Saturday, 11 April 2015


While a recent discovery to this writer, the Swedish singer Tove Lo obviously has a significant fanbase, one that likely extends throughout the world. The two top results on YouTube for her song, Habits (Stay High) have been viewed 107 million times, and 199 million times respectively. While certainly a compelling song, the tune's lyrical content is emblematic of the destruction of the sexes that the institutional Left has accomplished in the last century or so.

The despairing ennui that seems to be a significant part of millennial culture is immediately apparent in the opening lyrics. The song speaks of being overstimulated and bored and desperately seeking any sort of meaning to life, much like the recovering sex addict anti-hero of Chuck Palahniuk's early novel, Choke:
"I eat my dinner in my bathtub
Then I go to sex clubs
Watching freaky people gettin' it on
It doesn't make me nervous
If anything I’m restless
Yeah, I've been around and I've seen it all"
Our sultry songstress nods to the decadence of our age in the next few verses, and again touches upon the gnawing emptiness that seems to permeate so many people these days, people who bought fully into the notions of "liberation" that the Left has offered over the last century:
"I get home I got the munchies
Binge on all my Twinkies
Throw up in the tub
Then I go to sleep
And I drank up all my money
Dazed and kinda lonely"
We hit the chorus next, in which we discover all of this is an attempt to forget an unspecified 'someone.' Although, judging from the video cut, in which the lovely Lo is seen drunkenly kissing people of both sexes, sometimes separately, sometimes together, in a display of polymorphous perversity, who this 'someone' actually is remains hard to nail down:
"You’re gone and I gotta stay high all the time
To keep you off my mind
Spend my days locked in a haze
Trying to forget you babe
I fall back down
Gotta stay high all my life
To forget I’m missing you"
Next we catch this broken shard of modernity seeking out other broken shards, namely divorced men, spending visitation time with their kids: 
"Pick up daddies at the playground
How I spend my day time
Loosen up the frown,
Make them feel alive
Oh, make it fast and greasy
I’m numb and way too easy"
That sexual liberation that she's been sold on sure does seem to be making her happy. That last line is a real clincher. Finally, Lo expresses the infantilization of society discussed by the likes of Hans Herman-Hoppe and others:
"Staying in my play pretend
Where the fun ain’t got no end
Can’t go home alone again
Need someone to numb the pain"
While her pain is seemingly heartfelt, Lo is nothing more than the accumulation of distortions caused by feminism's destruction of the feminine, overseen by that odd combination of capitalism and Marxism that characterizes the modern world. As many have remarked, the rise of the manosphere and other movements seem to be a direct response to this fallout. 

With the recent ruckus regarding a comparison between a Swedish feminist and a very feminine Swedish nationalist, it appears that, even though the destruction of the feminine is still underway, a countervailing current is beginning to run the other way, perhaps best embodied by Evola’s thoughts on the roles of the sexes:
"We cannot ask ourselves whether 'woman' is superior to man or inferior to 'man' any more than we can ask ourselves whether water is superior or inferior to fire...There can be no doubt that a woman who is perfectly woman is superior to a man who is imperfectly man…"

Feminist 'pitted' against Nationalist.

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