slang

Sad about the overturning plans; happy about the leak. I mean if the supreme court had planned to do it from the get go (which they did), they shouldn't have started drafting shit so early and waited till after the midterms, when the republicans might have gained more ground. Now that it's leaked, it has the oppurtunity of swaying people the other way for the midterms. I think Biden promised to (try to) enact law to repair anything the supreme court undoes. Implied in that promise is the idea that the voting population gives the democrats both the house and the senate in clear majority (i.e., 60+ seats in the latter). If that can happen they can enact a repairing law. They can also change the structure of the court (enact term limits, add justices). I think it would be interesting to have 100 justices on the supreme court, with term limits like senators. One could decide who serves on what cases by a random draw from the justices. It wouldn't be any worse than what it is now, so why not? And at minimum, a much larger number of cases could be run per unit time.

It's a release of some kind as: ℗ 2184951 Records DK is some kind of tag for it (from the youtube description). Hits of that tag in google suggests it's on apple music, at least. Half-heartedly hoping it's LDR just fooling around with her unreleased song, and not a disgruntled producer or some profiteering guy. It's hard to track its existence, because LDR isn't referenced (other than the image) in any description.

abstract, non-song-specific haiku: diverse prolific converging in look and sound she emotes herself

There was a "Lana songs as Haiku" thread once, which could do what you suggest with more constraints, if the song were representative enough of her, but I can't find the thread for some reason. At any rate you're supposed to pose a song as a Haiku and then people have to guess what it is. Can't remember if I posted this or not (am thinking not). Your mind is enthralled My bad singings and hijinks Send you to heaven (hints: unreleased song, sung in the 1st person). Imagine a semi-colon after "enthralled", and it kind of (technically) works, even if it's cheating a bit.

I saw there were no Peter Hammill references at LB (?), so I just couldn't help but post this (as I'm going through a big Peter Hammill thing right now).

About WTWWAW: You're thinking of God Bless America (and all the beautiful ...), where gunshots in the chorus make a perfect sardonic sense. However, the gun-cocking sounds in Love on the other hand, very sinister. I'm thinking there's a sniper in every love song.

Google: In what language is Bizet's Carmen sung in?

The album, by itself, works fine for me, with quite a lot of LDR-classics on it; however, you sort of have to rate stuff for what it is genre-wise, and not what you especially like, genre-wise. I see BB as part of a trilogy, with NFR being psychedelic folk, COCC being future-retro Americana (dare I say, country), and finally BB as her future-retro but old-school Broadway-type songs. I mean if BB songs had been part of a Broadway musical, I think it would have been a huge hit, and yet BB doesn't have much Rick Nowells (except for CB), who, if I remember rightly, once made a suggestion for a foray into Broadway. However, the older songs on the album might have been the cause of his suggestion rather than an effect.

Not that I expect anyone to have memorized the NFR post-release thread, but I was actually able to find (using -- NFR capitalization -- as search cues with the site's search) a post of mine that addressed this. The general idea was that all the capitalization choices could make sense, if one were inclined to think of a reason for them. http://lanaboards.com/topic/10955-norman-fucking-rockwell-post-release-discussion-thread-poll/?do=findComment&comment=906400

I really like the iPhone reference, too, in Sweet Carolina (as well as the swearing, but that's maybe for a different reason). The song's vocals, production, and style (e.g., melody) could have been a hit in the 1920s-50s, so the lyrics date stamp the actual date of the release pretty specifically to the 21st century. Hence, future historians of ancient earth (who will hopefully be human) will not be confused about the song's release era, if they only have the song's style to work with. Also, date stamping the song by referencing a device that understands timestamps seems auto-recursively clever to me.

I agree with everything you say, but need to add: LDR shouldn't take responsibility (or feel guilt) for the new normal. I mean people mis-portraying stuff on social media (aka the "misinformation" age) is just a fact (e.g., politics, elections, vaccines), and appropriating art to inappropriately promote ones fucked up ideas is probably very common (though I don't know such well enough to give examples, because I tend to just ignore them, and LDR should too). In terms of an "unpopular opinion" (maybe?), I think it's more critical than ever that LDR release large compilations of her unreleased work, as well as unsuppress AKA. What that would do is show a fuller range of artistry and make it harder to pigeonhole her. I don't think her earlier materials are even problematic relative to pop music (both currently and historically), and no amount of screeching on the part of critics (both musical and societal) is going to make me believe otherwise.

Hip hop is problematic as I don't know how recent that field is, or how exactly to define it. I associate it with the likes of Kanye, Kendrick, Tyler, and (yikes!@) Eminem. Emile Haynie might need to get some credit for blending Hip Hop with Orchestral on BTD, as LDR's later albums aren't as hip hoppy (and AKA didn't seem inclined that way). As to who might precurse LDR with regard to clashing those particular genres, Portishead and Massive Attack (also the Roots?), in the sense of combining "noir/cinematic" and hip hop. Maybe even some later Blondie (i.e., Autoamerican, released when LDR was -5 years old; famous for the "trick" question: who introduced Rap to MTV?, I think it was Debby Harry). Janelle Monae, Corinne Bailey Rae (no relation to Ray), and Esperanza Spalding may also do work fitting the category you're describing. If not, they are at least worth checking out (in that order). And there are plenty I just don't know about. For me -- in terms of important style setters and/or exemplifiers of known styles -- Steely Dan (and Fagen and Becker separately) and Depeche Mode are at least groups that I would recommend in terms of "if you like them, you might like LDR, and vice versa". This is because the AMSR and future-retro run strong in them, imo, but not anything specifically tied to orchestras or hip hop per se (although Steely Dan was influenced by Reggae and Stevie Wonder, and Keith Jarrett sued them).

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...

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.

^ 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).

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.

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

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).

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).

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.

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.

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.

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!).

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.

I listen to a lot of random stuff on youtube. No real pattern.