Miley Cyrus - Wrecking Ball

Sledge-ge-hammer

I happened across an article in today’s Guardian online about Miley Cyrus’ new video for her single Wrecking Ball, which is apparently rather sexual [well, it is because I watched it, as it was posted there, ironically, in the article criticising her willingness to objectify herself as a sexual object].  This is hot on the heels of her sexed-up twerking performance at the recent VMAs, which I also saw as a clip and thought was rather gormless.

Now, I should engage in the discussion about the objectification of women which I do care about, though I would say that at 20 years old Cyrus is perhaps allowed to decide for herself [she isn’t quite the child that seems to be used as a contextualisation for her current allegedly aberrant behaviour, rather it is actually being presented as something she used to be, which is an odd argument], but I do recognise that her image is quite likely being orchestrated by male music executives who aren’t particularly concerned about any issues beyond earning.

But I’m not. I am instead simply going to complain about how Miley Cyrus is yet another female singer adopting the fashion for an affected staccato vocal that drives me crazy [mad, that is: people who regularly read here will know it is a pet hate]. It is in the way she sings wre-e-eck and then bre-e-ak in the chorus. It is such a popular aff-fec-ted piece of stylistic nonsense, especially here in a pop song that is otherwise fine as far as pop songs of this type go. I do acknowledge that the oral sex with a sledgehammer will probably be remembered more than this repetition of an over-familiar stylised regurgitation. That and the nudity.