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sparklrtrailrheaven

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Posts posted by sparklrtrailrheaven

  10. Posted

     

    this is my favorite song of all time, it's really special to me. i'd like to share my own personal meaning that i connect to this song, which is part of what makes it so magical for me. you don't have to agree, it's just my perspective.

     

    pin up galore is generally about the female pin up archetype. it's a heart wrenching and melancholy tale told from the perspective of a pin up; lana is putting herself in the place of one of these women, as part of the pin up lives in every woman. she can empathize in a way, and she feels connected to a bygone era of glamour. 

     

    these girls exist to entertain others: crowds, men, america - the world. lana invokes strong americana imagery to take you back to the height of the pin up era - the 40s in particular. they thrive off of the screams and cheers, it makes them feel alive. when she sings about becoming someone "not of this world," this is where she gets into the dehumanizing aspect of it. these beautiful women have dedicated their lives to pleasing others. eventually it gets extremely numbing and you can't even feel anything but a disconnect. the "monster" line is even more illustrative of this concept; she can't even recognize herself anymore after fame. 

     

    "prizes, prizes a diamond tiara / here's to the girl with the blue mascara" this feeds more into the beauty queen archetype, but it's still the same idea. just more imagery to invoke the obsession with glamour and materialism. girls are lauded for their appearances and must appeal to men. "i have a disco ball mind" "i wanna die" is really just going into detail about the mental state that she's in. her mind has become reflective, she can see the lights from the cameras, from the stage. her brain has been replaced with thoughts of performance. she can't handle it anymore, she wants to die, she wants to die.

     

    lana can connect to pin up girls like marilyn. in the early stages of her career, singing at open mics, she felt empty performing night after night with little success. the only thing that kept her going was her own passion and will. she didn't want to conform to how other people saw her or wanted her to be. 

     

    lol this wasn't supposed to come off as being super feminist-y, just how i see the song and connect with it :) curious to see what other people think, as this is such a rich and dark song!

     

     

    totally love this! your interpretation really fits-- lana seems to enjoy probing into all the ins and outs of fame in her songs, so this definitely resonates.

     

    I've always thought Pin-Up Galore said a lot about how fame is such a double-edged sword, due to some smart wordplay in the song:

     

    in the first verse, "everybody's laughing" and "the crowd is cheering"-- energy is high, everyone seems to be having fun; even the performer, who feeds off positive reactions.

     

    by the second verse, this has changed to "all the men are watching" and "the crowd is screaming"-- in contrast, these words carry darker connotations-- now, the men are singled out, and I've always felt that "watching" gives such a detached air to it-- the relationship between crowd and performer is no longer mutualistic or give-and-take, it's predatory, and parasitic-- the men are observing, watching, scrutinizing this female figure, who's no longer in on the enjoyment. she's an object that they're staring down. then, while a "screaming" crowd could still be positive in some instances, the shadow over that previous phrase makes this feel dark to me, too-- are they screaming out of joy, or out of fear/horror? is the performer breaking down or growing paranoid or frantic in some way that frightens them? maybe their reaction is both-- they're terrified by what they're seeing, but they also enjoy the spectacle, no matter how gruesome the display-- they won't try to stop what's playing out.

     

    those lines always strike me as her saying that the relationship between a singer (or any performer) and their audience is so delicate-- mutual respect and appreciation can create a positive, enjoyable atmosphere; but it's far too easy for the audience to forget that the singer is human-- they become something inhuman, "not of this world", and standards for their act and behavior are raised accordingly-- so, they don't get treated as human, either. they're held under a constant magnifying glass, as anything from a sexual object to be ogled ("the men are watching") to a living freakshow when they fall and make human error ("the crowd is screaming")-- everyone can see that something is wrong, the performer is struggling-- but, as a performer, the audience believes that even their missteps belong to the world for entertainment. all of life becomes a show when you're famous.

     

    anyway, I think this is all eerily evocative of what Lana began facing (and is still facing) once she became famous-- that constant scrutiny by her worldwide audience, the objectification, the love that can just as quickly turn to backlash when she slips-- it's like she knew what was coming. fame excited her, but she was also aware of what it could do to you.

     

    or, i'm reading too much into it. who knows :creep:

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  18. Posted

    Knowing Lana, I already have my doubts that this would actually come to fruition (sorry  :um2: ), but if it did, I also feel like she wouldn't include any/many lesser-known or early cuts like Wayamaya (although I'd die for that). We'd definitely get KOL, Serial Killer, Us Against the World, and probably some tracks like Damn You and its ilk.

     

    I wouldn't hold out for any more unusual or older tracks, unless her new frame of mind has encouraged her to embrace her unusual musical past..

     

    Watch her just shock the life out of me and give us some Lizzy unleaked :defeated:

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  23. Posted

    And then the Festival Tour that turned into a harder situtation: People on festivals would probably like more of her old material than the new

     

    I'd never thought about it this way, but I guess that a substantial part of festival audiences are not there chiefly for Lana-- so, there's probably this good portion who are just casual fans and want to hear material they're familiar with. Thus, it's probably smart (if not the most pleasing for all the hardcore stans) for her festival setlists to be based primarily around hits and an album that's arguably her most well-known with the general public (BTD), with a couple deeper cuts sprinkled in for any major fans in attendance.  As @MrLunknown also said, it will be a total mess if she plays setlists like this on a LFL tour-- but, I daresay her festival approach is pretty wise: cater to the masses of casual fans, give a little bit for the minorities of the hardcore fans, and provide a mix of tracks that may draw unfamiliar listeners deeper into her catalog. 

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  24. Posted

    :hae:

     

    Look what boredom just created...

     

    screencap_ldr_coneyfvslp.png

     

     

    I tried quite hard to find a picture as similar to the original(?) back cover as possible but I just could not find a photo taken from those weird stands or tribunes or whatever like the one from the original cover. I only found out that the location is called Morey's Pier, in case anybody wants to know.

    I'd really like to hear your opinions, suggestions, criticism etc. :)

     

    Have you ever posted a finished version of this? I still want to make a copy of the CD, and I'd love to use this back cover  :flutter:

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