First of all, Happy National Women’s History Month!
In celebration, it is only appropriate to acknowledge the growth of one of the first feminist icons for our generation: Miley Cyrus.
Cyrus has certainly been inspiring young girls since her hit Disney show “Hannah Montana” was first released.
Like every other girl in my class, I wanted to be her. And although she has changed and made a whole 360, so have I, and she still motivates me to be the best version of myself, especially as a woman in this trying world.
Her newest album, “Plastic Hearts,” released in November 2020, did not shock fans when she decided to take a spin in the rock ‘n’ roll world, which she has long been connected to. Truthfully, Cyrus is skilled in most genres, as she was raised by her country star father, Billy Ray Cyrus, and is the goddaughter of the iconic and timeless Dolly Parton. She also emerged as a pop star as a byproduct of her Disney series.
What makes this album stand out most has to be her features. Cyrus collaborated on tracks with rock legends such as Billy Idol, Joan Jett and my personal hero, Stevie Nicks, which gives Cyrus credibility in the genre for her debut album.
It has been evident since the “Wrecking Ball” era that Cyrus is a standout, feminist character, and she is drawn to destroying the boundaries set for her and other artists, especially women, within the music industry.
As artists, however, it is what makes you different that makes you legendary.
The album starts out on a strong, punk note with “WTF Do I Know,” which sets the tone for the album and also exemplifies Cyrus’ comfortability with not knowing what direction her life is going in and not having it all figured out, which is something more women should embrace as times and roles are changing.
“Plastic Hearts,” the second track, begins with some cool, exotic percussion instruments, and they transition into a tough, upbeat and quite literally breathtaking chorus. This song contrasts with her live cover of “Heart of Glass” at the end of the album.
Third is “Angels Like You,” which is a nostalgic piece that serves as a reminder of her softer days, like her song “Butterfly Fly Away” from “Hannah Montana: The Movie.” Cyrus acknowledges herself as an imperfect, messy heartbreaker, but she is not apologetic, as no woman, or lover, should be. You cannot change who you are for anyone, and as sad as it may be, we should not feel obligated to, no matter how strong the love may be.
“Edge of Midnight (Midnight Sky Remix)” is my favorite track on the album, obviously because it is a collaboration with the legendary Nicks. The song is a compilation of Nicks’ hit “Edge of Seventeen” and Cyrus’ “Midnight Sky.” It surprisingly fits together seamlessly, even though they were released individually, 40 years apart. As shocking as it may sound, the remixed version on Cyrus’ album is my preferred favorite over the two originals.
Finally, the album ends with a live cover of “Zombie” by The Cranberries, which seals Cyrus’ emergence into the rock world. Once again, she makes this song her own and brings something new to the table with the timeless hit.
This month, or preferably every month, it is crucial to acknowledge and celebrate a woman’s growth, success and power. Given the drastic transformation Cyrus has undergone since the emergence of her musical career, one would have to argue that she will go down in history as one of the most influential women of her generation for her relentless self-expression and artistry.

ALI SMITH

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