It’s been Miley Cyrus overload for the last two days. Business savvy execs claim press is better than no press. That means if one generates enough chatter it will correlate to more units sold. This old age philosophy is short-sighted as negative press will eventually trickle down and will effect the brand. You see this case scenario with big companies and artists are not an exception to the rule. Some have compared Miley’s MTV VMA performance to that of Madonna or Britney Spears back in the hey day. Sure, Madonna and Britney Spears “pushed the envelope” with music and performance. But is Miley Cyrus pushing the limits like her predecessors creating influence and innovation? To most, it seemed like a cheap after high school party. To others it was derivative stunt that revealed an artistically bankrupt music culture.
“Disgusting!” “Raunchy!” “Desperate!” So went the scathing reviews that poured in after once wholesome Disney star Miley Cyrus’ recent bizarre performance at the MTV Video Music Awards said Camille Paglia.
“the real scandal was how atrocious Cyrus’ performance was in artistic terms. She was clumsy, flat-footed and cringingly unsexy, an effect heightened by her manic grin she continued to say.
“The Cyrus fiasco, however, is symptomatic of the still heavy influence of Madonna, who sprang to world fame in the 1980s with sophisticated videos that were suffused with a daring European art-film eroticism and that were arguably among the best artworks of the decade. Madonna’s provocations were smolderingly sexy because she had a good Catholic girl’s keen sense of transgression. Subversion requires limits to violate.
Young performers will probably never equal or surpass the genuine shocks delivered by the young Madonna, as when she sensually rolled around in a lacy wedding dress and thumped her chest with the mic while singing “Like a Virgin” at the first MTV awards show in 1984. Her influence was massive and profound, on a global scale.”
“Pop is suffering from the same malady as the art world, which is stuck on the tired old rubric that shock automatically confers value. But those once powerful avant-garde gestures have lost their relevance in our diffuse and technology-saturated era, when there is no longer an ossified high-culture establishment to rebel against. On the contrary, the fine arts are alarmingly distant or marginal to most young people today.