AllForYou

yes!! I think she should just pivot to a taylor swift folklore situation, currently she seems to write well when it's not from her perspective, I do like purge the poison apart from the verses (her perspective), ADIAML is a bop. even if she doesn't want to do greek gods, aurora did this brilliantly, she could do welsh mythology? or she could just pick an era/decade and go to town lol. (I'm not suggesting she goes full EH and dresses up either, apart from MVs perhaps, she said that was tiring which I totally get) edit: in the L+F era she said she wanted to do a full album soundtrack, EOTE is one of the best on L+F possibly for the reason she wrote it for a film, why not do an album for a fake film? the MVs could tell some of the story and people could just speculate (like people do with Electra Heart, 11 years later!!!) and entertain themselves. I think part of it is also she sold herself (in the MATD era) as an artist that delivered a 'package', then with her losing motivation after FROOT and possibly being pressured into releasing L+F earlier than she was ready we got 0 visuals & 0 (meaningful) fan interaction; (i.e she didn't tell us handmade heaven was delayed, we only found out because of an autograph chaser filming her after an interview. she posted about a live Q&A on instagram, had technical difficulties but didn't tell us it was cancelled so people were waiting up & then she deleted that tweet and deleted something irrelevant later.) imo if she had given us the original handmade heaven artwork visuals, and interacted with fans, people would be EATING it up and it would have taken a lot longer for people to realise it wasn't that great. honestly she should have just done something similar with FROOT, post some fanpacks and let the fandom entertain itself. or even better, stems, seeing as most of them have leaked now anyway. I get she doesn't like social media, but she went from interacting a lot, via her blog, then tumblr, to nothing, and I totally get we're not entitled to her time (and she's 37 now) but it's not any wonder why her fans seem a bit 'spurned' lol

yes I know, sorry I think I just explained that badly, I was referring to this quote: 'No, there was no bidding war. 679 where the only people to have the guts to offer a contract. Everyone else just wanted to look like they were about to offer. I met over 14 labels and only really took 2 seriously. I think everyone saw me as a project that had a lot of potential but also as someone very risky: I looked like a wild card to them. I had no manager, was doing all the meetings alone, was extremely confident and driven and knew exactly what i wanted. That scares some people.' I suppose that explains the situation well enough but it would be nice to know what questions she asked them all the same, what were her terms that only one would actually offer a contract? (also, didn't she date Derek? I suppose she doesn't want to admit she picked a label because of that if it is true) I just want her to use all her knowledge for something good, instead of this weird "Twitter activism" it's like she wants to be an activist and have influence but she doesn't want any negative attention

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