Why are the lights of the high rises off? Why can I see the stars?

What do the billboard charts and tabloids represent to us? They represent the ultimate degree of ascension within a post-soul capitalist hellscape. The money. The sex. The drugs. Day in and day out we live out these exact same fantasies of life force, some more and some less than others. They represent the purest distillation of the proletariat's animosity and stifled libido shrinkwrapped into a package we all can enjoy. Musicians talk of the emptiness of their own lifestyle and how vapid it becomes after dealing with the simulacara of sensory joy all around them. Take future's lyrics from the percocet and stripper joint:

“I get mad zooted, I got this bad thing I recruited”

when you have nothing else to do in life, your bills are paid and you are rendered completely inhuman to the rest of society because of your usage by the corporatized systems of security cameras and hyperawareness life becomes an endless pursuit of pleasure and hedonistic satisfaction. Having been so alienated from our basic survival needs since the dawn of human civilization our neurotic anxiety responses have moved their focus to that of the hellish kafkalife bureaucracy of making rent by next month. The next stage of this system is the petite bourgeois retaining social privileges through playing along to the idealized mask of themselves to keep financial privileges. This emptiness is reflected most extremely in the case of the modern "luxury" pop rapper or singer. They still have to face the threat of bankruptcy through hypothetical irrelevance and thusly mirror our own social performance of "hypermasks" that we need in order to retain social privilege- that social privilege usually being turned into a method of capital because we have been ripped from the womb of our own soul.

These plastic lights leave pop rap the opportunnity for the most vulnerable distillation of the modern experience possible. We live in age of simulated personality and vague desperate grasps at human connection rendered useless through our atomization as a species and culture. Everyone can be a hoe in one way or another, and the hyper narcisisstic narrative taught to us by our forefathers only renders us at the same status as our famous stars in small doses. We similarly douse ourself in the same vices as that of future whether it be drugs, a pornographized and deflated picture of sex, or the christ many celebrities eventually turn to. The beauty is how up front about the music is about the materialistic and empty nature of a prime capitalistic existence- NOBODY WANTS TO LISTEN TO YOUR FUCKASS INDIE ROCK BAND.

The kick of everyday life is that we escape from these "hypermasks" through necessity of preserving our basic needs or social circle. The social circle of the celebrity has been turned into nigh complete simulacara and they have been completely isolated from any semblance of natural goal or progression. This leads to a minor social collapse of their petite bourgeois lifestyle- however the celebrity does not have control over their own meteoric rise and is still considered a possible proletariat enemy. They conversely get abandoned in the wake of their own hyperreality and turn to narcissistic degeneracy, consumption and hate- the heart of the engine of capital.

I just wanted you to know
I've loved you better than your own kin did
From the very start
I don't blame you much for wanting to be free

We decide to set off on a road trip through the southern states with our friend Matt. As soon as we walk into the car rental agency in Miami, Harmony charms the clerk, as she always does, and convinces her to give us a top-of-the-line vehicle at a fraction of the cost. We blaze through Florida and make it to Georgia, where Matt gets pulled over for reckless driving on the highway and is hauled off to the local jail. We spend the rest of the day bailing him out, and once he’s back in the driver’s seat we continue on the open road ahead of us.

We discover hidden gems in small mining towns. We stop at seedy bars and sketchy motels and of course we befriend all the locals. I try to enjoy myself, but I can’t shake the feeling that something about me has changed. My mind keeps going back to the plane ride and the drinks they gave me. I think about pursuing charges for rape, since I was definitely too fucked up to consent, but then I remember what happened last time. Nobody believed me. Everyone would just call me a liar and say I’m doing it for attention. I look at my earrings and remind myself that at least I got a consolation prize.

I’m relieved when we make it back to the bayou. I missed Brian and Eric and our wobbly house on stilts. I never want to leave again.

We all decide to get high on pills one evening.

Waves don't die Let me crash here for the moment I don't need to own it No lie Waves don't die, baby Let me crash here for a moment Baby, I don't, I don't need to own you

"emergent humanity within the grasp of nomadic disassociation. It’s meant to be an articulation on how our world view is one of simultaneous technological decadence and decline, turning away from civilisation while also building it paradoxically. This is the psychology of the subject at hand, hence, “Extinction Renaissance”. One main element of that is the gluten free movement. As the concept emerges and integrates into cities, it begins to represent an agrarian awakening where humanity has opted to transfer all of its faith into the mechanisms of its artificial systems, disassociating from the pivotal role of wheat – the literal pillar of civilisation – and as we further commit to that disregard we breed a mutated doctrine of humanism and nihilism. We are anthropogenic nomads, the soil is alien and is eroded by our untethered illusion of freedom."