Parallel Universe

It is not so. You do not know the truth.

You cannot tell us who is right or wrong.

We know the answers. You dare to question?

Perception of reality is skewed.

We don’t live in your imagination.

It is more than a figment, a whole thing.

We curse your existence and your closed eyes.

We are not make-believe. You can’t pretend.

Our fantasy worlds don’t exist like yours.

We reject that you want to buy our world.

Position of wealth, haughty, unfulfilled.

Hold your head up high and expose your throat.

Habits of privilege that we can’t deny.

Undeveloped potential, withering.

Living in homes, with families, having friends.

Description unavailable

(Photo credit: sara..wood)

Not knowing what the meaning of ‘work’ is.

We hope your daughter marries a pauper.

Her morals decay, now you feel threatened.

A worthless heiress, mindless and carefree.

What a shame she never built character.

Fickle, lacks purpose, she’ll waste your money.

Watch your fortune dwindle before she dies.

You were self-important, yet showed no strengths.

Exclusive life, framed until it shattered.

You are afraid to be yourself, come change.


Loss of Reality (3/4): Bourgeois Music

The cultural exchange of music is mostly unrestricted in a capitalist economy, so the aspects of bourgeois culture will be seen most prevalent in popular music.

Most music, as with most forms of art and entertainment, is often originally created by oppressed classes, from which it is then acquired by enterprising capitalists as a means of exploitation through the demand of capital gain.


Distinct musical styles developed or acquired by the bourgeoisie can be characterized by provincialism, much in the same way that bourgeois film lacks certain perspectives.

Bourgeois music is of course characterized by the commodification of demographics, with the dual purpose of defining an exploitable area of the population, as well as the maximization of supply through projected demand.

Music Long Tail

Music Long Tail (Photo credit: pescatello)


Regardless of the origin of bourgeois popular music, it is all turned by the enterprising capitalist into commodities that are aimed at exploiting the lower classes through the uneven distribution of capital gain.

Law and Politics

Copyright laws in music are understandably exploitive, yet culturally accepted in areas where the petty-bourgeoisie seek signs that they may be capable of building their own capital gains through the exploitation of others.

False counterculture in music is even created by the bourgeoisie to appeal to the petty-bourgeoisie, since intuition indicates that it poses little risk of igniting populations that are reformist in nature.

Loss of Reality (2/4): Bourgeois Film

The bourgeois film industry can be identified by the following three major characteristics due to it being an extension of the status quo and a method to retain power.

Bourgeois film emphasizes quantity over quality, seeks to retain bourgeois cultural hegemony, and is characterized by the ownership of the means of production.

Quantity over quality.

The first characteristic of bourgeois film is its emphasis of quantity over quality. The bourgeoisie have adopted a model that produces thousands of movies each year, which means that not every film has to be critically successful.
Hollywood is a well-known area of Los Angeles ...
Often, the model is for the bourgeoisie to produce blockbusters that typically rely upon spectacle (rather than substance), star power (the commodification of individual actors), and massive advertising to attract a profitable audience size.

Further assisted by the presence of amoral heroes and ubiquitous sexuality and violence that appeals to primal instincts, films made in this manner do not emphasize nor require professional-quality acting, directing, or screenwriting.

Cultural hegemony.

It is in the interest of the current status quo, the bourgeoisie, to further consolidate their power through cultural hegemony. These attempts in film are most easily identified by a lack of perspective, narrow-mindedness, or ignorance, which stems from the natural tendency of the bourgeoisie to assume that bourgeois reality is more common than it really is.

There also comes a significant bourgeois apprehension against foreign-language films for these same reasons, that the bourgeoisie seek to minimize any influence that could usurp their power.

Not only do the bourgeoisie assert their cultural hegemony through bourgeois film, but they also promote imperialism through glorified depiction and practice. Films that promote imperialism, glorifying and attempting to morally justify it, are natural for the bourgeoisie to promote their own preservation. Then, the actual projection of imperialism through the imposition of cultural hegemony with the outsourcing of the film industry abroad.

If you believe this is restricted to private industry, I must interject that bourgeois governments also act in conjunction with the bourgeois film industry since their hegemonic interests adhere to the same strategy.

Means of production.

A tell-tale sign of any bourgeois venture is the ownership of the means of production, disallowing other, perhaps more capable producers of quality content in the name of hording capital.

Though there are many capable actors, directors, screenwriters, etc., only those with a relatively significant base of capital may find success in the bourgeois film industry. In later stages of capitalist development, this stifles creativity and innovation by relying on only those already within the industry who have found financial success in the past.

We see now the same creative teams working on similar films made by the same studios, creating a redundancy of efforts to produce additional capital, when in reality they are stagnating their own growth.

The independent studios not supported by larger studios’ financial resources must attempt to create professional-quality products with a minimal budget, which more often than not leads to commercial failure.

Larger studios, the more successfully exploitive capitalists, by contrast focus on extremely expensive releases every year in order to remain profitable. The financial capital invested into special effects and actor commodities require an enormous budget, offset by an audience large enough to reap considerable profits. Don’t think for a moment though, that the capitalist is risking anything. The film industry steals ten billion dollars a year from its audiences.

The advent of piracy is a logical growth with the proliferation of technology, and though it can be literally 1,000 times cheaper to purchase pirated films, the bourgeois film industry of course has had a backlash against piracy.

Their stranglehold on capital gain milks audiences for ten billion dollars a year, yet the actual cost of proliferation is miniscule in comparison, without even mentioning digital file-sharing.