POP-MUSIC TRANNIES

"THEY are all Trannies! Intersex is a Masonic code, and the REBIS is something THEY aspire to. They try to create it with their DirTEA alchemy. But it is not a reality. Anyone who is anyone, as THEY say, is a Trans. THEY have undergone a T-Forming surgery.
Dual-Sex does not exist. Only lying fucking Shills will tell you it does.
THEY, the DirTEA MASONs; use THEIR SHIELDs against the Naturals."

Me:
The guy calls itself "The Natural".

On the name "The Natural"

This is ironic, given that modernity is precisely defined by the delusion that the body is inherently perfect—rejecting the ancient imperative of self-mastery and transformation. Meanwhile, Freemasonry and liberal movements (which Freemasonry has long advanced) have propagated this very ideology. Thus, the choice of the name "The Natural" is deeply symbolic of modernity's inversion of truth.

Metaphysical part:

The Sentiment of Nature

The erosion of natural ties in modern civilization fosters a rootless existence. Technological progress dissolves the enclosed, organic environments of traditional life, thrusting man into a vast, interconnected world. This shift engenders a material cosmopolitanism—not an ideological or humanitarian one—where man becomes a "world citizen," detached from provincialism.

Traditional spiritual disciplines offer insight into this condition. The hermit’s solitude and the wanderer’s detachment exemplify transcendence over earthly transience. Similarly, the medieval "knight errant" and the "noble traveler" embody a superior detachment from fixed abodes. Modern technological society, despite its mechanized chaos, can evoke a comparable sense of isolation—an inner detachment that mirrors the ascetic’s withdrawal.

The annihilation of distance through technology fosters a transcendent stance: one is everywhere yet at home nowhere. This condition, though often banalized by tourism and utilitarianism, can be transformed into a higher mode of existence if met with the proper inner discipline.

Speed, a defining feature of modernity, typically serves as a vulgar intoxicant. Yet, when mastered, it demands lucidity and inner stillness, paralleling the controlled ecstasy of integrated Dionysism.

Modern urban life severs natural bonds, reducing man to a "nomad of the asphalt." However, reactions advocating a "return to nature" often degenerate into primitivism, reinforcing the "animal ideal"—a fixation on biological well-being, physical vigor, and base satisfactions. This regression aligns with Darwinism’s leveling effects, eroding the sense of man’s transcendent distinction.

True detachment transcends the false dichotomy between city and nature. The superior man remains aloof in both, rejecting sentimental surrender to landscapes or urban sprawl. Nature, for him, encompasses both wilderness and industrial grandeur—dams, turbines, skyscrapers—as domains of impersonal objectivity.

The bourgeois sentimentalization of nature—idyllic, picturesque, or poetic—gives way to plebeian vulgarization: mass tourism, nudism, and mechanized assaults on mountains. These mark the final disintegration of our epoch.

Authentic engagement with nature requires objectivity, distance, and a rejection of anthropocentric projections. Nietzsche’s "superiority of the inorganic" and the "new objectivity" (Neue Sachlichkeit) emphasize nature’s cold, elemental grandeur—deserts, glaciers, steppes—as antidotes to sentimentalism. For the differentiated man, nature is not a refuge but a school of transcendence, where primordial forces reinforce inner sovereignty.

This perspective aligns with traditional wisdom, particularly Zen, which strips reality of subjective distortions. The "great revelation" lies not in seeking the extraordinary but in perceiving the real—unfiltered by personal bias. In this state, immanence and transcendence merge, and the ordinary (a cedar, falling rain) becomes a vessel of absolute meaning.

The path of inner liberation does not flee modernity but transforms its destructive forces into instruments of ascension. The superior man navigates the modern wasteland with the same detachment as the hermit or knight errant, turning dissolution into transcendence.