Posts Tagged: miley cyrus

Miley Cyrus, "Party In The U.S.A."

1. Changed my spellcheck settings to American; 2. Spent a significant amount of time practicing my pronunciation of the word "sorry" (more of an "a" than an "o" sound, apparently) and "about" (kind of with a hidden "ow", I think?); 3. Spent a significant amount of time practicing pronouncing it "Jay-Zee" and not "Jay-Zed," as is customary in Canada; 4. Set fire to my Canadian tuxedos in a ritualistic blaze; 5. Dumped all my remaining clothes and shoes in a suitcase.

See you guys on the other (American) side.


Who Are You Trying to Convince?: 5 Desperately Upbeat Pop Songs

There's a Top 40 trend, a few years old now, toward making pop music on the radio sound more like dance music from the club: electronic instrumentation, thumping beats, repetitive choruses, AutoTune. Lyrically, there's a violent uptick in mentions of being young, staying up late enough to see the sun, and burning things, all of which are usually described in the first-person plural—not "I want this" or "you said that" but "we did this." Tonight, we are young, so let's set the world on fire. Let's go crazy, crazy, crazy, till we see the sun. Let's make the most of the night like we're gonna die young. We gonna let it [...]


"Only white women have the privilege of reclaiming the word 'slut' without facing any real social penalty"

Here's a concise, great, neatly reasoned piece at Salon from earlier this week from Lutze B. on why she, "as a black woman, [has] no desire to reclaim the term 'slut.'"

I am all for marginalized groups reclaiming words that were once used to shame and dehumanize them…. [But] if we are going to advocate against “slut-shaming,” and for owning the word “slut,” we cannot do so without paying attention to the facts. We must ask, who are the women being defended against “slut-shaming,” and who are the women being left to defend themselves?

I totally disagree with the piece's celebrity compare-and-contrast scenario [...]


Two Options for Listening to Miley Cyrus's "Wrecking Ball" Without Listening to Miley Cyrus

"Wrecking Ball" is the no. 1 song on Billboard's Hot 100 for the second straight week, and there is nothing we can do about it, because it is catchy as hell. We CAN, however, indulge in these two covers instead of watching a 20-year-old lick a mallet.

First, from the blessed Haim sisters, the women who are pulling off the middle part in 2013, a Haimified take on BBC 1 yesterday:

And from the Gregory Brothers, the men who auto-tune the news, a country version:


Snackwave: A Comprehensive Guide To The Internet's Saltiest Meme

Over the past few years, an aesthetic we like to call "snackwave" has trickled up from Tumblr dashboards. Now a part of mainstream culture, snackwave is everywhere: it's printed on American Apparel clothes and seen in Katy Perry music videos. It's the antithesis to kale-ridden health food culture and the rise of Pinterest-worthy twee cupcake recipes. It’s the wording in your Instagram handle, a playful cheeseburger selfie, Jennifer Lawrence announcing on the red carpet that she’s hungry for a pizza. In snackwave world, everyone is Claudia Kishi, and your junk food drawer is also your blog.

What we’ve written here is merely a guide to [...]


Diane Martel's Eternal Teenage Party

have you seen mileys new video nope holyyyys hit get thee to a screen

This is the gchat conversation I had with my sister after the first time I watched the video for “We Can’t Stop”—the video that broke Vevo before naked Miley swung back in on a “Wrecking Ball” to shatter the record again. “We Can’t Stop” is an amazing song. But it’s an even better music video. It has my number, and the director, Diane Martel, has the passwords for all my logins, the code to unlock my phone, and access to my HBOGo account.

Martel directed two of the years best/worst and most argued-about music videos—and to [...]


Open Letter Ouroboros

At Autostraddle, an opus on a "a chain of events has been put into motion which no force in heaven or earth can stop until it's run its course and we are left with the smoking, burnt-out ruins of a culture."

Caitlin Moran has already started her open letter to Amanda Palmer about how everything a woman does is okay, because she's a woman and that's what feminism means. Elizabeth Wurtzel will write an open letter to Moran on The Daily Beast, suggesting that she lose weight and consider some light cosmetic surgery, and Wurtzel's letter will then devolve into a 900-word rant that seems to [...]


Dolly Parton on Miley Cyrus

"If I didn’t know how smart and talented Miley is, I might worry about her. But I’ve watched her grow up. So I don’t. She knows what she’s doing. She was very proud of the work she did as Hannah Montana, but people were gonna leave her there forever. And she was just smotherin’ and chokin’ in it. So she felt she had to do something completely drastic. And she did. She made her point, she made her mark, and more power to her. 'Wrecking Ball' is a great song. The whole album is great. So I’m hoping that now she can relax and show people how talented she really [...]


Zadie Smith: "If I truly believed that being a corpse was my only guaranteed future, I'd get rid of my iPhone"

Zadie Smith's done it again: her latest New York Review of Books essay, "Man vs. Corpse," is a gentle, vivid meditation on the impossibility of imagining yourself dead.

Walking corpses—zombies—follow us everywhere, through novels, television, cinema. Back in the real world, ordinary citizens turn survivalist, ready to scale a mountain of corpses if it means enduring. Either way, death is what happens to everyone else. By contrast, the future in which I am dead is not a future at all. It has no reality. If it did—if I truly believed that being a corpse was not only a possible future but my only guaranteed future—I’d do all kinds of [...]


Time 4 Haim: Tuesday Music Roundup

There is more new music out today than anyone really knows what to do with, but here goes: first off, the beautiful, middle-parted Haim sisters have finally released Days Are Gone, which Jon Caramanica calls a "rapturous throwback" of an album. I don't hear many weak moments on it, either—if you're like me, maybe you've tired of "Falling" and "The Wire," but there's more to be had here. A few have complained that the album feels too comparatively polished to Haim's live performances, but that's really just a testament to their shows, which they often end by banging the shit out [...]