slang

HM satisfies my general and specific criteria for greatness, but for somebody that doesn't think HM, TBD, SS to be great songs, or if songs initially perceived as poor (for me, HBTB, TLY, AD, GKIT) do not improve with time (which, for me, they did), then yeah, it's not going to seem like much of a "great" album. For me, HM's greatness comes from the seductive qualities in her voice (the famed James-Franco effect) combined with it's stripped back yet very sumptuous production. It also comes from wondering how long she can continue without repeating herself, which I don't think HM does, although I recognize some think she repeats herself quite often. One can also evaluate albums in terms of what one thinks the artist intended, which in the case of HM, is some kind of film-noirish, vocal-oriented epic (again imo), and I think she did fine wrt that goal. Finally, I take comfort from the fact HM pissed off some critics, that liked UV, while winning over some previous hateful ones. This indicates artists' taste for what is good and interesting in their art exceeds the critics' taste, which is exactly as it should be.

@@DeadAgainst : while I recognize the humor in your post, let me be a little pedantic and say correlation is not causation. The other thing worth mentioning is that the book "The Satanic Witch" (after looking into it a bit) is not what I expected it to be content-wise, given the title. It appears to be a self-help book about improving female seduction skills and winning friends and influencing people. It may also be a little bit funny (e.g., there's a chapter on "Bitchcraft").

Her (possible) disdain for earlier works makes me want them even more, tbh. #unrequitedLoveTriangle. Unpopular Opinion: Singing Serial Killer, You Can Be the Boss, and Us Against the World last tour was my favorite instance of LDR-promo last year. Hopefully, she'll sing even more unreleased/suppressed work on her next tour.

He kept his condition very secret, and while there may be some death references on Blackstar, I didn't even remotely suspect this (I mean his voice seemed really strong to me). The timing on the announcement is unbelievable. What a Bowie-esque, defiant, yet graceful way to go. Bowie will be sorely missed, and I'm thankful for how he enriched my life.

What I like about the suggestion that LDR cover an entire album of some other artist is that would put the universe back into kilter, after the unsettling covering of Taylor Swift's 1989 by Ryan Adams. Screaming Trees is an interesting suggestion for an artist, but if it were only one album, would it be Sweet Oblivion (which has Dollar Bill)? Also, as an alternative suggestion, let me suggest Ballet the Boxer 1 from OURS (and Jimmy Gnecco)? She'd have to sing full throttle (both emotionwise and powerwise) through a lot of it, and I wonder if she could do that. TBH, I wonder the same thing about Adele.

Lester Del Rey was an SF author too. https://en.wikipedia.org/wiki/Lester_del_Rey

I like "stranger than a stranger" as it is a concise horror-story when it is applied to talking about ones past; however, I may not like the lyric for its (potential) non-originality as it seems to be the kind of thing done before. Here, for instance, is an example (though a bit more cringeworthy in its overblownness, imo): http://www.plyrics.com/lyrics/fearbefore/treeman.html still, if it did the job it needed to do in Freak, which is to convey the idea of a person with a chaotic past (perhaps), I'm ok with it.

1. yayo 2. smarty, pawn shop blues 3. kill kill, oh say can you see, for k part 2, mermaid hotel, raise me up, queen of the gas station 4. brite lites, jump, put me in a movie, gramma Don't understand how people can make such fine discriminations between songs. Yayo's on top for me because it's on top for LDR (the only one she decided to re-record and the only one, that I know of, that has an excellent live performance on youtube, the living room, 2008). However, I do love it as much as any other song on the album. tier two is a good example (for me) of why AKA is such a brilliant album in terms of its stylistic range. tier 3 still kicks ass. and tier 4 is merely great.

One of my favorites too. I've always wondered if it were a reaction to Kate Bush's King of the Mountain video (and song), which was released 2005. Their songs are only similar topically; however, the "White comp sequin jumpsuit ghost", if I understand the meaning of that phrase correctly, might occur literally in Bush's video. Her "chantilly lace catching on the chandelier" is also kind of a weird image, but in the context of a KB video reference, it could mean LDR sees herself as a ghost dancing with him.

I think the magnum opus idea confuses the favorite song idea or possibly the perfect song idea, which I guess is a song with some kind of powerful message that is executed (nearly?) flawlessly. But there's no reason only one song can be best, the most perfect, or the most favorited (even within the same person). I don't have a (logical) problem with their being multiple "best" or "favorited" given "ties" are always possible. However, you could rank different songwriters in terms of the number of "magnum opuses" they appear to have, which is typically how it's done with composers. This is the primary reason I've often whined (or been depressed about) LDR's suppression of the AKA album and her non-action on other unreleased stuff, as it depresses me that her stature is not accurately portrayed (i.e., for me, there are magnum opuses there, too, though I recognize people differ in their opinions on this).

All in all I think her acceptance was just fine; maybe it was too short relative to others (don't know didn't see any others). To me the most awkward thing about it was the playing of Video Games as she was walking up. This probably convinced her that she had four albums under her belt rather than 3 albums and an afterthought (or was the fourth album AKA?). I would have liked to have heard how they introduced the award in terms of its meaning, but at any rate she showed that she (really?) liked the presenter, so I mean she wasn't that shy.

Interesting that she didn't mention she was asked to perform at the Breathrough Prize awards (in 2014?) and also attends them w/o performing (2015?).

She kind of implies she uses her music and singing to escape the reality she's plugged into. Not exactly a dodge, and TBH it's a crummy question, as "yes, I'm plugged in" [and therefore, I've heard of Ferguson] answers both questions, and why should she talk about something that doesn't even relate to her art? So by not saying anything specific about Ferguson, she may be taking a stand on the whack nature of the question for *her* type of pop culture (i.e., she had time to google Ferguson, certainly, so she knows about it, and it's not like she's Kendrick Lamar, or Peter Gabriel). On the other hand, I think it will be interesting to see what LDR does or says (activism-wise) in the future, if it turns out to be Donald vs. Hillary in the US presidential race. I rather wish the interviewer had asked a question about that, as her being dodgey (or not) would have been much more informative for me.

general: I wonder if the complete set of questions were answered, or if there were questions submitted she did not answer. I'm assuming these were the only questions asked. specific: "Can you ever imagine releasing music without that persona? Returning to Lizzy Grant?" I'm glad she parenthesized that the Bowie reference might not have been "good", but now I have to wonder exactly how she imagines DB to be. For me, DB is also an actor and so assuming different roles is natural for him. As for his choice of roles, this reflects his interests and instincts for packaging (to sell records, make himself distinct from the crowd, and make his aesthetics clear). As for LDR, she, her songs, or videos don't really have a "persona" but a strong aesthetic. I also can't help but think this Rorschach Blot of a question was meant to elicit something about the fate of the AKA album. Maybe that was asked explicitly or maybe not, which relates to my general concern. Of course it's not just the music from AKA, but all the unreleased stuff. I mean, I just can't understand the question as being anything else but an overly coy attempt to get at that issue.

On asking google about "world on a string" I got this: http://www.lyricsfreak.com/f/frank+sinatra/ive+got+the+world+on+a+string_20055267.html

I understand your cringeworthy remark to mean that it should have been stated in terms of who LDR is the female version of, which is the more flattering way to put it with respect to LC. So who is LDR the female version of? LC? Maybe on a few songs and maybe more from her unreleased. But if you like LDR who on the male side of popdom (historically) are you likely to like because they have similar elements? For me I get a bit of an Alan Parsons Project/Electric Light Orchestra/Bryan Ferry/Roxy Music vibe (i.e., restricting to only males) ... and they didn't win Grammys either. However, the larger point is that LC didn't win a Grammy (or was even nominated) until way after a bunch of Grammy worthy work, and it was for secondary work. Grammys rectified the mistake by giving him a lifetime achievment Grammy in 2010 (when he was 76). Something similar was done for David Bowie (who had only one it for a video, in 1984). It's not unusual for really great (as in influential and unique) talent to go unnoticed until late in a career, and often the notice is for lesser work. Pink Floyd won one Grammy for an instrumental on Division Bell (and I'm guessing they had better stuff before that). Genesis won their only Grammy for the Land of Confusion *video* (ditto what I said about PF). Peter Gabriel won a bunch of Grammys for secondary work (movie score contributions, music videos) but nothing for his groundbreaking solo albums. I got all this trivia by hunting around here for artists I like: https://www.grammy.com/nominees/search

I think the imputed psychologies reflected in all the nomination pictures are interesting and possibly manipulative, but I really don't know what the chooser of the pictures intends (wrt to helping or hurting the artist). Taylor looks distant (literally) and reserved and possibly cold (lol). So Lana, by comparison looks kooky, intimate, and maybe a little dangerous, which is well within her range of persona appearance (even as LDR). So I think it could help her. Grimes looks exotic but gimmicky (also pretty distant). Courtney Barnett (whom I'm least familiar, but I think Grimes has stanned for her) looks like she's trying to portray an authoritative performer (e.g., I can wail and play the axe). She strikes me as a female Lou Reed in singing style (based on two videos I saw). Kanye looks like Yeezus ascending to wherever Yeezuses go, and Kendrick looks like a generic rapper with hands-on-crotch Michael affectations. In short, I don't think LDR comes off looking the worst, but then again how could she ever? http://www.nme.com/awardsvote/offset/3

It's from several movies. It might also be a part of cheerleader folklore. http://pancocojams.blogspot.com/2013/01/different-performance-styles-for-be.html

HM=SS=TBD>F=R=MTWBT=24>HBTB=S=TLY>AD=GKIT None of the songs I really dislike or consider filler. Don't know how to rate DLMBM because it's a classic cover (and her version is fine for me). I don't know if I should rate BN, as all she does is contribute her speaking voice to it. As an interlude (intermission?) it's fine.

I'm thinking it was Moby Dick. Would be interesting to know who has the season tickets or made the suggestion. https://twitter.com/JamesFrancoTV/status/668664952413122560 http://www.laopera.org/season/1516-Season-at-a-Glance/Moby-Dick/

Weird Bowie is back! Blackstar a 10 min anti-single is on youtube. Here's a neat article about it: http://noisey.vice.com/blog/david-bowie-blackstar-video-johan-renck-director-interview

I don't know if you have to interpret Religion as being about a guy. I just posted an alternative interpretation in the Lyrics forum, "Religion" thread.

Here's an alternative interpretation of Religion. Well this is just for fun, of course. So in this interview http://thequietus.com/articles/07106-lana-del-rey-interview <<<<<<<<<< thequietus quote>>>>>>>>>> Interviewer: You also told Pitchfork that God has saved your life a million times, which strikes me as in opposition to your music. Because, in films based in small town America, religion is frequently a patriarchal, repressive and evil presence, with the archetype you portray acting as a force in subverting it. LDR: I think there’s a division of organised religion similar to what you’ve described. But where I’m concerned, my understanding of God has come from my own personal experiences… because I was in trouble so many times in New York that if you were me, you would believe in God too. When things get bad enough, your only resort is to lie in bed and start praying. I dunno about congregating once a week in a church and all that, but when I heard there is a divine power you can call on, I did. I suppose my approach to religion is like my approach to music - I take what I want and leave the rest. Interviewer: What kind of ‘trouble’? LDR: Any and all. When I was in New York I had nowhere to live, and I was trying to find a way to be a musician… Just trying to survive, which is fucking hard by the way. So I got myself into a lot of situations I didn’t plan on. [Pauses] I think what I was going for was something beautiful, but I kinda got myself into trouble along the way. Sorry, that’s pretty vague. <<<<<<<< endQuote>>>>>>>>>>> So maybe 'Religion' really is just about her relationship to religion. (I'll call that interpretation B) and not her devotion to some guy (interpretation A). So when she sings: "It never was about the money or the drugs For you there's only love For you there's only love It never was about the party or the clubs For you there's only love Cause you're my religion You're how I'm living When all my friends say I should take some space Well I can't envision, that for a minute When I'm down on my knees, you're how I pray I need your love I need your love I need your love" She is singing about partaking in a dangerous lifestyle, which is, in fact, the thing her friends warn her to "take some space" from, but that she won't do that, and that multiple divine interventions have saved her ("You're how I'm living"). So when she sings "For you there's only love", 'you' is a reference to Jesus or God. Then there's that line about being "down on my knees". Provocative yes, but being down on ones knees is also the posture of begging (e.g., "save my ass, please"). BTW, Nicole Dollanganger has an earlier song called "700 Club", which is topically the same as Religion, under interpretation A. ND's song is certainly good enough to have influenced LDR (and Nicole also has a "knees" line too, and the contrast between hers and LDR's is interesting). Here are the lyrics from Nicole's bandcamp page: http://nicoledollanganger.bandcamp.com/album/ode-to-dawn-wiener-embarrassing-love-songs 700 Club virgin mary, jesus christ think i just found the light in your eyes think i just became as religious as they come i think i just found god dumb founded by the glow of your gold halo oh god i can't believe i'm staring at a living angel give me a bible, i'll put my hand on it give me a pen to join the 700 club baptisms baby, dip me in the lake pour the holy water i'll drink the whole cup cause i never believed there was a heaven til i found you and i never prayed [like] the church always told me to but now you can count on me to get on my knees for you virgin mary, jesus christ who would have thought all those church signs were right? the lord did come and he is my savior i'm a good girl now i'm a believer i don't have blind faith cause i've got proof i know angels are real now that i've found you For me, there is no Interpretation B for 700 Club; it's entirely unambiguous, imo. Yet 700 club has all sorts of references to religion in it: artifacts, organizations, ceremonies, major players. 'Religion', on the other hand, has virtually no such direct references, although (for me) 'Religion' has an intro verse reminiscent of the ideas of "total depravity" and "predestination", which I got from the wikipedia page on Calvinism, which is a form of Christian religious thought. I also get "paradise" references, in the later versus, in terms of being safe (invulnerable to storms) and happy (no need to survive, just play).

Went to the comments for this and no mention of LDR's song, but people recognized Dave Chappelle's stand up "3AM in the Ghetto". combined with the fact people actually say "that's so ghetto" all the time , as inspiring it. So as an LDR apologician, I can opine that if people really do say "that's so ghetto" all the time, one might consider LDR's use as possibly social criticism, but there are also darker aspects to the song such as the lines: You put your life out on the line You're crazy all the time which suggest she (or the person she sings about) may have had to blend in, in dangerous environments. And where are ghettos relative to club scenes generally? I guess it depends on the quality (or type of) club, and I really don't know; I'm just asking.

Emphasis on strings (at times), trap beats sorta like hip hop, some sound samples (but more diverse and subdued than BTD), might be reasons. I also think what she's got on HM is more deserving of the descriptor Hollywood sadcore, which may be another reason. However, I agree that it should not have been characterized as more like BTD, as expectations would automatically be set really high for it. It is more filmic and noirish, and possibly closer to UV for that reason. A more interesting way to think about what HM might be like, is which of her leaks/unreleased could have been on it and still preserved its vibe. IMO, Pinup Galore, You and I, Never Let Me Go, Hollywood's Dead, and Heavy Hitter (which is lyrically like Honeymoon, the song, but more "fun").