Confianza

del Rayo Negro, enlace al final:

"Sí, hemos entrado en la fase final, con el peligro de convivir con la mayor burbuja de la historia. Puesto que la deuda no se va a reducir , el peligro siempre estará latente y falta por ver, como reaccionan los mercados a la nueva compra por parte de los BC.

Si la desconfianza sigue creciendo a pesar de estas compras, el peligro de la desintegración del sistema financiero es evidente, puesto que una hiperinflación venidera sería realmente peligrosa, si la desconfianza se extiende por los mercados. Si el valor del dinero tiende a cero, en un momento de pánico todos los gestores quieren vender al mismo tiempo y cuando eso sucede, el sistema colapsa. No en un país, sino en todo el sistema mundial. Esta vez el peligro es sistémico.

En realidad, el final es lógico. Las deudas no pueden crecer indefinidamente, muchas veces por encima de los ratios de crecimiento. Estamos creando dinero sin valor intrínseco para financiar gigantescos programas que permiten tapar todos los agujeros. En un sistema ya muy endeudado, mantener el estado del bienestar occidental es muy caro, pero si además queremos (al mismo tiempo) financiar la transición energética, la IA y sus centros de datos, la expansión energética necesaria para acompasar estos cambios, el rearme mundial y las guerras en curso, topamos con la realidad. La expansión monetaria no puede justificar todo y sin embargo pensamos que si lo hará sin problemas.

La realidad pondrá el sistema en su sitio, con el peligro de una destrucción, cuando todo el mundo empiece a ser consciente que el valor intrínseco del dinero de papel es exactamente cero. Podemos imaginar que ocurriría si esta percepción comienza a extenderse por los mercados. Recuerden “¿cómo fue el colapso? … al principio muy lento, pero luego, todo vino de repente.”

https://rayonegro.substack.com/p/la-desintegracion-del-sistema-financiero

Rundgren o como se ponga sobre las divas

robao de Vice:

"Speaking with Vulture, Todd Rundgren admitted that Meat Loaf’s 1977 album Bat Out Of Hell, which he produced, was a satire of Bruce Springsteen. Well, more like a joke directed right at Bruce Springsteen. When asked if there was a modern artist he would do this for in 2026, Rundgren had his answer at the ready.

“Taylor Swift, of course,” he said. “There’s an argument to be made that she ruined music. It’s an understandable phenomenon. It’s just that, to me, Taylor Swift is the apotheosis of mediocrity.”
There are many places where Todd Rundgren would find no argument with those statements.

But Rundgren didn’t stop at his Swift criticisms. According to the rock icon, “It’s the era of the female artists.” Mr. Rundgren, what does that even mean, we ask? Apparently, we have video games to blame for this modern age of women in music.

“The biggest artists in the world are female artists at this point, and that’s because of video games,” said Rundgren. “Back in the ’90s, boys stopped spending money on music and started spending it on video games, and that left the music market with, ‘Well, where do we go here?’”

By Rundgren’s reasoning, the music industry gave birth to the Female Pop Star at that point. And we have to admit, there might be a bit of truth to that. On the surface, this sounds like an absurd comment to make. But just think about how the music industry operates for longer than five minutes, and the wave of female pop stars in the 90s starts to look a little suspicious.

“And [the music industry] said, ‘Well, there’s all these young girls, and they’ve got their allowances, too. Why don’t we start making music for young girls instead of Pearl Jam or something like that?’” Rundgren continued.

Of course, he had to bring another female pop star into the conversation for comparison, as people so often love to do. For Rundgren, he chose to mention Lady Gaga, noting that “She’s a classically trained piano player.”

As for Taylor Swift, he said, “She’s not a great singer, she’s not a great songwriter, she’s not a great dancer. She’s a role model for what was a very young generation of women, and now for those women’s daughters as well, because it’s mothers and daughters going to Taylor Swift shows.”

Despite the possibility that Todd Rundgren is going to get himself crucified online by rabid Swifties for his comments, there’s no denying that he might be onto something.
Aren’t people constantly going on about nepo babies, industry plants, and psyops when it comes to music? Why not turn that energy toward figuring out why the music industry still has as much power as it does? Then we can talk.

Graeber y Debord

Guy Debord:

In The Society of the Spectacle (1967), Guy Debord argues that modern capitalism increasingly transforms lived experience into images, commodities, and representations. The spectacle is not simply television, advertising, or mass media; it is a social relationship between people mediated by images, through which individuals become spectators of a reality increasingly organized for them.
Debord describes a movement from being → having → appearing, in which social identity becomes increasingly tied to possessions, visibility, and representation. The spectacle also produces separation: people may consume the same images and commodities while becoming increasingly isolated from genuine collective experience. In advanced capitalism, consumption, entertainment, tourism, and media create a world of pseudo-needs and passive participation, where the more people contemplate the spectacle, the less directly they experience their own lives. For Debord, overcoming the spectacle therefore requires not merely criticizing images, but reclaiming direct, active, collective participation in everyday life.

David Graeber: