Camille Paglia ridicules Miley Cyrus twerking performance

We’re used to artists like Madonna and Lady Gaga shocking us with their performances, but there was always more to it than just the shock value. There was real talent and artistic elements to the performances.

The same can’t be said for poor Miley Cyrus who came across as a drunk, white trash chick trying to get attention at a dive bar. The tongue action was pretty lame. And while twerking can be sexy, it just seemed lame and dirty with Miley doing it next to Robin Thicke.

Yes, it was a train wreck.

Camille Paglia doesn’t pull any punches:

Most of the media backlash focused on Cyrus’ crass opportunism, which stole the show from Lady Gaga, normally no slouch in the foot-stamping look-at-me department. But 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.

Check out the entire article, as she explains the artistic influences of performers like Madonna and how all that seems to be missing with Miley.


Timbaland: Shock Value II

RIYL: Scott Storch, Dr. Dre, Pharrell Williams

It has the Roman numeral II after its title, but Timbaland’s latest effort has more in common with the artistically bankrupt misery common to watered-down later sequels – think “The Karate Kid III,” “Jason X,” and “Superman IV: The Quest for Peace” – than any mere sophomore jinx can explain. As with 2007’s Shock Value, Timbaland assembles an eclectic-by-modern-standards group of guest vocalists to try and create a sort of jukebox effect; problem is, the once-innovative producer didn’t bother to come up with any interesting beats, and most of the artists in question – including Miley Cyrus, Katy Perry, and the dreaded Chad Kroeger – don’t have enough personality to carry these pedestrian tracks on their own.


All things considered, there really should be some shock value in Timbaland collaborating with the likes of Daughtry and Jet, but there isn’t a song in the bunch that feels like anything more than calculated pandering, and the album lacks the kind of savvy songcraft that makes this kind of blatant soullessness forgivable. As competent as it is deeply unmemorable, Shock Value II will probably squeak out a few hits, but that’ll be more about the marquee value of participants like Justin Timberlake and Drake than anything to do with the music. Modern R&B at its most mechanized and least inspired. (Interscope/Mosley 2009)

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