Golden Girl, on the other hand, sets up this woman as a kind of salvation, an island (literal and metaphoric) that calms the singer (in this case, Ocean, though even Tyler is finding his darkness turned to light) down, helps him sort his life out. She is fundamentally immature, both in its setting - the girl is still living under her parents’ roof, and boys aren’t allowed - and its pathetic shock tricks and fear of women, throwing around c-words and threatening violence if the singer (in this case, Tyler) doesn’t get what he wants. End / Golden Girl – She, Tyler the Creator The principle/featured artist are flipped here, but it’s worth nothing the incredible transition in attitude in just over a year since She‘s release. Both songs also seem to capture some moral rottenness at the core of their respective milieux, whether its criminally uninterested hipsters or materialistic, masculine young men.ġ3.

Ocean, meanwhile, begins with a cry for a lost queen, and then slowly unravels a story of a man’s growing disgust as his power wastes away in the face of a woman who uses her sexuality to pay their bills.

Reed’s setting is, of course, New York’s somewhat-seedy artistic underbelly, and its emotional range skitters along its wavering guitar line from the sex so good its spiritual to being completely apathetic in the face of death. Ocean’s Egyptian-imagery-soaked story song lacks the formalism of Reed’s mini-opera, but they both share an expansive approach to pop music, stretching the arc of a relationship that goes from intense beginnings to a fall from grace to a desperate coda that pleads for something simpler. This advertisement has not loaded yet, but your article continues below. Manage Print Subscription / Tax Receipt.

Guardian channel orange review