In a February 2011 interview with GQ , the mostly forgotten Billy Ray Cyrus spoke in depth on the downward spiral of his daughter Miley. While no stranger to whoring for fame, Billy Ray’s fatherly anguish was intense and palpable. But instead of identifying the flesh and blood featherless bipeds who had abducted his daughter and turned her into the locus for the celebration of indignity and sickness, Billy Ray’s Achy Breaky Heart sought supernatural explanations, likely due to his patented synthesis of stupidity and pissantery:
GQ: Do you really see it in such clearly spiritual terms—that your family was under attack by Satan?
BRC: I think we are right now. No doubt. There’s no doubt about it.
GQ: And why is that happening?
BRC: It’s the way it is. There has always been a battle between good and evil. Always will be. You think, ‘This is a chance to make family entertainment, bring families together…” And look what it’s turned into.
These statements contradict what he told the press around the same time as the GQ interview; which was comparatively blunt :
“I’m scared for her. She’s got a lot of people around her that’s putting her in a great deal of danger.”
Obviously, Billy Ray did not have the character to stand up like a man and fight for his daughter’s well-being and honor against these “dangerous people”. After all, Mr. Hannah Montana didn’t want to burn any bridges to the devil, and three years later he managed to renew his “faustian pact” with a grotesquely pornographic, miscegenation-ridden, rap-infused catastrophic failure of a sequel (54,027 thumbs down on youtube vs 21,651 thumbs up) to his simple and innocent 1992 country hit:
Hannah Montana “Grows Up”
The Disney name, for reasons that defy common sense, evokes trust in parents who see fit to allow the television to raise their children. While it’s the Jew Bob Iger aggressively politicizing Mickey’s ears from behind the scenes, it is cloaked beneath the artistic, volkish, beautiful vision built from scratch by German-American founder and “anti-Semitic” clairvoyant Walt.
From circa 2006 to 2011, millions of families throughout our globalized world gathered in front of the Jude-tube to watch the teenage tribute to materialism, feminism, and ugly careerism known as Hannah Montana. The family the show follows is a crude stereotype of the “country bumpkin” Billy Ray worked hard to cultivate and transform into a profitable niche, but in spite of all the passive propaganda (including Miley Cyrus herself claiming it was patterned after Sex in the City, minus the sex ), the show was mostly free of pornography, gore, and suggestiveness–a rare find for parents in the 21st century.
This, however, was not always consistent, as Miley Cyrus’ increasingly exhibited family “unfriendly” behavior off the screen. 2008 can be pinpointed as the beginning of Cyrus’ descent into madness, when the Jewish fuzz-bumper Annie Leibovitz–the “Leonardo Da Vinci” of the modern world who you might know from her latest [in]famous portrayal of Judeo-America’s Mona Lisa, “Caitlyn Jenner,” as well as a greater portfolio featuring other trashy, anti-white, aesthetically repugnant takes on mentally ill, talentless, morally bankrupt scumbags made aristocrats by the Judeo-capitalists. Leibovitz and Vanity Fair aggressively pursued America’s folksy sweetheart to be featured in a sexually charged photoshoot.
By 2008, the Hannah Montana franchise was already valued at a whooping $1 billion dollars, and the people supplying this money were the splurging parents of kids between toddler and tween. For good reason, the Jews of Disney scrambled for public relations control when the topless photos of the underage sitcom star encountered great social controversy, a Disney Channel statement released in its wake read:
“Unfortunately, as the article suggests, a situation was created to deliberately manipulate a 15-year-old in order to sell magazines”
“Nobody says no to Annie” is the mantra of the show business world in respects to Leibovitz. Bolstered by an intricate network known as the Jewish media, Billy Ray’s devil, whose camera is wielded as a racial mallet against the foundations of Western civilization (self-restraint, beauty, moderation in sex and vice), has been granted the power to immortalize. Most 15 year old girls, without strong and keen fathers to protect them, would find the premise of defying the standard child-star trajectory and being recorded in history forever to be very appealing. Most 15 year old girls, additionally, want to act like grown ups, and what’s more “grown up” in the Jewish saboteurs infantilization of our culture than sexual provocation and making your own pornography?
2013: The Devil Makes Her Twerk
The Annie Liebovitz controversy was an important signal to the Jewish establishment regarding the lack of responsible supervision over Miley Cyrus, and her potential as a vehicle for aggression in their war against mankind. When Hannah Montana came to an end, and Cyrus’ music career began to wane, she signed with the Jew manager Larry Rudolph, and her behavior has gotten more bizarre and viscerally offensive ever since.
Rudolph has specialized in “rejuvenating” the careers of child stars. The sleazy Ashkenazi pimp, in fact, has been credited with the short-lived pop fad of Cyrus’ fellow ex-Disney channel star Britney Spears, who at barely 16 years of age premiered in the 1999 Baby One More Time , where the Jew Nigel Dick collaborated closely with Rudolph to feature the teenage girl gyrating invitingly in pig tails and an erotically tailored catholic school uniform begging men to “hit her” (the song itself was written and produced by almost certain Jew Martin Sandberg aka “Max Martin”, and was played on loop on MTV and the radio until it grew on America’s young shiksas).
The media masters, it appears, get people like Spears and Cyrus into your living room by introducing them as sweet and innocent kids, then once children start looking at them as role models, suddenly “grow them up”. We all know how Spears ended up, and she was eventually retired after a very public and humiliating psychological break down–it is this, not just profits, that Jews seek for the masses.
Fast forward to 2013, and Rudolph found himself sucking on the neck of a new host. Cyrus’ obscene “twerking” (a dance meant to simulate sex, commonly practiced by negroes) performance at the Video Music Awards won her jeers and made people start asking questions about her mental state. But Jew Rudolph commented that it “could not have gone better“. Rudolph, a flesh and blood man and certainly not a supernatural entity, has been singled out as the main conduit for Cyrus’ demeaning behavior:
“One day she was a sweet smiling Disney darling, and the next she was a sexually-aggressive, body baring songstress intent on twerking and tonguing her way to the top of the charts.
How did this happen?
Well for one, she hired Britney Spears’ manager, Larry Rudolph.
In March, Cyrus signed up with Rudolph, the man best known for guiding the career of Britney Spears from Mouseketeer to pop singing sex symbol.”
With Rudolph at the helm, Cyrus was trained by his people in the art of cultural decline. Millions of impressionable young girls who had followed Cyrus since her Hannah Montana days were subjected to something alien, crude, undignified, and primitive. Unsurprisingly, Cyrus’ “twerking” act was not a lapse in judgment, but in fact, meticulously choreographed by what Esquire Magazine describes as a “hip young Jewish woman from Brooklyn” named Diane Martel.
Reactions to Miley Cyrus performing a public sex act with subhuman ecstacy, where her tongue was fully out of her mouth the entire time she was being dry humped in front of millions, were largely negative. Even outraged blacks, accustomed to seeing such behavior, like “Charlamagne Tha God”, said: “Why you wanna be on this nigga side so bad? I’m trying to cross over.”
Esquire extrapolates in between the lines on the political agenda behind the performance:
“Miley’s application for a hood pass and desire to “corrupt” a nation full of young, white girls to back that thing up has many folks scratching their heads.”
The Jew Martel is no stranger to “tha game”, she experimented first on American negroes without their knowledge by creating the “look and feel of hip-hop’s cultural iconography in the 90s”, and was behind many famous videos that established the “urban aesthetic” of rappers like Wu-Tang Clan, Redman, and Mary J. Blige.
“Martel invented Miley’s street cred by reconstructing the manic claustrophobia of Wu-Tang’s late, great ODB, and transporting it to the mansion-sized, Laurel Canyon circle-twerk bacchanal of Cyrus’s “We Can’t Stop” .
Diane Martel was also the architect behind Miley Cyrus’s 2013 VMA performance.”
The twerking episode was one of many subsequent nasties, but nothing beats the devil’s latest lewd contribution, undoubtedly consented to not by Miley, but the drugs she has been plied with for years.
Her Latest Outrage: A Sexualized Infant
Many people have commented on the contemporary push for normalizing child molestation, whether it’s the infamous “op ed” from Jew-infested Salon’s in-house pedophile done under the guise of “tolerance”, or the New York Times Jew Margo Kaplan’s “Pedophilia: A Disorder, Not a Crime” under the thin veneer of science, Jew Louis CK talking about screwing kids shielded by comedy, or mentally ill Yid laughing stock Shia Labeouf in clothes meant to make him look naked putting his face in the crotch of a prepubescent girl done under the cover of “performance art”. Anglo-Saxon semantics-culture is the easiest rubik’s cube the Talmudically trained debaters have ever beaten.
But Miley’s latest music video feels the climate is comfortable enough to not come up with an alibi. The video features Cyrus in a diaper and bonnet opening her legs up to the camera, rolling her tongue all over a pacifier to the lyrics:
I don’t really want an older you
I heard I change my mind with you often
Baby talk is creeping me out
Fuck me so you stop baby talking
By 3:52, Cyrus is in a baby’s crib, wearing an outfit that hardly even hides her fork, while moving in the cow girl position mouthing the hook “Fuck Me, stop baby talking”.
Tracing this video’s origins, we find the same Jews Jewing about. MTV reports Diane Martel, described as much “talked-about”, as the director of the video. What’s the damn point? Despite her large, established, female die-hard fanbase that has stuck by her since Hannah Montana, Miley’s video has 180,000 youtube disapprovals (and growing) and a pyrrhic positive rating of almost 192,000. Hardly smart to split your audience like that by portraying something so viscerally and pointlessly offensive if profit’s your only motive. No amount of rationalization can take away what everyone can plainly see this video is edging society towards.
Outside of the general evil of pedophilia, the purpose of bringing this insanity into the mainstream is to sow distrust between adults and children. Paradoxically, in cultures where homosexuality is supposedly accepted and the sexual revolution is rife (America, Sweden, Germany), a purely platonic hug between two men will be (understandably) feared and construed as a potential queer come-on, while in Iran where fags are put to death two men or two women have no qualms walking down the street hand in hand without sexual insinuations.
Our world is so “Pozzed” that men on certain airlines are forced to undergo the embarrassment of changing seats when placed next to minors on airplanes, under the assumption that all adult males are child-molesters. Jews have a vested interest in eroding non-sexual intimacy and friendship among Gentiles and whites, as this is how mammals establish trust, which then turns to social capital, and finally to revolution.
Imagine if pedophilia becomes normalized against the people’s will, like “gay marriage” was. No parent will ever be able to share a bed or hug their own children ever again. You won’t be able to have your grandchildren on your lap, or tickle your nieces or nephews without suspicion, or at the very least, people having the depressing thought in the back of their minds. If you think the world is ugly today, it will only get worse unless we get together politically.
It’s impossible to know for sure, but Miley Cyrus’ career evolution was probably planned from the start of Hannah Montana. Imagine being the parent of a 5 year old girl who idolized the tender small town character of 2007 and then being in the awkward spot of forbidding her today from going to gratuitous tributes and promotions of animal behavior, pedophilia, drug use, immaturity, race-mixing, and who knows what else at a contemporary Cyrus performance.
Some people call him devil, others call him “liberal”, even more refer to him as “dangerous people”. But I won’t mince words: his name is Jew. And if we don’t exorcise him out of our country, the gangrenous sore will continue to grow.