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At the same time came the disciples unto Jesus, saying, Who is the greatest in the kingdom of heaven?

2 And Jesus called a little child unto him, and set him in the midst of them,

3 And said, Verily I say unto you, Except ye be converted, and become as little children, ye shall not enter into the kingdom of heaven.

4 Whosoever therefore shall humble himself as this little child, the same is greatest in the kingdom of heaven.

5 And whoso shall receive one such little child in my name receiveth me.

6 But whoso shall offend one of these little ones which believe in me, it were better for him that a millstone were hanged about his neck, and that he were drowned in the depth of the sea.

-Matthew 8: 1-6


I couldn’t help think of those above verses when assessing why Miley Cyrus, Ariana Grande and the movie Cuties are so soul crushing in their singular and collective moral depravities. All three have singular differences but coalesce upon a grand plan that many with their eyes wide shut refuse to acknowledge, or worse yet agree with in shameful ways.

Not everyone in the “Truther” movement is a Christian, although many are. Some would consider themselves secular moralists: atheist or agnostic conservatives who nevertheless adhere to traditional morality. (I’m excluding Nietzsche’s vehement denunciation of these folks to speed this along.)

But even those who don’t consider themselves any of the above might view the current state of our world as pre-Apocalyptic. That even before the ravages of Covid-19 something had become unloosened in this world, a seismic erosion of universal values and mores.

For those of who are Christian or whose values have insescapably been formed from Western Christianity are likely to believe that we have begun living in the “End Times,” a Prophetic de-evolution unrivaled by any prior moment in history. A severe “falling away” from God which leads to the Antichrist and Armageddon. We watch contemporary events around us “eyes wide open,” trying to assess which troubling trend and event has been prophesied in the Book of Revelation. We are our own oracles.

To be interested in pop culture circa 2021 is a gold mine for our feverish analysis. This doesn’t exclude world events from stoking our anxieties and wonderment, but pop culture emerges again and again as a playbook from the Satanic campaign chronicled in The Book of Revelations.

To those of you still with your eyes wide shut Miley Cyrus and Ariana Grande are “just” famous pop stars. “Junior feminist” ones at that. Child stars grown up. Hoorah! Hoorah!

But to those of us in the Truth Community or sympathetic to said views, Cyrus and Grande are not at all what they seem. How about classifying them as “Illuminati” pawns? As MK-Ultra Beta sex kittens? As among the great deceivers of youth? “Red whores of Babylon?” Just like Katy Perry.

Perry, Grande, Cyrus, not to mention Britney Spears and Christina Aguilera et al fit a certain pattern which has been dominant since the 1990s: female child star makes innocent pop music for a large commercial audience, aided by a major network aimed at children(Disney, Nickelodeon). A generation of her mostly female fans follow her through their tween years and into their collective adolescence and eventually young adulthood.

The  adult Ariana Grandes and Miley Cyruses are then revealed to be pied pipers for a devious agenda, truthers would argue. They were selected to lead the younger generation astray. Away from traditional Christian morality to paving the way for an aggressively secular, supposedly “inclusive” and “tolerant” society, one decidedly anti-Christian. This agenda is radically Leftist, from its deliberate promotion of LGBT community and values, gender fluidity, transhumanism, obsessions with multiculturalism, identity politics, pro-abortion stances and anti-Chrisitan vehemeance. Every Grande, Cyrus or Selena Gomez is indistinguishable from the other, all are Stepford Wives for this platform. Not one of them deviates from the mold. Where’s the Harry Styles against gender fluidity? Where’s the Harry Styles for the Tories? Or against immigration? He doesn’t exist because the powers to be don’t want him to exist. It would disrupt their “project.”

For some this backdrop to analyzing the stars of pop culture is seen through a secular eye. That of a corporate mindset intent on destabilizing the world for their purposes, which are psychological divide and conquer. Distract the masses with phony conflicts, create cultural wars and the like while you rob the treasuries blind and promote shopping as a cure.

For the religious-minded, this “new world” is a prelude and a paving towards the arrival of the Anti-Christ. These pied pipers of pop muscic are far more popular and influential to their generation and the generation after them than any politician. Idolatry is rampant, especially among the under-25 and 30 set. That huge numbers of gullible people believe Beyonce is some type of “goddess” or “saint” is all you need to know about the mental condition of this world in 2021. To paraphrase the Bible, Satan in the end returns to this world as a “man of peace.” He will be received as such. Unlike Christ he will be greatly welcomed by the masses, and those who refuse to follow him will be persecuted and punished. And the ideas he will espouse, well, let’s just say that those who have embraced a left of center agenda will be most comfortable in his new world order.

I bet you won’t read any of that in Pitchfork or Stereogum!


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Plastic Hearts is more of a struggle to listen to than Positions, which is superior. Hyped as Miley’s return to rock, evidently by people who have never actually listened to much rock music in the first place. Yes, there are a few crunchy guitars here and there, more so than usual these days. But Plastic Hearts is just as processed as nearly all pop recordings are these days. She’s rocked far more in the past with her Flaming Lips collaborations than on this effort. Not even Joan Jett can salvage these proceedings.

Also billed as her “breakup” album, the lyrics are so childish and banal that, well, I won’t complete my uncharitable thoughts.

I will admit that Plastic Hearts is catchy enough, yet nothing held my interest. And I can admit that I find Cyrus fascinating but a very frustrating talent. She can sing. In better hands she’s the next Pat Benatar or a Miranda Lambert-type. Her stripped-down live country rock videos a few years back were eye-opening, reminders that she’s always been something more than a stoner Lolita chick with a Southern accent thick as bark. And her acting performance in a Black Mirrors episode was a stellar, itself a very knowing and damning expose of her world as a manufactured pop singer. She’s a fascinating celebrity, but this record is a middling, middling thing. And don’t make the mistake of actually listening to actual rock music after playing it, which I did each time, just to cleanse the palette. Whether I turned to AC/DC or Frank Zappa, Plastic Hearts was as telling a title as could be.


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Positions wins by default compared to Hearts, but it’s also a more enjoyable and smutty affair. Not purporting to be anything other than a contemporary pop/r & b hybrid album, and a good one at that. Whereas Hearts is a jittery mess, an adolescence’s diary lined with self-hatred, self-delusion and angry lashing out at other people, Positions is all smooth seduction. Like Cyrus Grande can still physically pass for a teen girl, but her mindset is rooted in her actual age of 27.

Positions is an adult record in every sense of the world, although it subconsciously rubberbands knowing listeners with the conscious tension of Grande’s waifishness, her ever-present syndicated ember status as a teen Nickelodeon star(you can seen her every day and night on cable playing a ditzy teen in not one but two series) and the astonishment of hiding her Mariah Carey voice for years in plain sight.

Though she doesn’t rap, she’s absorbed the carnal template of the female rappers who often guest on her songs and remixes. She’s a singer but with their world view. In many aspects Grande is probably no different than many 27 year-old Western women, including her views on promoting her sexuality. It’s only that none of these other women started out on television as someone completely antithetical to what’s she’s become..

Grande is the more dangerous pied piper of the two because her metamorphosis is more stunning and morally upsetting. It’s the dichotomy between her acting and her singing careers which can not be resolved by some of us. If Cyrus’s progression to “Bad Girl” is viewable as more organic a journey, Grande’s is metaphorical, even Faustian. She’s the wallflower who became a beauty, the shy, ditzy, virginal, mutish girl who suddenly appears as a (foul-mouthed) siren. The transformation, supernatural. It’s magic, alright. But black magic.




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