The original translation was a simple google one, so I gave it a shot to clarify it for the non-Spanish speakers
Original article :
http://www.circulomixup.com/nuevo/ar...dios-a-lolita/
Date : 22nd June, 2010.
Language : Spanish
Translation by Fall06
Some [COLOR=#C80000 ! important][COLOR=#C80000 ! important]pop [COLOR=#C80000 ! important]stars[/COLOR][/COLOR][/COLOR]
have something in common with the newly rich. They want something that doesn't come with the gold and platinum of their disc sales: The recognition of the critics and of the public.
By Maximiliano Torres
At 26, Alizée has almost everything in terms of artistic career : Good sales, a loyal community of fans and an unmistakable image. What’s next? To shake off the cliché of which she was hostage. One more year as a lolita of pop and Nabokov would have risen from the grave to ask them to "liberate" Alizée (not without first inviting her for a drink and writing her a novel).
So, continuing with the syndrome of the newly rich, the return of Alizée should be observed with an eye of the fashionista. In the personality change that the French woman has had, the logos and tags are important. The touch of Château Marmont is in the production of the songs and of Institubes (house of reputable artists such as Surkin and Para One) as a musical seal of approval, and enclosed stamp of the producing house Partizan, commissioned to make the video of her first single, “Les Collines” … “If they came for the neckline, stay for the brains.”
Speaking of Château Marmont, this is also the story of the musical gurus who now produce discs for muses that perhaps could not find the last missing piece. It is an attraction between singer and producer that resolves itself on a disc and repeats itself in music history (Serge Gainsburg and Elizabeth Adjani, David Sitek and Scarlett Johansson, Louis Bertignac and Carla Bruni).
The most interesting thing in this transformation is that Alizée has found another way of making herself desirable: Staying away. In the video of “Les Collines,” we only see her in medium shots or close ups and her facial expression doesn’t concede a smile or wink; her MySpace (at least until a few days ago) has no songs and her blog has posts that consist of barely two lines. So those who used to undress her with their eyes now also have to play “Where in the world is Alizée?”
The idea of her renewal is worrying to those who know her through the iPod of another person; nevertheless, it will be a test of loyalty for the admirers who have built her up as a sensual myth.
During a round of interviews in promotion of this new album, taken place in Paris, Alizée gave an interesting answer by having admitted that her success in Mexico is simply a stroke of luck, so now is the time to demonstrate that she deserves this success.
Alizée
Une Enfant Du Siècle
Institubes / Sony Music, 2010
An album for those of us who we were not Alizée fans. Layers of sound, tones and a woman who is no longer an object of desire, but of inspiration. The singer says that this is a song collection with the spirit of the muses of Andy Warhol.
As were the muses of Sergio Andrade, the change suits her well enough; the fact alone that she departed from the cliché without returning to it produces a new interest to the ear. Although the result is much in the area of comfort of what the French can do with a woman in a recording studio and her voice has the sound of a message in the answering machine, Alizée, like many important women of pop, demonstrates her maturity in her choice of collaborators. The sound of “Les Collines” “Limelight” y “Grand Central” can find her a place on the “Guilty Pleasures” playlist of a DJ set.
If the remix of “Fifty sixty” worried them about her going in another direction, the support of a few remixes, Une Enfant … it might be placed well in the taste of the fans, new and old.
btw it's still not exactly perfect, but I would still turn it in if it was a school thing. A solid A- I'd say
B+ if you're picky