So little Hannah Montana has finally grown up. Well, that’s one way of putting it. She’s certainly changed.
In a video released this past Thursday, the former Country bumkin was almost unrecognizable. Gone is all that fresh-faced innocence and Republican-friendly charm. By way of their replacement (if not their repudiation) we were presented with a wild, twerking hedonist, as opposite to Hannah Montana as it’s possible to get.
If you look at the ‘likes’ bar accompanying this video on YouTube, you will see that the new Miley has divided people almost exactly in half. Reflecting this, the comments are almost all dedicated to argument rather than the usual adoring consensus. One half, dominated by American Caucasians (male and female) is outraged and disappointed. The other half, dominated by Blacks, Hispanics and Asians, appears delighted, triumphant even.
Why? Because Miley Cyrus (along with Taylor Swift) was once a poster-girl for mildly racist American conservatives. She was the archetypal good Southern girl, the daughter of a country music sensation, and her career was defined by conformity, chastity and a fidelity to family-friendly entertainment.
And now look.
The non-White sections of America might justly view Cyrus’s rebellion against White society as a huge scalp. The only greater prize would be Taylor Swift herself, and believe me there will now be rap artists compelled to seek her around the clock too.
Miley Cyrus has not become ‘Black’ as some commentators ludicrously suggest. She has however become another symptom of an ongoing racial crisis; namely the aging of White society, and the resultant hemorrhaging of cultural ground to younger ethnic groups.
The centre of White gravity is now conspicuously old in America, and getting older. By this same trend, White culture has become ever more morally stiff and disconnected from younger generations. If you are young and White in America, you are, whilst not yet in an ethnic minority, most certainly in a cultural one.
If that doesn’t matter to you and you just want to get a good job and have a family, then this isn’t a problem. But if you’re like the majority of young people in this digital age, and so not inclined to seek the same destiny as your parents, you must hop aboard a different ethnic train to escape it.
There is also the issue of the decline of White masculinity. In an age of uber-confident Black millionaires (and a Black president), as well as dashing Latinos whose number never stops increasing, the White community throws up archetypes like the Jonas Brothers – castrated ladyboys with fop hairdos and chastity rings. Needless to say, this doesn’t really help either.
Miley Cyrus has gravitated to where there are real men and exciting aspirations. Minorities now have the youth, the masculinity, the music, the employment, and – most crucially – the future on their side.
Still, there are a few exceptions to the trend described. The current Billboard Number One single is a song called ‘Blurred Lines’ by White soul singer Robin Thicke. Mr Thicke, 36, displays an impressive compromise between White identity and the demands of contemporary culture. In the video to this song, Mr Thicke shares the stage with rapper TI and Black singer Pharrell, and yet upstages both gentlemen with a sophisticated, identifiably White demeanor.
Predictably, the destroyers of White society (Cultural Marxists) have already attacked Mr Thicke for this daring snatch-back of Masculine ground. White Feminists accuse him of ‘subtle allusions to rape’ and a more general ‘misogyny’ about his artistry. Such nonsense is best understood as Cultural Marxism when one compares it to the deafening silence from the same sources vis-à-vis African-American music.
Underlying White aging (and the decline of White society) is the sure and steady force of demographics. Nothing can be done now to reverse the extinction of White culture in America. Even republicans now acknowledge this and go in pursuit of Hispanic votes by endorsing ‘amnesty’. All that can be done by Whites is to try to slow this extinction by encouraging minority groups to swallow the same demographic suicide pills (feminism, over-civilization, fear of sex), as they have done and hope for fast-bearing fruit.