THE
RADICAL
SONS O F A N I L L US T R I OU S FAT H ER SEPTEMBER 2018
THE
RADICAL E DITO R -IN - C HI EF APRIL SALUD ASS OC I ATE EDI TORS LILIAN MIN R OC HELLE SHIPMAN CR E AT IV E DIR ECTOR COURT NEY FARRELL WE B DE V E LOPER ROB ERT JAC KSO N P HOTOGRAPHERS M AC EY J F O RONDA ISHA SHAH SAM KEELER STYLI ST NAOMI ZINNS HAI R + MAKEUP YUKINA MIT SUHASHII KEAHI MASUDA
Volume 08 Sept 2018
CON T E N T S
IN TH I S I S S U E 02
P OST AN IM AL
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A MB ER M ARK
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SON S OF AN IL L U STRIOU S FATHER
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LO U IS TH E CH IL D
3 0 A KIN E
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N OAH CYRU S
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P OS T A N I M A L
P OST A
Words: April Salud – P
Issue 08 Sept 2018
NIMA L
Photos: Macey J Foronda
P OS T A N I M A L
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rowing up, it seems that everyone goes through a “we should be a band!” phase. For most, this phase remains just that; a sort of pipe dream that never truly actualizes past the band name and DIY logo design. But sometimes, it all comes together and you end up jamming around the country with your best buds by your side. That’s exactly how it panned out for Post Animal. Comprised of Dalton Allison (bassist), Matt Williams (guitarist), Jake Hirshland (keyboardist/ guitarist), Wesley Toledo (drummer), Javi Reyes (guitarist), and Joe Keery (guitarist), Post Animal came together in their hometown of Chicago in 2014 and developed their psychedelic and slick sound.
Their debut album When I Think of You in a Castle is one that Post Animal didn’t believe would become a reality as they branched off and f lourished independently of one another. Yet, they still came together to create something that swells and is both shimmery and gritty. While Keery doesn’t accompany the band currently on tour because he’s busy being The World’s Best Mom on Netf lix’s Stranger Things, he still supports his childhood friends and bandmates as much as possible. As for the rest of Post Animal, they continue to rock on and ultimately form an even stronger connection with each other.
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“It hasn’t hurt our relationship with each other. If anything, [the band] has made us a lot closer,” says Hirshland. “It’s more like being in a family because of the amount of time we spend together touring -- we’re so close. We see it all.” And “seeing it all,” could cause some friction between anyone, no matter how strong that bond is to start with. But for Post Animal, their mutual respect for one another is something that holds them tighter than most. “Sometimes friends, when they get to know each other really well, they can sense a character f law in the other and try to crack them,” Reyes explains. “I know that sounds weird but that’s a thing people def initely do. And that’s something we tend to do. We’re very respectful. If one of us is uncomfortable with something, the rest of us are very considerate about emotions. Nobody’s comfort is sacrif iced too much.” “We’re very similar in a lot of ways, especially when it comes to our humor,” adds Toledo. “I think that helps when we’re in the van for a long time. It means we can just talk shit and banter and be very uninhibited with each other.” Having that open line of communication and honesty within the band also allows them to be freer in their music creation and live performance. When on stage, there is something so effortless about Post Animal as they shred through their small but mighty catalogue. It’s almost like watching a perfectly synchronized swim team execute a well rehearsed routine. But Post Animal is still able to keep that spontenatiety spark alive. Every drum f ill and guitar riff feels chaotic but blends together so well, almost like they can read each other’s minds. “We aspire to be a live band,” Williams says about taking their album and translating it to the stage. “We
want people to hear a record and want to come see our live show. The album we just put out, we tried to record it as much as we can with the mindset that it would be played live. We also like transitions and making the set f low as perfectly as it can. We like switching things up and not playing the exact thing every time.” While the journey of Post Animal seems like the typical jam band story, the band’s decision to sign to their label Polyvinyl is really what has catapulted them from local Chicago town heroes to one of the buzziest bands on the road at the moment. It was a decision that wasn’t taken lightly amongst its members. “The reason we [signed to a label] is because, well, the backing of a label,” Toledo simply puts it. “We pride ourselves from originating from the DIY scene but we also know there is a limit to what we can do. And what we wanted to do is put our music in front of as many people as possible while still maintaining artistic integrity and control. It was very important for us to have control and freedom with whoever we partnered with and Polyvinyl were willing to work with us with however we wanted. We have a very healthy relationship with them and I think it was just the right thing to do. I think we all think that. We needed to take that extra step.” “We still consider ourselves very DIY,” adds Allison. “It’s very weird what gets considered DIY and what doesn’t. We still made the record ourselves. There’s too much pressure to be DIY to be cool but really, at the end of day, you’re still doing it yourself even if you’re on a label.” With When I Think of You in a Castle — the album they never thought would get made — off icially out in the world, the next step for Post Animal can be taken in any direction they desire. As long as they’re together, they’ll never end up on the wrong foot.
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A M BE R M A R K
Issue 08 Sept 2018
A M BE R M A R K
“I questioned everything, like...did I make the right decision? I’m always questioning...any life decision, I will never be too sure.”
A MB E R M A R K Words: Rochelle Shipman – Photos: Sam Keeler
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hen I called Amber Mark, I was up front with her.
My heart was broken and I needed her advice. I knew she had it. This is the girl who wrote (and produced!) 3:33 AM, a splashy, epic debut EP that details her grief over the loss of her mother in such a way that makes any remotely dramatic situation seem...well, like no big deal. She manages to transcend the situation, tapping into emotions that could (and honestly, probably do) apply to the vast majority of people on any mundane afternoon. But behind them, she layers in tropical beats and evidence of hope, hope, hope.
While I gushed over her refreshing sound, rightfully so, she paid her respects to Beyoncé, rightfully so. We talked about how, as kids, we both had crushes on our older brothers’ friends. She mentioned that she plans to drop her debut album early next year and I peed a little without telling her. I tried to talk about “Put U On” but I melted every time I opened my mouth about it; the carefree 90s R&B-meets-boy band vibe made me feel like I was an ambitious teen again, and she expressed her excitement in f inally putting out fun music (her words). It was only for a few minutes, but it only needed a few minutes to feel like Amber and I were old friends just catching up. And what do old friends do? They share stories of love and heartache.
No matter what the conversation, it all comes down to that connection—or Conexão, the Portuguese translation, as she so named her most recent EP. A departure from the heavier subject matter of 3:33 AM, Conexão isn’t so much focused on getting through something as much as it is what comes next—becoming the best version of yourself in every aspect. But f irst, discovering what’s needed to do so. As she sings over and over in the title track, everything is connected. And it’s easy to connect with someone as kind and open as Amber Mark.
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ON LOVING
It’s hard because when you do love someone, when you unconditionally love them, forgiveness is such a huge part of it. I think part of you know... being in love and loving someone, I think one of the descriptions would be forgiveness and unconditional loving. I think you also need to realize that it needs to come from the other person towards you as well. Making sure that they’re...not loving you the same way, but that you see them putting your feelings in front of theirs in certain aspects, when you’re kind of feeling down and things like that. ON MOVING ON IN THE SOCIAL MEDIA AGE
It’s the worst. It’s so hard to forget them when they’re literally all over your social media. And then all you want to do is stalk them. It’s what everyone says, I just never listen to it: block them all over social media...you know you need to do that for yourself to become yourself again. And eventually, with time, when you know you’ve moved on and you’re at a different stage in your life, eventually you can be friends again. But all with time. ON HANDLING HEARTBREAK
I’m totally sulky. I cry hysterically, I can’t even do anything; I need to just lie there and hide in some sort of black hole. I will say that time heals everything. You become so co-dependant on someone, it’s hard to get back to being an independent person. You just need to let yourself be in that sad feeling and just let it all out and eventually, you try and get back into a routine. Eventually, your body will kind of adjust and you’ll be back to it. ON SELF CARE
Mentally...I eat a lot and if I wanted to take a day to take care of myself mentally, that’s what I would do. Food is always good for the soul and so pleasing, and it makes me feel better all the time. I do like doing some sort of facial, even if it’s at home with my sister; those always feel good. And working out! The hardest part for me is getting
to the gym or getting to class but once you f inish the class, the feeling is so good because you feel so accomplished. ON SOME OF HER FAVORITE BADASS BITCHES IN MUSIC
Sade’s def initely a huge inf luence on me. Beyoncé, obviously. She’s just a machine so I def initely admire her never-stopping mentality. I really like Erykah Badu, she’s an amazing and gorgeous individual. And that girl Yebba, I love her voice. She’s got such an amazing vocal range. I don’t know where she gets it all from but it sounds amazing. Ella Fitzgerald was a huge inf luence on me as a kid. She’s kind of the reason why I started singing, because of her. So I def initely fell in love with her. ON WORKING WITH A PRODUCER FOR THE FIRST TIME EVER, DURING “PUT U ON”
It was very hard. Not for the person I worked with for “Put U On,” but being in sessions is always kind of intimidating for me so I was very scared. With this guy Julian Bunetta, he’s awesome and very chill and so easygoing. We basically just recorded in the same room where we produced it so it kind of felt like bedroom vibes for me...like he had the same setup as me, except his studio is way more of a studio than my bedroom. ON GETTING REAL WITH HER FEELINGS ON “LOVE ME RIGHT”
I wanted to express the song to the person that I was with and hopefully it would help or he would understand where I was coming from. I didn’t really know whether or not I was making the right decision; I don’t know if anyone ever does, even...obviously, eventually you kind of realize it was a good thing because it opened different doors and opportunities. So I wasn’t really sure or conf ident in my decision to make that change in my life. I just felt like it needed to be done. After that relationship, I still had moments where I questioned everything, like...did I make the right decision? I’m always questioning...any life decision, I will never be too sure.
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SO NS OF AN IL L U S TRIOUS FATHER Words: April Salud – Photos: Macey J Foronda
Sons of an Illustrious Father is a band of dads. Comprised of Josh Aubin, Lilah Larson, and Ezra Miller, the lifelong friends have been making music and building a safe community between them and anyone willing to listen. With their newest album Deus Sex Machina: Or, Moving Slowly Beyond Nikola Tesla, Sons of an Illustrious Father explore the complexities of the human condition that is built upon honesty and discovering how much you need family to survive.
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“S
orry, I’ve been DJing this whole photo shoot wrong,” Lilah Larson exclaims as she grabs her phone to change the music blaring over the portable speaker. Bruce Springsteen’s hearty voice now echoes through the studio and Larson’s bandmates, Josh Aubin and Ezra Miller, automatically start dancing around each other as they make their way over to Larson, half dressed. “Dads only listen to the greatest hits,” Larson points out. Larson, Aubin, and Miller comprise Sons of an Illustrious Father, a band that probably sounds exactly like what you would expect them to sound like while simultaneously sounding like it’s rebelling against those preconceived notions. The three of them consider each other a family in every aspect. “We call each other ‘Dad,’” Miller explains. Sons of an Illustrious Father is a family in every def inition. As much as they are each other’s chosen family, in many ways, the lines are also blurred on what exactly “family” actually means. “Some families rent a cabin in the summer when dad is off work, we go on tour,” Larson says. She even calls their attachment to one another a tactic for survival; the only way they can navigate the world safely and to the best of their abilities. “It’s interesting that at some point, even your blood family becomes who you choose,” Miller says. “Really everyone on the earth is blood family. My mother feels herself to be Lilah’s mother and Josh’s mother as well and I feel Lilah’s mother to be my mother.” That sense of family was radiating from Larson,
Aubin, and Miller on set for their cover shoot, which was styled as a high fashion family portrait session. As the matching sets of grandpa sweaters and denim suits came rolling in, so did the wideness and brightness in the eyes of Sons of an Illustrious Father. While the band members in person have a playful and vibrant nature about them — willing to dance around in wool sweaters to Bruce Springsteen in an 80 degree warehouse the Saturday after their US tour just ended — there is a moody and existential sentiment that pours out of their music, especially on their latest offering Deus Sex Machina: Or, Moving Slowly Beyond Nikola Tesla. While an album title like Deus Sex Machina probably deters a certain group of people that probably wouldn’t “get” it anyway, it’s f illed with Lynchian noises and intensely vibrating production. But there is also an overwhelming vulnerability pulsing underneath the chaos. The album’s opening track “U.S. Gay” has become an anthem for the LGBTQI community, referencing the likes of Matthew Shepard, and written as a response to the Pulse nightclub shooting in Orlando which took 49 lives. At their live shows, Sons of an Illustrious Father open with “U.S. Gay” almost as a precursor to anyone unaware in the audience of what is to come. To be gay in the USA is not feeling light and gay / Who knows how long we’ll live anyway. “The goal is to speak from the honest seed of ourselves and not to speak for others, but to hopefully air a ref lection of being real with ourselves and who we are,” says Miller about their
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“Some families rent a cabin in the summer when dad is off work, we go on tour.”
— LIL AH L ARSON
S O NS O F A N I L L US T R I OUS FAT H E R
“The goal is to speak from the honest seed of ourselves and not to speak for others, but to hopefully air a ref lection of being real with ourselves and who we are.” — EZRA MILLER platform. The band has been an obvious advocate for the queer community but beyond that, their message has been one of truth. And with truth comes those complexities of being human — mixing the light with the dark and never judging anyone f irsthand on how they appear or by their album name. Throughout Deus Sex Machina, Sons of an Illustrious Father play a lot with sound. Whether it’s the industrial and loud “Extraordinary Rendition” or the calming and slow build up of “When Things Fall Apart,” they don’t seem to shy away from experimenting across the entire musical spectrum — as long as it rings true for themselves as a band. “A lot of the time we incubate songs separately and then bring them into the group to get that f igured out together,” says Aubin. “And then sometimes, it’s all just done together as a single act. I don’t feel like there’s any specif ic one way songwriting can go.”
Miller jumps in to f inish her sentence with, “that’s only been decapitated twice.” As we come to the end of our shoot with Larson, Aubin, and Miller, it seems inevitable a bond would be formed with three humans who are as open as they are. Their plan after this tour is to visit some friends in Arizona who own a farm before heading out again on the road. At some point, we end up in a group embrace as Bruce Springsteen continues to blast on the portable speaker. “It’s kind of one of those ineffable things that remains a great wonderous mysterious thing,” Larson says of forming that unbreakable bond. “But yeah you just know. And there’s no real way to gauge that.” While there might not be a measurable or distinct way to assess the love between a chosen family, for Sons of an Illustrious Father, the music is the best place to start.
“Whoever is singing lead, the initial idea is hatched from that person...that’s how it’s happened so far but more and more, especially on the upcoming record, there are songs that come from us drawing from a metaphysical map and then jamming and singing the legend of the map,” Miller adds. “The process is in f lux and is changing.” The lines are becoming more and more blurred when it comes to the songwriting process, so much so that the three of them do consider themselves as a singular unit. “Like a Hydra,” Larson says before
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LOUIS THE CHILD Words: April Salud – Photos: Macey J Foronda
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obby Hauldren and Freddy Kennett, better known as EDM duo Louis the Child, have an agenda. Over the past decade or so, there has been an uprise in the trend of going to a music festival, maybe partaking in some “extracurricular” activities, and dancing the night away to something that really thumpa-thumpas. The f irst time I saw Louis the Child perform, it was in their ultimate natural habitat: Lollapalooza. It was at one of the smaller stages in a late afternoon time slot, they got the crowd going (many of which literally climbed trees to get a better look), and even brought out K.Flay to perform their hit “It’s Strange.” As I was bobbing my head along to the DJ duo, I looked to my left and saw Malia Obama doing the same. That’s when I realized EDM was more than just noise but a movement. “When dubstep and people like Skrillex were happening, it was so new. A lot of the bass and drops that people were making were completely different, which I think was exciting at the time and what keeps it exciting,” Kennett explains. “When people use sound in a way that people have never heard before and make it something new and fresh -- before that, it was just a lot of instruments that people had heard a lot played in different ways.”
“It’s very rebellious in a way,” adds Hauldren. “Our generation is able to call it their music in the same way people in the 60s called rock and roll theirs because it was rebellious and loud and crazy sounding. Having something that a generation can own and be proud of has helped it a lot.” EDM has in many ways “pissed people off,” Hauldren points out. And it’s true. It has become somewhat of a joke to self-proclaimed music snobs and the same points are brought up. “They’re just pressing a button.” “They don’t even play instruments.” “It’s just NOISE.” With the aggressive movement of music festivals, along with hip hop and latin music, EDM has risen to one of the most successful genres in music and Louis the Child is at the forefront of that movement. Being in their early twenties, you can sort of see Hauldren and Kennett as the next wave; two musicians who saw others before them pave the path and now they’re free to make their own. “We approach our shows from remembering what it was like to be in the crowd and experiencing what it’s like to go to festivals,” says Hauldren. “We were fortunate enough to be in high school and be teenagers when festivals started becoming a huge thing. The fact that we were able to go to festivals a lot has helped us prepare our shows.”
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That preparation has only helped Louis the Child catapult to one of the most in-demand DJs on the scene and this year they’ve seen their biggest success with summer hit “Better Not” featuring buzzy indie artist Waf ia. The most notable thing about Louis the Child specif ically in the EDM world is that their music radiates positivity and joy. A concept that they realize is how their generation is able to cope with all the real noise going on in the world. Kennett brings up how people within the dance community, both fans and artists alike, really focus on a certain type of atmosphere with their music and at their performances. Peace, love, unity, respect. “The way I see [music] going in the next few years is def initely in a more loving and positive way.” Louis the Child are only getting started, as they keep trucking along playing festivals and collaborating with artists that you would never expect to fold themselves into the electronic realm, citing Bon Iver and James Bay as some of their dream collaborators. “James Bay doesn’t really make happy music though,” Kenneth
points out. But everyone loves a challenge and a good cry-dance song for that matter. As Louis the Child develops and grows, so does the relationship between the two people at its epicenter. “We’ve just gotten so much worse,” Haulden jokes about his and Kennett’s friendship. “We understand each other more and more every day and we understand what we’re doing every day even more,” Kennett remarks. And you can tell that their partnership has made their careers more manageable but also their successes that much sweeter. “We’ve def initely grown a lot with each other and watched each other grow in every single way in the last 6-7 years of doing this,” says Haulden. “Our bond has only gotten stronger.” “We’re both just super open-minded and just want to do something fun,” Kennett adds. “We don’t let egos get in the way or let opinions get in the way. We just love the art….together.”
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“We understand each other more and more every day and we understand what we’re doing every day even more.” — F REDDY KENNE T T Issue 08 Jan 2018
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AKINE
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AKINE
AKIN E Words: April Salud – Photos: Isha Shah
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eing a teenager can be rough. It’s even harder when you grow up in one of the most controlled countries in Europe and you have so much to say. Cut to Akine, the stage moniker of 17-year-old Nicole Kozina. Her debut EP Don’t Foster Fear harnesses the energy that only an anxiety-ridden and emotional teen can feel so genuinely. These feelings, however, are encased in swelling production and a voice that cuts deep. There is something electric and vibrating about both Akine’s music and message. In order to get into the mind of Akine, we decided to do so in the most 2018 way possible: through a screen.
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AKINE
Hello. Akine here, ready when you are! Thanks for doing an unconventional interview...thought it would be fun haha
I’ll get started with the first question
Since you’re a new artist and there’s definitely a cool mystery about you automatically, what is the first thing you’d like people to know about you?
Good question
I’m messy, kind of paranoid and irresponsible
But I speak three languages so that makes up for it
Do you think those qualities are reflective in your music?
Probably shows in the way i write
I tend to lose my lyrics and I’ve even had to rewrite some songs.. several times
Do you always find yourself chasing your original train of thought or do the rewrites end up better?
And what do you think has made you paranoid (besides the current dumpster fire the world is in ha)?
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AKINE
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AKINE
In my unbiased opinion, the rewrites tend to be better
I think that because we have a slight overflow of information in our everyday lives, that can lead people to believe horrible things are happening constantly. At least it did for me.
So that’s what i think pushed me into being very anxious all the time, the shitstorm that is the current state of the world stimulated my fears. I’ve always had unreasonable fears.. planes, fun fairs, heights, insects, people.
That’s how the name of my EP came about.
Don’t Foster Fear
Haha those are all very valid fears
Do you think the influx of information has made people your age more prone to detecting the bullshit in the world? I have noticed more now than ever that teenagers are standing up more and refuse to be passive
And also they tend to be more creative and resourceful because of the tools available to them
I think, it still really depends on where you live, and what’s accessible to you, like freedom of speech.
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AKINE
I’m from Eastern Europe and that’s not always the case there.
For example most media outlets there are controlled by the government.
And a large portion of people don’t have access or don’t know how to use the internet there. So they wouldn’t have many unbiased sources of information
The kids in the US are being incredibly proactive, like the March For Our Lives movement, which is inspiring.
So there’s two sides to it I guess. It’s always interesting to hear stuff like this because being from America, we’re definitely kept in a bubble of what is happening in our country that we’re not usually aware of the limitations in others. I know your first single came about through your own experiences. Has music always been your escape or even a form of therapy for you? It’s definitely an outlet. I started writing when I was much younger and didn’t feel I was of much relevance or interest to the world... hahah
It was a way of getting my opinion out there.
Without prejudice to my age
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AKINE
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AKINE
Definitely felt the same when I was younger! Interesting how people don’t take teenagers specifically that serious when I think that’s when you’re most in tune with everything going on
Even though your emotions can get the best of you haha
Last question before I let you go (though I could keep chatting for ages)...now that the flood gates have been open, so to speak, music wise, what are your goals and aspirations for the rest of the year and beyond?
My first EP will be out in September, so excited for that and I really look forward to performing live.
I’m also releasing a set of live performance videos on YouTube, of all of the tracks on the EP.
And recording/ producing EP 2, which I’ve already written
You’ve got it locked down!
Anything in particular you want people to take away when they hear your music?
Question your fears, because if you don’t they can become a deciding factor in everything you do, and a tool to control you. You know.. be happy.. don’t worry hahah
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AKINE
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N OA H CY R US
“People think I get to do something because I’m rich and famous or because my sister did it for me. That’s the opposite. You think people want to work with fucking Miley Cyrus’ little sister if she sucks? No!”
NOA H C YRUS Words: April Salud – Photos: Macey J Foronda
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oah Cyrus is a teen. And like most teenagers nowadays, she lives her life on social media. While her audience may be slightly bigger due to her superstar status and very famous family, the state of social media now allows anyone — no matter what their follower count — to put themselves on display. At least, a very curated version of themselves on display. “I feel like in 2018, you have to be hot or you’re not getting recognition,” Cyrus says. “When I look in the mirror, I don’t see what everyone else wants. You have to look a certain way, not in my eyes, but in 2018’s Twitter and Instagram rules if you want to be a famous female.” Cyrus talks a lot about Instagram and how the social media app has exploded into a curation of a specif ic type of perfect. A type of perfect that not only makes everyone indistinguishable from one another but also only that feels inauthentic, something that Cyrus just can’t handle. “I like to use my Instagram to speak up about the nonperfect things, which is what I hope I inspire people to do [as well],” she explains. “[People on Instagram] paint this perfect picture of their perfect life with their perfect face with their perfect makeup and all this shit but at the same time, they have issues and they don’t
address [them] and everyone has shit that other people don’t know about. I go to hella therapy but I talk about going to therapy on Instagram. I’m very open that I’m fucked up and I need therapy. I think that’s something people need to see because it’s real life and Instagram isn’t real life anymore.” Authenticity is important to Noah Cyrus. For some people, authenticity is a hard thing to follow through on wholeheartedly but for Cyrus, it’s an uncontrollable force that must be expressed. It’s really easy for her to be her truest self, even when that means she’s less than Instagram perfect. None of what Noah Cyrus is preaching is new to her “brand.” The 18-year-old has been speaking out about her dislike of social media and its unrealistic standards and advocating for more candidness about human imperfections since the start of her career. Her journey musically has centered around the belief system of being honest. After years of discussing her much talked about debut album entitled NC-17, Cyrus seems to be just going with the f low and releasing collaborations and truly embracing the new structure of the music industry; one that is tied to streaming numbers instead of album sales. “All these kids can throw their shit out and leak their music and can do whatever they want and be who they want to be and it’s not really a problem.
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As long as you’re completely genuine, you’re never wrong.” On set, Cyrus is a bubbly force of nature; outlandish and a free spirit but still extremely candid and vulnerable. As she’s getting her hair and makeup done, she squeals at the weed-branded accessories presented for her to wear on the photo shoot while gushing over her then-future boyfriend and now-ex-boyfriend, Lil Xan. Then the next moment, when adding in eyedrops to make her cry on command, Cyrus remarks that we caught her on the one day that she didn’t feel like crying on her own. While that statement on its own (and out of context) feels like a melodramatic entry in yet another overemotional teen’s diary, coming from Cyrus, it feels like a brave statement. Because Cyrus isn’t just another sad girl; she’s just a girl. A girl who can be sad and happy and scared and excited and all around confused but overall conf ident in her insecurities because hey, that’s life. Even though Cyrus is paving her own way, she admits that her family name has been more of a burden than an advantage. “It actually makes [me] want to work 100x harder,” she explains. “You know how you’re running on a treadmill looking at a chocolate bar? My last name is my chocolate bar. I’m running every day trying to get away from the chocolate bar, trying not to eat it. People think I get to do something because I’m rich and famous or because my sister did it for me. That’s the opposite. You think people want to work
with fucking Miley Cyrus’ little sister if she sucks? No! I have to work really hard to [show] people that I write my own music, that I care about what I put out and that I have my own.” The more you talk to Cyrus, the more you can feel the anxiety and pressure that has been easily placed upon her because of the Cyrus family expectations. And while she recognizes the upsides to being in this business, it’s hard to turn a blind eye to the bad. “There is a dirty side to all of this. You have people talking about you constantly, about what you look like and what you should look like and all this shit. I want people to know that I don’t care. I’m just here to play music and sing my songs. I’m not here for clout. I’m not here for my last name. I don’t want that to make it easier for me.” As Cyrus starts pulling away from previous chapters of her life (and in some ways the chains surrounding her surname) and begins anew, she has fully embraced what could be considered her “dark” side. She’s about to embark on her f irst headline tour, appropriately called The Good Cry tour (named after her debut EP); something that she describes as her own personal dreamworld. “I feel like it’s going to be a giant therapy sesh,” she says about the tour and bonding with her fanbase, the again appropriately named Sad Cyrens. “We’re just going to dance and cry and sing. On Fridays, I want to do pajama day. Every Friday show, you have to come in your pajamas. We’re a fucking community. We’re a family.” And honestly, that’s the most genuine connection anyone can ever ask for.
Issue 08 Jan 2018
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TH E RADICAL | 49