In our modern era the individual creator is considered as ‘the great pioneer’. This person is chosen and then foisted upon us by our media masters, who wish to control all forms of cultural collectivization – by electing these ‘elite pioneers’ themselves. This allows them to control from the outset any cultural threat to their aristocracy, and it is of the upmost importance that this individual creator shares their elite value system and lifestyle preferences.
This makes for a very peculiar situation, considering one would think that the creative individual (inspired by personal experience) would be the last person to parrot staid system idolatry, however such an individual is also the most vulnerable to bribery and threats when there is no supportive community in their corner. The state’s culture becomes their beneficiary.
This is perhaps best exmplified in the fall of the orchestra, and the rise of the pop star.
In the beginning of the 20th century orchestestrial music was popular across Europe, however the influence from American urban centers was gaining steam, along with an increasingly more industrialized and decadent (Steppenwolf-ish) nightlife culture. Jazz music from America was being spread internationally through government policy, and Composers like John Strauss would soon be passed over for the availability of smaller acts (with strong media promotion) who held a whole new set of values. Those values being primarily: heroin, alcoholism and hedonism.
The organized collectives that still performed classical works now had their days numbered, as flappers and vaudevillians with moral and sexual ambiguity made their way to the top billings. Stars like Anita Berber were well-decorated with addictions and chips on their shoulders. These rank and file ‘individualists’ were promoted heavily by the cultural elite, as they are today, giving rise to the ‘faux-individual celebrity’, the superficial rebel with system values – the key progenitor of pop culture. Thus a star was born.
The debased make our Art because the cultural elite have created a hero of the outsider, one that rebels against the morals of traditional society. It is not to say that this hasn’t produced unique or interesting work, but that description alone has become the definition of what is ‘good’. The bourgeoisie have created a purgatory for culture, a permanent feedback loop of ‘stars’. They are uncreative and infertile, and use culture as a weapon against the social collectivization of rival ideas. The contemporary artist follows these cues because they are so long fallen from the tradition of higher art, from the heroes and kings who’s bloodlines ended abruptly in the hazy smoke of decadent jazz nightclubs. The artists of our generation have been inspired by a kakistocracy (a system run by the worst) who have deconstructed society and beauty in order to control it.
The real creative subversion at this point is obvious: to cultivate work inspired by strife, humanity and beauty in an objective historical framework that is structured, honest, and disciplined (not nihlistic or decadent). The words and music notes must come from a pen dipped in the blood of the ancestral heroes. To a world that is as ugly as ours, that is the true rebellion.