Heaux

this doesn't really belong here, but i thought you would find it interesting (if you haven't already seen it) 
 
its a 130 page psychological case study on kurt cobain i found a while back when i was reading about him / MBTI / personality theory, etc. i think it says he's INFP in there somewhere. maybe i should have posted it in the MBTI thread but i think its interesting that you (?), lana, and kurt are INFP (or at least presumed to be) and that we all subconsciously / consciously connect / obsess over people that are in ways similar to us, at the core, and that we do it without even realizing that we *are* similar, but just because we appreciate what they create. like also, for instance, stanley kubrick is theorized to be INTJ/INTP (@@evilentity). i don't think these are coincidences? 
 
like i think a large part of why lana says she fell in love with kurt was because he was ~beautiful but a part of me thinks (or at least hopes) that there was more to it than that? not necessarily a rational thought or anything, but some really basic emotional connection? she said she identified with his sadness, or whatever. i hope theres some actual truth to that 
 
tbh i feel like lana and gaga should be / would be friends if they weren't like, rivals lmao 

if lana would let jim do anal, he'd like her . i know that kurt really didn't like many people, he was very demanding. he didn't suffer fools gladly and even the people he liked the most he fought with all the time. courtney probably was his best friend but they fought pretty much daily and pretty violently. he liked strong, smart, creative, independent women who could take care of him but where he could still be in control (part of the time). he hated people who he suspected of selling out (which lana did, i guess, with changing her image & music). he also hated when people completely adored him and thought he was some kind of god. he wasn't shallow at all, none of his girlfriends were really beauties. he was also very into music, lots of underground stuff, not just "the masters of every genre". idk really because i don't know lana personally but i'm not sure millionaire daddy's pseudo-deep submissive daughter would've clicked with a poor depressed highly sensitive bi-polar guy.

@ I have seen this type of personality before. My mother never touched a drop of alcohol in her entire life. But at parties etc. acted like she was a little drunk. She changed her personality depending on the situation and the people she was talking to. .When men found her witty and interesting and gave her compliments she was really happy, even at one time actually running away with one very admiring guy. But privately she was a darker more unsure person. Me and my sisters didn't really understand her. Just look at Lana's behavior at the Echo Awards this year. She was glowing, being in the middle of people that was loving her and giving her awards. If you look at the faces of the hosts they seemed a little taken back by the American whirlwind sweeping in. Arriving back in London she seemed sullen and tired. Of course it had been a tiring event and the paps are annoying., but I don't think that is the only explanation. The thing that contradicts my observation is her Ride Or Die relation with Barrie. I guess Barrie is a really cool and understanding person.

severe overanalysis alert:


 

One or two dumb comments aside (the 'dead friends' one really is something else... ), I actually liked this interview. I thought that for once she wasn't trying too hard to sound intellectual and subsequently saying a lot of half-baked stuff; she's clearly mostly influenced / inspired by visuals (which imo makes a lot of sense since one of the best things about her music is the mood & vivid imagery she's able to convey) and that really shines through in this interview. I liked reading about all the little things tbh - the decor of her new house, the streamers & fish tank in the trailer, the decadent camps of Lake Placid, how she describes even her alcohol of choice as 'anything fast and dark', the drives to the beach, the ideas behind the National Anthem video... it's like she takes inspiration from these little things (idealising them quite a bit in the process) & creates a whole song / video around them. Idk, I enjoyed reading about that and much prefer this type of interview to the ones where she tries to sound like a deep thinker.

YAAAAAAS

I could just TELL they would end up being besties.

this interview is probably the most informational one she's ever given but it's also kinda...off-putting in a way. not like that one where she says barrie and her are the only true artists left and all that stuff but it kind of shows how...shallow she is. 

Jessica Lange is such an amazing actor omfg, watch this movie its fucking brilliant http://www.youtube.com/watch?v=QJzj8dRRmbk
 ive never cried so much in my life  http://www.putlocker.com/file/3C07E29409EFF983

The second Venus snippet has me a tad worried, although I'm still really excited. I just hope the song doesn't change too much throughout it and sound like a mess. I've got really high hopes for this one

I really feel for Sky, Capitol are being so shit with her just because they never got the Lolita popstar they wanted.

so is there actually gonna be physical copies of the album? on Amazon UK it says 'currently unavailable'

its a digital download 

this thread makes me wanna punch all of you in the dick

Don't get me started.  There is a reason why I seek refugee in the English language. I can't even describe how terrible German looks and sounds. If I had the chance to not be German, I'd take it in a heartbeat. Alone for the sake of escaping the language... 

I think her channel was just facing some copyright issues, since it isn't the Vevo channel, but it seems to be sorted now.

M.I.A will perform at the youtube awards november 3! I hope she sings Y.A.LA....
Performers according to the press release
Arcade Fire
M.I.A
Earl Sweatshirt
Tyler, the Creator
Eminem
Lady Gaga.

yes, but its being released on the 1st here, so ill send it to who ever wants it then

yes, but its being released on the 1st here, so ill send it to who ever wants it then

@@Baby V Alex
@elllipsis
@@James Dean
@
@@naachoboy
@DanCastro
 
@@trayertrash gets a honorary mention because a thread would never be as fuck*** Up as the incest thread. Plus the board wouldn't be the same without her sharing everything about her life and privacy (literally) with us

If we don't have it by then, that'd be nice. 

inb4, everyone says @@sweetlana , cuz we all horny bitchs

Only 1 U was premiered on some internet radio thing awhile ago apparently and Tent leaked, ill pm u them

Fuck all y'all for not picking me 

To be shamelessly frank, @@evilentity, indubitably. He's so well-spoken, mature, sensible—not to mention he has a very welcoming, charming demeanor and relaxing presence about him...
 

inb4, everyone says @@sweetlana , cuz we all horny bitchs

First Review : http://www.nme.com/blogs/nme-blogs/mia-matangi-first-listen-track-by-track
 
 
Karmageddon
Twangs of a marimba, the chant of a prayer, an ominous bass riff. ‘Karmageddon’ is measured and well paced but, you suspect, the calm before the storm. MIA whispers about how “sex fucking sells”, before the track climaxes with the words “Ain’t Dalia Lama, ain’t Sathya Baba/My words are my armour and you’re about to meet your karma”. She’s about to wreak vicious vengeance on anyone who’s ever done her wrong.

Matangi
This title track begins with giant, doomy thuds and MIA’s vocal emerging from the echo of an underwater bubble as jungle beats (from producer Switch) jump out. It’s a distant relation to her 2007 single ‘Boyz’, except MIA has turned her attention away from the opposite sex to focus on her geographical knowledge: “Somalia, Bosnia, Cuba, Colombia, Ecuador, Mexico, Morrocco, Botswana, Ghana, India Serbia…” It sounds like she’s recruiting for her own global army of futuristic warriors. Then she gets back to issuing a warning about what’s to come on ‘Matangi’ (“do you know what I’ve got in store?”), dish out some broad swipes (“you’re school of fakeness, I’m school of hard knocks”), give advice to any wannabees (“if you’re gonna be me, need a manifesto / if you ain’t got one, you need one presto”) and have a pop at Drake (“started at the bottom but Drake gets all the credit”). There’s a lot going on.   Only 1 U
One minute she’s being nice: There’s only one you and I’m gonna drink to that.”). The next she’s taking people on: “There’s trillions of cash, and millions of you.” Then she’s prophesising the end of the world: “Tonight’s the one because tomorrow may never come”. This mix of doom, hope, paranoia is one that MIA’s been working at for years, but rarely over such a heavy beat.

Warriors
The moment when ‘Matangi’ stops dicking around in glitches and comes up with a solid, bold bit of songcraft. Produced by 'Niggas In Paris' writer Hit-boy, around the one minute mark 'Warriors' transforms itself into a huge clacking tribal beat that's part Sufi mysticism, part future R'n'B, based around MIA issuing a worryingly accurate incantation about how she's “putting you in a trance”.

Come Walk With Me
‘Come Walk With Me’ is romantic, and sees MIA seemingly addressing people being intimidated by her ("you ain't gotta shake it, just be with me") and suggesting she’d like a bit of companionship ("can I be your best friend?"). Of course this is undercut with her paranoid assessments of modern technology (“a thousand ways to meet you now, a thousand ways to track you down"). But moments like these remind that during this album’s gestation period MIA split from her billionaire fiancé and father of her child, Benjamin Bronfman. As if to tell us she’s okay now, the track ends with her revisiting a line from older track ‘Bamboo Banga’: “MIA coming back with power power.”
Read more at http://www.nme.com/blogs/nme-blogs/mia-matangi-first-listen-track-by-track#rf5IvE0tf5qRE6vx.99
Attention
A strangely dated beat from Switch that falls somewhere in the middle of UK Garage, drum ‘n’ bass and Roni Size. Lyrically MIA concentrates on rhyming evocative words that end with the words ‘tant’ or ‘tent’ such as “militant”, “content”, “potent”, “blatant” and “potent”. It’s a weird tune, but it’s not hyperbole to say no one else on earth makes music that sounds like this.

Exodus
Oh hello, she’s sampling The Weeknd’s ‘Lonely Star’, and sounds like she’s trying to recruit people to a druggy sex cult ("Do you wanna come on a sexodus? Do you wanna ride like a crusader?”) as dramatic strings ping underneath. All of these songs are pumped full of crazy levels of melodrama. It’s all quite unsettling.

Bad Girls
You know this one. It remains excellent.



Boom Skit
Over a 76-second Hit-Boy beat MIA references her recent legal issue: "Let you in to Superbowl you try to steal Madonna's crown / What the fuck you on about?". Not sure that’ll stand up in court.

Double Bubble Trouble
A slice of slightly throwaway (“uh oh you’re in trouble, I step up in the game and I burst their bubble”) reggae-tinted doom produced by Dutch production crew The Partysquad, who’ve worked with Armand Van Helden and Major Lazer. "Cos I got a reputation" MIA repeats before ‘Double Bubble Trouble’ breaks down into the sort of folk-techno banger Omar Souleyman might enjoy.

Y.A.L.A
It stands for ‘you always live again’. It’s a send up of the acronym YOLO (which stands for ‘you only live once’). And is, therefore, another dig at Drake, who popularized the acronym when he used it as the title of a mixtape. The drama MIA’s been surrounding herself with so far on ‘Matangi’ continues: “Bombs go off when I enter the building”. More interesting are the lyrics that explain the song: “If you only live once why we keep doing the same shit? / Back home where I come from we keep being born / That’s why they invented karma.” But, ultimately, this is an absolutely gigantic party tune.

Bring the Noize
A terror-filled mix of tribal drums and gobbledygook. MIA has a way of making sort-of-smart sort-of-dumb statements ("it's not me and you, it's the fucking banks") right next to throwaway comments ("I'm a party fucking animal") that combine to convince that the way to bring down corrupt high society is to dance. And make no mistake: she really is convincing. This song also includes the lyric “click click click get off my dick” and a story about an uncle in Iran. It’s utterly ridiculous.



Lights
The intense humming of bass on a gentle end-of-the-night dancehall number that doesn’t seem to serve much purpose other than signal ‘Matangi’ is winding down. “I used to be a bad girl, now I’m even better,” she says towards the end, as the song introduces a noise like a tiny robot walking up and down and electric keyboard.

Know It Ain't Right
The album continues to wind down. “We know it ain’t right but we do it anyway” goes the chorus, but we never find out what this thing that “ain’t right” is. This and ‘Lights’ could be an indicator or where a more mellow and calm MIA could go with her music in a few years time, but they jar on an album that mostly evokes thoughts of a rave in an underground bunker beneath a desolate wasteland that’s been torched to the ground by MIA’s army.

Sexodus
A reprise of ‘Exodus’ with different lyrics and production duties handed over to Hit-boy (rather than Switch and MIA, who did the first version). This one begins with that classic fade-in/out trope: helicopter blades whirring. A stirring finale.