By Ena Moats
Miley Cyrus’ breakthrough record “Bangers,” released on Oct. 4, combines the components of raw emotion, attitude, and multiple musical genres to create the ultimate social experiment. The dangerous project, along with Cyrus’ overall outrageous behavior, has made quite the bang in pop culture and media.
It seems the world is just as attentive to Cyrus’ image as her music, which, when analyzed from a certain angle (upside down works best), is actually a shock worth experiencing. Perhaps the most appalling part of the 13-track record is that the comprising ingredients actually work in an artistic way.
With help from various artists such as Britney Spears in “SMS (Bangerz),” Nelly in “4x4,” and others, Cyrus was able to blend elements from different genres including pop, hip-hop, soft rock, alternative, and even country.
In all the tracks, there is a distinct sense of reckless spirit that all listeners can connect with, however mild their lives may be in comparison to the crazy, twerking, and stubbypig- tailed life of Miley Cyrus. The extremes in which Cyrus is living her life are described in her tracks such as “We Can’t Stop,” “Wrecking
Ball,” and “Adore You.”
With the exception of the majority of civilized society, Cyrus’ versatility in the album, combined with her bold attitude elsewhere, attracts surprisingly positive attention from audiences of all types. Once society gets past the traumatic effects of Cyrus’ alarming approach to dancing, appearance, lifestyle, and everything in between, they might find her perspective on music to be a welcome change. Even if most of the dignified public doesn’t end up accepting the new Miley, it won’t matter to her because, ultimately, she can’t stop and she won’t stop.