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"You may have heard a loud rumbling explosion around 9 o&amp;apos;clock EST last night. Or perhaps your town was briefly shaken by a small earthquake. Fear not: that was just the Miley Cyrus Movement taking another seismic lurch into the future. Miley&amp;apos;s much-hyped, much-feared appearance on MTV&amp;apos;s Unplugged was one more classic to throw on the ever-expanding pile of massive Miley triumphs, offering something for music fans and mushrooms casualties alike. Here are a few highlights from an hour that had many.\r\nSee exclusive photos from Rolling Stone&amp;apos;s wild Miley cover shoot\r\n1. &amp;quot;&amp;apos;C&amp;apos;mon ya&amp;apos;ll! Let&amp;apos;s do this!&amp;quot; Miley says to open the show, holding it down on a stage done up to look like a barnyard, complete with all the things you traditionally find in a barnyard &amp;#x2014; a fence, hay, a dancing dwarf, a horse that looked like it wandered in from an old episode of Captain Kangaroo and, oh yeah, musicians (good ones too!). Miley&amp;apos;s blonde wig and checkered-tablecloth jumpsuit were designed to evoke her godmother Dolly Parton and had just the right trad-rachet vibe.\r\n2. During the show-opening version of &amp;quot;4X4,&amp;quot; Cyrus feels herself up, rubs her crotch with her cowboy hat and, most significantly, twerks with the horse. Nature of the twerking: pro forma, lowkey, sidelong and perhaps a little too self-aware, not quite perfunctory but missing the utopian promise of her best early twerking. If May 2013 inaugurated the Summer of Love of twerk, this twerking had a somewhat more downcast, John Wesley Harding-ish tone. What a long strange twerk it&amp;apos;s been.\r\n3. On &amp;quot;Get It Right,&amp;quot; Miley hops on the horse and rides it around the stage. She&amp;apos;s pretty skinny but still: torture, the oldest form of twerking.\r\n4. &amp;quot;My wigs about to fall off, I&amp;apos;m having too much fun up here,&amp;quot; she tells the audience. But if you thought that was going to satisfy the night&amp;apos;s quota for awesomely inane banter you don&amp;apos;t know Miley. A few minutes later she tops it with: &amp;quot;I tried to bring a little Nashville here tonight,&amp;quot; she says. &amp;quot;When I say &amp;apos;hoe&amp;apos; you say &amp;apos;down&amp;apos;.&amp;quot;\r\n5. Mid-way through the show Miley switches outfits into a bikini top, torn oversize jean jacket and ballooning shiny pants &amp;#x2014; a country-meets-TLC vibe. &amp;quot;I don&amp;apos;t think I&amp;apos;ve ever sweat so much in a bikini,&amp;quot; she tells the crowd.\r\n6. Miley&amp;apos;s country roots were on display with a version &amp;quot;Jolene&amp;quot; by her &amp;quot;Aunt Dolly.&amp;quot; She showed a lot of faith in the cultural knowledge of the MTV audience by asking them to sing along with a song that was a hit in a genre they know nothing about 10 years before their parents met. She body-slams it of course, adding the priceless ad-lib &amp;quot;That&amp;apos;s OK. I never trusted that bitch.&amp;quot; You should hear what Jolene&amp;apos;s been saying about Miley.\r\n7. During &amp;quot;Jolene&amp;quot; Miley flashes some brilliant &amp;quot;I&amp;apos;m gonna put a cap in that slut&amp;quot; wronged-woman-gone-bonkers looks. We spend so much time addressing her tongue &amp;#x2014; and it&amp;apos;s important work that we should all stay focused on. But girl&amp;apos;s got some thousand-yard stares that could scare the chrome off a trailer hitch. Stay glaring, Milez!\r\n8. &amp;quot;The core of what I do is music,&amp;quot; she says. True: Most of the show was a showcase for her singing, which was especially on during a rendition of her new single &amp;quot;Adore You,&amp;quot; a subtle Fleetwood Mac-ish rendition of &amp;quot;Rooting for My Baby&amp;quot; and the heart-defoliating &amp;quot;Drive.&amp;quot; If this was supposed to the show&amp;apos;s vaguely contrite, classy, talent-showing rejoinder to the VMAs, and the Euro VMAs and that time fifteen minutes ago where she twerked with a freaking horse, it worked.\r\n9. We&amp;apos;d all been waiting for the hotly-anticipated show-ending Madonna duet and it doesn&amp;apos;t disappoint. Madonna emerges from the back of the audience dressed like a gay conquistador, a costume that&amp;apos;s not that far-afield from the gay plantation owner get-up she wore at the Grammys. (Where will this historical thread lead?) Madge and Miley do a mash-up of &amp;quot;Don&amp;apos;t Tell Me&amp;quot; and &amp;quot;We Can&amp;apos;t Stop.&amp;quot; There was a palpable sense of &amp;apos;I wonder who this Miley Cyrus person is&amp;apos; in Madonna&amp;apos;s performance and it&amp;apos;s kind of incredible that it&amp;apos;s been a whole decade since her similarly torch-passing VMAs duet with Britney Spears. Still, she throws herself into the moment with some top-tier Miley-grinding. It didn&amp;apos;t all go over perfectly but if you can grind against Miley Cyrus with that much professional aplomb when you&amp;apos;re in your fifties more power to you.\r\n10. Through the entire evening, Miley&amp;apos;s tongue hadn&amp;apos;t made too many appearances. But you can&amp;apos;t keep a good tongue down and like a cadre of guerilla rebels hiding in the mountains waiting for their moment to siege the capital, Miley&amp;apos;s Tongue emerged with a glorious vengeance during the Madonna duet. Ever the trooper, Madge tongued it out right along with her. Two tongues, two great artists, one magical night. Fuck this is a great Movement!"^^<http://www.w3.org/2001/XMLSchema#string>
<http://www.rollingstone.com/music/news/miley-cyrus-unplugged-10-hilarious-twerkcentric-observations-20140130>