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  1. Is this the "Michael Jackson" sense of Bad momma (I mean, I thought "bad" was good)? Yeah, overanalyzing is kind of my thing. Not saying you can't call out her fashion sense, if you don't like it. But there is fashion and there is anti-fashion (in a similar way to there are lyrics and there are anti-lyrics). She does both. "Too casual" in her outfit could be a statement also; was it intentional? I would say yes, because I think she has a devious mind, but she didn't do it in such a way that it could be easily called out, because I still think she looked really good. I mean her outfit shows *some* ingenuity, as in minimalism done right. The word "chubby" also reminds me of something I intentionally left out of my initial post (because I thought people would misinterpret it), namely that I thought she had intentionally selected a dress size too small to accentuate things (hence, my Jessica Rabbit comment). Maybe that was an experiment of hers that failed, but still an interesting experiment to have tried (if it was intentional). This is also me ascribing devious thoughts to her, for sure, but with LDR, you never know. That's part of her mystical persona (non grata?) that she refuses to acknowledge (which is also maybe a part of it). also put Ellie Goulding Hitmakers 2019 red carpet into google images Ellie looks fine for the same award, but I wouldn't say she did it better than LDR (just because she's wearing a $500 dollar dress). You should also be able to find Billie Eilish's "costume" for a different award at the same venue. Billie's dressed like a couch with a floral pattern and Finneas's hairdo is, as they say, a choice, so LDR's choice might have been much worse. just saying...
  2. So the popular opinion is that she looks really cute here. I don't know what the unpopular opinion here is going to be, but maybe it will be the philosophical interpretation of LDR's "decade award" outfit (in answer to the question posed by the great philosopher, Cardi B.). I'm no fashionista, but I'm impressed by the modularity and simplicity of the outfit. It's kind of thrown together like the award is.* As for the thought that went into it, you could say that it is an ensemble designed to make one think little thought went into it (i.e., possibly a target aesthetic for a "modular fashion queen" to have). However, I like that she chose fleshy pink boots (to go with her legs and skin rather than the jacket). I also like the possible flashbacks to AKA cover art and/or Jessica Rabbit that might occur for (disturbed?) personalities such as mine. * With some casual internet googling I found the "hitmakers" award venue focuses on the producing/promoting aspects of the music biz, and as such, considers the quality of the art rather begrudgingly. The venue has only been around since 2017, and there was only one other "decade winner" that I could find, Ellie Goulding. I'm at least familiar with EG, and think she is a fine peer for LDR (although with fewer albums to her credit). When I've listened to EG, I've found her to have a great pop sensibilty, but also really earning her "electronica" cred at times.
  3. slang

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    ^ On Variety's decade-award wording (I guess that's who they're quoting, right?): You don't need a big degree in philosophy to know "... thanks to Grammy nominations and critical acclaim for her albums" is a very unsatisfying way to explain the causality of how she became one of the "most influential singer-songwriters of the 21st century". In fact, it's delusional to say this. I would have worded it "thanks to defying the critics and showing that pure singing-songwriting talent, no matter how unconventional or defiant, always prevails over subjective mores" or something like that. Rob's "the true poet ... for an entire generation" is also a bit off. Her poetry is sometimes bad (and she probably blames the news), but it's not her poetry that got her there, it's her delivery of it. I would also say it's her *range* of poetry, to include her pre-BTD unreleased/suppressed stuff, that also got her there. So I hope (in a selfish way) that she doesn't let this decade-acclaim go to her head and use it an excuse to keep her fossil record buried. She should channel her inner Bob Dylan with respect to this award, but show up to the ceremony (because we really want to see her).
  4. There is a solid pop double-album possible with all the unreleased lighter LDR songs I left out, so maybe BLT fits there. But sadly I'm unfamiliar with BLT, as LDR has surpassed my ability to keep up with her. But would BLT be dark enough for _UNBELIEVABLE? I mean is "campiest" the correct adjective to use for those songs. Yeah I know there's some humor there, but they seem really dark to me. She's a sexistentialist (Monroe x Camus), among other things, and the topics and their execution are pretty whack and dark, though not unbrilliantly whack and dark.
  5. What would happen if you collected every unreleased song (that you could think of), which is plausibly "cringeworthy" in the sense of causing a generic critic to hate on her and deem her "inauthentic"? How good would the result be? I think it would compare favorably to your exemplar greatests, although the reasons for its being great would be different from theirs (also, just to be clear, I'm not considering SP in this statement). I call the playlist _UNBELIEVABLE, which could just mean "not believable" (as in inauthentic, or how/why could/would anyone do that?). Or it could mean "unbelievably good" (which is how I think of it). I cap it to make it shout, and stick an underscore at the start to make people wonder why I did that (e.g., make the title go to the top of a directory list, at least most of the time). So here's my double-album of 25+ tracks. 1 Put Your Lips Together 3:38 2 Playground 3:07 3 Kinda Outta Luck 3:16 4 Heavy Hitter 3:08 5 Boarding School 3:48 6 Children of the Bad Revolution 3:27 7 Velvet Crowbar 4:07 8 Summer of Sam 3:06 9 Playing Dangerous 3:37 10 Go Go Dancer 3:44 11 Hollywood's Dead 3:26 12 Serial Killer 4:33 [for some reason, I like to listen to these next 3 songs as a unit, pretending they're part of a larger song] 13 Axel Rose Husband/Last Girl on Earth/Paradise 11:13 14 She's not me 3:39 15 Push Me Down 3:34 16 Jealous Girl 2:52 17 Moi Je Joue 3:04 18 Trash_live 4:03 [or is it Trash Magic?, the youtube recording I'm referring to is titled "Trash live", and is a great live performance (even with its imperfections), imo, so I prefer live over the studio version] 19 Catch and Release 3:41 20 Golden Grill 4:07 21 Scarface 2:27 22 Tired of Singing the Blues 4:12 23 Butterflies (Pt. 2) 4:05 24 Making Out 4:01 25 Pin Up Galore 5:09 26. Noir 2:20
  6. I think BB is another fine addition to her discography. BBS and Dealer are my immediate favorites so far, but everything else is really enjoyable (as is usual for me). Anyways, BBS seems a brilliant companion song to Black Beauty, which is interesting, given the old leaked songs (which I'm highly in favor of) are kind of a positive "referendum" on Barrie. Don't think they'll be getting back together; however, that's no reason not to work together. I refuse to conceive of Dealer as anything other than a hilarious topic for a song (i.e., pop fiction, unless somebody has impressive receipts-- i.e., none of this ambiguous "it's my story" type statements). It's both Lynchian and Lizzyan at the same time. Her "screaming" is impressive AF and is similar, imo, to opera divas having a really bad day in some modern work (i.e., as a kind of singing/acting). Another thing I like her doing is the greater compositional involvement in the production, as in the horn arrangements (and she's also credited with the arrangement of the Trio; so that wasn't just Mike Dean messing around). In the center of the CD booklet there's some music score, with some lyrics, which I can barely make out as from Arcadia. I can't read the music, but if it were for her horn arrangements for that song, she would seem to be making the point: "I did this". I would have rather seen the impressive horn outro for IYLDWM; however, that wouldn't have had lyrics to ID it (so I wouldn't have been able to guess what it meant). It makes me wonder whether all the horn-guitar noodling that ends the White Mustang video (which I've never seen a credit for) is hers too. Finally, I'm totally compulsed to say: it's a harmonica, damn it! (that she makes her voice sound like on LL).
  7. If you want to keep the thread but not anger any passing deities that might be reading it, you could put a colon (:) at the end of the title and append the text "one person's masterpiece is another person's garbage". That's all you're really discovering in the thread. Not saying all the songs mentioned are considered masterpieces (by me), but a lot of them are (imo). I'll make a comment about Burnt Norton. I don't think it should be scrapped, but I'm disappointed she didn't accept the challenge to write the background music for it (Keefus Ciancia is credited, according to the HM booklet). I mean it's OK as an introduction to Religion, but it would have been really interesting to me for her to write the background music, or more outrageously, turn it into a proper song (although, maybe the estate of T. S. Elliot wouldn't have allowed the latter).
  8. I remember some youtube comments, when West Coast first came out, suggesting Jefferson Airplane's White Rabbit was some kind of spiritual inspiration for it. I (sort of) see the point. White Rabbit Also consider the alternative -- "radio mix" -- version of West Coast, sent to German radio (which was probably Nowells produced). It's nice LDR allowed the two versions to co-exist in "released" form.
  9. By dated I meant reminiscent of the torch-singing era (Ella Fitzgerald, Billy Holliday, Frank Sinatra). The production aspects are kind of dated (but still interesting). I may be wrong, but songs like Million Dollar Man and Without You seem pretty retro. They could have been hits in earlier eras. Without You, I think Gershwin would have been pleased to write (both of them). Her lyrics are not all that outrageous relative to past eras either (except maybe Cola, but even Cola has precursors and postcursors in our current era). Sorry. If you just think of me as an implacable alien cyclops, with an eye beneath its nose hole and big mouth going up the left side of its head -- using Lanaboards as a duckblind to study the best exemplars of human civilization, your anxieties should be lessened. And no need for a follow, I just post stuff occasionally to do my fair share of posting, and the avatar is very hard to miss anyway.
  10. They tried to take her out the first time via "authenticity", not anything about the inappropriateness of her lyrics. Lana's music was "dated" intentionally, in the same sense Amy Winehouse's Back to Black had dated her music, I.E., something like a "post-modern" attempt to re-introduce known singing and song styles. As the styles were basically known (although maybe not much by the critics), the only thing that really mattered for impact was just how good the songwriting/singing was (or if the styles had been forgotten, even better in terms of impact). In both Lana's and Amy's case, the songwriting was definitely good enough. As for the obsessive/submissive love themes in Lana's songs being tolerated today? These have never been uncommon, at any time in pop music's history, from either side of gender, so I don't think she set "feminism" back 100 years either then or now. Finally, BTD's chart "immortality" (now more a ghost, but it still appears every once in awhile) suggests a later advent for BTD would have had a similar effect.
  11. Theme on variations. Different-artist covers of a song and same-artist remixes of a song are pretty common, but couldn't song lyrics also be varied, as well as musical themes, in a "variations of a song" context? Anyway, her copious unreleased allows some exploration this. E. G., Dangerous Girl is considered a variation on You and I, Delicious/Caught You Boy, although songs in the middle may just have similar vibe (YCBTB/HDB and DD/LOD), and if properly merged, could be two different movements of one larger song, sort of prog-rock style (which I wish she'd do more of). 1 Hawaiian Tropic 2 Dangerous Girl 3 Big Bad Wolf 4 Delicious 5 Come When You Call Me (industrial version) [no gap between 6 and 7, I mean I would try merging these two to make it seem 6 goes directly to 7] 6 You Can Be the Boss 7 Hundred Dollar Bill (rock version, with that hellaciously phat bass-line) 8 Daytona Meth [no gap between 9 and 10; this almost works as a merge anyway, at least for the versions I know] 9 Dum Dum (demo 3?) 10 Live or Die (definitely version 1, with the "hey"s background vocals, not that -- ugh-- "final") 11 Come When You Call Me (jazzy-trumpet version) 12 Caught You Boy 13/14 Wolf piano instrumental intro / Hot Hot Hot 15 You and I 16 Everyman gets his wish (what I know as v1, cause it's rawer and less produced -- either way, wolf whistles morphing to melody is campy genius!).
  12. Well if we're talking about wish-fulfillment pairings, I would opine Nick Cave, on the basis of BUS having a "Murder Ballads" type melody, but without the (often extreme) horror of Nick's lyrics (on the Murder Ballads album, that is). On a different topic, does anybody (else) think Nikki is intentionally trying to sound like Tammy Wynette on BUS? From my informal checkings (i.e., I don't know Wynette that well), she seems to do a pretty good job.
  13. I listen to a lot of random stuff on youtube. No real pattern.
  14. I like the fact diverse people think about her as opposed to people just not thinking about her at all, and hopefully, LDR won't respond (either positively or negatively) to the article, as an artist should not have to explain her art too much (and responding never did her much good, anyway). It's a better article than the Ann Powers' drug-induced one; however, characterizing LDR's current or past artistic agenda as being largely anchored in the longing for stable norms (even given some of that in COCC) does seem to over-agendize her for conservatives, disclaimers at the end of the article notwithstanding. Does she yearn for normalcy more in her life now, circa COCC? Sure, I can see that. Is it a major part of her art or her art's attraction to fans? Maybe not. Artistically he didn't take the video for COCC (title track) into account, where turning into vampire-esq werewolves does not suggest longing for normalcy to me. Also no talk of TJF, WAH, DTWD, so maybe the argument is cherry-picked? I agree White Dress is a very interesting song to talk about. I'm still waiting for critics (or think-pieces) to pick up on the Sun Ra reference. I don't know his music, but I looked him up on wikipedia, and in some respects he is exactly the type of role model one could hope for an impressionable young Lizzy (prolificness, technical skills, avante-gardness, epic response to being drafted for WWII, beliefs in alien abductions, and tenacity/longevity with respect to music and performing).
  15. slang


    It's hard to keep up with so many new releases happening, but Ours (not to be confused with the French group "Bear") is back with their *self-titled* album (released last May 14th). While maybe not surpassing earlier Ours (except in length, and perhaps production, which is good enough to get most of their weird and simple -- in a good way -- lyrics), there is more of the same-old uniform excellence in writing and audacious singing you expect from Mr. Gnecco. OURS certainly "checks the boxes" for me, so not getting reviewed by the gatekeepers of popular music (this album and their last) is definitely a cosmic conspiracy. I can't really pick a track such that if you don't like (or like) that track you'll not like (or like) the album. So I'll pick two [so if you like neither ... ] ). I'd say the album is banger heavy with percussion very prominent. For instance, several songs remind me of Fleetwood Mac's Tusk-song percussion, but permuted and grungified over songs. Here's an example of that:
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