Miley Cyrus

Missing: Miley's eyebrows (updated)

This photo, published on Miley Cyrus's Instagram account, displays the pop star's missing brown eyebrows. 
This photo, published on Miley Cyrus's Instagram account, displays the pop star's missing brown eyebrows. 


UPDATE (11/25/2013):

Cyrus' brown eyebrows returned on or around November 23. A photograph posted on her Instagram shows the eyebrows back on her forehead where they belong. Fans and followers of her account released a collective sigh of relief.

"Thank you for your eyebrow back," said @rileyiatkinson, in a statement that sums up the sentiment for the entire Miley nation.

Original post:

Last seen in Los Angeles, Calif. on Tuesday on Cyrus' forehead.

The pair of brown eyebrows were last seen Tuesday night in an Instagram picture Cyrus posted with one of her dogs. The brown eyebrows presumably went missing sometime between the time Cyrus posted the aforementioned picture with her dog and Wednesday evening, when another picture on the pop star's Instagram showed the eyebrows had been bleached.

No mention of the bleached hair has been made by Cyrus. As of 2 p.m. on Thursday, three Instagram pictures on her personal account showed a severe lack of distinction between what is hair and what is skin.

Fans and followers of Cyrus' Instragram account appear to be far more concerned than the pop star herself. Cries of concern litter the comments on Cyrus' three most recent posts. 

"Dear God, please help this your daughter who has lost her way. Help her find her way to you. Amen," @808kuualoha said.

Other users are in such dismay, they are unable to write complete sentences.

"Where are you eyebrows," @laurenssprague said.

Other followers are concerned and offer consolation and advice to Cyrus in this trying time.

"I bet everyone who claims you as their idol is so embarrased to call you their idol now … you need to get off whatever drugs you are on and take a good look in the mirror and realize that you have hit rock bottom, and you need HELP," @x_o_xoxo said. "Please Miley I don't say this out of hate, I say it out of love  Please seek professional help. I don't know you peronsally but I see that you are screaming for attention and you are trying to be someone you aren't. You need professional attention."

Cyrus' brown eyebrows are not believed to be in danger at this time. Anyone with news regarding the location of the brown hair should contact Cyrus immediately. No reward has been posted as of yet. 

Lorde vs. Miley

There are two female pop stars who are currently reaching the peaks of their fame – Lorde and Miley Cyrus.

On one end of the spectrum is the New Zealand teen who began hypnotizing our ears this year, and on the other is everyone’s favorite good-girl-turned-crazy. Both artists are at pivotal points of their careers, and even though they share the same radio space, they project almost polar opposite ideals in pop music. 

Lorde seems to be the more serious artist of the two. With her young, tired voice, she breezes across deep bass and dreary synths, creating a fresh melancholic feel that is rare on top-40 stations. The resulting sound is very chill, and features mature and meditative lyrics. Her breakout hit “Royals” is about a generation accepting that it won’t party luxuriously, as is described on the radio, — #Miley — and being fine with that. On “Ribs,” she reflects on growing old, saying “I want them back / The minds we had / It’s not enough to feel the lack.” Most 16-year-olds aren’t concerned with such things, but Lorde is happy to ponder them. Her heightened maturity is also displayed in the image she gives off, as she commonly wears dark conservative clothing that compliments her colossal hair. Lorde is a serious artist, and she wants us to know. 

Then we have the twerktastic Miley with her thumping party anthems. Her powerful vocal chops might actually surpass those of Lorde, but — save for her ballads — Miley’s music is best listened to within a field of red solo cups. Her music and lyrics are less about the listener reflecting on himself, and more about promoting #IDGAF ideals. “We Can’t Stop” perfects this to a tee, as she assures us, “It’s our party we can do what we want /say what we want /love who we want.” The comfortable partying of “Royals” is thrown out the window — Miley just wants to pop molly and go crazy. Her revealing attire only pushes the YOLO principles further, creating the image of our modern pop queen as we see her today.

Even though these two artists seem completely disconnected from one another, they accentuate human facets we all desire. Lorde provokes us to reflect on what is going on around us, whereas Miley tells us to forget it and just have a great time. As Miley once said while wearing a blonde wig on the Disney channel – “Life is hard or it’s a party / The choice is up to you.” 

In this weekly feature, we make a playlist of some of the best and most important new songs from the week before. Each track is supplemented with a short commentary, giving a sense of why you should check them out.

Paul McCartney – “New”

The only living Beatle still making great music (sorry Ringo), Paul McCartney’s aptly named album New shows that time hasn’t hindered his songwriting ability. “New” is one of the more nostalgic tracks on the record, sounding like a jaunty Beatles tune from the get-go. The lyrics are sprinkled with moments of self-reflection, with McCartney looking back at the impact he has already made on the world — “All my life I never knew what we could be, what I could do, when we were new.”


Cults – “High Road”

Cults gained some flak from the indie community when they immediately signed onto major label Columbia the moment they were noticed, but it’s hard to fault a band for wanting a professional recording treatment. Evident on their newest release, Cults carry on the dreamy shoegaze-pop from their debut with audio clarity to boot. Early standout track “High Road” is easy to get lost in, with an atmosphere that equally relies on both the group’s musicality and solid production values.


Kelela – “Guns & Synths”

This Los Angeles vocalist’s debut record gently pushes the boundaries of modern pop music, taking a lighter side to the club-beats-meets-catchy-vocals practice that is taking over (Lorde, anyone?). Her voice seems to glide wherever it wants to over an irregular tribal sounding beat, and together they create a song that is wholly pop. The song’s techniques are so in the now that it feels as though it was written just this morning.  


Miley Cyrus – “#GETITRIGHT”

On the other side of the music world is everyone’s favorite superstar Miley Cyrus, with her incredibly fun “#GETITRIGHT.” Any song title with a hashtag in it is enough to make this weekly playlist, and Cyrus’ bedroom anthem is supremely addictive. Showing her vocal chops that don’t get much attention, Cyrus beckons for her boy-toy to get it on with her while she’s still feeling it. She even shows her sweet side — “When I look in your eyes, I see all the stars.” Coupled with those little background whistles and a repetitive beat, “#GETITRIGHT” is all one could ever ask for in a great Miley tune. 


Glasser – “Shape”

Cameron Mesirow, the mastermind behind experimental electro-pop project Glasser, recently released her second album Interiors. Featuring lots of low bass, smooth synths and heavenly vocals, “Shape” displays all the trademarks of a dreamy synthpop tune these days. By the time everything comes together in the climax at the end of the song, Glasser’s songwriting talent comes through, and the culmination of sounds all combine to create a feeling that is both relaxing and unnerving at the same time. Interiors also has an awesome album cover.  


Sophie – “Bipp”

Yet another experimental electro-pop project under a secretive name (sensing a pattern?), Sophie has kept their real life identity well under wraps. They have yet to release a full length album, but the project is very promising for making music that sounds like absolutely nothing else out there. “Bipp” is a great example of this. It is catchy like a pop tune, but has electro noises that sound as if space-time itself is being warped. Is this supposed to be played in a club, in the bedroom or while walking to class? Who knows, but it’s cool. 


Tim Hecker – “Virginal II”

Kudos for those of you who have made it this far through such an experimental playlist this week, but your ears have not heard the last of it. Tim Hecker’s newest album Virgins is his seventh full-length, and it features the ambient composer in top drone-inducing form. “Virginal II” builds and builds, constantly laying on orchestral instruments and deep electronics simultaneously. Caked in atmosphere, “Virginal II” evokes the sense of a spooky horror film just in time for Halloween. 


Photo Credit: The Associated Press

Miley Cyrus is a hot topic. Her recent performances, characterized by nudity, hypersexualization, and a lot of twerking, have gained her a great deal of attention in the American media. These performances raise interesting and nuanced questions about society and our place in it. College students are, like Cyrus, members of a new generation, the Millennials, who are forming and reforming our identities through the landscape of our educational and social environments. Therefore, Cyrus’ choices and actions, as distant as they might seem from ours, highlight trends in our society that we should be aware of, as these trends may have serious and dangerous consequences.

It would seem that part of Miley Cyrus’ new persona is an attempt to reinvent herself in her industry. But why did Miley choose this path for her reinvention? Of course, there is no perfect answer to this, but there are some speculations. In an open letter to Miley Cyrus, Northern Irish singer Sinead O’Connor says that Cyrus is allowing herself to be prostituted by her industry because, as the adage goes, sex sells. In other words, Miley may have seen before her two choices: Either she could risk invisibility in an increasingly competitive and ruthless business, or she could use her sexuality to ensure that she stays in the spotlight.

Then again, Cyrus may have also seen her choice from a different perspective: that of a young adult practicing at growing up. As a younger person, Cyrus expressed herself in a more “wholesome” way. Now, she’s trying to express herself through sexual appeal. Although her intentions may be self-motivated, the reasoning that “you’re just expressing yourself in a world that is trying to keep you down” is a tool often used by producers and directors to exploit young women — women like Cyrus. 

Cyrus may see herself as rebelling against a repressive system, but is she really? Many female performers have experienced similar periods of sexual rebellion — Britney Spears is a prime example of this.  Some argue that this type of sexuality actually serves to objectify women further.

But what do Cyrus’ choices mean for others in her generation? In some ways, Cyrus is very different from the average 20-something — if I had a nickel for every time Steve Carrell shook his head angrily at me, I would have zero nickels. Cyrus would have enough for a steak dinner. Yet in some ways, she is also very similar. Around college campuses like ours, it is not hard to find young people trying to reinvent themselves, and these young people are faced with similar choices, especially in regard to expressions of their sexuality.

Cyrus’ choices raise questions of what is and should be acceptable in terms of displays of sexuality. Journalism professor Robert Jensen explained it nicely. Jensen said that we are forced to look at sexuality through a dichotomous framing: Either we can retreat to a virginal image and completely resist displays of sexuality, or we can accept objectification of our bodies by not resisting at all. This limited framing is especially true for women.

In a recent interview with Rolling Stone magazine, Miley Cyrus discussed her VMA performance with Robin Thicke. “No one is talking about the man behind the ass,” Cyrus said, and this statement is rather astute. As a woman, her behavior is scrutinized in a way that it probably wouldn’t be if she were a man.

I do not seek to criticize Cyrus’ choices as being good or bad. Rather, I believe she provides us with an interesting dialogue about the choices and expectations for not just women, but all people of our generation. Growing up, we are socialized into a culture that we end up accepting, because we don’t know that anything else is possible. As we search for our identities in this tumultuous time of young adulthood, we need to be aware that our choices may be rooted in something deeper, and that we need to be critical of our culture in order to understand our own actions.    

Franklin is a Plan II, linguistics and Middle Eastern languages and cultures senior from Sugar Land.

If you thought Miley Cyrus’ display of tongue-wagging, eyebrow-raising, clothing-optional performances was one of the greatest acts of all time, you were wrong.

In an extended interview for her MTV documentary “Miley: The Movement,” the former “Hannah Montana” star admitted that she has chosen to walk away from acting to pursue her music career.

“I thought after my show, I was gonna act,” Cyrus said. “I did one movie and I came back and said, ‘I’m never doing that again. I’m going to do music for the rest of my life.’”

The comprehensive documentary, which aired Oct. 6, showed a different side of Cyrus, who we have come to know through her hair chopping, hammer licking and twerking.

The last movie Cyrus appeared in was “So Undercover,” which featured Jeremy Piven and Cyrus’ friend Kelly Osbourne. Despite earning $2.1 million in oversea box offices, the movie proved to be a dud in the United States. “So Undercover” was scheduled to be released in theaters in October of 2011, but was later moved to go straight to DVD in February 2013.

Since stepping out of the “Hannah Montana” spotlight, which spanned her childhood, Cyrus has been able to reinvent her image. Her new album Bangerz, which releases Oct. 8, is giving Cyrus the chance to break out of the Disney darling phase and step into the chaotic, and at times racy, scene of a wild child.

“I’m starting as a new artist,” said the “We Can’t Stop” singer. 

Cyrus, who recently called it quits with Australian fiance Liam Hemsworth, has decided to devote all of her time to promoting Bangerz, which has already given her a No. 1 song, “Wrecking Ball,” the second single off her album.

“I’m gonna sleep when I’m dead,” she said, “’cause right now, this isn’t the time to be worried about how many hours of sleep you can get or how much you can hang out.”

At just 20 years young, Cyrus has plenty of time to dedicate to music. And as we have seen with her new persona, Cyrus is sure to have us asking, “What will she do next?”

Photo Credit: The Associated Press

Did someone say twerk-or-treat?

With the onset of October comes the task of planning a Halloween costume. Among popular costumes are the typical witches, vampires and werewolves, but this year’s most popular costume may come as a surprise. 

According to E!, various replicas of the infamous foam finger used by Miley Cyrus at the MTV Video Music Awards in August, are flying off the shelves.  

Cyrus dropped jaws with her performance at the VMAs when she gyrated across the stage, tongue out, and grinded on “Blurred Lines” singer Robin Thicke. Although the performance received mixed reviews, mostly negative, Cyrus’ popularity has soared to an all-time high. Her performance helped her generate 306,000 tweets per minute during the show, and landed her a No. 1 single. 

Despite her wild and crazy ways, America can not get enough of the twerking queen.   

Currently, two Amazon vendors are selling copies of the foam finger used at the music awards show. While anyone can purchase a foam finger, these vendors are making it clear that this is a memento in honor of the former Disney Channel darling.

“Drop some jaws and raise more than just eyebrows with this outrageous foam finger,” the description says. “A replica of a certain former teeny-bopper’s from a certain scandalous award show performance. We know you want it.”

In addition to the now iconic foam finger, trick-or-treaters can also buy a T-shirt with the image of a teddy bear on it, synonymous with Cyrus’ one-of-a-kind leotard. This bear has become a staple in Cyrus’ recent performances including appearances in the “We Can’t Stop” music video and her wild music awards show performance. 

If you are curious about how much it costs to become Cyrus for a night, the prices are certainly reasonable. Both of the foam fingers retail for less than $15, while the T-shirts are available for $23. 

If you are looking to walk on the wild side for a night opt for a Cyrus-inspired Halloween costume.

Photo Credit: The Associated Press

Bangerz is the guilty pleasure you hide from your loved ones and sneak off to your dorm room to indulge in. Miley Cyrus has produced pure musical crack that is so wrong it feels right.

Bangerz is a bipolar mix of self-aware, wild child anthems and helpless heartbreak, hitting the highs and lows of the 20-something life. The “short hair, don’t care” attitude of “SMS (Bangerz)” and “Love, Money, Party” clash with the familiar pain of failed love in “Wrecking Ball” and “Maybe You’re Right.”

“We Can’t Stop” and “Wrecking Ball” are the obvious singles on Bangerz. They are the only songs on the record with any genuine broad appeal. Southern hip-hop permeates the album and Cyrus even tries her hand at some rapping — she mentions an orangutan; it is not her finest lyrical hour.

Bangerz is not deep by any stretch of the imagination. Lyrics discuss discovering suspect text messages and preferring a vibrator to a boyfriend, but was anyone really expecting the next “Peace Train” from the woman who performed “Party in the U.S.A.”? “FU” has Cyrus belting it out like some of the great lady singers, and for good reason.

Her recent VMA performance got tongues wagging, for better or worse, in anticipation of the pop star’s fourth studio album. Bangerz fulfills Cyrus’ evolution from the obnoxious, double-lifed hillbilly Hannah Montana to ratchet Miley 2.0, grill and tiny peroxide buns included.

Those who are shocked by her transformation must not know much about 20-somethings. The “me generation” has a bizarre, self-aware wildness that Cyrus brings to the public eye. The revival of the “Pretty Woman” hooker dress, crop tops and super-stacked platform shoes joined with the “I know I look crazy, but I don’t care” attitude create a controlled rebellion of confidence and independence.

Cyrus wears red carpet outfits that could have been easily knocked off years ago through Forever 21 and GoJane. One would witness more risque dancing Thursday night on Sixth Street. 

Frankly, Cyrus has garnered most of this criticism because her new persona is not sexy. Rewind to the VMAs – shots of Cyrus playing with long hair she obviously does not have and sticking out that infamous tongue while emerging from a teddy bear. It’s weird, it’s goofy and it’s in no way sensual. 

Pop princesses like Britney Spears and Christina Aguilera have “grown up” through revealing performances. Remember Spears’ nude and crystal bodysuit at the 2000 VMAs? It was scandalous, yet acceptable because she was sexually appealing.

The new Cyrus has reached sexual saturation to the point where she isn’t the mainstream idea of “hot” anymore. On the track “4 x 4,” Cyrus sings “Driving so fast ‘bout to piss on myself,” which, by most standards, is not sexy. Throw in Cyrus’s guttural Southern accent and you have one big boner-kill.

Bangerz reinforces that there really is room in the pop world for the weird chick in a fuzzy costume and creepers, even among the barely-legal, crystal bikinis and long blonde hair. 

Cyrus is transforming into a true force to be reckoned with. She doesn’t give a flying fig and neither should anyone else. Hey, she’s just being Miley.

Miley Cyrus and Liam Hemsworth officially breakup

In this June 27, 2012 file photo, actor Liam Hemsworth, left, an honoree at the Australians in Film 8th Annual Breakthrough Awards, poses with his fianceMiley Cyrus on the red carpet in Los Angeles. Representatives for both celebrities confirmed they have called off their engagement. They met on the set of 2010’s “The Last Song.”
In this June 27, 2012 file photo, actor Liam Hemsworth, left, an honoree at the Australians in Film 8th Annual Breakthrough Awards, poses with his fianceMiley Cyrus on the red carpet in Los Angeles. Representatives for both celebrities confirmed they have called off their engagement. They met on the set of 2010’s “The Last Song.”

It looks like someone took a wrecking ball to Miley Cyrus’ love life.

This week sources confirmed that the “Bangerz” singer and her Australian fiancé called off their engagement. This news comes on the heels of a widely publicized and rocky romance. In the past few months Miley has been seen without her 3.5 custom Neil Lane engagement ring. Miley and Liam have not been publically photographed together since August when the duo attended Hemsworth’s premiere of his film “Paranoia”. Amid reports that Liam was having a relationship with actress and friend January Jones, Miley unfollowed her “The Last Song” costar on Twitter last week. 

One day after their split Liam was photographed kissing Eiza González, a singer and actress, which leads many to blame the actor for the end of their relationship. Sources tell E! News that the breakup was “Miley’s decision, after coming to grips with Liam being what she believed was less than faithful to her.”

Since their breakup, Hemsworth has moved out of Cyrus’ Los Angeles home, where the two have lived since 2012. They became engaged in 2012, when the former Disney star was 19-years-old.

So what’s next for the estranged pair? 

It looks like both Miley and Liam will keep busy with work. Miley is promoting an exclusive documentary, “Miley: The Movement”, premiering on MTV October 2, and her new album “Bangerz” which drops later in the week on October 8. In the meantime Hemsworth is busy promoting “The Hunger Games” sequel “Catching Fire” in theaters November 21. 

Miley Cyrus and Arcade Fire break the Internet with new music

Miley Cyrus licks a sledgehammer in her new video "Wrecking Ball." 
Miley Cyrus licks a sledgehammer in her new video "Wrecking Ball." 

A couple of things have us really excited this morning: Miley Cyrus breaking the record for music video views in 24 hours and Arcade Fire's single release. 

If you haven't seen the video for Cyrus's "Wrecking Ball" yet, watch it here now: 

Cyrus licks a sledgehammer, cries, and is naked on a wrecking ball. What more could the world want? Apparently nothing. 

Arcade Fire has hyped up their new album Reflektor for a couple of weeks now and FINALLY released not one, but two videos to go along with their single "Reflektor." One is a typical music video and the other is  a crazy cool multimedia video a la "The Wilderness Downtown."

 It's more dance-y than we've heard from the Canadian band (LCD Soundsystem's James Murphy produced the track) but we are pretty into it.


Robin Thicke's "Blurred Lines" is one of seven songs we couldn't get enough of this summer.

Photo Credit: AP Exchange | Daily Texan Staff

The summer of 2013 was a great time for pop music, especially if you’re into anthemic break-up tunes and '70s-inspired musical pleas to get it on. Here are the seven songs we couldn’t escape.

1. “Blurred Lines” – Robin Thicke ft. T.I. and Pharrell Williams

 All right, let’s get this one out of the way. Who knew a funky sampled beat accompanied by a breast-laden video would take over the airwaves this summer? “Blurred Lines” was, and still is, everywhere we turn. Whether or not it’s really about feminism and respect for women (hint: it’s probably not), this song exhibits the inexplicable power to make everyone move. 

2. “Diane Young” – Vampire Weekend

On first listen, Vampire Weekend’s first single from Modern Vampires of the City is rather obnoxious. But you hear it again. And again. And again. And eventually one morning, the highs and lows of Ezra Koenig’s modulated voice sweetly rouse you from a deep slumber and you realize you can’t live without hearing “Diane Young” at least four times a day.

3. “We Can’t Stop” – Miley Cyrus

Say what you will about her bizarre MTV Video Music Awards performance, the music video for this song, or Miley Cyrus in general, but “We Can’t Stop” is a seriously infectious slow-jam. Compared to the crop of recent hits about men looking to get sexy with the ladies, Cyrus has awkwardly faux-twerked a refreshing message into hearts everywhere: “you do you” and forget about the Judgmental Judys. Except for the drug references. We could have done without the drug references. 

4. “Get Lucky” – Daft Punk ft. Pharrell Williams and Nile Rodgers

The legendary French house music duo seemed destined to rule the summertime airwaves long before school was out. “Get Lucky” was one of the highest anticipated songs in recent music history, so it makes perfect sense that Daft Punk would hijack the charts like the weird robots that they are. Combining the disco grooves of Nile Rodgers and the simplistic lyrical message of “let’s do it” resulted in a massive hit. And is Pharrell Williams killing it lately, or what?

5. “I Love It” – Icona Pop ft. Charli XCX

Want to know what I love? This song. “I Love It” is the pulsating go-to theme song for anyone who just got dumped or who frankly doesn’t give a flying fig. Not caring about some loser has never felt better, or caused so many spontaneous dance parties. 

6. “The Wire” – Haim  

Haim is the grown-up lady equivalent to Hanson: three mega-talented siblings with uncanny melodic sensibility. “The Wire” is a sassy marriage of Fleetwood Mac-esque rocking and California chick toughness. The sisters Haim layer their sunny harmonies over bright guitar licks that make this “you’ll get over me eventually” kiss-off sound like a carefree ride with the top down. Taylor Swift, eat your heart out. 

7. “Come and Get It” – Selena Gomez

“Come and Get It” has to be the guiltiest auditory pleasure on this list. Maybe it’s the seductive Bollywood influence. Perhaps it’s the fact that there’s no lyric easier to remember than “Na na na na.” Whatever it is, admit that as soon as that over-produced beat drops, we’re all ready to come and get. Na na na na.