life lifestyles.  It was the entertainers–the musicians, the writers, the filmmakers–who imported European-style decadence into America.  The soldiers of WWI were sexually liberated by the decadence of Europe, and writers like Hemingway and Fitzgerald, jazz musicians, and filmmakers, made that decadence mainstream.  They made it socially acceptable, and no longer taboo.  They created a new way of life.  A decadent way of life.

The next major cultural/sexual revolution was in the 1960s, with which we are much more familiar.  In the 60s, we saw the second-wave of feminism, the evolution of rock ‘n’ roll, the widespread use of drugs, the Hippie movement, the New Age movement, postmodern art, and the concept of “free love”.  This was America at its very most decadent.  From the birth of jazz to rock ‘n’ roll, music became more and more sexual, and it sexualized the culture.  Just as the Roaring Twenties was born out of the sexuality of jazz music, the 60s were born out of the sexuality of rock ‘n’ roll.  Music promoted free love (i.e., sexual promiscuity) and encouraged drug use, and the artists who created the music were idolized for their debaucherous, decadent lifestyles.  They were seen as innovative and revolutionary not merely because of their music, but because of the way they lived and what they believed.  It was during the 60s and the Hippie/New Age movement that we saw the rise of moral relativism.  It was decided once and for all that the universe was not guided by any objective, unchanging set of morals.  It decided that morality was defined by and within the individual–the attitude that “what works for me might not work for you, and that is fine,” which basically amounts to Satanist and self-proclaimed “most evil man alive”, Aleister Crowley’s famous motto, “do what thou wilt shall be the whole of the law”.  This opens the door to the most decadent hedonism.  By establishing that morality is subjective, they thus established truth and the meaning of life as subjective.  When morals, truth, and meaning become subjective, the result is universal nihilism.  And that is what the 60s created; universal nihilism.  Now, the more I study the 60s and the rock stars of that era and the Hippie movement they created, the more it seems like a manufactured cultural revolution.  We have Nick Rockefeller admitting to Aaron Russo that the Rockefeller foundation funded and organized the women’s liberation movement, not because they believed in the cause, but because they wanted to tax the other half of the population and destroy the American family, so it’s not far-fetched to believe that the Rockefellers and/or other globalist elites funded and organized the counterculture of the 60s as a way of eroding the moral fabric of American society.  But I won’t go into that right now.

And so, we’ve had the decadence of the Roaring Twenties, which was fueled by jazz and literature, and we’ve had the decadence of the counterculture of the 60s, which was fueled by rock ‘n’ roll and film.  Both were created for the purpose of destroying morality.  Whether these cultural revolutions were funded by private, globalist interests like the Rockefellers or they were started organically by the artists, the purpose is the same: to destroy morality by encouraging decadence through the romanticization of debauchery.  In a moral society, art thrives, but in a decadent society, the artist thrives.  The artist is worshipped and idolized not for his art, but for the idea of art.  And decade by decade, you can see this problem grow.

And now we come to the present age.  I believe that we are now in the midst of another cultural revolution on the scale of the Roaring Twenties and the 60s.  Music is currently going through its most morbid change in history, and the culture it is creating is the most decadent and immoral yet.  The current revolution aims to complete what the first two started; the complete destruction of morals and the subsequent enslavement of man to decadence and debauchery, and the establishment of nihilism and apathy as the world religion.  Music has taken on an apocalyptic tone.  It paints romantic pictures of dystopian futures where humanity has become robotic, literally, or it paints a romantic post-apocalyptic portrait of a world destroyed.  It encourages materialism and narcissism like no other generation has before.  It’s not merely more sexual than the generations of music before it; it is sex.  It’s pornographic.  It’s not shy about it, and it doesn’t symbolize it.  It encourages promiscuity and the acceptance of promiscuity, like in the words of Katy Perry’s song, “Teenage Dream,” which says, “Let’s go all the way tonight, no regrets, just love.”  This is a song marketed at teenagers and pre-teens, and it’s about a girl in high school losing her virginity.  It’s using the “free love” concept of the 60s with the “no regrets, just love” line, stating that sex is morally acceptable if it’s with someone you love, but you should love everybody, which is what the concept of “free love” is.  It’s about justifying promiscuous lifestyles by claiming sex is about love and we should love everyone with “no regrets”.  It’s also a manipulation of the teachings of Jesus and Christianity (e.g. love thy neighbor), which is why we are also seeing a great moral decline and the acceptance of moral relativism in Christianity.

The cultural revolution that is currently underway is most apparent in the apocalyptic music and music videos of artists such as Beyonce, Jay-Z, Kanye West, Katy Perry, Ke$ha, Nicki Minaj, Rihanna, Black Eyed Peas, Britney Spears, Jennifer Lopez, Lil Wayne, Drake, etc., and, of course, Lady Gaga, who is the embodiment of everything for which this movement stands.  I believe this movement truly began with Beyonce’s I am…Sasha Fierce and has been fully realized in Lady Gaga, especially in Born This Way.  Lady Gaga’s “philosophy” is the philosophy of the New Age, into which this current cultural revolution is ushering us.  With lyrics like “dance until we die” and “keep on dancing ’til the world ends,” musicians are encouraging a new brand of hedonism; an apocalyptic hedonism.  Most music released now is designed specifically for the nightclub scene.  It’s not designed to be listened to, but to be danced to, to sexualize its audience.  It paints a picture of a society that has collapsed and there is nothing left to do but dance, to just do what feels good.  It says the meaning of life is to go to nightclubs, get buzzed off the alcohol and the music, dance all night, and make “free love” because tomorrow the world might end, so we might as well have as much fun as we can before we die… no regrets.

And then there’s the issue of dehumanization.  This is especially apparent with Lady Gaga and Nicki Minaj who often dress and act like robots or paint their faces to look like fake plastic dolls and make weird, freaky facial expressions into the camera, and with Beyonce who is constantly making eerie references to the Fritz Lang film, Metropolis, in which a poor woman is transformed into a robot and then used to destroy and enslave mankind with her sexuality.  The most famous scene in the movie, known as “Maria’s transformation,” is mimicked by Beyonce in her “Get Me Bodied” performance at the BET awards.  Lady Gaga also mimics many of the scenes and costumes in this film.  The point of it all being to dehumanize society; to turn us into robots and zombies.  And this is precisely what the cultural revolutions of the last 100 years have been leading up to.  The destruction of morals leads to nihilism and nihilism leads to dehumanization and misanthropy, which therefore opens the door to the acceptance of population control.  If they can make society believe that we are not human or make us believe that humanity is no more or no less than an animal or a robot, then they can convince us that we are a plague on the earth, so that we will accept our necessary destruction.

That is the endgame of this whole thing.  Modern environmentalism is all about making humanity hate itself.  Why else would a bunch of hypocrites like Al Gore, Ted Turner, the Rockefellers, and the Rothschilds, whose carbon footprints are 500 times that of the average person (and have taken no steps to change that), try to force the idea of climate change and carbon taxes on society?  It’s about turning us into a society of misanthropes.  It’s about making us believe we’re a plague so that when they start wiping us out we’ll accept it as necessary in order to save the earth.  The cultural revolution currently taking place is the last step in creating a nihilistic society of misanthropes.  It’s the last step in creating a society of decadent, debaucherous hedonists who are too blind and apathetic to see the destruction that is about to befall them.

History shows that all of the greatest civilizations and empires were destroyed by their own decadence.  Never in history has humanity been as decadent as we are today.  We are bringing about our own demise.  We know it, but we don’t care because we have allowed ourselves to become slaves to the decadence.  You can say that “times change,” that every generation breaks the taboos of the one before it and pushes the bounds of morality, but we’ve got to look at this “evolution of morality” in historical context.  From the Roaring Twenties to the Swinging Sixties to the 21st Century, we are not merely morally and socially evolving; we’re heading towards something; the entertainment industry is shepherding society towards a very specific destination.  We cannot push the bounds of morality forever.  Eventually, we will come to the end; we will have gone as far as we can go, and it won’t be pretty or romantic or Utopian or free.  If you listen to modern music and watch modern music videos, you can see exactly where our society is headed; you can see the social engineers’ endgame.  They are engineering a culture of death and destruction by romanticizing death, by making destruction and filth and wickedness trendy and beautiful.  Hopefully, this essay on how the decadence of the entertainment industry has led to the degeneration of our society, has given you an idea of where you’re being shepherded.  It’s time to stop going along for the ride, believing that there will be no repercussions for the actions of a decadent society, and it’s time to start asking yourself, “Where is this going to end?”

Below are some music videos of the songs that have come to define the “Apocalyptic Pop” wave that has flooded that music industry.  Notice how the songs all have the same dystopian tone.  Also, notice the themes of Transhumanism (i.e., robots, cyborgs, humans merging with machines, human-animal hybrids, aliens, etc.), apocalypse, death, dehumanization, civil unrest, anarchy, hedonism, materialism, debauchery, and sex.

Lady Gaga:  – Born this Way – Telephone – You and I – Just Dance – Poker Face

Beyonce:  – Run the World (Girls)  – Sweet Dreams  – Videophone  – Diva  – Get Me Bodied (BET performance)

Britney Spears:  – Til the World Ends  – Hold it Against Me

Jay-Z:  – Run This Town

Rihanna:  – Hard – We Found Love

Nicki Minaj:  – Fly

Katy Perry:  – E.T.

Ke$ha: – We R Who We R

Lil Wayne: – Drop the World

Black Eyed Peas: – The Time (Dirty Bit) – I Gotta Feeling

Kanye West: – Monster


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