Why indie hates lana del rey

In the early s, a small group of Bronx teenagers who regularly deejayed at neighborhood parties got together and complained that their dance floors were packed only during the instrumental breaks between verses of songs. Soon the music attracted a local following and began to be associated with a style both fashionable doorknocker-earrings, sweat suits and technological bass-heavy PA systems.

The debate over what constitutes authenticity in hip-hop has raged ever since—to the point of crowding out other concerns about rap lyrics. Just when the industry passed fully into corporate hands, its lyrical currency shifted to favor competitive claims of gritty authenticity. Accustomed to competing against rival local bands for fans, gigs, and attention, scenesters balk when, for instance, they are suddenly asked to compare themselves to the leading lights in mainstream pop; not wanting to compromise the underground integrity of their work, musicians in a scene simply reject the terms of the discussion.

The name and the ideals then inform an idea of what it means to be authentic in the new pop style. A host of fans and new bands rallied around the grunge ideal, which seemed to exude authenticity—but the term quickly alienated stalwart members of the Seattle scene, who had only ever tossed the word around as an adjective. Resentful that the old-timers—those who put in all the work starting the community and the music—have reaped few of the rewards, they may push the music into a fourth, traditionalist , phase, bent on the preservation and celebration of the scene as it was before the corrupting influences of the industry arrived.

The debates may sound peevish, but fundamental questions of group identity hang in the balance: Who gets to define whether an African-American rapper is being authentically black, whether an indie rocker is authentically bohemian, or whether a country artist is authentically blue-collar?

The discussion may even extend to rulings on the proper uses of female sexuality. Aside from postponing her album, which was originally slated to be released in September, Del Rey remained fairly quiet in the wake of her controversial video — except to promote her aforementioned poetry book, "Violet Bent Backwards Over the Grass.

In videos and photos from the event, she appeared to wear a mesh-style face mask, which would not provide an effective barrier for respiratory droplets, according to recommendations from the CDC. Fans left comments on her Instagram posts, begging her to wear a "real mask.

Del Rey later said that her mask had a plastic lining , in response to a critical article from Michigan Daily. I don't generally respond to articles because I don't care. But there ya go. Same goes for everyone's masks in my video.

I'm lucky enough to have a team of people who can do that. The black-and-white cover for "Chemtrails Over the Country Club" shows Del Rey grinning and surrounded by friends, all huddled around a table. Shortly after she shared the image, Del Rey commented on her own Instagram post with preemptive self-defense. Respect it. The following day, during an interview with BBC's Annie Mac, Del Rey claimed that "actually half the people in this photo are people of color.

It's just weird, you know? Naturally, some people did make jokes about the cover's perceived lack of diversity, and others called the choice "tone deaf. But the real backlash came in response to Del Rey's comment, which was described as "textbook white fragility problematic white woman. I wish we could be excited about the album and only that but s like this makes it hard to be," the fan continued. Del Rey was referring to the violent riot at the US Capitol on January 6 , when pro-Trump supporters stormed the building after attending a nearby Trump rally.

Five people died, and the outgoing president has since been impeached for "incitement of insurrection. We really needed a reflection of our world's greatest problem, which is not climate change but sociopathy and narcissism," she said, as reported by Complex. It's going to kill the world. It's not capitalism, it's narcissism.

You know I voted for Biden. My very astute, music-loving year-old daughter digs her. Support Feminist Media! During these troubling political times, independent feminist media is more vital than ever. On Newsstands Now: Fall subscribe renew change of address customer service digital login ipad app. I notice my male friends are far more willing to celebrate her embrace of this masochism than my female friends. One female friend who works with victims of domestic violence loathes her.

They point to the various pop personae she tried on — including Sparkle Rope Jump Queen — before creating one she could sell. Well, the accusations of fabrication are easy to dismiss. But I do see feminism in the narrative of Lana Del Rey. Enjoy unlimited access to 70 million ad-free songs and podcasts with Amazon Music Sign up now for a day free trial.

No moral compass pointing due north, no fixed personality. Just an inner indecisiveness that was as wide and as wavering as the ocean. At 18, she picked up the guitar and began playing in nightclubs as Lizzy Grant and the Phenomena, and other characters. She was signed by an independent label in but her debut album was shelved, and she threw herself into working with the homeless and on drug and alcohol outreach projects.

As Grant found her way towards the sound she wanted, her dad helped her buy back the rights to her shelved record. While the naysayers claim the Lana Del Rey persona was created by record label execs because how could a woman possibly rebrand herself?