Ordinarily, when someone gets their life together, congratulations or encouragement of some kind is in order. Amanda Petrusich of The New Yorker seems to think otherwise.
In her article published last week, “Miley Cyrus’s Creepy Return To Wholesomeness,” Petrusich analyzed Cyrus’s new song, “Malibu,” which is, in her opinion, “equal parts bohemian and smarmy.”
Petrusich did not approve of Cyrus’ new direction, mainly because she found that the superstar’s decisions in the past were those of a “creative risk-taker” which made her a “figure to root for.”
In an interview with Billboard, published the first week of May, Cyrus told the reporter that part of her transformation came from her decision to steer clear of substance abuse. She said, “I’m not doing drugs, I’m not drinking, I’m completely clean right now! That was just something that I wanted to do.”
She also explained that she was done with hip-hop for now, mainly because the sexually explicit lyrics typical of the genre were not an accurate representation of how she felt. However, Petrusich decided to interpret this decision in a different light.
“Cyrus’s casual trying-on and discarding of black culture is a function of extraordinary privilege,” Petrusich explained. The musician’s new style, which seems more of a throwback to her teenage songs than anything particularly groundbreaking, “makes her previous embrace of those genres feel … sinister,” in Petrusich’s opinion.