what's most annoying about her poetry is that it could have been a genuinely insightful marinabook post, but she wants to vague post. what does she mean "men owned my choruses and my verses" does she not own her masters? do we need to crowdfund Electra Heart (Marina's Version)? will we finally get Froot (10 Minute Version)? or is this just about having a male boss?
if it's about her not having production credits on TFJ then why isn't she upset she didn't get production credits on purge the poison? is it because she made such a big deal about a 'woman's album' then had a man produce 7/10 tracks and felt the need to change that narrative? or is it about having men on her writing credits for EH (specifically htbah, like, come on... it did not take that many people to write that song) but then why didn't she give david kosten credit for the "back off motherfuckers" line on cpmd? because it didn't fit the narrative of writing it all herself? I'm not saying she doesn't have a right to be mad about her lack of production credits on TFJ or men muscling in on her work on EH, but why not shed some light and help other artists out?
it would be great if she made a post about her decision to leave atlantic, wbk they've fucked over a lot of artists and she's probably signed an NDA or something but what's HER reason for leaving? why did she leave instead of negotiate her contract? being independent is a huge risk, I'd love to know why. she could also help her younger fans (a lot seem to want to be artists themselves) spot red flags when a label is trying to scout them,* especially in this current age where getting millions of views on social media and a pretty face can land you a recording contract without much actual talent at all. these labels want naive teenagers/young adults to trap into a contract. I'm not suggesting Marina could 'shake up the industry' but even if she helped 1 or 2 people wouldn't that be worth it? save them from the things she went through? having to personally pay for the 1st froot photoshoot and mastering herself?
I feel like she genuinely doesn't know what to do after she 'achieved everything she wanted with froot' (her words). I was hoping her new work would be better, L+F was pushed out before she was ready (even if she insists it wasn't) and ADIAML was obviously just pushed out as quickly as possible to get out of her contract, but if these poems are anything to go by I am not looking hopeful which is a real shame
*edit: we all know about her getting signed, that there were loads of labels after her and she knew only 2 were serious, it would be such great insight if she ever explained this, she did all the interviews HERSELF in her early 20s!!! obviously a lot has changed since 2008, but most of the 'right questions' to ask will likely still be the same
