via Vigilant Citizen
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’ve written 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 Eisner, 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. Miley 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. Once a good, wholesome daddy’s girl, Miley has 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 switch 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.