At 30 years old, Cyrus is fully shedding the weight of that era. ‘Vanderpump Rules’ Reunion Twist: Was Raquel’s Confession Worth the Wait?īangerz hasn’t received any version of a TikTok-driven resurgence, or any calls for its reevaluation a decade on from its release. King’s “Stand By Me” being flipped into a trap-infused duet with Future should have ever worked, but on “My Darlin” it does. Her country-rap tango with Nelly on “4×4” is as ridiculous and fun as “Hoedown Throwdown” was in Hannah Montana: The Movie. But when Cyrus isn’t trying so hard to fit in and validate her borrowed aesthetic, the kinks iron themselves out. There are five other collaborations on Bangerz, including a wasted Britney Spears cameo on “SMS (Bangerz)” and uneven features from French Montana and Ludacris on “FU” and “Hands in the Air,” respectively. “Money get low and the DJ stop/And the music slow down and that shit get blurry,” she slurs, considering what happens when the party on “We Can’t Stop” eventually, well, stops. Despite that stumble, the EDM-charged deep cut “Love Money Party,” with an assist from Big Sean, gets it right. Cyrus keeps the party going long after it needed to end on “Do My Thang,” which comes across as a flimsy companion piece to “23,” the Mike WiLL Made-It single she famously guested on earlier that year. “I felt that I almost took some blame for the distraction sometimes.”īangerz did have more to offer, but nothing brash enough to drown out the noise around it. “The music was driving it, but all those things from that era, especially with Bangerz, the pop-culture moments almost eclipse the music itself,” Cyrus told Rolling Stone in 2020. But her actions would largely drown out her words. The drinks and the drugs would flow through her never-ending party, where everything she did and everything she said would become the law of her reckless land. She was right, but wholly unprepared for the avalanche of public opinion that fell on the Bangerz era. “It’s my mouth, I can say what I want to.” “It’s our party, we can do what we want to,” she snapped on the single, a preemptive defense to the brewing judgment. Released June 3, 2013, the song introduced Cyrus’ fourth studio album, Bangerz - but the music, it seemed, was overshadowed by Cyrus showing off shining grills in her mouth and carefully positioned Black people, particularly women, as accessories to her twerk-fueled rebellion. She summed up her newfound freedom in the opening shot of the “We Can’t Stop” video, where she uses comically large scissors to remove an ankle monitor.
At 20 years old, she was a specimen unleashed on the world to be examined under various microscopes, with more scrutiny than ever. Ten years ago, Miley Cyrus the artist was largely overshadowed by Miley Cyrus the post-Disney wild child.
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