Miley Cyrus NAKED Rolling Stone Cover


Miley Cyrus strips fully naked for cover of ROLLING STONE!

Similar to the nude photos that she sent to Nick Jonas!

‘People get tattoos of the most fucked-up shit. Did you know Alec Baldwin has Hannah Montana’s initials tattooed on him? No, wait, Stephen Baldwin. He said he was my biggest fan, and I told him my biggest fans have tattoos. So he got hm tattooed on his shoulder. People do fucked-up shit.’

On VMAs: ‘Honestly, that was our MTV version. We could have even gone further, but we didn’t. I thought that’s what the VMAs were all about! It’s not the Grammys or the Oscars. You’re not supposed to show up in a gown, Vanna White-style [A little dig at Taylor Swift] It’s supposed to be fun!.’

These are the 20-year-old pop star’s first tattoos on her feet, but she has lots of others: a peace sign, an equal sign, a heart and a cross (all on her fingers); the words love inside her right ear and just breathe over her rib cage; a Leonardo da Vinci sketch on her right forearm, and above it, the Roman numerals VIIXCI, for 7/91, the month and year her parents first met. And on the inside of her left forearm, the words so THAT HIS PLACE SHALL NEVER BE WITH THOSE COLD AND TIMID SOULS WHO NEITHER KNOW VICTORY NOR DEFEAT. “It’s from a Teddy Roosevelt speech,” she says. “It’s about how people judge who wins and who loses, but they’re not the ones in there fighting.” In other words, “It’s about critics.”

Her neighbors now are a little more contemporary. “Diddy’s baby mama lives right there,” Miley says, pointing over the fence behind her pool. And down the street is Steve Carell, who has two preteen kids and doesn’t sound like the biggest Miley fan. “He always gives me the stank-eye because I drive so fast,” Miley says. “The other day I was trying to reverse and I almost hit a thousand things, and I was getting nervous because I could see him going” – she crosses her arms and lets out a big, annoyed sigh. “I’m like, oh, my God, Dan in Real Life is watching me right now!”

Miley admits that her performance with Thicke got a little – her word – “handsy.” But she makes a good point: “No one is talking about the man behind the ass. It was a lot of ‘Miley twerks on Robin Thicke,’ but never, ‘Robin Thicke grinds up on Miley.’ They’re only talking about the one that bent over. So obviously there’s a double standard.” She was especially amused by the criticism from Brooke Shields, who played Miley’s mom on Hannah Montana and called the VMA performance “desperate.” “Brooke Shields was in a movie where she was a prostitute at age 12!” Miley says with a laugh.

“America is just so weird in what they think is right and wrong,” she continues. “Like, I was watching Breaking Bad the other day, and they were cooking meth. I could literally cook meth because of that show. It’s a how-to. And then they bleeped out the word ‘fuck.’ And I’m like, really? They killed a guy, and disintegrated his body in acid, but you’re not allowed to say ‘fuck’? It’s like when they bleeped ‘molly’ at the VMAs. Look what I’m doing up here right now, and you’re going to bleep out ‘molly’? Whatever.”

Miley admits that before the telecast, she was feeling a little nervous. But then she got a visit in her dressing room that made her feel better. Kanye West had seen her rehearsals and wanted to talk to her before she went onstage. “He came in and goes, ‘There are not a lot of artists I believe in more than you right now,'” she recalls. “The whole room went quiet. I was like, ‘Yo – can you say that again?!'” She laughs. “I just kept repeating that over and over in my mind, and it made me not nervous.”

After the show, Miley and Kanye met up at a Manhattan recording studio to work on a remix for his song “Black Skinhead.” The next day he sent a text: “He said, ‘I still can’t quit thinking about your performance,'” Miley says. She also happened to mention that a pair of fur Céline slippers she’d bought were falling apart, and Kanye bought her five more pairs. “Kanye is the shit,” she says. “I kind of have a good relationship with him now. It’s good to have someone you can call and be like, ‘Yo, do you think I should wear this?’ ‘Do you think I should go in the studio with this guy?’ ‘Do you think this is cool?’ That’s what homies are supposed to do.”

Miley isn’t bothered by people who called her performance a disaster. “I wasn’t trying to be sexy,” she says. “If I was trying to be sexy, I could have been sexy. I can dance a lot better than I was dancing.” She knows sticking her tongue out isn’t hot and that those weird stubby pigtails aren’t flattering (“I look like a little creature”). And she even knows it’s ridiculous for her to twerk. “People are like, ‘Miley thinks she’s a black girl, but she’s got the flattest ass ever,'” she says. “I’m like, I’m 108 pounds! I know! Now people expect me to come out and twerk with my tongue out all the time. I’ll probably never do that shit again.”

If there’s one thing that bothered her about the fallout, it was the idea that her performance was racist, or a “minstrel show,” because, critics argued, she appropriated a dance style common in black culture and used black backup dancers like props. “I don’t keep my producers or dancers around ’cause it makes me look cool,” she says. “Those aren’t my ‘accessories.’ They’re my homies.” Meanwhile, she argues, the idea that she’s somehow playing black is absurd. “I’m from one of the wealthiest counties in America,” she says. “I know what I am. But I also know what I like to listen to. Look at any 20-year-old white girl right now – that’s what they’re listening to at the club. It’s 2013. The gays are getting married, we’re all collaborating. I would never think about the color of my dancers, like, ‘Ooh, that might be controversial.’ What do you mean?” she says with a laugh. “Times are changing. I think there’s a generation or two left, and then it’s gonna be a whole new world.”

Parked next to us is a black Range Rover. “I’m not gonna lie,” she says. “I think that might be Bieber’s.” I ask her if she hangs out with him. “A little bit,” she says. “But not really. I’m not much older than him, so I never want it to feel like I’m mentoring him. But I do mentor him in a way. Because I’ve been doing this shit for a long time, and I already transitioned, and I don’t think he’s quite done it yet.

“He’s trying really hard,” she adds. “People don’t take him seriously, but he really can play the drums, he really can play guitar, he really can sing. I just don’t want to see him fuck that up, to where people think he’s Vanilla Ice. I tell him that. Like, ‘You don’t want to become a joke. When you go out, don’t start shit. Don’t come in shirtless.’ But the thing is,” she says with a laugh, “I think boys are, like, seven years behind. So in his head, he’s really, like, 12.”

Shortly after she started to record Bangerz, Miley cleaned house. “I basically cut off all ties,” she says. “I got rid of my manager, I got rid of my label. I just started over. I really wanted to stay with my manager, but I feel like this” – her recent evolution – “would have scared them. I just don’t think they would’ve had as much faith in what I’m doing.”

Miley has since hired Britney Spears’ manager, Larry Rudolph, but she’s still the one in control. Her life is remarkably handler-free – no publicists hanging around, no minders telling her what she can and can’t do. “I hung out with way too many adults when I was a kid,” she says. “So now I don’t want to hang out with any adults. I’ve already done all the hard work. Now I can kind of fuck off.” Her video for “We Can’t Stop” was inspired by just such fun – an epic two-day house party with a bunch of the homies that moved from a friend’s home in the Hills to the beach in Malibu and back. At one point, Miley fell asleep in front of a fireplace and melted her Docs. Around dawn, everyone went up to the roof to watch the sun rise, and Miley kept singing the “We Can’t Stop” line that goes, “This is our house, this is our rules,” but rewriting it as, “This is our house, this is our roof.”

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