Between Heaven and Hell: Ariana Grande and My Everything

Categories: Essay

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Ariana Grande is in purgatory. That's the major takeaway from her endlessly listenable sophomore album, My Everything, which, for all its hits (I count at least two more potential radio cuts after the trio of "Problem," "Break Free," and "Bang Bang") still finds the 21 year old without a firm identity or even one you can sum up in a single sentence. Near every song on the album finds her torn between two poles.

Her love life tends to find her sitting on a precipice, unsure whether to DTMFA, as Dan Savage would have it, or to commit to something more. But Grande, a lapsed Catholic who's confessed to a belief in both ghosts and demons, can also sound as if she's quite literally hovering on edge between heaven and hell.

See also: How Not To Write About Female Musicians: A Handy Guide

The fourth song on her album and Ellie Goulding nod "Why Try" has a chorus that declares a pastime of "living like angels, living like devils." A few songs later, "Best Mistake," the Big Sean feature, discusses sinners and saints. On "Break Free," she had been on the highway to hell, but soars to the heavens once she's rid herself of a troublesome beau. And even the Jessie J and Nicki Minaj featuring "Bang Bang" finds the trio undecided about whether the song's addressee needs a good or bad girl to blow his mind--probably because Ari's not quite sure which one she wants to be yet, and neither are we.

This wavering, indistinct personality, is of course, a construct. Grande has writing credits for only a handful of songs on the record, and the persona expressed in her lyrics, such as it is, has to be assumed to be a product not just of her own personality but also of her team's vision or lack thereof. The men standing behind her include Bieber manager, Scooter Braun, as well as various super producers, such as Max Martin ("Oops I Did It Again," "California Gurls"), Benny Blanco and David Guetta. But even Ari's positioning is vague; she's in that not-a-girl-not-yet-a-woman territory (another Martin production) but sometimes it doesn't feel as if she'll ever get to the latter stage.

That's why the worst songs on My Everything are the stabs at sexiness. "Hands on Me" is decidedly lukewarm, a waste of A$AP Ferg's bawdy talents, on which Grande is still too delicate to even reach the point of suggestive. Compare the opening lines of the song to the similar blasts of "Bootylicious" and you'll see what's missing, even though the Destiny's Child cut is ostensibly a kiss-off. On "Love Me Harder," she outsources the sexual quotient to co-star Abel Tesfaye, who scales down his drugs'n'nihilism m.o, in what feels like an attempt to meet the pop singer halfway. They both sound labored.

But at the same time, Grande doesn't seem content with the virginal, girl next door persona she pushed on her debut, and when she's best on this album, it's when she's forwarding her own desires. There's the ditch-the-bitch duo of the lead singles, which find her reveling in a newfound freedom. There's "One Last Time," a likely radio hit and a lovely expression of desire which finds Grande actually turning the tables, taking on the dominant role where she shines. "Just a Little Bit of Your Heart" is another standout because, even as it finds Ariana groveling, she's still asserting a firm opinion.



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3 comments
dainalmiller7
dainalmiller7

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jactiontoyer
jactiontoyer

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Val Hughes
Val Hughes

Shouldn't that be "toes the line"?

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