Shakira and Miley Cyrus: The big reckoning with the exes

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How Shakira and Miley Cyrus settle up with their exes

Regret Nothing: Shakira and Miley Cyrus Regret Nothing: Shakira and Miley Cyrus

Regret Nothing: Shakira and Miley Cyrus

Quelle: Gareth Cattermole/Getty Images; Evan Agostini/picture alliance/dpa/Invision/AP

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Gone are the days of feeling sorry for yourself and mourning the loss of your ex. Now Shakira and Miley Cyrus herald a new way of dealing with the pain of separation: the declaration of love to yourself. What hidden messages lie dormant in it.

AApparently most couples separate at the turn of the year. Christmas, New Year’s Eve and the first weeks of January promise the ideal setting for cleaning out and clearing out. This also applies to art, which leaves dusty attitudes behind and a breath of fresh air.

Now, just a day apart, Shakira and Miley Cyrus have both released songs dealing with the failure of their marriages. Of self-pity, regret, remorse, longing, sadness, lovesickness and victim position – all in 2022 – not a trace. In Spanish battle rap, Shakira settles accounts with Gerard Piqué, the father of her two children, who cheated on her and left her for a 22-year-old. “A wolf like me is not for guys like you,” sings the 45-year-old in the million-clicked song “BZRP Music Sessions #53”. Even against Piqué’s newcomer, she leaves no poison arrow in her quiver: “I’m worth two 22s” and “You exchanged a Ferrari for a Twingo. You swapped a Rolex for a Casio.” (Whereupon Piqué announced a collaboration with watchmaker Casio: “Casio watches are great, they last a lifetime.”)

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Less in the mode of defamation, but similarly auto-erotic addressing the declaration of love to herself, Miley Cyrus dances through Frank Sinatra’s house two years after her divorce from Liam Hemsworth, in which the actor is said to have cheated on the 30-year-old with more than fourteen women. The fact that the single was released on Hemsworth’s 33rd birthday on January 13th should be another indication of who the plea for self-love is actually aimed at. Inverting Bruno Mars’ verses in “When I Was Your Man”, Cyrus explains, sporty in front of the pool, sexy in the shower and lolling exuberantly on villa tiles: “I can buy myself flowers/ Write my name in the sand/ Talk to myself for hours/ Say things you don’t understand/ I can take myself dancing/ And I can hold my own hand/ Yeah, I can love me better than you can.”

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Has a new sound entered the genre of the breakup song? In 2023, will women process their pain more confidently, angrily, happily? Does the nostalgic throwback in Cyrus’ three-year-old “Slide Away” become a present-focused self-affirmation? The self-sufficiency lyric, which celebrates the ideal of independence and denies the grief of loss, follows in the tradition of Taylor Swift’s “We are Never Ever Getting Back Together”, Ariana Grande’s “Thank U, Next” and Billie Eilish’s “Happier than Ever” . But one has never seen the end of a love crushed as directly, as unashamedly as in Shakira’s rap diss and Miley’s single dance. “No remorse, no regret”: No remorse, no regrets.

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Despite the confidently honest rejection of false forgiveness, which resonates with fans worldwide, both revenge songs are beset by a fundamental paradox – the paradox, if you will, of all revenge, and perhaps even the art and language itself. As long as there is still a we that is sung about, as long as the verses are still directed to a you that is sometimes more and sometimes less explicit, both women do not seem to be completely free of their inherited burdens, even years later. Just as it is said that there are no anti-war films, there are probably no anti-love songs either.

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