What to think of Miley Cyrus’ 2013 Video “We Can’t Stop.”
Written By: Sonya Cicci
It is argued that Miley Cyrus’ music is only meant to be viewed by an older more mature audience. However, Miley Cyrus’ video “We Can’t Stop” and more generally her Bangerz tour should also be intended for younger audiences. Miley’s performances should be viewed by younger audiences whom are beginning to form their own personalities, style and are starting to discover the realities of life. Most children start to hear about and notice these realities in middle school. Without a second glance, her audience, specifically the parents of these children automatically assume that Miley’s overall message to her viewers involves the overarching themes of partying, drugs, and ratchet culture. While it’s true that her content is inappropriate, with parental discretion Miley’s work is an opportunity for meaningful education; on various levels. Miley utilizes numerous artistic domains in her work, especially in her music video, “We Can’t Stop.” In not recognizing these domains, controversies ranging from racial injustice, to colliding feminisms emerge. As a result, Miley has disregarded all judgments of society, also in telling her audience to do the same.
Very few realize that what may be an inappropriate, disturbing or ridiculous image actually embraces and offers meaningful interpretation to the viewer. The video embraces this “upside down world,” where rule of order is non-existent, directly connecting the distortions of hierarchical assumptions in the grotesque. “We Can’t Stop” associates with estranged and unreal. We encounter with images that are unpleasant and excessive, bizarre and ridiculous, strange and alien (Newell). This makes it challenging for the audience to not draw any automatic assumptions or judgments of Miley and essentially, only “seeing” the grotesque and not the message that lies behind it. This explains why the majority of society feels that Miley’s video should not be viewed by younger audiences. If they looked past the grotesque and sexual images, maybe the viewers would understand why this video should be viewed and interpreted for emerging teens as well.
Grotesque concepts are embraced by the Carnivalesque and Memento Mori. These are two features of evidence within the video, “We Can’t Stop” that give reason and meaning behind some of the grotesque images we encounter with Miley. The Carnivelesque is an event that neglects all the rules and restrictions of society that one experiences in everyday life. According to Mikhail Bakhtin, “inequalities dissolve at the carnival.” It’s a time where people of all social classes can interact, it’s a place that enables what is ordinarily separate to join, and it’s a place where the nature our personality breaks free for just a moment of time. We face our inhibitions and become spontaneous and we are encouraged to freely express ourselves in a way that would normally be deemed inacceptable or intolerable to society (Bakhtin). In “We Can’t Stop” Miley “twerks” with three black women. While we say the carnival is an area where all social classes of all races and ethnicities interact, like Dodai Stewert states,
“In a white-centric world, putting white women quite literally in the center of the frame while women of color are off to the side is a powerful, disrespectful visual message, and it really must be said: Human beings are not accessories” (Stewart).
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Many viewers feel that the black women are servicing Miley, and that Miley is in charge of these women. We also see this in Miley’s VMA’s performance. The three women dance in the background unnoticed, until they were called upon by Miley Cyrus. Although people feel as this is a dynamic of racial injustice, “We Can’t Stop” actually suggests the exact opposite. If her audience was to know the ideas and concepts behind the Carnivelesque, they would be less likely to make such a judgment. These three girls were professional “twerkers” and known to be famous on YouTube, so one could also argue they were used for not for their race, rather for their professional abilities. Additionally, these girls are considered background dancers. They are not the center of attention, they are there to make Miley (the celebrity) look good. They are also getting working for and getting paid by Miley, hence “servicing” her. With any job or career, you do what your manager asks to make your manager look good, not bad.
Therefore, this video actually epitomizes an area free of judgment, hence the lyrics “Only God can judge us, forget the haters, because somebody loves you.” Different people with a range of diverse characters, traits, and personalities are brought together in this video for a moment of time to be outrageously wild. After we experience this carnival, life goes back to normal ultimately, following the rules an expectations of society. These day’s at the carnival allows a person whose job was to “suit up,” to “suite down,” and simply have fun, not caring what others think. This is one of Miley’s major themes that is embodied not only her video and previous performances we see (VMA’s.), but in herself.
A society free of judgment can be reflected by the ‘french fry skull,” representing one of the many grotesque images we encounter with in the video. At first glance, one may say that the smashing of the French fry skull represents the death of Miley’s Disney days. Interestingly, this skull holds an underlying message.
“Memento Mori” is the Latin phrase that literally means, “Remember that you must die.” It is often represented by skulls or bones. Originating from the lands of ancient Rome, it is strongly believed that during victory triumphs it was common for slaves to accompany their generals and whisper, “memento mori,” as a reminder of their commander’s death (Bret). This was used as a warning to their generals that even though everything is good today, always remember that tomorrow you might fall. Churches would often display this art to compel their viewers to meditate on death, reflect on their lives, and re-dedicate themselves to meet god. This phrase is given to sculptures or paintings to illustrate the essential theme, “remember that you must die.” It is also a reminder of not just our mortality, but the judgments that will follow our deaths (Bret).
The only relationship one can decipher with the peculiar image of french fry skull is that one shouldn’t care about the judgments from society or the judgments that follow our deaths. No one should meditate on death, but rather celebrate it. Instead of reflecting on your life, just live life in the present; the past is history. Hence, the reason the skull was smashed
“We Can’t Stop” illuminates this careless, thoughtless, and free environment we see and encounter with in the carnival. Not one person seems to care about the meaning of death, to remember that eventually they must die, or to care about judgments made by family, peers, or society. Essentially, this is why the skull was smashed. This evidence suggests that Miley disregards all judgments made by society and life in the present, further suggesting that her audience should do the same.
Aside from the grotesque images and wild atmosphere she presents within her video, she still sends important messages to her viewers. Miley is the anti-typical rebellious, yet confident role-model for older audiences that represents a symbol of youth and originality. Miley endures this ambitious, corky, and edgy style that her audiences often judge or make fun of. From her short hair to her revealing outfits, we don’t only see this in her video, but in her everyday style. Despite judgments, Miley still holds her confidence in who she is. Similarly, we see people constantly referring to her body-image. Miley embraces her image, and the images of all types of people in this video. No matter who you are, have confidence in yourself and embrace what you have. In my opinion, whether a person viewing this is more or less mature, the concept of embracing who you are is something worth following. In this case, for some, Miley is considered a role-model and somebody that is worth looking up too.
Additionally as an artist or performer there will always be viewers that critique, criticize and disagree with an artist’s performance. If Miley let someone’s “opinion” of her, get to her, then any artist would be deemed emotionally unstable. Having confidence is yourself automatically helps to ignore judgments made by society. By symbolizing herself in such an eccentric and socially unacceptable way, it is obvious she doesn’t care about what people think. We see her as this gradually descending celebrity, when in fact she is exponentially ascending as a performer and an artist. Miley Cyrus’ video “We Can’t Stop” has become the fastest video to reach 100 million views across VEVO platforms (Lip).
As for Miley’s younger audiences, Miley feels that it is necessary to educate these children on “meaningful art.” Miley grew up in Nashville and it wasn’t until she was 21 that she realized she wanted and felt it was necessary to learn about art with expression and meaning. She states that from Nashville “they teach you everything in the world as black and white” (Miley). Miley’s work doesn’t just pertain to one meaning like she was taught, but it pertains to several meanings and interpretations that can both be accurate, even if they are conflicting messages.
For example, in “We Can’t Stop” we see the conflicting images from innocence vs. sexuality, to reality vs. image. Miley’s intentions and interpretations behind her work are ambiguous. The capacity to incorporate these different layers of meaning into a piece of art has long existed, and to Miley it is important that her art engages the perceiver on many different levels, not just one.
Miley even said herself, “I hope people open their minds and they look at my tour as something that I do feel is educational for kids” (Miley). She is referencing to her upcoming Bangerz tour in hoping that the parents will see past her sexual references. If one digs deeper, we can see the art she references to; for example, the grotesque images. She feels that in general, children aren’t exposed to enough artistic expression. She states, “I want my fans to walk away knowing more about the art that inspires me” (Miley). Still yet, while doing this Miley still wants to provide that “shock” factor. This probably represents her overly sexualized image which broils an uproar of reactions in so many of her viewers. She uses this tactic as a way to improve her marketability as an artist. Shock is what keeps people talking, what keeps the audience interest, and ultimately, what makes her work in pop-culture the “talk of the decade.” If one can look past this “shock factor” we can see the art she incorporates in her video as something she values not only as a performer but as well as a personal interest.
While some may argue that the messages Miley sends are positive, like Lowe recognized, “there is always a voice concerning the objectification of women” (Lowe). For example, a parent of two children states,
“I do think Miley wrongly represents the way girls should act today. The way they dress, act, not caring about how other people may respond to your actions,” “I think it is an over-sexualization of young girls/young women”(Wallace).
It is understandable that society worries about the influence that Miley has on younger girls. But, it also offers a learning experience to those who view Miley’s work this way. With parental discretion, her video could be a perfect example regarding how not to dress, act, or be. Miley does not care what others think of her; but she is an unrealistic example. We should care what our actions say, as it can prevent someone from achieving their goals and aspirations.
Miley wears multiple personalities that represent the colliding feminisms in society. From innocence to sexuality, crediting the concepts of Lowe, although the parents of her younger audiences’ are offended and angry when Miley’s over-sexualized image de-values women, it also empowers Miley’s professional gains embodying this idea of “girl-power.”
Like previously stated, Miley wears one “mask” or persona that represents and plays with innocence, while wearing another that represents sex and lust. She projects both opposites concurrently. This is merely one of the conflicting persona’s we see within the video. Miley sexually dances with teddy-bears. Teddy-bears often reflect innocence in children, while Miley dancing and touching herself suggests the exact opposite. We also see this in her wearing white. White reflects purity and innocence, while her actions such as twerking opposes this. This could confuse or even anger the viewer’s. Miley wears this “innocent persona” represented in her clothing and the teddy bear, while wearing the “bad-girl persona.” We also see this in her transformation from her persona of innocent Hannah Montana, to the bad-girl Miley Cyrus. This example signifies Miley swapping one mask for another.
She uses her transformation and altering persona’s as an asset to her professional success. Due to Miley’s constant change of personas, feminists question how it’s affecting the image of women. The colliding feminisms that Lowe encounters with Britney Spears is also seen with Miley Cyrus. We may applaud Miley’s over-sexualized image and alternating identities because she embodies this concept of “girl-power” (Lowe). Although many believe Miley is sending a bad message about women, she is utilizing every opportunity she can to draw in viewers.
Miley Cyrus has presented multiple conflicting persona’s that challenge the accepted norms of society, however she has become accepted among young adults as a symbol of youth and originality, having confidence and pride in who she is. With parental discretion, she also presents the opportunity for children that are emerging into young adults to learn about meaningful art and the basic codes for all moral human conduct. Ultimately, she passes by all judgments made of her with one essential message to her audience; have fun, be yourself, judge no one and ignore the judgments of society.
Works Consulted:
Bakhtin, Mikhail. “The Cultural Studies Reader.” Carnival and Carnivelesque-summary and review. N.p., 22 Jul 2011. Web. 2 Mar 2014. <http://culturalstudiesnow.blogspot.com/2011/07/mikhail-bakhtin-carnival-and.html>.
Bret, Mckay, and Kate Mckay. Memento Mori: Art to Help You Meditate on Death and Become a Better Man. The Art of Manliness, 29 Oct 2012. Web. 2 Mar 2014. <http://www.artofmanliness.com/2012/10/29/memento-mori-art/>.
Lip Shutz, Jason. Miley Cyrus’ ‘We Can’t Stop’ Video Breaks VEVO Record. Billboard, 29 Jul 2012. Web. 2 Mar 2014. <http://www.billboard.com/articles/columns/pop-shop/5047747/miley-cyrus-we-cant-stop-video-breaks-vevo-record>.
Lowe, Melanie. “Colliding Feminisms: Britney Spears, “Tweens,” and the Politics of Recpetion. .” Routledge. 26.2 (2003): 123-140. Web. 2 Mar. 2014.
Miley Cyrus. I4ULLC Cellebrity Balla, 31 Jan. 2014. Web. 2 Mar 2014. <http://www.celebrityballa.com/2014/01/129081/miley-cyrus-educational-bangerz-tour
Newell, Josh. Definitions of the Grotesque. The Victorian Web, n.d. Web. 2 Mar 2014. <http://www.victorianweb.org/genre/grotesque.html>.
Stewart, Dodai. On Miley Cyrus, Ratchet Culture and Accessorizing with Black People. Jezebel, 20 Jun 2013. Web. 2 Mar 2014. <http://jezebel.com/on-miley-cyrus-ratchet-culture-and-accessorizing-with-514381016>.
Wallace, Kelly. Would you take kids to see Miley? Cable News Network, 25 February 2014. Web. 2 Mar 2014. <http://www.cnn.com/2013/08/27/living/outraged-parents-why-miley-cyrus-performance-sets-girls-and-women-back/index.html>.
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