2014-02-07 / 19:26:07 / Embedded in: Intervjuer

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2014-02-02 / 14:34:48 / Embedded in: Intervjuer

intevju med Love Magezine

At first I wasn’t sure about Miley. A lot of people aren’t. It was tricky to borrow clothes for the shoot because she seems to divide opinion in a Marmite-esque way. Many people who I respect didn’t want to get involved. They thought there was something superficial about her – dangerous, even.
But then you meet her. And she’s the most charming, intruiging celebrity I’ve ever come across. She reminds me of a young Drew Barrymore – someone who is wiser than her years, who’s seen a lot and come out the other side (at the grand age of 21), and is about as dangerous as my rabbit. She’s extremely bright – mesmerising in fact.
To be honest, I ummed and ahhed about writing an introduction to this story. I didn’t feel like I needed to defend the decision to work with Miley as I just liked her – Marc Jacobs had told me I’d adore her – and I like Bangerz. But then there was the internet furore surrounding her supposedly dissing Beyonce in the interview that follows. She never did: Beyonce was never even mentioned. Neither she or I are very interested in dissing anyone – particularly not talented and fascinating artists like Beyonce. Life is far too short and, as Miley says in the interview: ‘I never say anything bad about anyone’.

Furthermore, she absolutely loves fashion: she looks good in it, she enjoys it. She walked into the studio wearing a Margiela see-through top, star nipple covers (seen here), skinny black vinyl trousers and heavy lace-up boots. She’s tall and lean, and wears clothes very well – in fact she should wear more of them more often. Her choice of music was weird and interesting, presumably influenced by her dad: it included Tiny Tim’s ‘Tiptoe Through the Tulips’ and ‘Ruler of My Heart’ by Irma Thomas, alongside the more predictable Lil’ Kim. She also turned up to the shoot on time, and has never taken a single phone call or replied to any texts on any occasion that I’ve worked with her – many a model might want to take note of this level of concentration and dedication. When we were photographing her for the Marc Jacobs campaign the shots were very tricky to set up, as we had several girls in the pictures and film set-type lighting. At one point David Sims thanked Miley for her patience, to which she replied: ;There’s nothing I’d rather be doing right now in the world. I’m wearing Marc Jacobs on a fake beach in a studio in LA.’ And she meant it.So here you have Miley…The perfect star today, and I’m a fan.
Katie Grand, 7 January 2014


Miley Cyrus steps off the set of her cover shoot at the precise moment we are due to sit down and talk about her transitional year. In the popular telling of her tale, Miley’s 2013 saw her turn 21 by metamorphosing from Disney darling into a cipher for the collapse of Western civilisation, or at least the female pop wing of it. Perhaps given the enormity of this perceived shift and the star wanting to be at full clip to present her reasding of it, her management representative asks politely if I would mind reorganising the interview for two days hence. Miley is missing her dogs back home in LA. She’s tired. I can see her listening, a little distractedly, as the hair stylist offers to wash out the red rinse of today’s visual reimaging. She explains she can do it herself at the hotel.

In the previous week, Miley has travelled out of her hometown of LA between London, Amsterdam and Berlin. It is eight days before her landmark birthday, which she says she will celebrate by doing nothing (‘I am the biggest lame ever’), then performing the following evening at the American Music Awards. She kicked off this promotional cycle accepting the Best Video award for her sensational power ballad ‘Wrecking Ball’ (coda: ‘I never meant to start a war I just wanted you to let me in’) at the MTV Europe Music Awards in Amsterdam. In a silver Spandex dress she performed the pummelling signature hit to her adult ascension, ‘We Can’t Stop’ (hook: ‘Its our party, we can do what we want to’), Coda: ‘It’s my mouth I can say what I want to’), while carousing with a latex sex dwarf. She accepted the award from Will Ferrell in a glinting white swimsuit and voluminous fun-fur bomber, plucked a doobie out of her Chanel clutch and proceeded to spark it up on stage. The crowd roared its approval.

In Berlin she had performed a straight rendition of ‘Wrecking Ball’ on Germany’s biggest pop show Wetten, Dass..? in a vintage Moschino frock with a cute strawberry print, her hair scraped into two tiny topknots. Perhaps expecting her to play up to the speedy infamy of her bratty new public persona, she says the TV producters had been flummoxed by the concept. ‘I’m trying to explain to him – in English, and he’s German – why the strawberry. I was like, “The whole show was built around this strawberry dress and its strawberry content, it has to be.” And their faces are just the faces of “this person is insane”. But I see that’s what’s going to pull everything together and make everything a story. In my head I’m like, the strawberries are bursting so it’s like Fruit Ninja meets the way my heart feels and it’s deep but kind of funny.’In London she is due to perform on The X Factor and wants to miniaturise the big, shiny stage into something intimate, to stop it looking like another bad imitation of an Oscars stage. She has prepped a wonky picture-frame art direction for the set and brought along a harsh studio lighting reference, inspired by her dress for the performance, a Marc Jacobs gold crepe floor-length.
The realisation is recognisably anti-glamous. It sits perfectly imperfectly next to her current frames of reference. At the American Music Awards her performance revolves around an evil animated kitten; it looks like a nod to Odd Future, the LA hip hop collective with whom she shares a fondness for twisted interpretations of cartoon iconography. The closest visual touchstone to Miley’s succession of establishing shots in 2013 was not the work of her pop peers but the surprise commercial success of Harmony Korine’s numbed over-exposure of youth patterns in Spring Breakers. Between them, a brutal new aesthetic is emerging. It all feels like thesis material.
As often happens with pop stars in the middle of an intense promotional run, Miley Cyrus is beginning to get slightly bored  by herself. ‘Everything is so thought-out it’s just exhausting,’ she says. ‘I feel like I’ve been everywhere. And I don’t mean in a tabloidy wat. There was one night where I did Jimmy Kimmel at 11 o’clock and then I did Good Morning America at six in the morning. Like, literally, I didn’t sleep. That was their whole joke: “Miley’s not going to sleep tonight, so see how good she is at performing after not sleeping.”

In the popular consciousness, Miley’s 2013 has been defined by sex, drugs and twerking. The viral power of her first breakout post-Disney performance at MTV’s Video Music Awards back on 25 August was astonishing. When you have had that global water-cooler moment, producers expect the trick to be turned again and again. ‘When I go on morning shows and it’s like give in the fucking morning and they’re like, “We’re going to have a twerking party! And you’re going to judge a twerk contest!”, I’m like, “No, I’m fucking not.” You cannot pay me enough to do that. Literally.’ She later qualifies this. ‘Really, when people think of that, the first thing they think of is me, and I’m just this little white girl from Nashville who put up a funny video of me in a onesie dancing. Then people take it crazy. So it’s just insane how much control and insane power…’ You are given over a cultural moment? ‘Right? I think that’s why people become freaks when you become famous.’
Because she is in charge of her own creative, Miley feels best equipped to explain the nuanced tangents of her imagination. Inured to the fake glitz of award season after award season punctuating her Disney years, during which she was signed to the House of Mouse’s music offshoot, Hollywood Records, Miley brings lighting tests and full stage plots everywhere now. A small team she personally selected, of her age, disposition and temperament, ping ideas over from LA via email for chaotic, wrong new backdrops to ignite her performance instict.

“You know, people laugh and think it’s funny that I said I’m a big feminist, but what about me isn’t? I tell girls, be who you are.
Do whatever the fuck you want”

Overseeing the practical element of bringing all this to life is Diane Martel, the brusque director/producer who casued multiple controversies in 2013 by helming Robin Thicke’s ‘Blurred Lines’ video. Incubated in the cold, chaste perfectionism of Disney’s Cindeerella dream factory, Miley Cyrus now likes everything to be a little off, to present a version of confrontational femininity that gets what the Ugly Sisters were going through, too.
When we do sit down two days later, Miley explains clearly, reasonably and catergorically, that there were no male Svengali figures standing shadowy in her backgeround, instructing her on how best to engineer the repositioning of her career to the apex of commercial satisfaction. ‘No. There are only people telling me to not do what I’m doing.’ She explains her process. ‘Me and Diane send out an email with exactly what is going to be done. We’re so obsessive-compulsive before I do anything. That’s why it will be a little different.’

The hair was always going to be a nightmare. Two days later and word is the dye still hasn’t faded.
This afternoon’s meeting is an unexpectedly exciting affair in the foyer of The X Factor television studios in northwest London. In front of the forbidding steel gates of Fountain Studios, a bevy of screaming teens have gathered to declare their love for Miley Cyrus and fellow guests for Sunday’s dress rehearsal, One Direction.
The dirst person I see is Harry Styles getting out of a Mercedes with blacked-out windows, looking blank. Gary Barlow exchanges pleasantries as he walks briskly through to his dressing room. A runner excitably passes on the information that Kate Moss is in the audience tonight. Because their big guns are out, the heads of Sony Records and ITV have both come down for the occasion.Amid this laminated fracas, Miley Cyrus appears through the studio’s swing doors in latex leggings, platform brothel creepers, a cropped leopard coat and a gold safety pin through her left ear. She is sporting a turban ($4) that she has accessorised with a hefty Chanel broach ($4,000) at the forehead. ‘The hair won’t wash out. He lied!’ she says, though seems delighted with the makeshift Grey Gardens/Gloria Swanson headpiece she’s fashioned to keep the red hair exclusive. ‘You’re wearing that on stage?’ one of her retinue asks, indicating the turban. Of course she is.
She escorts me through to a Winnebago outside the studios that is thick with the smell of freshly smoked pot. She lights a cigarette and asks if I would like to accompany her to see One Direction do their dress rehearsal when the time comes. It sounds like fun. ‘Good, you’re gay,’ she responds. There is none of Friday’s ennui. In the hours before performance she is focused, alert, ready to give it. Her conversational stream is fast, sharp and unedited. She has opened conversation with a quick riff on pot within seconds of the tape switching on.
Her reasoning behind being transparent with her habit is not part of her punk thing. Marijuana is now legal in California, anyway. ‘And it wasn’t like it was the Teen Choice Awards,’ she says of the EMAs. Outing herself as a pot smoker wrestles the information back for her ownership. ‘OK, at this point how many times have you seen me smoke a joint? I smoke weed. I don’t care if you take a picture of me. I don’t care if you sll it. That’s it, you know? Why are people going to keep on talking about this if you’re just honest?’

Miley Cyrus has quickly established herself in the popular consciousness as the most divisive pop star of her era. It was never meant to be like this. She was born Destiny Hope Cyrus on 23 November 1992. The name ‘Miley’ was a derivation of ‘Smiley’, a nickname given on account of her jolly infant temperament. She was born just after her father, Nashville country and western star Billy Ray Cyrus, had enjoyed a global smash with the irrepressible ‘Achy-Breaky Heart’. Billy frequently dispenses nuggest of show-business advice to his daughter. ‘My dad has always told me the more you stomp in shit, the more it stinks. So to not give a fuck, basically. That’s his way of saying it.’Miley began auditioning for television work at 11. Any interference it caused her high-school work was welcomed. She was first suspended after returning from a filming trip to Canada. ‘They put me in ISS [in-school suspension], and you have to sit in the principal’s office which is all flass and do your work in front of everyone.’
What had she done? ‘I was explaining French kissing to the whole class. I dressed as Aphrodite. I was like, “I’m the queen of sex! I love having kids, babies, babies babies” – all this wrapped into a towel. They called my parents and were like, “She’s pretending to be Aphrodite,” because it was in a Greek class and it was all mythology and all of a sudden I’m all dressed up and I made a video. That was me like sitting at a piano withg a fig-and-olive situation; it was really hilarious. I had gotten to make out with this guy on a TV show so I came back and I was like, “This is what it’s all about. The tongue is where it’s at.”
The irony of her being suspended for explaining how to use her tongue is not lost on the singer. ‘I know, it’s too ridiculous.’ She has no idea how long her tongue actually is. ‘It’s this,’ she says, sticking it out. ‘But I can’t touch my nose? Isn’t that weird?’
At 13 she won the title role in Hannah Montana, The Disney Channel’s timely clash of celebrity and reality cultures for kids. Miley plays Miley Stewart, an ordinary schoolgirl by day who leads a double life as Hannah Montana, pop sensation by night. She won her first Teen Choice Award for breakout star in 2006 and fixed herself speedily as a fresh idol for the junior American psyche. Hannah Montana: The Movie opened with blockbuster figures in 2009, taking $17,436,095 on its opening weekend.
She didn’t watch the first episode of Hannah Montana when it aired. ‘I don’t know why. I get embarrassed?’ Her little sister Noah, 12, has been watching reruns of the franchise lately. ‘It’s awesome but it’s weird because it doesn’t seem like me. I can’t even imagine what was in my mind when I was doing that. I like really dry, sarcastic people. On a kids’ show it’s so opposite, it’s so physical.’
As promo for the film, she was shot naked by Annie Leibovitz for Vanity Fair, the first time Miley unpicked the hem of controversy. ‘I would never take any of that back, but the thing that I would take back is that I apologised.’ Her handlers at the time made her issue an effusive public apology to the fans. ‘Like, why the fuck did I have to put out a statement saying I’m sorry for taking a picture with Annie Leibovitz?’ Her resolve seems to have steeled in that moment.
For Miley, the problem with Hannah Montana was that the idea of femininity it presented felt ‘a little too done’. On this subject, she is mesmerising. ‘I think that’s what women are told to be and I think I was just following it because I have a stylist and a make-up artist and a hair person and that’s what they’re taught to be. That isn’t cute.’ She was also only 13 years old when all this apparatus of applied femuninity began being applied. ‘I don’t feel like I ever want people to feel like I know more than them, but I always tell people this isn’t a pageant. Let me look like me and let’s not make it who can outdo the other with the dress, the hair, the make-up or whatever. It’s so ridiculous how funny award shows have become. I’d rather care about looking cute in real life than looking good on the carpet. In real life? That’s who you are. Who really wants to go home and take their hair out? Take their eyelashes off? Take their boobs off? Take their pretty dress off and you’re lame and you’re boring. You know?’
Her contract was up with Disney before she was optioned to film the last season of Hannah Montana, but she decided to sign on for it. Her fans deserved a proper ending for Hannah. ‘I just felt like rather than, you know, pissing off all these people who really loved me, let me just do this for them and make all these episodes. They’ll have a year to play out and I can just go chill and learn how to be a human.’
After wrapping her final episode, she found the pressure valve of her success releasing. ‘When you take two years off, after a minute the paparazzi die down and people kind of die down and I was just able to ride around LA.’ She began hanging around Chuck’s Vintage store on Melrose Avenue, advising Japanese customers on the best Ralph Lauren pieces. There is a session of topless Polaroids from the time, of her literally releasing herself into the city. She listened to the music she wanted to listen to and looked after her own affairs. She was settled with a steady boyfriend, Australian beefcake actor Liam Hemsworth, just a couple of years her senior. They got engaged.

“I never say anything bad about anyone,’ says Miley. ‘I won’t do it.’

Miley Cyrus looked exactly like she would come back from her post-Hannah Montana sojourn in the manner of those contemporaneous, modern Nashville princesses, Taylor Swift and Kacey Musgraves, easing their way into the adult market by carefully escorting the pre-teens along with them. ‘Oh, I couldn’t,’ she says. ‘That’s never been me. It’s not a Shania thing at all. I just wanted to find out what life’s all about. I’d had someone dress me every day since I was 13. I was 11 when I started auditioning, 13 when I was really doing it and 18 when it was done.’
Her new found freedom suited her. She opted out of her contract with Hollywood Records and began assembling a new suite of songs to her own satisfaction, outside of any label control. ‘I’m a spiritual person but I’m not a religious person. I think there are a few things in the world that can make you believe in God and I really think singing is one of them. There’s never a moment where I feel unhappy doing it.’
The first song she cut for Bangerz, the first album she cut as the controlling artist, was the esoteric opening ballad ‘Adore You’, a song reminiscent of Frank Ocean’s more languorous moments on Channel Orange. Miley wrote it in Philadelphia with the formidable R+B singer Stacy Barthe, ‘who is the shit. She was actually the one that made me want to cut my hair. I was sitting there looking at her and I was like, “Do you like having a shaved head?” and she was like, “Bitch, I am always giving face. Yes. Yes. When you’ve got this body, you’ve got to show off this face.” Barthe was midway through a diet programme, trying to lose 100 lbs in order to get her own record out to market. ‘Once I didn’t have the hair I felt like, oh, I can play now. I think people should be who they are. That’s why tonight on The X Factor they were like, “What? You’re not going to wear make-up?” And I said, “No, I want to wash my face and do nothing,” because it’s so X Factor to come out with you glammed and with your ice-skater tights on under your dress. I don’t need that stuff. Make shit your shit. Our vibe needs to be a little chaotic and a little off and a little less serious. I think people should be who they are.’

In 1850, the American author Nathaniel Hawthorpe wrote The Scarlet Letter, his historical masterpiece set in 17th-century Salem. In it, his heroine Hester Prynne is branded with the letter ‘A’ after conceiving a child through an adulterous affair. The whole of the town attends Hester’s public humiliation. Throughout the book she assumes the mantle of an emblem for the community’s strange moral puritanism and evident hypocrisy. It always surprises me that the book isn’t referenced more in the divisive contemporary feminist debate around slut-shaming.The anlogy with the reaction to Miley Cyrus’s performance on 25 August 2013 at the VMAs is too close not to mention. One quote stuck in my head when rereading it by way of research before meeting Miley. Really, there are only so many TMZ gossip bulletins you can wade through without searching out a bit of richer, wider context. ‘She was the common infamy,’ Hawthorne says of Prynne, ‘at which all mankind was summoned to point its finger.’
Is that you?
‘Right, uh-huh, exactly.’ She won’t be drawn into personal spats with individuals who have thrown themselves publicaly into the ring of critiquing her performances: Sinead O’Connor’s open letter, Lily Allen’s mocking video, the entire marketing campaign introducing the young New Zealand singer Lorde to the global market seemingly being built on the oppositional and opportunistic timing of simply not being Miley Cyrus. ‘I never say anything bad about anyone,’ says Miley. ‘I won’t do it.’
What she will do is defend her own corner on the young female sexuality door she has flung right open. ‘You know, I think my whole thing, and what I’ve encouraged, is just “I’m being myself”. I don’t think I’m anything. I just know it’s such bullshit and that’s why I don’t think about it, because I feel like I’m actually doing something. I’m speaking to my young generation.’ She has set her message out time and again. ‘Don’t give a fuck. Be you, to the fullest.’

She keeps her thoughts coming, fast, hard and unrepentant. Her toughness is dizzying. She knows what the criticisms levelled at her are largely idiotic. ‘What’s so crazy to me, and this is nuts, is that sexuality is still so offensive. Kids need to know about sexuality. Girls need to be comfortable in that. You know, people laugh and think it’s funny that I said I’m a big feminist, but what about me isn’t? I tell girls, be who you are. Do whatever the fuck you want.’
She doesn’t think the criticism for her transition comes directly from people not wanting their Disney princesses spoiled. ‘I think it’s just because there’s no one else doing it, so I’m the only one to go hard on. I’m also doing it in this less glamourous version of what people think sexy should be.’ When you start thinking of Miley as a lesson in anti-pretty, she starts to assume weight and significance. ‘I’ll be in a thong, but it’s not going to be the Victoria’s Secret thong with my hair down to here and a face full of make-up on. It feels more; even going back to punk again, there’s something sexy about that.’
Prevous quotes when she was promoting Hannah Montana have been reprised to damn her. ‘People will always be like, “At one point you had a ring that said you weren’t going to have sex until you got married.” That was like a fad.’ She grew out of it. ‘So many kids I’m sure hear their parents be like “Miley’s this” or “Miley’s that”. But then they see me. And I think kids are the biggest bullshit detectors, because they know I’m not doing that to try and sell them my fucking CD; that’s not really what I fucking care about. I’m not going to sit here and tell you what I’ve done or how many albums I’ve sold or whatever. I don’t even fucking know. I know it sells a shit-ton, but I don’t know because I don’t care about numbers.’

Towards the end of the allotted interview time, Miley Cyrus approaches something like her life mantra. ‘I think you can either choose to be happy and live life in a positive way, or you can choose not to. I see people who are stressed and who have negative thoughts, and they don’t even know that they’re negative. They just say little negative things all day and I notce that little negative things happen to them all day. Even when life throws me shit I try to just turn it around and smile and find something funny out of it.’
The night’s X Factor performance goes perfectly. If Miley’s purpose is to confound and confront the received wisom and visual lexicon of contemporary pop fame, she looks like nailing it right there. She sings a brilliant love song brilliantly. She never meant to start a war. Yet the next morning, headline writers have clearly struggled to find a banner angle on the confusing didactic, fresh new approach to pop employed by the most Googleable woman in the world. Heat magazine’s website opts for literalism: ‘Miley Cyrus performed on The X Factor wearing a turban.’ ‘Sadly the star failed to rebel,’ bemoans the Daily Mail online.
Miley added her own wisdom on Twitter: ‘Damned if you do, damned if you don’t.’

We never did get to see One Direction rehearse. Instead, Miley showed me some images on her phone of ideas for the tour she was about to begin across America, and which she hopes to take across the world for the next three years. She is excited by the proposition of being joined by her support act, kindred pop rebel Sky Ferreira. The likelihood of their tour buses conjoining into some sort of detention situation reminiscent of Miley’s old in-school suspension seems like a given.
‘It’s fucking sick,’ she says on the subject of Sky joining her. ‘There’s something about her wearing Saint Laurent with her mismatched socks that is so a fit for me. I think that most girls…OK, always be afraid of girls that say they don’t like girls. I’m one of those girls and so is Sky. It’s not that I don’t like girls, it’s because girls can be really fake. Sky just isn’t fake and I’m not fake, so I really like having at least one girl that’s fucking genuine. If something’s shit, she’ll be like, “That’s shit.”‘
The early plan at this stage is for them to duet on Hole and Stevie Nicks songs during the show. Miley and Sky are perhaps not the first but at least the most noticeable pop kids to have learned as much from Courtney Love’s audacious, addled approach to the spotlight as Madonna’s impeccable, controlled ambition. ‘We’re both at a time in our lives where I feel like we need to just get on the road and experience music again. Don’t think about labels, don’t think about singles, it’s not even about selling records any more. Sky was the one who I really wanted to come and it was just because I don’t want to be alone when I’m in fucking Oklahoma. I want to be with Sky.’

                                       “What’s crazy to me is that sexuality is still so offensive.”

Miley and Sky are the first generation of pop stars that saw Britney Spears shaving her head in a Santa Monica hair salon not as her moment of lunacy, but the first time she wrestled any kind of visual control back over the compliant, Barbie-ish presentation of the 21st-century pop model. Miley likens their friendship to Joan Jett and Cherie Currie’s in the golden days of The Blackhearts. ‘I think it’s fun to play on that.’
When she split up with her fiance, Miley can’t remember what she did with the engagement ring. ‘Don’t know. I think it’s still in the shower.’ She doesn’t look particularly perturbed by it. ‘We still talk and communicate. I was with him since I was 16 and nothing’s ever going to make that go away. I’ve known this guy all that time and if it doesn’t work out I can still smile and love him and he can love me and that’s great, that’s the way to be. Life is too short. If you get called one day and, God forbid, that person isn’t there, then the last thing you want to know is that you had your ego in front of you. If you love someone, tell them you do. If you want to be friends with someone, be friends with them.’
She’s on a roll. ‘Don’t give a shit what anyone else says. Break the rules, because it’s fun and you’re going to remember it. You’re not going to remember the time you sat in class not writing that note to your friend you wanted to write. You’re going to remember the time you got in trouble for writing the note to your friend. That’s all I remember through high school. I remember, like, accounting class. I remember Home Ec to cook. I remember all the good shit that I had to remember – and then I remember getting in trouble, because it was so much fun. Getting suspended when you’re a kid is fun because now you have a really awesome story to tell. Getting in trouble was the best.’

2014-02-02 / 14:31:54 / Embedded in: Intervjuer

Miley ger råd till andra kändisar

2014-01-31 / 15:20:47 / Embedded in: Intervjuer

Hela intervjuen med Jay Leno

2014-01-31 / 13:18:59 / Embedded in: Intervjuer

Tonight Show med Jay Leno


2014-01-23 / 14:27:10 / Embedded in: Intervjuer

Intevjuv med JohnJay and Rich

2014-01-07 / 14:57:39 / Embedded in: Intervjuer

Kellan Lutz Intevju - Han dejtar inte Miley

2014-01-04 / 16:43:21 / Embedded in: Intervjuer

Intervju från New Year eve 2013 med Ryan Seacrest

2013-12-27 / 13:04:45 / Embedded in: Intervjuer

Intevjuv med NEW YORK TIMES

In 2013, Miley Cyrus wagged her tongue and set tongues wagging. Thanks to a handful of steamy videos, some outrageous wardrobe choices and an erotic comedic performance at the MTV Video Music Awards, Ms. Cyrus took the warp-speed path from directionless ex-child star (as the Disney Channel’s Hannah Montana) to the most directional of pop stars, sliding easily into the role of pop’s enfant terrible. Her album “Bangerz” (RCA) — for which she’ll begin touring in February — was notable for its risk-taking attitude in a year when her competition played it frustratingly smooth.

One recent morning, she was at the Four Seasons in New York after a bumpy weekend in which she missed a show in Boston because of weather, then had problems with her voice. But even at the early hour, she was focused and businesslike and hyper self-aware, joking about getting a little Bailey’s for her coffee. These are excerpts from the conversation.


A. But I didn’t know that I was going to be the only one that was really going to push it like that. It’s actually really funny how many people could watch my performance, and they think it was, like, sexist and degrading to women, and somehow people found that it was racist, which I couldn’t even wrap my mind around. Because I’m like: “How do I win? If I have white dancers, then I’m racist. If I have black girl dancers, then I’m racist.” We know we’re not racist, and I know I’m not putting down women. People got a rise out of me saying that I was a feminist, but I am. I’m telling women be whoever you want to be.


No, I never let that change me. My grandma, who is alive, was living in a time where there was no way in hell that she would’ve ever thought there would’ve been a black president. I mean, never. And my grandma’s like, not even 80, so this is in a short period of time that things have changed so much. I really thought about it a lot when Nelson Mandela passed away, because I couldn’t even imagine living this life and seeing how much it’s changed. So, you know, I look forward to when I’m older, my kids being like, “What do you mean people ever even talked about what color your dancers were?”


I went from people just thinking I was, like, a baby to people thinking I’m this, like, sex freak that really just pops molly and does lines all day. It’s like, “Has anyone ever heard of rock ’n’ roll?” There’s a sex scene in pretty much every single movie, and they go, “Well, that’s a character.” Well, that’s a character. I don’t really dress as a teddy bear and, like, twerk on Robin Thicke, you know?

Last night, I was talking about some Madonna performances, and I said, “At some point, everything becomes irrelevant.” Like, no one even thinks about when she did “Like a Virgin” at the V.M.A.s. That just becomes a standard, where it’s just like, “Oh, that’s her thing.” So, I feel like now that I did the V.M.A.s, that just kind of became a standard for me, and then anytime I do anything else, they’re like, “Miley kept it tame tonight.”


I watch everyone’s music videos, to the point where I’m O.C.D., looking at every single thing they’re wearing and what they’re doing. Before, because I didn’t have my own personal self yet, it was hard for me to watch that kind of stuff. I was so jealous of what everyone else got to do, because I didn’t get to truly be myself yet. But now I realize how much they’re not being themselves either. You don’t have to be signed to Disney Channel to be put in a box, or to be rated PG. I’m with artists sometimes, and I’ll take a picture of them or whatever. They make me delete it.


Yeah, it’s insane. I’ll get someone to, like, flash me, and they’ll be, like, “You have to delete it!” I had to do that when I was 14 or 15, but even then I didn’t care. Like, if someone was videoing me ripping a bong, I didn’t care, so it’s just funny to me. I’m like: “Dude, you’re 30. Like, why can’t someone see a picture of your [breasts]?”

I don’t have a bunch of celeb friends, because I feel like some of them are a little scared of the association. This is terrible. I was backstage with [the rising pop star] Ariana Grande. I’m like, “Walk out with me right now and get this picture, and this will be the best thing that happens to you, because just you associating with me makes you a little less sweet.”


Exactly. She’s trying. I see her wearing the shorter things. She comes in, and she goes, “This made me feel like you.” And I’m like, “That was like my sixth grade prom dress.” She’s, I think, still on Nickelodeon. She has people that she has to kind of respect.


And answer to, exactly. Things came out that happened — like, you know, bong videos — when I was on Disney. But I never wanted to do that to Disney. When I was no longer employed by anyone, that’s when I was like, “O.K., I’m going to do my own thing.” But I waited until I felt like I had respectfully finished out what I was supposed to do, you know?


If you want to smoke weed, you’re going to smoke weed. There’s nothing that two little girls are going to get you to do that you don’t want to do. I thought maybe he was saying that like it was going to make him look badass.


We were so young that it’s actually like, “How did you get peer pressured by me?”


I can’t say too much. But it was where I was kind of going to have to do this trade-off, and I wasn’t willing to. Right now, me doing any kind of cover for anything that’s like, a Seventeen or Teen Vogue or whatever, the way that I talk isn’t the way that people that are 17 really understand. There was a thing that Kurt Cobain said, something like, “There’s a special place in hell for people that glamorize drugs,” and I never want to be that person that’s, like, talking to 16- and 17-year-olds and being like, “Smoke weed.” I’ve got a little sister. I don’t want her to smoke weed, and it’s not because I think weed is bad, but 


Right, she’ll make the choice. Or even, like, my language. I don’t know how to not talk the way I talk. I would rather have everything I do be 100 percent honest. I just want to be who I am.


Exactly. Even when I hear that — that someone, two years from now, is going to be the next kind of provocateur — like, I can’t wait to collab with whoever the hell that is, you know? I’m like, whoever that is, I’m going to ride that wave.

2013-12-21 / 14:18:04 / Embedded in: Intervjuer

Intevjuv Y100's Jingle Ball 2013

2013-12-17 / 16:36:42 / Embedded in: Intervjuer

Intevjuv med ABC

video platformvideo managementvideo solutionsvideo player

2013-12-16 / 16:37:58 / Embedded in: Intervjuer

Noah pratar om SERIOUSLY CYRUS

2013-12-14 / 13:21:00 / Embedded in: Intervjuer

Jingle Ball, Madison Square Garden - Elvis Duran Show

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2013-12-12 / 16:31:11 / Embedded in: Intervjuer

Power 96.1's Jingle Ball 2013 - Intevjuv

2013-12-12 / 16:27:31 / Embedded in: Intervjuer

Jingle Ball 2013 - BackStage intevjuv

2013-12-07 / 12:00:00 / Embedded in: Intervjuer


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2013-11-12 / 20:37:47 / Embedded in: Intervjuer

Intevjuv med BBC RADIO

2013-11-12 / 20:21:12 / Embedded in: Intervjuer

Capital FM Webchat

2013-11-12 / 14:38:00 / Embedded in: Intervjuer

Miley Möter fans på BBC Radio 1

Inbäddad bildlänk

2013-11-10 / 00:48:24 / Embedded in: Intervjuer

Uppträder & Blir intervjuvad på Wetten Dass

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