Once upon a time, Miley Cyrus hated talking to the press. But as of a recent chat with The New York Times’ Joe Coscarelli, conducted shortly before her stint hosting the VMAs and the release of her album Miley Cyrus and Her Dead Petz, she had decided interviews were cool after all. “It’s fun to say how you feel and to not worry about it,” she told Coscarelli. “You say it honestly and then as you say it honestly, you figure out things—how you really feel.”
This statement came during the same five-hour gabfest during which she held forth on how Nicki Minaj is “not too kind.” Now that those comments have led to a somewhat humiliating call-out from Minaj that overshadowed Cyrus’s hosting antics and the announcement of her new album, one can’t help but wonder if she’s yet again revising her interviews policy. When you’re a superstar talking to a reporter on the record, figuring out how you feel on the fly, it turns out, is a good way to annoy people.
A similar principle holds for Miley Cyrus and Her Dead Petz. Theoretically, the album’s creation could be seen as a brave declaration of independence from someone long seen as a corporate-controlled, Disney-made pop puppet. Recorded without the input or money of her record label RCA, featuring heavy contributions from indie-rock legends The Flaming Lips, and unleashed without warning, for free, onto SoundCloud at the conclusion of the VMAs, it’s certainly a project without precedent. Cyrus has said her team of advisers told her “they’d never seen someone at my level, especially a woman, have this much freedom. I literally can do whatever I want. It’s insane.” They also told her that at 22 songs, Dead Petz was too long. In response, she added one more track, an instrumental called “Miley Tibetan Bowlzzz,” “not to be mean, just to prove that it can’t be too long.”