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Miley Cyrus conforms to the script

By Melinda Tankard Reist - posted Thursday, 20 May 2010


Seventeen-year-old Disney star Miley Cyrus has gotten into the act now. Of course she did that photo shoot with the post-coital feel, flirted with poles at the Teen Choice Awards last August. But now, in a $US25,000 silver scale corset, she’s taking her new sexual personal to a new level with her latest video clip for her new song “Can’t Be Tamed” released recently on the E! Network.

According to Celebrity Mania:

On her new sexy side of her in “Can’t Be Tamed” music video, Miley Cyrus said that it isn’t about the new her but more about putting a story to the track. “The video isn’t about being sexy or about who can wear less clothes. It’s about explaining the song and living the lyrics … I don’t want to be in a cage. I want to be free and do what I love,” she explained …

Miley further shared about what she expects from the clip, stating “The reason I loved doing this video is because I wanted it to be something different for a female artist.” She added, “It’s not a new Miley; it’s just a new part of me.”

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I’m not sure how many female artists she’s seen lately, but if this is “different” I wonder how she defines “same”?

The lyrics to the Britneyesque song are so try-hard they are embarrassing. And the girl-in-cage-needs-to-get-out-and-be-herself-theme - this is original?

For those who don’t know me, I can get a bit crazy
Have to get my way, 24 hours a day
‘Cause I’m hot like that
Every guy everywhere just gives me mad attention
Like I’m under inspection, I always get the 10s
‘Cause I’m built like that

(Chorus)
I can’t be tamed, I can’t be saved
I can’t be blamed, I can’t, can’t
I can’t be tamed, I can’t be changed
I can’t be saved, I can’t be (can’t be)
I can’t be tamed
I wanna fly I wanna drive I wanna go
I wanna be a part of something I don’t know
And if you try to hold me back I might explode
Baby by now you should know

The real tragedy is that this conformity to the dictates and predetermined scripts of the music industry are presented as pushing boundaries and original. It seems girls who start out with a unique style are put in a giant homogenising machine where they come out looking and acting and singing the same. While making out they are just so different and empowered.

As one 14-year-old I know (I can neither confirm nor deny if this child belongs to me) said “as Miley gets older and more into the celeb life, she gets faker”.

Speaking of the death of originality, what’s with the Gagafication of Christina Aguilera?

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My friend Tania has helpfully provided this post modern literary criticism:

I actually believe this is an entirely new form of media, transcending cultural, psychosocial and stereotypical sexual boundaries, invoking the spirit of post-feminist icons, subverting the ironic post-modernist dilemma of the liberated female versus the subjugated, boudoir-bound male and poking fun at the latent homo-erotic tendencies of nanny-state do-gooder fundamentalist agitators …

Yawn.

Hot cup of Milo, anyone?

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First published on Melinda Tankard Reist's blog on May 6, 2010.



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About the Author

Melinda Tankard Reist is a Canberra author, speaker, commentator and advocate with a special interest in issues affecting women and girls. Melinda is author of Giving Sorrow Words: Women's Stories of Grief after Abortion (Duffy & Snellgrove, 2000), Defiant Birth: Women Who Resist Medical Eugenics (Spinifex Press, 2006) and editor of Getting Real: Challenging the Sexualisation of Girls (Spinifex Press, 2009). Melinda is a founder of Collective Shout: for a world free of sexploitation (www.collectiveshout.org). Melinda blogs at www.melindatankardreist.com.

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