Stand Behind The Music

Now is a time when a number of our favorite artists from the last few years are about to release their sophomore efforts. With all this comes a great deal of nerves, aspiration, hope, fear, and the like. However, I find it a bit shameful when certain artists, whose debuts made such an impact on their niche audiences, renounce their first albums. In doing so, these singers cause fans to doubt the connection felt with music they believed to be relatable.

Who am I talking about? Paloma Faith and Marina Diamandis. As much as I admire these two women, and anticipate their follow-ups, I feel as though they've hung me out to dry. Both spent two years or so promoting debuts they claimed were personal statements, and we, as fans, believed them, because how can songs about the inner-most depths of depression (I Am Not A Robot, Numb) or our desperate need for companionship (Stone Cold Sober) be anything but? However, their recent claims that their works were not true representations have caused their audiences to question their faith in any songwriter's honesty. Is it even worth emotionally investing in anybody's music anymore?

Now, I understand if someone debuts as a squeaky clean pop star, and then, with the release of his/her second album, testifies to having no control over his/her previous output. For example, when Christina Aguilera released Stripped, she admitted feeling pigeon-holed as the perfect blonde, bubblegum POP star, and we, as fans, weren't surprised. It wasn't as if she ever postured as a genuine artist (aside from emphasizing her vocal prowess) from 1999 until 2000. If anything, the only shock we felt resulted from the fact that she actually conquered the driver's seat with her second album, unlike most of her peers at the time (Britney, N'Sync, Backstreet Boys, etc.). We had never heavily invested in her songs before the release of Stripped, because there was never anything overly personal within them. Christina had never claimed to pen the lyrics on her self-titled debut, so we didn't expect any Fiona Apple-like musical proclamations from that record.

However, Paloma and Marina were never packaged as such. When they came out, they both had distinct images that were artistically driven, and their sounds and lyrics were utterly unique. They were signed and advertised as artists who wrote their own material. Due to such marketing tactics, audiences looking for something a bit more personal than Rihanna's Take A Bow had something, and someone, to latch onto. It seems as though these two women are now rebelling without reason. Yes, maybe Paloma didn't have final approval over the production/mixes of her debut's tracks, but who would expect her to? The fact that her album, Do You Want the Truth or Something Beautiful, sounded at all cinematic, as per her request, should have been satisfying enough. A record company will not give new artists 100% autonomy - this is a business, after all, and people's livelihoods are on the line. Be grateful that, as a new signee, you had any degree of authority. Furthermore, don't renounce your music, particularly when your severely personal lyrics drew in a unique crowd of fans searching for something more than the readily available Cheryl Cole experience.

Marina seems even more desperate to erase her old self, claiming that her new (generic) love-lorn material is far more personal than her old songs on The Family Jewels. I don't believe this for a second. Tracks like The Outsider and Girls don't write themselves. They're clearly motivated by a sense of isolation and spite, respectively, and as such, are quite personal. This makes it all the more confusing as to why Marina is so aggressively battling her early material. It's as if she's trying to prove to herself that she's worthy of more than just an indie crown. However, in doing so, she's losing a fiercely loyal fan base that was drawn to the personal nature of her music. Very few artists (i.e. Fiona Apple, Bright Eyes) achieve this sort of intense devotion resulting from the creation of purely confessional music.

VV Brown has done it best. Sometime this summer, she will be releasing her second album, Lollipops and Politics. Earlier this year, we posted the album preview, and it sounds fantastic. Featuring a combination of instrumentals, synths, and social commentary, this album seems to be quite a bit better than her last record, Traveling Like The Light. However, VV says that she will always stand behind the indie-POP of her debut, stating that no matter where her life takes her/how her music evolves, that first album will always be a true representation of who she was. This is the mature way to grow as an artist, because it provides VV with the space to change while also honoring the fans who found (and continue to find) a sense of solace in the deeply personal sound and lyrics of her debut.

As Minna puts it, "to thine own self be true." It is possible to progress artistically without disowning one's prior work. Such renouncement is not only juvenile in the sense of "If I close my eyes and pretend not to see it, it doesn't exist," but it is also incredibly disrespectful to the fans who have been there from the start. I wholeheartedly believe that the minute an artist caters his/her work to his/her fans' preferences, s/he compromises his/her artistic integrity. However, recognizing and appreciating one's fan base does not require any compromise. It doesn't require any semblance of artistic stagnation; all it necessitates is the validation of material that holds immense sentimental value in fans' eyes, minds, and hearts. Music is so over-run with fakery. Therefore, why taint the truth simply as a means of getting ahead and/or breaking into the mainstream? Such is the act of a sell-out. 

Unapologetically,

Gregory

Marina Begins Electra Heart Era with New Single: "Primadonna"

Gregory: I love Primadonna's melody & production. It's perfectly POP. Marina is not yet at the level of a Katy or Ke$ha, so she gets the simplest tracks from Dr. Luke (because Katy and Ke$ha have the financial resources to outbid her for premier material). Fortunately, the simplicity works in Marina's favor. The song glitters and sparkles. The verses and chorus are so catchy! However, I agree with Minna in regard to the lyrics. Marina is a poetic genius, but here, her words are vapid reflections of her own ambition, lacking the tinge of societal analysis present on The Family Jewels. The song is quite like GaGa's Paparazzi, blurring the line between love for a lover and love of fame. I'm undecided about the vocals - Dr. Luke auto-tuned out her signature operatic quality. To be honest, I quite like it, but I hope this isn't the case throughout the whole album. Her upper-register possesses a warmth that I can't seem to find in any other singer. 

Minna:  Setting aside my dissatisfaction with what I perceive as changes in Marina's persona, I am incredibly proud of her for Primadonna.  The production is expensive. The chorus is memorable. And, most happily of all, Marina's "characters" are finally in high-definition.  My main complaint with this track, however, is that the lyrics are watered-down.  Coming from Marina Diamandis, this is rather surprising, as her poetry from The Family Jewels era is completely unparalleled.  I fear that working with hit-makers while crafting the Electra Heart album may have stunted her prose... still, it is too early to tell; moreover, what Primadonna may lack in lyricism is more than made up for with vocals, presence, performance & vision. I end my day feeling more prepared for the Electra Heart era than before.  While, personally, I may have preferred a sophomore album featuring feminism & scathing social commentary, I will have to let that go. My personal tastes are not the public's.

Simply stated, Primadonna is the perfect first single. If all Marina wanted was the world, she is getting there. 

Unapologetically,

Gregory & Minna

And the Diamonds Have Spoken - A Group Review of "Homewrecker," PT 2

Today was a very big day for Marina and the Diamonds (how are we spelling this now? "and" or "&?").  But before we get dizzy from playing & replaying Primadonna, let's take a second to finish our final review of another track off of Electra Heart, Homewrecker.  This time, like the last, we are letting the Diamonds do the talking.

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Sam @SaminLillytown

 "Marina's voice is sidelined, the lyrics are decent but not up to the poetic brilliance we are used to...in light of what Marina's capable of I can't help but want more."

I don't dislike Homewrecker just as I don't dislike any of Marina's work to this date. Only, when it's compared to other recent tracks it comes out lacking something. I think it's a little soulless compared to the instantly-relatable Starring Role and Living Dead, the brutally honest Fear & Loathing and the drama of Radioactive. Marina's voice is sidelined, the lyrics are decent but not up to the poetic brilliance we are used to being treated with, and all that's really left is a stomping beat. I love a stomping beat and Homewrecker is undeniably catchy and a real grower, but in light of what Marina's capable of I can't help but want more. Let me put it this way, if I had never heard of Marina before and I listened to this song, I would be impressed. However, because I know the stunning brilliance of Marina's past work and know she is way beyond impressive, I'm disappointed. Nevertheless, all the other songs I've heard from Electra Heart are just as good, if not better, than the best of The Family Jewels, so I remain positive.

Jack @JackKenny

"Homewrecker, in essence, is the perfect POP song."

It’s always a bit more magical when the first time you hear a song is live in concert. I felt this magic back in November 2009 when Marina Diamandis excitedly purred ‘this is a new song… it’s called Hollywood (my shaky camera-phone recording perfectly captures my genuine, audible awe at hearing ‘Actually, my name’s Marina’ for the first time). So when Ms. Diamandis decided to give out a track from the forthcoming Electra Heart album, I decided to wait a few days to hear it live at the O2 Shepherd’s Bush. Surrounded by dozens of die-hard Diamonds, whom I had met for the first time earlier that day but had been in regular Twitter contact with thanks to our mutual Marina appreciation, there was an almost tangible air of apprehension and anticipation, emanating from Marina herself, as she introduced Homewrecker… I was shocked, in a very good way. Homewrecker, in essence, is the perfect POP song: the Britney-esque sing-speak verses; the incredibly catchy chorus; the flawless vocals; all thrown together with some wonderfully cynical, yet terribly clever, words on love. Yes, gone is the Marina who once defied to ‘never write a song about love’, but this is not a love song, it’s an anti-love song. Marina tears up the idealistic image of love and shoves it back in our face to show us how vacuous and lonely our constant pursuit of love often is. It’s disheartening to see Diamonds misread Marina’s apparent irony in ‘Deception and perfection are wonderful traits/One will breed love, the other, hate’. Just like the ‘only after success’ persona of Oh No!, Marina voices a similarly ruthless, determined character who doesn’t care who gets hurt in the process. She’s not talking about herself; she’s making a daring social commentary. It is, quite frankly, refreshing. 

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We have a lot more coming up about Marina (we're a little behind as we're on America-time), so be sure to make it back to Unapologetically POP this weekend for your fix.

Unapologetically,

Minna

The Diamonds Have Spoken - A Group Review of "Homewrecker"

Hello POP-lovers!

As you know, Gregory & I are long-time fans of Marina & the Diamonds.  Although we have reviewed her work on many occasions (read our latest here), what we are most interested in is creating a discussion - this blog is as much for you as it is for us.  Last week we asked a few of our readers to submit their thoughts on Marina's latest track, Homewrecker.  Here is part one of our very exciting group review:

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Simon (@SparkSparkSpark):

"It feels to me that she is telling a story, not necessarily her own - as is the concept of Electra Heart."

When I first heard Homewrecker I was taken aback. At first play the pre-chorus sounded magnificent. A few plays after that, the chorus was stuck in my head. Now, after playing it an obscene amount of times, I'm not a victim to the hooks, I can see the track a little clearer, and I am actually very impressed. Getting the negative out the way; I have to argue that the chorus ends up being a bit of a non-event. It isn't anything special for me. It's fun to sing along to but it grew old quickly and though it's not offensive, it could have offered a little more. But for me, the star of this show is the spoken verses. Her voice sounds innocent and the lyrics are simple, but effective. It feels to me that she is telling a story, not necessarily her own - as is the concept of Electra Heart. I am hoping, though, that with the remainder of Electra Heart we will see a more of the smart quirk in the lyrics that we have come to expect of Marina.

Antoinette (@AntoinetteKings):

"What is already absent is the Marina that screamed independence and intelligence; who philosophized with her Diamonds (yes, actually conversed with them)."

The initial reaction of horror, distaste and a grand loss of hope remain when having to replay this track (in the faux-optimism that I may just fall in love with it). Consider me dramatic, but I believe the façade of Electra Heart lies in the critical loss of Marina’s prior style – the panache that had her out-stand amongst the others as an artist of the utmost creation.  I understand that any artist must enter an evolutionary phase in their career to keep their creations fresh and to bring about the anew; however, no other phase of artistic evolution has had me whispering my “Resquiecat in Pace’s” more quickly. Homewrecker as a taster song from the upcoming Electra Heart has only left my heart with a sinking feeling.  It follows the style of ‘talk-sing’ beginning with, "every boyfriend is the one until otherwise proven" – what ever happened to keeping both feet on the ground? What is already absent is the Marina that screamed independence and intelligence; who philosophized with her Diamonds (yes, actually conversed with them). As for the chorus - “I’m a homewrecker; I break a million hearts just for fun” – if this is not the song about Theo Hutchcraft (her loved and lost) that we have all been waiting for, then I do not know what is. Conclusively, Homewrecker does not hold a torch to the comparatives of Radioactive and Fear and Loathing. Those two songs hold an aspect that Homewrecker does not: Marina Diamandis.

Kevin (@RootlessDiamond)

"Although some fans may find it fake and forced, I truly believe that [Homewrecker] is Marina opening up."

The archetype in Homewrecker is an interesting one. Marina was never one to sing about love during the Family Jewels era, but Homewrecker beckons the thought that Marina must have a love life...  The track to me is honest, playful, and catchy. Although some fans may find it fake and forced, I truly believe that this is Marina opening up. Marina has always wanted to do 'POP' but never had the right tools: this track is a great example of what can come from having an experienced producer to work with.  A lot of people have labeled the song as an "album track," but everyone I have shared the track with have fallen in love with it, like me.  Homewrecker does justice to Marina's lyrical talents and is a taster of what is shaping up to be a brilliant POP album.
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Marina & The Diamonds - Homewrecker by Marina and The Diamonds

Do you have any thoughts on Homewrecker? Please feel free to leave your comments below & be sure to come back in a few days for a second installation of our group review.  As always, thanks for reading.

Unapologetically,

Minna

Marina Reviewed: Countess "Homewrecker"

Minna: I am happy to report that Homewrecker is available for free download, bespeaking good faith in the diamond fanbase. Along with the perfectly pitched verse "I don't belong to anyone," this is all that pleases me about the song. Homewrecker finds Marina embracing the "sing-talk" method popularized by artists like Ke$ha ("wake up in the morning feeling like P. Diddy") & Lana Del Rey ("um, do you think you'll buy me lots of diamonds?") However, for a woman of great insight, throwing out platitudinous statements like "deception & perfection are wonderful traits" just makes her sound melodramatic. The high-brow, bouncy production is danceable & radio-friendly, but on Marina it sounds insincere.

She doesn't need to wear the same outfit to the POP prom, no matter if it's totally in-style at the moment. Marina is best dressed in what fits her best.. & what accentuates her unique style.

Gregory: Please don't hate me, Diamonds, but the first thing I thought of when I heard Homewrecker by Marina & the Diamonds was the humorously cheesy Chic C'est La Vie by Countess Luann from the Real Housewives of New York. Marina employs the same spoken-word phrasing the Countess thought was classy, but was actually trashy - "boys and their toys and their six inch rockets." GaGa already gave us the disco-stick, girl.

You could do so much better, Marina. You're immensely talented, intelligent, and analytical. Also, your voice sounds a bit rusty and slightly off-pitch, so please smoke fewer ciggies. Your glorious, operatic chops are to be treasured and pampered.

Unapologetically,

Gregory & Minna

Marina and the Diamonds: Homewrecker

JFF - Antoinette + the Kings Men, Demo

Photograph by Olivié Pacman

Antoinette + the Kings Men is a musical and artistic project by a talented, exploratory woman from the British Isles. Antoinette, a character who personifies "the madness within each and every one of us," pens experimental POP that makes you weep. Her demos unfold in chronological order, developing a very personal, relatable, & modern fable.

This music is extraordinarily original. The only comparison that comes to mind is Natalie Merchant's equally confessional 1995 Tigerlily album. But one of the most important differences between Antoinette & other established POP acts is the fact that the Kings Men are a true community. They are in constant communication, creating fan art and promotional videos, & supporting one another through social media. Each and every fan is as unique as the artist herself.

For more of Antoinette's music, check out her Soundcloud for demos as candid and unconventional as the early work of Marina and the Diamonds. Our favorite is the mellow & melodic Miaow Or Never. Listen below:

Miaow Or Never (demo) by AntoinetteAndTheKingsMen

Stay tuned for more music & visual art coming out of this exciting experimental POP project. For more information & to join the Kings Men community, check out the Antoinette + The Kings Men Facebook page.

Unapologetically,

Minna

Music to Inspire a Generation

Every few years, I crave an album that speaks to LIFE. So many songs are about love, and a number of them are fantastic. However, life is so much more than love. As someone who doesn’t have much experience in the relationship department, it’s nice to hear songs that broach other topics I can actually relate to. That’s why albums by artists like Lily Allen and Marina & the Diamonds have meant so much to me. They speak to the disillusionment and frustration among our generation. These artists address not just love, but sex (directly – not in some flirty, moochy moochy way). They sing about politics, depression, ambition, and family dynamics. Their music is as multifaceted as the people who listen to it, which is why these artists have fervently loyal fan bases.

Fortunately, such an album is coming our way. VV Brown’s new record, Lollipops and Politics, is to be released in the States on February 7 and throughout the rest of the world soon thereafter. The title perfectly encapsulates Vanessa’s (VV’s real name) approach. She aimed to make an album that inspired the youth, but did not want to come off as preachy. If you listen to the album preview, posted below, it seems that she’s achieved her goal. It’s full of yummy sounds, from rocky guitars to moody synths, laid over a keyboard foundation, which provides the record with a pure songwriter-esque feel. It’s sonically balanced, with the right ratio of energy to slowness and sadness.

I can’t wait to hear the record in full. Enjoy the sneak peak below and let us know what you think!

Unapologetically,

Gregory

All Eyes on 2012 - Part 2

2012 POP albums that have us quivering with
Antici-p-p-Pation

16. Janelle Monáe -Untitled
According to Janelle, her 2012 work (which may be 2 whole albums) will be marked by songs that "empower, encourage & make you dance" - so cheers to that! Janelle is a creative. We never really knew what to make of her first record, The Archandroid. On some days, it suits us perfectly, while on others, it comes off as a tad holier-than-thou. Regardless, girl's got some chutzpah trying something different. One thing is for sure, though - if Janelle hopes to be the icon she dreams of becoming, she needs a hit, so here's hoping she can streamline her imagination for at least a few the tracks. If her music is more palatable, her talent will be more appreciated! We're not asking you to water anything down, Miss Monáe; just give us some POP beats! Social empowerment/encouragement is most potent when dowsed in sugar. Just as Ms. Jackson If You're Nasty! ("SING IT! We are a part of a Rhythm Nation." BOOM BOOM!)

15. Rye Rye - Go! Pop! Bang!

From Bangladesh and Pharrell to Akon and Robyn, it seems like Rye Rye has been working with everyone these past few years. Hopefully her first full album will give us some up-tempo tracks for the gym & the club.

14. Rufus Wainright - Out of the Game
For his seventh studio album Rufus is apparently working with Mark Ronson (*swoon*). According to this Rolling Stone article, Out of the Game is going to be Rufus's "poppiest" album yet, with songs for "driving around in your car... or losing your mind to on a dance floor." Ooo boy, this should be a good one.

13. Scissor Sisters - Untitled
After releasing their high-quality comeback single Shady Love (featuring vocals from Azealia Banks), tenured POP performers Scissor Sisters have us pretty darn interested in their fourth album. We're also excited to see how it fares in the USA and on the UK charts. Will Scissor Sisters ever score some time on the American airwaves? Only time will tell...
Shady Love (Clean) by Scissor Sisters

12. La Roux - Untitled
Little information has been released concerning synthPOP act La Roux's second album; we do know that listeners can expect to hear the influences of Italo-disco, Donna Summer, & Grace Jones. Elly Jackson told Out Magazine that she wants a "classy, sexy" sound for the new album, "the way sexy was before it got made dirty." Oh, La Roux, we've missed you!

11. Nicki Minaj: Pink Friday: Roman Reloaded

Barbies rejoice: Nicki & the ferocious Roman Zolanski are baaaaack! According to Nicki we can expect the release of Roman Reloaded's album artwork and track-listing this month. It's safe to say that the album's release day will be a semi-official holiday in ATL (Minna will report).

10. Fun. - Some Nights
Minna cannot get enough of this band! There's a lot to be excited about here; Some Nights, fun.'s second studio album, is produced by Jeff Bhasker, who has worked with Beyonce, Kanye West, Alicia Keys & Natalia Kills. By teaming up with Bhasker the guys from fun. will surely deliver an amazing indie POP album, reminding us all that you don't have to be an electronic, female solo act to make massive POP tunes.

fun.: We Are Young ft. Janelle Monáe by Fueled By Ramen

9. Adam Lambert - Trespassing
We've said it before & we'll say it again: Adam deserves far more time on the radio than he receives. Happily, Better Than I Know Myself received high praise as a super-emotional, yet danceable lead single. On top of working with big names like Claude Kelly, Dr. Luke and Benny Blanco, Adam has also collaborated with under-appreciated POP artists like Sam Sparro and Nikka Costa. Glam rock will never die, & Trespassing is shaping up to be a spectacular POP album.

8. Diana Vickers - Untitled
We didn't listen to Diana's first album, but that's not important. All that matters is the following 6 words: Music To Make The Boys Cry. We want the rest of the album NOW! (But take your time Diana, we support you!)

7. Lana Del Rey - Born To Die
You've probably never heard of her, but we put Lana on our list because, hey, wouldn't we be impeached by the Music Bloggers' Association if we didn't? (In all seriousness, Born To Die will make a major splash in 2012 - we're hoping it produces some more beautiful baroque POP anthems. We've always defended Lana)

6. Ladyhawke - Anxiety

Minna is a huuuuge fan of Ladyhawke & is more or less counting down the days until the release of her second album, Anxiety, in March. Pip Brown recorded the album with the amazing Pascal Gabriel last year & is apparently very excited to "get back in the game." We can't wait to hear Black, White, and Blue on the radio. Get it, girl!

5. Little Boots - Untitled
This chick is so underrated. She's taken her time with her second album and experienced a great deal of anxiety, as evidenced by her blog, but we're happy she took a well-deserved break in between records. It gave her the energy to come up with one of her most positively received singles, Shake. We have no doubt that this classically trained diva will keep us dancing all night with the rest of her album!

4. Regina Spektor - What We Saw From The Cheap Seats
This album title is so cute. It's kind of reminiscent of Lily's second album title, It's Not Me, It's You, but without the F.U. factor. Regina's said that she worked with Mike Elizondo, who also produced some tracks on her last record, Far, as well as having worked with Maroon 5, Snoop Dogg, and Fiona Apple. Ayayayayay! We can always count on Regina for some solid piano POP.

3. Ellie Goulding - Untitled
Interestingly, while her POP-contemporary Marina is going for "sonic=electronic" on Electra Heart, Ellie plans to strip down the production process for her next record. In the past, she stated that she wanted to find an unknown Swedish producer to work with - & we guess she has if the album is due out this year! Clearly, Ellie wants a creative partner who is eager and ego-less. Seeing as her debut, Lights, was POP and electronic, yet completely unlike any electro-POP out there, we're excited to see where her creativity will take her this time!

2. Madonna - M.D.N.A.
M.D.N.A. could equal - 1) Madonna 2) Madonna D.N.A. - Is Madonna's D.N.A. the best? She certainly thinks so. Clearly, she's a Darwinist. or 3) M.D.M.A. (the purest form of ecstasy), but replace the third "M" with "N" - how clever...Honestly? The album title sounds like Madonna is trying to be edgy and youthful, and we wish she would stop, because being younger isn't necessarily cooler. Just be yourself, Madonna! With that said, we're super excited for M.D.N.A. She's worked with William Orbit from her Ray of Light and Music days (those albums were fantastic!) and Martin Solveig, who produced Hello featuring Dragonette. We love that Madonna is still working with producers like Solveig who are on the cusp. She always does her best when she's setting the trends, rather than making them (although we did love the Hard Candy album.)

and our #1 most anticipated album is:

1. Marina & the Diamonds - Electra Heart

By now hopefully y'all know that Marina Diamandis is our muse. And yes, we feel a disconnect between Marina & her Diamonds, but both of us here at Unapologetically POP support Marina & her artwork wholeheartedly. Sonically electronic, lyrically innovative, & inspired by Greek mythology & Hollywood fantasy, Electra Heart is easily our most anticipated album of 2012. (Look Marina: WE RATED YOU HIGHER THAN MADONNA! )

Bring it on, 2012!


Unapologetically,


Gregory & Minna


PS - Did we miss anyone? Feel free to leave a comment below.

A Tale of Two Diamonds

Dear Marina,

Marina on her first American tour -
we loved her use of Beyoncé's diva hair fan

We are true Diamonds. We have followed your artistic journey since the very beginning, admiring you both as an artist and as a person. Minna read your first blog before it was deleted & scrambled to buy the Crown Jewels EP the day it was released. We vividly remember seeing you at Boston’s Paradise Rock Club on your first American tour. Minna drove EIGHT hours that night just to see you, and we doubt she was the only one. How many artists have fans like that? It was a performance to remember; we loved your glow-in-the-dark lipstain and pointy-shouldered Hannah Marshall velvet gown. What we appreciated most, though, were your heart-felt words in between the sets. When we screamed, you said, “And they wonder why I love American crowds.” You stated that you knew “real diamonds [were] in the audience [that night].” We will never forget when you confided in us: “I don’t typically say this, but you guys are a special bunch. Whether you’ve followed me from the beginning or just heard of me yesterday, I want to tell you that you should chase after your dreams and do what you love, as long as you’re not hurting anyone in the process. Life is too short to be unhappy. You don’t know how many people said, ‘Marina, you’ll never make it! No one will ever love you!’” Marina, those words resonated with us. We will forever carry them in our memories and consciousness.

Marina at a Dolce & Gabbana party
 celebrating Naomi Campbell's
25 years in the fashion industry

However, we feel that your special relationship with your fans is going awry. The closeness and connection evident in your words that night seem to be dripping away. As truly devoted Diamonds, this pains us greatly. In this recent webcam chat, you said you’d do anything for your fans. You’d even die for them! Yet, when a fan asked if s/he could attend your birthday party, you responded with something like, “Well, I don’t know you, so no.” Marina, what happened to doing anything for your fans? Where did that special, intimate connection go? Of course, you can’t invite everyone to your birthday, and you may have feared that thousands of fans would ask to attend, but you could have said, “the first five fans to ask for an invite get to come.” That’s how you give back to those who support you.

Your twitter has become a way for you to network with your famous friends in London and Los Angeles, as opposed to a tool through which to communicate with your fans (as it used to be). It seems as though you are more enamored with the POP star lifestyle and your glitzy pals than with your true Diamonds, who aren’t chauffeured in Mercedes and don’t get free clothes from Vivienne Westwood. You’ve always said that your stage name, Marina & the Diamonds, represented a community - yet, as you’ve shot up the POP star ladder, you’ve forgotten about those who helped get you there. You live a glamorous life, and that’s fantastic! We've always hoped for your success! But why don’t you allow the fans who helped bring it to you participate along with you? You began as a woman who detested the elitism of the music and fashion industries, yet now, you’re enabling and enforcing the hierarchy by partaking in it. Why don’t you act more democratically by sharing the trappings with your fans?

Marina (on the far right) at London fashion week

We don’t mind that you’ve died your hair blonde (you look fantastic and the character of Electra Heart fascinates us!) We’re not bothered by your contract with Max Factor. In fact, your glamor and aesthetic is part of what drew us to you and your art.  We don’t care that you’ve changed your mind about many issues; before, you spoke against certain artists using sexuality to sell records, and you talked of never performing on X Factor because they supposedly dumbed down the show for viewers. Now, you’re friends with those aforementioned artists, saying that sexually forward female POP stars are empowering, and we agree (to a degree). You now claim that you’d love to perform on X Factor, and that’s fine. Really, that’s great! We'd love to see you on the show! As people live, they learn, and they change their minds. We do it all the time! You’re not a hypocrite. You’re simply growing up. Altering your opinions is only human.

Marina looking luminous in
one of our favorite Max Factor ads

We don’t care that you’re going more POP on your second record – we’re counting down the days until its release. We think it’s great that you’re working with people like Dr. Luke and Stargate. We adore Dr. Luke and can’t wait to hear what you two have come up with. Radioactive is fantastic. A true artist changes with time, and it’s understandable that you wouldn’t want to make The Family Jewels again – that would be artistically stagnant, not progressive.  However, there’s a difference between working with a hit-maker because you love his music and working with a hit-maker because you want to be famous. You admire Madonna, and we do, too. However, while Madonna may be an iconic POP artist, she is a vile and unappreciative human being. Madonna may have more fans than you numerically, but her attitude is the reason why most of them are fans-LITE. Marina, what you don’t understand is that to your devoted fans, you are already FAR more iconic than Madonna will EVER be to hers! What you have is a human touch. This is the rarest, most invaluable gem that a POP star can possess - worth more than any sum of money, any arena stage, and any amount of fame.

As we feel the gap between Marina and her Diamonds growing... all we want to say is this: "Please don’t forget about us, Marina."

Unapologetically,

Gregory & Minna

Minna's motivational wall when she taught English abroad.

Musical Fashion Icon – Gwen Stefani

Holler!

Gwen Stefani’s influence on POP showWOMANship is underrated. She West-Coastified Madonna’s looks and sprinkled in some fairy dust, creating an image that was simultaneously sexy, cute, and cartoonish. She’s mixed sporty pieces, like cargo pants and sneakers, with more formal touches, like retrofied hair. Some might say that Gwen simply copied Madonna, but those people must realize that every fashion icon has been inspired by her/his glamcestors; Nicki Minaj borrows from Lady GaGa and Lil Kim, who have both been inspired by Madonna, Grace Jones, Annie Lennox, etc.  Madonna looked to David Bowie and Marilyn Monroe for inspiration, and Marilyn grew up admiring pictures of her idol, Jean Harlow.  I could go back even farther, unfolding Harlow’s inspirations.  There has been no evidence of carbon copying.  Every old touch has been accompanied by something fresh.  You might see the cone bra designed by Jean-Paul Gaultier and worn by Madonna on somebody else, but with modern modifications, including guns (Lady GaGa) or whipped cream cans (Katy Perry) tied to the bosom.  Everything is derived from something that came before, but with a bit of a modern twist; it’s an evolution, not a revolution.  Society takes steps forward, while keeping the past in the back of its brain.

Over the past few years, recent POP stars have taken inspiration from Princess Gwen, and it’s coming to a peak.  When Katy Perry launched onto the scene (a few months before anyone had heard of GaGa), many thought of her as a freshened up Madonna, playing with sexuality using 1940s hair and red lipstick.  What they didn't realize was that Gwen, not Madonna, was actually at the center of Katy’s image.  Ms. Perry has idolized the No Doubt front woman for years, loving her from the Don’t Speak days.  Katy has openly stated her admiration for Ms. Stefani’s combination of toughness and old-world glam.  Moreover, Katy even said that when she first arrived in Los Angeles, she met two POP stars, one of which was Gwen.  While the other (who went unnamed) was horribly rude, Gwen was especially kind and warm-hearted to Katy, who was, at that point, a struggling singer.

Even today, while promoting her perfume, Katy talks about how she looked to Gwen’s Harajuku Lovers’ bottle and overall product-line as a guide for her own.  (Note: the one thing that bothers me about Gwen is how she commodified harajuku girls for her solo music, stage show, and products. I find this to be cultural objectification, no matter how cute and pretty it is, and it’s really cute and pretty.)  When Katy first appeared in full-form, ready to sing I Kissed A Girl, she sported a style quite like Gwen’s in the late ’80 & early ‘90s, before No Doubt was signed to Interscope.  One of Ms. Perry’s 2008 outfits is reminiscent of one worn by Gwen when No Doubt performed at The Roxy in Los Angeles in 1989.  Gwen sported a tank top (which was to become one of her signature pieces) with a bright pink belt, poofy see-through skirt covering leggings decorated with red hearts and polka dots, knee-high socks with orange bows, and a bow in her hair. In the picture, Gwen can be seen with the red lips that nowadays, she’s rarely without.  Katy also has red lips and a bow in her hair, accompanied by a dress with a poofy skirt covered in grey and red sparkly polka dots. Notice that Katy’s hair has the retro curls that became a Stefani classic in the mid-90s through the noughties (my favorite decade name).  

Later, while shooting her California Gurls video, Katy infused the cotton candy Alice in Wonderland vibe previously used by Gwen in her What You Waiting For? video.  Recently, Katy’s been sporting some GORGEOUS pink locks. Who was the first to do that? Oh yeah, Gwen, circa 1999/2000. When I look at the beautiful photo of Katy with pink hair (shown below), I get the feeling she’s pretending to be her favorite superstar as she stares off into the distance.

While promoting their most recent albums, Katy and her best POP gal pal, Rihanna, both wore colorful latex dresses, originally donned by Gwen in the mid-90s. If you look below, you'll notice Gwen’s is a tad looser, but shines brightly in an eye-POPping red. In the S&M video, Rihanna’s is pink with a bright orange bow, a standard Stefani accessory.  Katy accompanies her latex with with a colorful rainbow ring and bracelet, which is quite like the one worn by Gwen.

I love that Gwen's image is totally playful. So many artists, including Bowie, Madonna, and GaGa, have attached a sort of symbolism to their aesthetics, which I think is fantastic, powerful, and super effective, but it’s also nice to see someone playing with image just because it’s FUN!  Gwen tries out different styles without hinting at some deeper meaning. This mindset is finally returning to POP.  Last week, Ryan Seacrest interviewed Rihanna, asking the POP Princess what her look is for the upcoming album, Talk That Talk. RiRi responded by saying that, for the first time, she isn’t making a look the central part of her record.  This time, she’s stripping it all back, letting the music speak for itself.  That's not to say that Rihanna hasn’t been exhibiting some fabulous fashion lately, but if you look closely, you’ll notice that it's so evocative of Gwen because there’s no rhyme or reason to it.  It's not meant to represent A Good Girl Gone Bad, a vulnerable woman scorned who’s taking things to a Rated R level, or a party gal ready to get LOUD with her bright red hair.  I adored all of those looks, but I like this one best because Rihanna’s simply having fun with it, throwing caution to the wind and trying on anything and everything that suits her whimsy, something Gwen has become famous for.

In the We Found Love video (one of RiRi’s BEST), the Bajan beauty wears a denim bra-like top and poofy skirt, along with platform sneakers and garters. The whole ensemble reminds me of Gwen’s outfit at the 1998 VMAs, where she wore a blue bra-esque top and a poofy velvet-like skirt over shiny pants with platform flip-flops. Gwen’s influence may not be noticed immediately when viewing Rihanna’s look, but it is definitely there, in the shape of the skirt, the red lips, the casual (but actually took-hours-to-do) hairstyle, the bracelets, and the overall combination of materials, textures, and colors. I don’t love Gwen’s outfit as much as RiRi’s (from the Jeremy Scott Spring/Summer 2012 collection), but I can’t help but admire how experimental and ahead of her time Gwen was.  The creative designers who dress POP's reigning Princesses reference Gwen quite a bit, including Jeremy Scott, Henry Holland, Jean Charles de Castelbajac, and Ashish, among others.

Even the indie gals are stylistically inspired by Gwen (which actually makes sense, considering No Doubt wasn’t a record label concoction, but rather a band that pulled itself up by its bootstraps, touring California in order to develop a following and make a name for itself)!  Similarly, a record label never concocted Gwen’s style.  On the contrary, it was, and continues to be, an entirely organic creation.  Therefore, it’s only logical that females in music who are in control of their own images find themselves following in Gwen’s fashionable footsteps.  I’ve already mentioned how much Rihanna’s new style choices are reminiscent of Gwen.  This is once again evident in her upcoming album's back sleeve pic.  Rihanna dons red lips, loopy curls, a red and white striped bra top, and a black and white striped skirt with black leather Doc Marten boots - she looks like Where's Waldo Gone Vixen, which can only be a good thing. Rihanna's getup reminds me of an outfit worn by Gwen in 1989 featuring a black and white striped bra top, cartoon-like print skirt, red lips and shiny red nails. Indie soul queen, Florence Welch, was photographed at a music festival wearing a short black and white print tank covering a dress with a black skirt featuring white stripes.  Florence’s outfit definitely possesses that same laid-back feel of Gwen’s 21 years prior.

Marina Diamandis of Marina and the Diamonds has an obsession with Americana, evident in her Hollywood video, but Gwen hasn’t been shy with her patriotism, either, wearing an American flag shirt on the cover of Nylon Magazine and a mini-white tank with blue and red stripes in No Doubt’s Just a Girl video.  Marina has confessed to seeing herself as a modern-day version of '90s Gwen Stefani, using multiple elements, some more sporty and others more carefree and fun, when putting together her many eclectic looks.  She loves utilizing an array of cartoonish visuals, including flee-market varsity jackets and mickey-mouse prints, and combining them with classic components, like Mad Men hair and red lips.  Sounds like a synthesis of Stefani proportions to me!

While I’ve never been a huge No Doubt fan, and have only liked a select few songs from Gwen’s solo albums, I've always admired her for the glamazon that she is. I remember eating lunch with my sister and my friend, Stacey, at Balthazar in Soho one day. Gwen Stefani walked right by our table on her way to the bathroom. I never thought I was the starstruck type, but let me tell you, I was flabbergasted.  I screamed, “OH MY GOD, LOOK, IT’S GWEN STEFANI,” while flapping my wrists so vigorously that Stacey thought I was about to fly away.  Do I care that I looked like a complete dork?  Just a little, but let me tell you, Gwen was totally gorgeous.  She was a bit more casual, out to lunch with her hubby, sons, and their babysitter, but she still looked amazing.  Her platinum blonde hair was tied into a pretty little pony tail.  Her lips were the perfect shade of crimson and she was wearing leather sandals, a white tank, and a black leather jacket, all topped by a hat that perfectly matched her army green cargo pants.  Here’s a picture of her leaving the restaurant that very day, flawless, as always.  Did I mention that I saw four paparazzi sitting outside on the bench waiting for her to leave?  It was quite an exciting day.  While looking for a tabloid shot when I came home, I read that Gwen and one of her sons had gone to the nail salon that same day, where she let him get his nails done.  He's just as fabulously fashionable as his mommy.  She seems like the coolest, most progressive, open-minded and loving parent (and rock star, obvi).

Go Gwen! You are our fashion icon!

Unapologetically,

Gregory

The Hidden Gems of Marina & the Diamonds

We. Love. Marina.  Marina Diamandis is a POP star unlike any other.  She uses glorious visuals, including fantastic shoulder padded designs by talents like Hannah Marshall and Ashish, glow-in-the-dark pink and orange lip stains, lollipop hearts that light up, and felt hamburgers! She can take POP methods, twist them, contort them, flavor them with personality & emerge with a musical style that is completely her own. She has an honesty quite like Lily Allen, which is not very common in POP, and she muses on a multitude of issues in addition to love, including ambition, depression, and feminism. In anticipation of Electra Heart we compiled a list of our favorite, lesser-known tracks by Marina and the Diamonds in the hope that they can hold us over until the big release day!  


Let us begin with Minna's Unlocked Hidden Gems: 

1. This is L.A.– Released in 2007 off of her first EP, Mermaid and Sailor, This is L.A. is very rock n’ roll - more rock n' roll than we are used to from modern Marina ( I nearly envision her jumping onstage with a mullet & flannel shirt, rocking a grungy guitar solo to Smells Like Teen Spirit gone glam!]  A rock-pop prelude to her electropop ballad Hollywood, This is L.A. finds Marina trapped in a world of false values: “Come, come flash your clean, clean cash / gleaming on the outside but your teaming with decay / please don't make me stay, don't make me stay,” she begs.  Marina is consistent.  Even in the formative years of her career she was inspired by America, pop culture, vapidity, and superficiality.  This is L.A. is less polished than her later work, but it demonstrates Marina’s versatility, raw talent, and her genius at story-telling. 

2. Jealousy  - Marina is so damn good at expressing the universal emotions that overtake us, whether they are insecurity, greed, or, in this case, Jealousy.  "I never say a word / unless I come off needy," Marina confesses, "what's this taking over me? Jealousy / Bubbling inside of me? It's jealousy."  We’ve all been there.  Jealousy irrationally bubbles up from deep down inside of us, releasing our demons which, for a moment, overtake us and become us.  Marina's powerful vocals, chantable chorus and insightful, emotive lyrics make Jealousy a song of POP-perfection.

3. Hermit the Frog - Obsessions is probably Marina’s most famous keyboard ballad, but Hermit the Frog does NOT lag behind in its POP quality.  Although the lyrics are rather ambiguous, the subject matter is definitely inspired by Marina's fascination with loners.  "My heart just burst like a glass balloon / We let them fly too high and they shatter too soon / I was the wrong damn girl in the wrong damn room / I broke my glass balloon," she gently coos.  When once asked why she felt she could write music, Marina responded that she had always been a confident poet.  It shows.  The grace of Marina's songwriting is a gift.  Every song is as unique as a fingerprint, and Hermit the Frog is a perfect example.

Gregory's Unlocked Hidden Gems:

4. Sinful - This is one of Marina's first collaborations with French producer Pascal Gabriel, who worked with her on Shampain, a song that made it onto her previous album, The Family Jewels. Marina's second record, Electra Heart, is rumored to be far more electronic, but she dipped her feet into the synthesized pond with Pascal the last time around. This track is not on her debut, but it definitely has the same shimmer possessed by all of her others. It's energetic and sparkly, yet has an underlying sadness to it, particularly when she sings, "I lost my spine inside the center of a star / And every day I wonder where the bad bones are / You die an ugly day if you hit and miss, I know my own grand daddy worked so hard for this." As Minna stated earlier in reference to Hermit the Frog, it's sometimes difficult to know what the indie princess alludes to, but regardless, her emotion is evident in her tragic nursery rhyme-like lyrics.


5. Living Dead - Marina has said that this track will be on Electra Heart. Someone (presumably her or an exec from her label) has leaked it to help build hype, get feedback, etc. In it, she makes reference to the same black balloon mentioned in Hermit the Frog. This song is exactly the kind of music Marina said she would make. It's more electronic than her previous material, but her sound, composed of insightful lyrics and creative melodies, is still very much the same if you scrape away the beautiful production and beats. Furthermore, the electronic element doesn't take away from her strong, emotive voice. It only adds to it, creating a sparkly sound filled with dark hues of green, purple, blue, and black, thereby enhancing the sense of numbness she sings about.


The following two songs may be on Electra Heart, although no confirmation has been provided: 

6. Sex, Yeah - Here, Marina expresses her feminist sensibility, singing "If women were religiously / recognized sexually / we wouldn't have to feel the need / to show our a$$es to feel free." Take that, society! Girlfriend speaks the truth.


7. Scab & Plaster - This song is '80s synth-licious. I LOVE the chorus - "I've lost, I've lost my innocence / I've found my self-belief / And in a cup of loneliness / I've found instant relief" and then she cheers "You hold me down, you hold me up / Oh Daddy, are we out of luck? / You brought me up to bring me down / You shut me in, You shut me up." She just makes you want to chant right along with her in an effort to empower us all. 


With songs like these, Electra Heart has the foundation  of a successful album. As I've said before, the rest depends on how well her label promotes her globally, especially in America, and on whether radio executives and DJs will spin her tunes. Marina's rumored to have worked with some great producers on this record like Liam Howe, Diplo, Greg Kurstin, Dr. Luke, Stargate, and Swedish House Mafia - such an eclectic mix of indie, pop, and dance. In her interview with Popjustice, she said that "Electra Heart is the antithesis of everything that I stand for. And the point of introducing her and building a whole concept around her is that she stands for the corrupt side of American ideology, and basically that’s the corruption of yourself. My worst fear - that’s anyone’s worst fear - is losing myself and becoming a vacuous person. And that happens a lot when you’re very ambitious." She's putting together a photography exhibition entitled The : Archetypes in London for the album release in February. Some pics can be seen on Marina's Electra Heart Tumbr. She's also going to accompany the songs on the album with corresponding videos that, all together, will tell the story of corruption by the hands of American ideologies. View the first two, Fear & Loathing and Radioactive here. 

We love you Marina!

Unapologetically,

Gregory & Minna