With New Single, Billie Eilish Demonstrates That She has Been Totally Absorbed by the Culture Machine

The old Billie is officially gone forever.

Billie Eilish (real name: “Billie Eilish Pirate Baird O’Connell”) was always just a fat teenage slut who just wanted to get high on pills and have sex with black men. Obviously, the raw content of the music was never really something that I was philosophically fond of. However, it was music that I respected, because along with being actually creative and interesting on an artistic level, it also reflected modern reality in an honest way.

Simply: the ominous vocals and beats alongside the nihilistic and self-destructive narrative of the lyrics fit our age, and reflected the actual culture as it exists in a way that other pop music is not allowed to. The whole spectacle just felt elementally candid, in direct opposition to the fake reality of forced positivity that the synthetic culture of the Jews presents.

In particular, I liked Eilish’s videos, which were always well done (up until the satanic CGI disaster of “All the Good Girls Go to Hell”).

The appeal of all other pop music is like that of taking a drug, or masturbating to pornography: it is an escape to a different reality. The appeal of Billie Eilish was that it reflected the reality that we are all experiencing, which is not one of hope, fun, romance or meaning, but an empty hellscape of nihilism and doom.

Billie Eilish was beloved because she portrayed the truth that the youth of the 21st century is being flushed down the toilet. There was something to reflect on when seeing this fat bitch bleeding out of her eyeballs, being shot full of drugs or having cigarettes put out on her face.

You watch it, and hear her hypnotizing, auto-tuned droning, and you say, “yep, that’s where we’re at as a society.” Conversely, the rest of pop music presents a totally fake image of the situation we are in – 99% of the songs you hear are about how we should all be singing and dancing and feeling really happy, having sex, or agonizing over some petty teenage romanticism, as the world falls apart around us.

Whatever you want to say about this bitch, she absolutely stood out in a cultural landscape that is dominated by the worst forms of “happy rap,” saccharine romance songs, calls for mass dancing, and the weird porno music of Ariana Grande. The entire culture is void of any form of reflection on the reality we are actually living in, and Eilish stood out as holding up a mirror, reflecting where we actually are as a society.

Eilish got big on Soundcloud, producing her music and videos with people who wanted to do something good for the sake of doing something good. Her career was totally created and managed by her older brother Finneas O’Connell. In 2019, after signing with Interscope for some reason (presumably the reason was the money), Eilish released her first studio album, “When We All Fall Asleep, Where Do We Go?” Finneas produced that album, and it wasn’t really as good as the early Soundcloud stuff, but it also wasn’t horrible.

At the time, I predicted, and said somewhere on this website I’m sure, that everything after it was going to get progressively worse.

Everything that has come out since then has been basically horrible.

The new song, released on Thursday, entitled “Therefore I Am,” is totally horrible. Billie is dancing around, with an uptempo beat disguised in the minor key.

We should also note that this video, which shows her smiling and eating foods, is also fat-positivity propaganda.

Obviously, Billie has always been a fat slob, but this was because she was a doomed slut who was on pills and didn’t care about anything. It wasn’t because she held a political position that she should be proud of being fat. This video is absolute fat pride.

The O’Connells have either simply sold out, or they have been spiritually absorbed by the media machine.

The sellout really began when she did that video about “body-shaming,” where she was naked. No one wanted to see that. It’s disgusting. The only reason anyone liked her in the first place is that she was a break from all of this endless sexualism. She rebelled against the fake happiness, the gooey romanticism, the dancing around and the sexualism. This fat bitch droning on about the emptiness of her existence while vomiting up blood was the opposite of Ariana Grande, somehow looking like a living doll, talking about how she forces men to perform cunnilingus on her for hours.

Along with the low-effort video, the lyrics of the new song are extremely low effort. They are basically the fat white bitch version of a negress talking about how no one can judge her. This is in stark contrast to the “doomed youth” message of all of her previous songs.

The Jewish media is celebrating “Therefore I Am” as a masterpiece. Of course, they would do that, because they finally have her where they want her. Basically, she got popular on her own merit, and it thus fell on the Jewish culture machine to absorb her into itself. That is what the record deal was about. Now, that process is finished.

Now, she’s going to start singing these retarded sex songs like every other pop star. I can guarantee you that. The dark beats probably will be incorporated into that, but the message will be: “life is great, just feel happy and have sex, haha, it’s fine, everything is good, okay?”

We’re not going to see the Billie we love – a fat drugged out bitch with a tarantula crawling out of her mouth – ever again.

I don’t know if it is legitimately because they’ve gamed this out and they understand it, or if it is just instinctive that nothing should be allowed to go against the grain, but the Jews who control the direction of our culture feel threatened by a popular culture figure reflecting the actual state of reality.

Look at the rest of the pop songs that are promoted by Jews: everything is about:

  • Decadent love stories
  • Having sex
  • Feeling happy
  • Dancing around

Here are the Billboard top five for this current week:

One and two are “happy rap,” the Drake song literally entitled “Life is Good” (is it?). Three and four are saccharine love songs. Five is about dancing.

You see?

I’m not exaggerating. Go look at the full 100 songs list (which somehow is still a thing, even with the internet). Part of the strategy of completely destroying the world is forcing a culture that does not allow any form of reflection and instead is all about feeling happy all the time. That is why all cinema is dominated by superhero melodrama that would normally be marketed to five-year-olds, followed up by romantic comedies, feminist empowerment fantasies and childish love stories.

The entire message of the total culture is: “Everything is good and great and you should feel great because everything is totally fine and normal and you are not living in a satanic nightmare world.”

What this does is allow for real nihilism – such as mass immigration to replace white people, black rioting, or “defund the police” – to be framed in terms of an epic struggle for something good. There should be a contrast between dancing around and feeling really happy and the gruesome and ghoulish act of shooting up a pre-teen boy with estrogen and cutting off his dick. But they set this hellish evil against the cultural backdrop of forced-euphoria, and blend them together. Thereby, they make it impossible for people to process or understand the actual emotions they are feeling when looking around at what our society has become. It’s a very neat trick.

This new Billie Eilish single is going to get played more than any of her previous songs ever were, and all future songs will follow this current trajectory.

Nothing will be allowed to interfere with this Jewish project to use culture to create a parallel reality that has no resemblance to the one we are actually living in. They are going to continue to make people feel as though they must be insane if they are not feeling good, because everywhere they look, everyone seems to be feeling great.