No Tiny Mix Tapes,

There are pop stars whose stories are fake and easy to enjoy ironically or superficially like candy, the stuff we can just digest. We have little to lose by loving them, because their artificiality has nothing to do with us. Lana Del Rey implicates the listener in the impossibility of her authenticity and the conviction with which she holds onto abandoned Americana. We’d have to be out of touch for her out-of-touchness to resonate. We have guards in place to protect us from vapid pop stars who subscribe to heterosexist imagery and imperialistic consumer capitalism, but little patience for a pop star whose conceptual and sentimental fascination lies with an imaginary middle-class America that existed as a dream of the 50s, 60s (70s, 80s, 90s, 00s, 10s, 20s, 30s, 40s…).

Na Pitchfork, Lindsay Zoladz em uma nova Ordinary Machines,

When Del Rey does sing about striving to acquire power, it’s usually by fighting exploitation with more exploitation (“Hallelujah, I’m gonna take men for all that they’ve got,” she sings on the sumptuously menacing “Money Power Glory”). Ultraviolence is poised to be a huge hit, and I think part its appeal is how boldly it flies in the face of the previous generations’ values; songs like “Fucked My Way Up to the Top” seem tailor-made to troll the kind of parents who told their daughters that they could achieve anything the boys could through hard work and self-respect. And while there’s something dismaying about Ultraviolence’s vacant, defeatist worldview, it also taps into a genuine fatigue that a lot of young people—and girls in particular—have when it comes to “achievement.” Not that this is anything new; this fatigue is just a part of being young. After all, isn’t this the same thing that spoke to me about “Pictures of Success”?

As duas citações são fruto de leituras e interpretações exageradas e forçadas — a primeira, com um quê de pós-estruturalismo que força qualquer um que tem bom senso a discordar de algo assim.  A segunda é uma leitura histérica, típica de quem vê valor social em obra alguma. As duas representam o que há de errado em si mesmos, mesmo que venham de lugares e perspectivas dentro do pop.


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