slang

Yeah, that's an important line to hear correctly.

I'm thinking it's LDR's song -- topic wise -- else why would JB have made it a bonus track; also if LDR wanted to hide the fact that it was her song -- topic wise -- putting it on somebody else's album is a pretty good way. Technically a good collab in the sense LDR is used a lot, but I don't know if I like the fundamental gloominess of the song. So "life lesson" is a "one that got away" type song, with some characterization for both POVs of the relationship. I like the lyrics off of a youtube comment for the track (at Jon Batiste's channel, I don't know if the link will work as intended, unless pasted into the browser's URL field): Edit: no the link didn't work, but @Nada-yj9eg were the lyrics referred to. In terms of lyrics' interpretation, the cold vs. hot theme-ology would appear to refer to temper, so "you're icy till you're hot" [in the OP "Yeah, I see into your heart", which I don't hear as much]. "He got so mad, there in a flash, in just one second I became his life lesson" Speculatively, the "cold" in the part below, is actually a wish that temper is restrained. I hope it's cold where you reside You wake up late at night & I would reckon That you'd be guessing I'm, I'm your life lesson Another interesting difference is that the commenter's lyrics ends the song with "Amen", which I swore I heard the first time, but in fact the ends with "A-", so you're garden pathed there, although "it" works too, but damned if I can hear any final "t".

If you like artists diverse and eclectic and with interesting evolution, AKA fits right in as a masterpiece. That is, if you like unpredictable artists, it seems a shame AKA, May Jailer, and more of her unreleased are not proper parts of her catalog. I have to conclude that tiktok people (or newer fans) just aren't as much interested in diversity and/or have narrow taste in music. I don't know what tiktok people actually find popular, as I avoid the venue, but if they like LDR that's fine, though I can't imagine they like her too broadly (e.g., as many stans for summertime sadness as heroin on tiktok?). AKA is a no-brainer for re-release, and there could easily be a bonus disc of unreleased material that has a vibe consistent with it, although that isn't a requirement for making re-release attractive (for me). However, in a re-release, I'd still quote the original title, as the album title (as I'm anal about history being accurate), and then identify the artist as Lana Del Rey. There's also something very "next level" about an artist's debut album having an album title referencing the fact that the artist just changed names! It's like she's footstamping the idea her thoughts are so fleet, you won't keep up with her; disco-ball mind, indeed!

For me, it's different outcomes for each case I can think of, with regards to a syndrome, or phenom, of people liking the original unreleased over a later (changed) released, or people liking the unreleased more as unreleased than being actually released (e.g., Blue Bannisters songs). In terms of just liking unreleased better (i.e., not controlling for song), I'd term it a "forbidden-fruit" effect, such that when they're released, you don't want it as much (it's no longer forbidden). However, it's more important to consider that any unreleased compilations that will happen are going to be more impactful to newer fans anyway, because that's just the way novelty works. Also, there's at least one case of a "meta-release" being more popular than its earlier proper release: the summertime sadness remix won a grammy, while LDR's version did not (how sad is that?). While this might suggest why (some) people like NA and TIWMUG demos more than the album versions, it doesn't work for why (some) people prefer the Blackest Day, LFL, or Freak demos over the album versions. To me everything just looks like special cases of preference, and having a few anecdotes about unreleased-over-released fan preferences doesn't seem convincing.

I've found from a PC, that if you paste the youtube link into your post and THEN manually edit it to put line spaces (i.e., carriage return characters) before and after the link, the youtube video self-embeds (and you can see it in the preview). You also have to put CRs to get paragraph spacing you like. BTW -- these sad-core kings really broke out with this video and changed the face of popular music to embrace sad cosmic-dread-type horror-sf themes. Oh wait -- nevermind -- that was a parallel universe. Curiously, parallel universes were never much sung about in their horror-sf laden ouevre. .

I know Frank's voice better than Beyonce, because I have albums of Frank and none of Beyonce, but having heard Frank's AI Video Games, I can say Beyonce sings Chemtrails better than Frank sings Video Games. Part of the problem is Frank seems to have no conviction for the song, and I think his AI is working a bit under duress, actually. I'm still trying to figure out the basic metaphor for the technology. But I think it's something like copying and pasting Frank's vocal timbral attributes -- including mean pitch -- as digitally represented, onto LDR's performance. That is, LDR's performance is still used as a template for his somehow. In that case if you play the original video games with Frank's they should coincide nicely, and AI Frank did sound better in a really tight micro-fugue with LDR's original (i.e., lagged about a half-second behind), which sort of supports that notion. But still, the way Frank uses his pitch and timbre to convey conviction would obviously be completely different from LDR, and I think that's what's missing here. So you need a song where LDR actually has Frank's vocal swagger to have a Frank AI do well on it (and so vocal AIs are still pretty limited in this way, imo). I would suggest Groupie Love (and maybe replace A. Rocky by Nicki Minaj) as a song where LDR actually tries to have a Frank swagger.

It gets some things that reminds me of her, but seems kinda flat. I'd love to actually hear her do this with more of the vocal dynamics of Shades of Cool. The AI tech is scary interesting. I wonder if it's just neural-nets brute-force learning or whether they're working with an actual physical voice box model that gets tweaked. Computers didn't put live chess competitions out of business, so hopefully ... Also, the AIs don't write the songs yet.

He could have done the Eilish, Sia, Pink, or other songs he covered, so Lana's song was definitely a choice. Artists' nods to other artists far exceed any critics' nods to them, imo, so this must be considered great press for her. BTW- The studio version is better with an instrumental outro (somewhat more UV-esque) and somewhat better respect for tempo contrasts between sections.

She basically has a video about filming a video that you're gonna see but you never do see (unless she premieres the actual video they were filming unexpectedly 6 mnths down the road, and it turns out to be very very "nasty"; I don't think that's gonna happen, but she definitely wants me to think it's a possibility, so ....). Fourth walls broken out to kazoo. It's definitely a unique and worthy addition to her videography, which is to say a really great video.

If you're talking about songs with dynamic sections, in released I'd say Heroin (with Off To the Races, Honeymoon honorable mentions). In unreleased I like mashing related-vibe songs together and imagining a prog epic (e.g., Dum Dum followed by Live or Die immediately sounds cool). AKA, the album, is pretty chaotic, in the sense that you don't expect songs like Pawn Shop Blues and Smarty to be on the same album (and those are not the only song pairs one could mention).

I agree with what you say (mostly), but I don't think she becomes overly acute at what you describe, until OB, where maybe she weaponizes her authenticity some ("weaponizing" being a new vogue term in the US for medias, judicial systems, and such). But I don't know if you could say it's a dominating trend for her since NFR. I mean she writes differently that timespan, but not all of it is so idiosyncratic as OB. The other thing is: she's always written about her life to some extent (e.g., Sirens, e.g. Aviation), so it's not such a big deal for me, unless her next album is similarly as self-referential and idiosyncratic. BTW- she really needs that unreleased album release. "Songs never heard by nobody" would be a cute title for it, given her past flirtations with double negatives (an idiosyncratic reference only her most crazed fans might understand).

You're not a big fan of the unreleased collection idea then, I would guess (assuming that ever happens). In LDR's case more is better, and an album just doesn't have to be a well-conceived "concept" piece to be enjoyed (thoroughly), but as it happens, I think of BB as her Broadway-style album (i.e., sort of Songs Without a Show). Oh yeah, gotta make this post relevant to OB somehow ... Nobody gives the robot Yorkshire Terrier at the end of Fishtails enough love, imo. Genius production.

Disclaimer: Following Judah's interlude ending disclaimer, this post will be more about slang than LDR or Ocean Blvd. Took me awhile to formulate opinions (and keep up to date with the post-release thread). I think OB is easily Norman quality and I'd rate it high (although I like BB more than NFR, especially since she's shaded/dissed BB recently). I'd describe OB as an emotional scrapbook or mobile (that decorative thingee), as some songs seem yoked, or balance each other off. You can also think of the overall album structure as symphonic-like, with songs coming in coherent stretches of mood. So the spacey/trancey, topic-compatible Kintsugi/Fingertips, is stuck in the middle as a kind of slow movement, between more dynamic sections. The opening 3 songs are wholesome/family-oriented and define a retro movement, being gospel and two pre-rock-era torch songs. The stretch from A&W to JBI is an existential-nausea movement (and I like the proggy elements), dealing with not-so-wholesome ideas/activities, with JSI turning up there, as a curious balance to the JBI, the latter something like a drug trip description? Classic LDR wtf stuff. The 4 songs after K/F, Paris through Margaret, are lighter. Paris (Texas) balances Margaret, as both songs are opposite topic-wise. Finally, the last tracks are more rambunctious, as last movements usually are. Fishtails evolves to Peppers, as does Taco Truck to VB. The VB reprise was cool, imo, especially if it means that the stretch of albums from NFR to OB form a complete arc (i.e., VB being used as a "reminiscenza", as with symphonies that end with themes that refer to the first movement). What's good about that interpretation is she's about to start a different album arc. However, the reworking was actually good enough, to have it preserved, as a kind of acid-flashback, which her lyrics somewhat suggest. I really wonder whether this version of the VB outro was earlier than the NFR-version (receipts?). random ravings: I get trippy double-image effects throughout, where I'm not sure if she's talking about dead people, boyfriends, dying/getting boyfriends, or all at the same time. So the Grants start off pleading with a guy, but turns out to be more interested in taking family memories when she "goes". Is "when's it gonna be my turn" in OB referring to a stable relationship (as suggested by the word "love"), or the"taking of memories" stuff (suggested by the word "death")? In Kintsugi does "daddy, I miss them" refer to dead people or boyfriends; I'm guessing both here, given she name-checks Donoghue (a first in a released song?). Let the Light In & Fishtails give me Barrie-vibes a bit, not with respect to his music, but more about him. Also I couldn't find Cold Coffee (his first album, which deals with his breakup with her) on Amazon or Itunes, and in Spotify it's greyed out. So I'm wondering why he's AKA'ed that album. Hopefully it's temporary. The idea of LDR writing new song verses on top of older, other-artist songs was unsettling at first; however, the results for the 3 songs here were tremendous. BTW, Playing Dangerous is also a great example of this (Gato Barbieri, who scored Last Tango in Paris (not Texas), plus a catchy sampled drum solo from somewhere, to which she added, impressive original melodies). The not-so-familiar-features strategy (along with familiar ones: FJM, JB, and "Bleachers"), as well as the interesting feature approach, may work in her favor regarding AOTY prospects, if she's nominated. Winning means all participants get a grammy, and an underdog-seeming album, with some obscure-ish -- but substantially used-- features, might be favored in voting populations.

She should do whatever she likes, of course, but I'd quite like it if she embraced her full diversity as an artist and did something with the unreleased/leaked catalog. To be clear whether AKA should be re-released or Sirens released (and how they should be) is not the same issue as this. Also, just to be clear, people who think songs that have leaked shouldn't be released, just because they're leaked (and they can play them anyway), should also think that albums that are released should go out of print soon, because they are also "leaked" (but in a different way). I'd also recommend her releasing her May Jailer stuff as May Jailer and her unreleased/leaked stuff as Lizzy Grant, just to keep critics confused on the authenticity issue, which they obviously don't have a clue on, or for that matter what artistic growth/exploration, means. I mean, Damon Albarn belongs to two bands (Blur, Gorrillaz) and releases solo stuff, so why can't LDR enjoy her multitudes, as well.

Your Girl (especially that most recent stripped-down, drumless, demo version) is a metaphorical metasong that is autologically about an unreleased song that wants to be released. And speaking of autological songs, Earthquakes recently made me fall on my butt.

The song inverts the "standing on the shoulders of giants" saying a bit, but it sort of means the same thing? Why the references to critics and negative-hypers in this song? The only possible interpretation I can get is the idea that she attributes her lineage as responsible for all the things that were proposed to have been constructed about her.

"hands on your knees I'm Angelina Jolie ..." is part of the lyrics from the track by Tommy Genesis (prod. by Father). I didn't know Tommy's female! I thought it was LDR singing everything (because I was garden-pathed by the name). Here's the original Tommy Genesis track: BTW-- I also love the ghost of Go-Go Dancer in the verse lyrics.

The Elizabeth Short thing, we have to see how that develops. I think survivor's guilt works there too (and could shore up the interpretation that the Lust for Life video was a reference to Peg Entwistle, which of course LDR famously denies). The mojo article strikes me more about whining about the critics, and not martyrdom, per se. I mean, there's a lot of defiance there certainly, but I didn't see too much "recklessness" with her life. I also read it fast so I got some quotes to make sure it's from the article you reference. “I mean, I guess I’ll never forget my first four years of interviews. They just fucking burned me.” “I was discredited for seven years,” she says, her voice rising so fiercely it’s briefly unclear whether she’s laughing or crying. “There’s no other way of looking it.” The type of survivor's guilt I'm thinking about, involves why she would choose to cover Chelsea Hotel no. 2, or reference Amy and Whitney in a song, and I'm sure other things too. Don't get me wrong, she definitely wants to live, but she's also pissed that people that would have been dear to her were cut off (and we should be too).

I think you've hit on a general tendency of hers (and maybe it's a prominent component of depression -- in general -- -- i.e., not saying it's specific to her). However, "martyrdom" isn't how I would describe it. I think it more like "survivor's guilt". Let's take the song Fingertips, where I think that sense is pretty clear: "Give me a mausoleum in Rhode Island with dad, grandma, grandpa, and Dave Who hung himself real high In the national park sky It’s a shame, and I’m crying right now I didn’t get to you, save you" ... "I wanted to go out like you Swim with the fishes that he caught on Rhode Island beaches But, sometimes, it's just not your time, Caroline" ... "All I wanted to do was kiss Aaron Greene and sit by The lake, twisting lime into the drinks that they made Have a babe at sixteen, the town I was wed in and die Aaron ended up dead and not me" Now if you're interested in songs like "Hollywood's Dead" (which I still am), I think you can still interpret songs like that the same way as I'm suggesting for Fingertips, although you might have to work harder to do so (i.e., that song is less related to her life personally).

Not too bad actually. She's listed as first writer (JS second, Antonoff last) on the physical's liner notes, which makes me optimistic she contributed significantly to the music, as we know JS is solely responsible for the "lyrics". I would have loved to have been a fly on the wall when she suggested it to JS, and would have loved to have monitored LDR with all sorts of physio-measures while she played it for him, as well as the whole album (at least, if I were he, I would have requested that), just to see what she was most anxious about. Heck, I would have loved to have monitored the pastor as well. As for the sermon's content (i.e., love what you have; don't lust for what you don't?), this could be contradictory from other church positions on familiar issues that I don't need to rehash here. That is, provided one doesn't break any golden rules, the first thing you have is yourself, and maybe the 2nd thing is other people compatible with yourself. The idea of why God would bother with him, when there's the sky, whales, and rhinos, I found quaint, because lots of atheist physicists rationalize the meaning of (intelligent) life as the (sole) means of how the universe gets to know the universe. I watch a lot of youtube videos on philosophy, science, whatnot, among them atheistic/"apologetic" videos (e.g., meaning of life, with or without religion, is a bigee). The last para of the interlude reflects the highly personal nature of the album (sort of forcing the interlude to connect to the album); however, that line wasn't quite as comprehensible, for me, in the context of his sermon.

OMG, DM and LDR have contemporaneous album releases. Ought to be interesting. Oh ... and I'm guessing this video is about death for some reason (and I'm also guessing I'm being sarcastic). BTW, love the Ingmar Bergman reference.

It just seems like a really hard problem defining pop. Jazz called itself jazz (and was popular once, and there were a bunch of sub eras in Jazz), and Rock called itself rock (and was popular once and ditto), and Folk called itself folk (ditto., but with maybe fewer sub eras). All of these genres of music still exist, as does (what I think you mean by) pop. Or does pop seem different now than in the past? I mean one could attempt a definition of pop, that includes Britney Spears, but why not include the Andrew Sisters, or Frank Sinatra? My unpopular musical opinion is that there may be the same kind of problem with "pop" as there is with "classical" in time (there was a "joke" in the last of the Abrams-series Star Trek movies about it, and perhaps more credibly, Bob Dylan, whose done a lot of "covers" albums lately of standard pre-rock-era songs, remarked that he was "uncovering the songs" but also remarked that he didn't need to, because he considered them classics in the same sense as Brahms/Mozart; let's just assume I'm remembering the article right, as I probably can't find it).

The good thing about "pop" just meaning popular is that "classical" can just mean it's been around for 100+ (or whatever number) of years and people still listen to it. I.E. they're both vague terms that can be objectively defined (and real easily), although classical has some rather specific criteria, if you ask people what they mean by that. So Pete Pardo (Sea of Tranquility; youtube) just had a 1973 retrospective, where he picked his 31 favorite albums from that year (one for each day of January), and argued it was a phenomenal year musically. Maybe some albums he cited will still be played another 50 years out.

She's at number 50. I had to click on a red rectangle (under Sade, at 51) to find her (and Ella Fitzgerald too).