The 2013 edition of the VMAs was not about music. It wasn’t even about the symbolism I’ve described in past years. It was basically MTV saying: “There is nothing to celebrate in pop music this year, here’s an awkward, cringe worthy display of everything that is wrong in the entertainment industry”.
I wrote extensive articles about past VMA awards because they were filled with occult symbolism and messages. This year, not so much. It was about promoting major artists and their newest albums. But mostly, it was about providing a “shocking” moment that would get mass media talking for days. Miley Cyrus provided it.
Miley Cyrus: The Industry Slave Chosen to Take the Fall
Miley Cyrus’ display at the VMAs was qualified by many as “trashy” and “embarrassing”. It was indeed a strange sight to see. It was as if she was doing it on purpose to embarrass herself. Well, here’s a moment of clarity: It WAS done on purpose and, moreseo, it was ALL staged. People commenting on Miley Cyrus appear to forget one, massive detail: There is an enormous marketing machine behind Miley Cyrus and there always was.
Until 2013, Miley was signed with Hollywood Records, a record Label that was founded by Michael Eisgner, the CEO of Disney. Hollywood Records also owns other child stars such as Demi Lovato, Selena Gomez and the Jonas Brothers. Every artist in the record label’s stable has a carefully crafted image to be marketed to its target public. She is now working with Britney Spears’ ex-manager Larry Rudolph and signed with RCA records – one of the biggest music labels in the world that owns the likes of Justin Timberlake, Britney Spears and Ke$ha.
As a product of Mickey Mouse programming Miley underwent a classic “good girl gone bad” treatment. From a good, wholesome daddy’s girl, Miley turned into a bratty, sex freak who keeps sticking out her tongue and twerking for no reason. While most people are probably tsking at Miley, they do not realize that this whole thing coincided with the release of her new album – and that it was all ordered by her handlers. In other words, she was selected and programmed to be this year’s main example of a “good girl gone bad”, a process the occult elite wants the public to constantly witness. They want the masses to see innocence and wholesomeness turn into sleaze and trash. They want pop culture and the youth in general follow the same process. While alchemy is about turning stone into gold, the masses are made to witness the opposite process.
Miley’s VMA performance is about a child star who was beloved by millions of young people showing what the industry has done to her. It is about shattering the innocence of her fans by having them witness her metamorphosis into one giant sex-obsessed caricature. I’m using the word caricature because it is safe to say that Miley was not 100% herself during the VMA’s. Her oversexualized demeanor was characteristic of a Beta programming slave who had the switched turned “on”. It was however not only about being overtly sexual, it was also (and mostly) about being annoying and embarrassing herself – as if it was a sick, humiliating ritual. Dressed and styled to look like a bratty child, jumping around with giant teddy bears, Miley’s performance was all about getting a negative reaction from the public while continuing the ongoing agenda of sexualizing everything that is related to childhood.
Things got even stranger when Robin Thicke came out to perform Blurred Lines. As its name somewhat stipulates, that song blurs the line between being a flirty and all out creepy. Its video has a strange handler-slave vibe, where Robin, Pharell and T.I. are all sharply dressed while the women dancing around them are completely naked…And being sung lines such as “You’re an animal”.
It is therefore not a coincidence that Miley sang this particular song during the VMAs. Her whole act goes with the spirit of the song and, like in the video, there’s a handler/slave relationship going on in during the performance.
As Miley was going crazy on stage, shots of the audience revealed how it was not amused. Facial expressions were ranging from shock, to despair to “WTF”. One could almost feel the hate emanating from the room – and the entire nation – while she was performing. And that is what “they” (Miley’s handlers) were gunning for. Miley was primed and set up to take that fall. Miley was even ridiculed during the intro of her own performance. The MTV awards needed its trademark “shock” moment and the industry needed its “sacrificial lamb” to keep its sick, occult, MK-Ultra system going.
The one-eyed pedo-bear shirt she had on told her entire story.
While the “controversy” around Miley might help her sell more records for a while, the ongoing public humiliation that is forced on her by her handlers will most likely lead to some kind of meltdown in the future. In an article published in 2011, Miley’s father Billy Ray Cyrus stated that her handlers (that’s the word he used) cut him out of the loop and told him to “mind his business”. Like other industry slaves, Miley has no contact with her family. In the interview, Billy Ray added that “Satan was attacking his family” that he was afraid to see her go down the same tragic path as Anna Nicole Smith (a Beta Kitten slave) and Michael Jackson (killed by the industry).
This performance and the public backlash that followed is proof of the tight control the industry has on its slaves. I am pretty sure that, deep down inside, Miley knew that this is all ridiculous and embarrassing. But there’s nothing she can do about this.
ilmdge posted:that article is probably more on the mark than this one: http://groupthink.jezebel.com/solidarity-is-for-miley-cyrus-1203666732
Where are the faces of color, I usually ask, but not if it means this. It is of course ok for a young girl to act out sodomy in front of an audience of children but I ask you to please patronize blacks and browns the correct way
dank_xiaopeng posted:if you want a picture of the future, imagine a butt twerking on a human face — forever
your hair is so sexy, it reminds me of sex
daddyholes posted:a bratty, sex freak who keeps sticking out her tongue and twerking for no reason.
should be my new username
wasted posted:I just hope macklemore swept the prizes.
http://pigeonsandplanes.com/2013/08/le1f-responds-to-macklemores-same-love-success/
codywilson posted:
The charge of 'appropriation' boils down to this. Miley Cyrus, implicitly and in other ways, claimed to be appropriating 'blackness'. The line was, 'as a dumb, Southern hillbilly white, I can do this cool black dance'. And of course, she did so in a way that used 'twerking' in a pantomime of race, as a symbol of black femininity (cf, the 'jezebel' stereotype). It is not so much an accusation of appropriation - I'm just guessing, but I bet that no artist who has 'twerked' thus far had anything to do with the invention and creation of that particular movement - as of the misuse not only of the 'twerk' but also of the black women on her set whose 'big butts' she literally handled as props. And this is what one would expect. I am not inclined to moralise about 'commodification', but there is a sense - one sense anyway - in which the inevitable attempt to turn a profit from a developing cultural form tends to have hypostatising effects, which arrest and freeze its development, assigning its fluid elements fixed meanings. In this case, the 'twerk', and the 'big butt' have been assigned their place within a system of meanings connoting a conception of black femininity, and they can be used again and again to evoke the same thing for the music industry.
Now I don't know if Miley identifies as a feminist. I doubt it, but that isn't the issue. The issue is that in the last few months, she has prioritized her own agency and independence over the dignity of black women and black culture. And THAT is not okay.
A doctoral dissertation could (and will) be written on the racial, class, and gender dynamics of Cyrus’s shtick.
Okay.... but can we talk about the problematic and racist nature of her performance?
God I hate this type of pop-cultural-social-justice writing; an endless conversation about conversation
AmericanNazbro posted:codywilson posted:
The charge of 'appropriation' boils down to this. Miley Cyrus, implicitly and in other ways, claimed to be appropriating 'blackness'. The line was, 'as a dumb, Southern hillbilly white, I can do this cool black dance'. And of course, she did so in a way that used 'twerking' in a pantomime of race, as a symbol of black femininity (cf, the 'jezebel' stereotype). It is not so much an accusation of appropriation - I'm just guessing, but I bet that no artist who has 'twerked' thus far had anything to do with the invention and creation of that particular movement - as of the misuse not only of the 'twerk' but also of the black women on her set whose 'big butts' she literally handled as props. And this is what one would expect. I am not inclined to moralise about 'commodification', but there is a sense - one sense anyway - in which the inevitable attempt to turn a profit from a developing cultural form tends to have hypostatising effects, which arrest and freeze its development, assigning its fluid elements fixed meanings. In this case, the 'twerk', and the 'big butt' have been assigned their place within a system of meanings connoting a conception of black femininity, and they can be used again and again to evoke the same thing for the music industry.
the proud noble tradition of twerking, as passed down from african slaves to their descendents i guess and not something made up by jewish record executives and then rapped/sung about by men who leer in videos at lines of women's asses
roseweird posted:agreed it is much easier to just completely ignore this shit (and this thread)
i don't think people should ignore it, but rather clear the fog and address the actual source of all this conflict which was state in ilmdge's post directly above yours.
Viacom: 'Moonves was born to a Jewish family'
Jezebel (owned by Gawker): 'Denton grew up in Hampstead, the son of eminent economist Geoffrey R. Denton and his Hungarian Jewish wife Marika Marton'
same old story
dank_xiaopeng posted:no this entire garbage episode should be completely ignored. all the cultural studies handwringing about it is just as shitty as the asshole viacom adman that birthed this turd in a board meeting
Ignoring it unfortunately won't work in the long-run, people need to recognize the source or else we'll wake up one day to find that ALL public discourse has been co-opted by this make-work scheme of god's chosen people
