slang
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Video of some poetry -
"May You Resist Being colonized utterly by those who do not have your soul's interest at heart.
May you practice humor in order to bypass invitations to doom. Practice exiting quickly. Leave only your laughter in the air behind you when you've been invited to fulfill someone else's fantasy that's not you."
Well Marina did thank LDR in her L + F album notes:"Lana for your inspiring views on life. I appreciate our friendship so much." So this would appear to be some of that (i.e., an inspiring view). It is possibly an oblique response to people who are miffed at her attending church, even though she has cancelled some concerts.
As to the writing's substance: the use of the word "colonize" as well as the use of the word "soul" kind of remind me of "Invictus" (the poem) because colonizing is a thing of the past (or a thing of the future if you're into scifi) and "soul" is kind of the protagonist of that poem (some would even say it's relevant to why she goes to church; don't know, I don't go to church). BTW, I went to project Gutenberg and downloaded Peter Pan and searched for "awfully big". She has not quoted PP exactly but has alluded to it (unless the html script at Gutenberg is in error). The scene is they're on a rock (Peter and Wendy) and water is rising. There's a way out for one of them, and Peter elects to save Wendy. The allusion is at the end.<< extended quote >>“I can't help you, Wendy. Hook wounded me. I can neither fly nor swim.”
“Do you mean we shall both be drowned?”
“Look how the water is rising.”
They put their hands over their eyes to shut out the sight. They thought they would soon be no more. As they sat thus something brushed against Peter as light as a kiss, and stayed there, as if saying timidly, “Can I be of any use?”
It was the tail of a kite, which Michael had made some days before. It had torn itself out of his hand and floated away.
“Michael's kite,” Peter said without interest, but next moment he had seized the tail, and was pulling the kite toward him.
“It lifted Michael off the ground,” he cried; “why should it not carry you?”
“Both of us!”
“It can't lift two; Michael and Curly tried.”
“Let us draw lots,” Wendy said bravely.
“And you a lady; never.” Already he had tied the tail round her. She clung to him; she refused to go without him; but with a “Good-bye, Wendy,” he pushed her from the rock; and in a few minutes she was borne out of his sight. Peter was alone on the lagoon.
The rock was very small now; soon it would be submerged. Pale rays of light tiptoed across the waters; and by and by there was to be heard a sound at once the most musical and the most melancholy in the world: the mermaids calling to the moon.
Peter was not quite like other boys; but he was afraid at last. A tremour ran through him, like a shudder passing over the sea; but on the sea one shudder follows another till there are hundreds of them, and Peter felt just the one. Next moment he was standing erect on the rock again, with that smile on his face and a drum beating within him. It was saying, “To die will be an awfully big adventure.”
<<endquote>>
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Some interesting metacritic data on whether some fans (i.e. not just critics) prefer NFR to older LDR.User scores are pretty flat from BTD thru HM, but there is a discontinuity between LFL and her previous work (noticeably lower, but not by a lot) and a discontinuity between NFR and her earlier work (noticeably higher and by a more substantial-looking amount). Not that I know exactly what the user scores mean, but it's consistent with some fans, or some alternate fanbase, preferring NFR over older work (i.e. user scores of NFR 9.1 (8000+ ratings) as vs. 8.3 (about 1700 ratings) for BTD), and some fans not preferring LFL over the same (which I guess is less unexpected). I'm not really in either group.With respect to NFR "production" that people have been divided on of late, the actual production is defined best by Jack in an Atlantic Interview he gave where he described NFR as a "bizarre folk album" and among other things describes how he and Lana searched for a specific sound. Once they found that sound they locked down the equipment:
"That album was made in one specific room, with one specific piano, a very specific 12-string guitar, very specific drum kit, very specific patch on the Mellotron that went through a very specific tape echo. We landed on a couple sounds that really sounded like this thing we had thought of, and then we put a helmet on all of them: Nobody touch this drum kit. Nobody move the mic from the piano."In my opinion, if you are in the delusional minority that is put off by NFR (as opposed to the delusional majority that loves it), I don't think it's only the production throwing some of the long-time Lana stans off. It might possibly be the "orational" rather than emotional (torch) singing. The former is more like a folk stance. Not that she sings bad on NFR (or non-emotionally, as HIADT and FIILY are still emotional songs), but just that she sings differently and more in line with Cohen, Dylan, Reed. Or maybe we should be comparing her to Dido or Regina Spektor, production-wise (and singing-wise)? -
Well, I guess I shouldn't be too surprised about how things turned out. If they really wanted people to believe a voting population actually decided the winners, they should publish anonymous statistics about how many voted for each award and frequencies of the categories voting (e.g. producers, primary performers, studio musicians?, record execs?, actually it would be interesting just knowing what the hell the categories are). I think Billie won fair and square, but I still think it's crazy to reward a new artist that much on a first outing. And Finneas getting POTY on the basis of producing just one album? (even if it is AOTY) seems a tad ridiculous.
To look on the bright side, I'll note that winning AOTY didn't do Beck's career any *artistic* good, imo. I'm also glad Tyler got one, even if I haven't gotten into Igor as much as his others. Finally, I'm glad Esperanza Spalding got Best Jazz Vocal Album for 12 little Spells, an award she's won before. -
I don't want to suggest people can't discuss LDR's love life at an LDR forum, but I'd just like to warn against making the fandom look bad, because I don't think that does any good (especially wrt to LDR making an objective, as opposed to sympathetic, judgment of the guy). For example, making a response to someone, who personally attacks you on *your* instagram, doesn't seem cringeworthy. His response cited above, seems pretty strategic, imo, given no-response can often be construed as a "response", and given I don't know what other comments he doesn't respond to (or did respond to). Also the response to Sean's answer was, indeed, cringeworthy. I mean, independent of the ignorance about his job(s), LDR's serious dating interests had or have jobs (I don't know of any that haven't), so I get the notion of a bad stereotype of a mother from it.
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what? how would it be slut shaming when people re criticizing it bcus its a GROWN WOMAN commenting on a 13 year old's sexuality?!? thats just off limits. I'm all for expressing your sexuality all you want and the way you want it, but don't involve children in it, even if it is fictional, its just tasteless.
Maybe "slut-shaming" is too triggering, but my comment still pertains to being overly criticized for topics that are neither as provocative nor as fixated as some critics/fans make out. But to reiterate my OP: so a GROWN MAN who talks about a 13-year-old female sexuality (or was it closer to 15) in the 3rd-Person-Male perspective gets a pass on tastelessness? Well obviously Nabokov did in some complex way, by a lot of the literary critics and writers (and I did read the book to try to figure out why), although it was also a "banned book". Also, I thought I was arguing LDR wasn't fixated predominantly on a Lolita-style view of female sexuality but a more complex style (at least as I understand the diversity of her early songs on the topic of female sexuality). Finally, my comments that were related to a Lolita-style were specifically about PMIAM from AKA. I suppose you could argue that's a tasteless song, but I just see it as an artistic statement (of lesser magnitude than Lolita, the novel, to be sure, but an artistic statement nevertheless). It's just about a provocative subject.
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#ironyWith respect to Put Me in a Movie, I'll bet LDR just figured it was OK to write about Lolita-esque themes because of the amazing amount acclaim Nabokov got for doing so (i.e., "Many authors consider it [Lolita] the greatest work [book] of the 20th century"). It's ironic that Nabokov got that acclaim by writing of Lolita from a 1st person male perspective, which "gives very little information about what Lolita is like as a person, that in effect she has been silenced by not being the book's narrator"; whereas, LDR usually writes from the 1st person female perspective -- as if she wanted to give the character a voice -- and is usually slut-shamed for it. In my opinion, PMIAM is not an overly explicit, or even a raunchy song. It's possibly disturbing, but it's also fair game for an artistic treatment as Nabokov and current societal vices suggest. I also don't think LDR is overly fixated specifically on "Lolita" views of feminine sexuality. I mean smarty, serial killer (if you think the SK character as female), gogo dancer, cola, or even the song Lolita, do not remind me much of Lolita, the character from the book.source for quotes:
https://en.wikipedia.org/wiki/Lolita -
You go to the grammy's and sing and flub up; it's a time-honored tradition. NFR, the song, as SOTY nominee is the logical choice, with Jack at piano. Would she change the lyrics to "kissed me so hard ..."? Or keep the lyrics as is and be bleeped out. I hope she would do the latter, because then everybody would actually know what that (brilliant) lyric is.
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I prefer HIAB (currently) for the following reasons:
1) The outro to CG seems like the most Jack-fucking-around-episode on the entire record. I'll probably regret saying this if I ever find out that it was really LDR effing around, but I'll take that chance.
2) HIAB got a video treatment (some would say this is a bad thing).
3) Also "serial killer" as used in HIAB seemed perfectly understandable and relatable to me, because I knew the song Serial Killer, which I interpreted as a metaphor for someone who enjoys being in many serial relationships. However, it's horrific, if you don't have that reference/interpretation. So I guess I like the idea she's communicating with stans rather GP newbies with that line. I also like the idea that the horrific line is combined with a really corny melody. She's really showing her multitudes there.
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Yeah like, people have been stanning for a decade and now that shes on her way to become a legend, is getting universal acclaim and has found a musical soulmate, her OWN FANS are being negative af... if you dont like the album it is more than okay to post why you feel its not good, but being mad at lana, jack, the album and the critics all at the same time is just
The issue that causes some people (e.g., me) to resist the critical acclaim she's getting now is a kind of perceived dishonesty in critics for why they are giving her the acclaim. They attribute their praise to something she did differently in NFR rather than just for their critical opinions changing about what she does over releases. The capsule review you cited above kind of hedges it both ways. Unlike people who believe NFR is blasé, I believe NFR acclaim is warranted; however, I also believe that had LFL been her most recent release (and NFR released after HM), LFL would be up for album of the year, with maybe one of its singles (change?) up for song of the year. I could be wrong, of course, but nobody can prove me wrong, lol.
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Without any attempt for drama or talking abput priviledge: the video is terrible. Especially the Bartendes segment. Back in the day, her homemade vids were moody and fit the atmosphere of the song they belonged to.
This is just random footage of a grown woman behaving like a rich 16 year old schoolgurl who thinks she's cRaZy N cUtE overlapping a beautiful, emotional and atmospheric piano ballad. It's extremely BAD from any artistic point of view since the incoherence doesn't even seem like an active decision. There is nothing "to get" here, no matter how hard self-proclaimed dyhard stans pretend.
I consider NFR an excellent album but it's sad to see how much her quality as a visual artist with a feeling for the right mood has decayed since the Honeymoon era.
One order of "self-proclaimed diehard stan pretending 'to get' something out of her most recent NFR trio-video" [hold the fries]:So ... maybe I was wrong thinking all the critical acclaim she was getting for her "newfound" maturity would make it even less likely she would release a retrospective leaks/unreleased album. I mean if the video (or her releasing it) were some kind of caustic/ironic reaction to all the critics calling her more "mature" these days, then anything's (still) possible. #silverLinings #justiceForGangsterBoy -
I have mixed feelings about BTD/Tropico-level videos, because, as great as they surely are, they must be a substantial distraction from producing music and may also accrue unhealthy debt to a record label. I'd rather she'd be just producing the music with as much freedom as she can. As far as this slapdash, informal video in her instagram-aesthetic goes, she did actually say: "Had the best time shooting with my sister and my friends, fucking around in a rented cop car in an abandoned parking lot. We’re weirdos don’t mind us". So obviously high artistic intentions is not the point of this, although I still enjoyed it. The brief cop-car scene (in the VB video, which predates this a year+) might have been how Sean got his first crack at her (asking her where she rented the cop car; it's probably a special Hollywood thing, as we know cop cars are often used in films). It may also be how she got the idea of Duke on the cover (and isn't Duke a friend of Chuck's?), so despite its modesty/laziness/arbitraryness, it may have had an important impact on her life (and the NFR aesthetic), so I'm kind of glad she's letting us see it.
Anyway, NFR is seemingly more of a poetry era. Well just have to wait and see. -
Stuff for frivolous complaining about: lip-synching piano : check!
[and I would like to know if she's actually trying to, or playing, the piano part]
Friends in video, with sister directing/photographing: check!
Silly metaphors with sinister overtones: food fight with cops: check!
[bTW, don't know why I thought Marie Antoinnette when she threw the sandwich, but I did.]
Taunt at persona-fixated critics: "I'm dying", while laughing [her only spoken lines?]: check!
Taunt at needy fans, who hate when she recycles video footage: flipping butterfly birds: check!
And probably other things I'm too dense to notice.Yeah, it's a hand-made video, but I'm happy with it. -
This is such a beautiful album. Lana at her kookiest and most raw. It’s a shame so many fans don’t count this one just because it’s out of print. In many ways, I also find it the album most sonically similar to NFR. And it probably has some of my favourite lyrics of hers. I hope she is able to rerelease it someday, but if not, at least we all still know about it and can enjoy it. I’m also very grateful that it was unofficially pressed to vinyl so I can still enjoy it that way.
I don't know if the majority of fans discount AKA or not, but I do grate my teeth and get upset whenever I run across retrospective review articles about LDR, by "professional" critics, that refer to AKA as either a) a failure, or b) conventional pop. It seems to happen, at least occasionally, and as soon as I see it, I discount the critics' other views (even if I agree with them). Also, just to show a variety of impressions when comparing LDR's albums, I see NFR as closer to May Jailer (albeit with monster production chops) and AKA as more similar to LFL (because of the genre-slipstreaming in both). Finally, "... hope she is able to rerelease it someday" maybe should have been worded "... hope she is *willing* to rerelease it someday". I mean she took it off the market, so it stands to reason she can put it back on. I've got two posts (page 1 & 2, this thread) on the re-release topic. -
Here's my take. The volume increasing and the jingle bells becoming more prominent toward the end of HTD reflect a musical irony (in the non-Alanis-Morissette sense) of the person singing getting stronger and more life anchored, even though the person she has sung about has done the reverse (i.e., disappeared). Of course, for Lanaboards, the jingle bells and increasing volume at that part of the song reflect irony in the Alanis-Morissette sense (i.e., just something bad happening).
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Nah I'm good. I log out everyday and fully enjoy my life out of this forum, listening to other artists than Lana. I'm actually living my best life right now I'm about to graduate college and I got a few very interesting job offerings and couldn't be more fulfilled with my social circle right now! But thanks for being concerned though!
However there is one thing that I don't agree with that you have written. I'm not trying to convince anyone here. I think that would be a little presumptuous, that is not my intention at all. I'm merely giving my two cents about NFR in the NFR thread.
It's kind of a moot discussion anyway, on one hand you have people that love the album, on the other people that don't particularly like it as much. Sorry, not accusing you of that, but it's kind of dumb to accuse me of trying to "change people" mind, when this is a critique that I could make about people coming here just to gloat about Lana's score on Metacritic or how high she made it in some objective year/decade end list. Using that as proof of the album alleged greatness or something.
Also bold of you to assume that there are more people who prefer the album over people that don't? Can't really tell right now. Let's wait a year shall we? I remember very well people quickly calling LFL her best album at the time of its release, look at it now... a mess.
It's the NFR thread and I'm sharing my experience with the album and that's how it should be.
"... merely giving my two cents"If you left-click on "view replies" (52xx of them) it turns out you're the top responder for this thread. Just saying that's more than "2 cents"."gloat about ..."year/decade end list is news (one of the things I come to LB for) and not a *random* GP opinion.
"Also bold of you to assume..."While I agree more people haven't bought the album than have, I think the proper metric for discussion on "liking NFR relatively" is going to be sales. If it ends up selling more than UV or HM, that will say something much more meaningful than a bunch of internet posts do, even if the sales go against my particular opinion of what her best album is.
Comments not part of a response:The only thing that makes me "sad" about NFR's critical acclaim is that it may make it (even) less likely she'll do her leaks/unreleased retrospective that she suggested she'd do (way back when, was it LFL era?).Also I wish people would talk more specifically about NFR production attrocities (I mean name songs with timestamp specific-ness), so I'd know what they're talking about. It's not as self-evident to me. I also wish people would talk more about her AOTY competitors and what she's competing against. Seems like a strong set of contenders, but very diverse in the sense of why they are strong.I'm bored, break up with your zeitgeist. -
The concept of her lyrics being 'much more mature' kind of confuses me. I get it for songs like hope and mac, but it's presented as her older songs just being lists of things or phrases repeated, while NFR has narratives and messages, etc. You can see narratives in songs as far back as AKA imo. I think people mistake dropping personas for immaturity tbh. There's nothing immature about ultraviolence's writing, for example (in the messages of her songs, before anyone quotes saying 'sad girl sad girl blah blah blah'). There's nothing immature about saying that you've slept with people to gain your current position, for example. I think a big thing with critics saying that her writing is good this time has to do with the more subdued music and messages being more palatable (and retroactively approving of her older work). Idk. I feel like with NFR people see what they want to see much more.
Whether or not something's mature depends on intention somewhat. So FMUTTT in the context of MPG (being the song before it) and the way critics viewed her in the past seems a sophisticated and biting counter-attack (aka very mature), but the interpretation (we talked about it at LB) that had Lorde as the hypothetical diss object would not have been very mature. I think you could argue UV lyrics are simpler than NFR lyrics, but who cares about that as the torch singing was far better on UV. But full agree. NFR is not more mature (although she's older now) or more magnum than her previous albums. For me, if I loved NFR only 3/4's the amount of what I love AKA, I'd still want to buy NFR.
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with a few exceptions (such as the amazing Hope... and a couple others) i hate how lazy lana's songwriting/lyricism has become. don't get me wrong, i know she's always had her moments and that's fine - a good song is a good song and sometimes it's more fun for music to be catchy and addictive and create an atmosphere than to act as a lyrical masterpiece. but still, there are so many songs that just make me wince because of how little effort i can tell was put into the lyrics.
take California for example - i have lots of problems with the track, but the lyrics are probably my biggest. "if you come back to america you should just hit me up" is just.... bland, low effort and sounds like something you might text to a friend. "faster than my fastest cars" is a horrible lyric that - and i'm sorry to be so negative - sounds like something a 9 year old boy who's obsessed with cars might write for an elementary school homework project. like... of ALL the things you could've written lana you choose to write that??
i also hate how she rhymes "mind" with "mind" on FIILY lmao. it's a minor nitpick but again, so lazy. The Greatest is one of my absolute favourite lana songs EVER and i'm so so so happy we have it, but i definitely hate how often she repeats the same lines because, i assume, she was too lazy and unbothered to try think anything else up.
however, this isn't a NFR exclusive thing at all. in fact, the title track, Hope, MAC, and a couple others i really really REALLY love lyrically. this album has some of her finest lyrical moments. this has been a bit of a theme with lana for a little while. just look at Freak - those lyrics are awful. lana has an abundance of songs with lazy writing. i just wish she'd refine her lyrical work a little more before recording i guess
Just curious: do you like her poetry a lot? Because one would think she's *never* intending to be lazy when writing a poem. As for lazy vs. great lyrics in her songs, couldn't help but be reminded of this: -
Venice Bitch
in NFR!
Heard a Red Hot Chili Peppers' song called Venice Queen and thought of VB. Topically they're at least related (though the perspective is male in VQ). I find RHCP lyrics, in this particular case, not awful, but not aweful either (forgive the pun), particularly because they're harder to understand than VB lyrics. Anyway, when LDR said a little bit of RHCP in NFR, I'm wondering if she meant this song in particular. The melodies are way different, of course, but the songs also share an acoustic guitar vibe in the first half.
Venice Queen
Red Hot Chili PeppersDoes it go from east to west
Body free and a body less
Come again just to start a fresh
Once again to find a home
In the moment of the meantime
Dropping in coming through the mesh
Checking in just to get it blessed
Hard to leave when it's picturesque and
Find a form that's free to roam
Where you come from
Where you going
Where you come from
Where you going
Do it all then it all again
Make it up and you make a friend
Paddle on just around the bend and
Find a place where you can see
All the mamas and the papas
Take a chance on a recommend
Hard as hell just to comprehend
Disbelief that I do suspend and
Easy now to find a breeze
Where you come from
Where you going
Where you come from
Where you going
We all want to tell her
Tell her that we love her
Venice gets a queen
Best I've ever seen
We all want to kiss her
Tell her that we miss her
Venice gets a queen
Best I've ever
I know you said you don't believe
In God do you still disagree
Now that it's time for you to leave
G-L-O-R-I-A
Is love my friend
My friend
My friend
Your stylish mess of silver hair
A woman of your kind is rare
Your uniform returns to air
G-L-O-R-I-A
Is love my friend
My friend
My friend
And now it's time for you to go
You taught me most of what I know
Where would I be without you Glo
G-L-O-R-I-A
Is love my friend
My friend
My friend
I see you standing by the sea
The waves you made will always be
A kiss goodbye before you leave
G-L-O-R-I-A
Is love my friend
My friend
My friend
Source: LyricFind
Songwriters: Michael Balzary / John Frusciante / Anthony Kiedis / Chad Smith -
Agree. There has been a division after each album was released. I can't really say which one between LFL and NFR has been the most intense (I would tend to say that after the release of LFL the fans were more divided than ever). When artists present something new and "different" there are always fans that don't really follow the bouncing ball. I didn't really like LFL in its entirety at the time of its release (and still don't if I'm being honest) but for entirely different reasons than why I'm not feeling NFR.
I definitely see Lana has being less raw, or poignant, and much more subdued and tamed as she was on her previous records with NFR, which might explain why her most fervent critics finally gave her acknowledgment with this album. It's definitely not as polarizing as her past releases.
I think your criticisms of NFR will have more validity, if on the next album she sounds like NFR again. Then you can really say she's "tamed". As it is, the album in the context of previous ones, is not a simple repetition of her past style, or anybody's style currently, and that can be impressive, if you like what she did. I like what she did more than you, so I'm less critical about it. As for the critics going apeshit over NFR, I think a lot of this can be explained by critics just not wanting to look stupid in the future, or maybe they actually like this style the best, idk. At any rate, I'm glad she got the AOTY nomination, in the same sense that I'm glad Kendrick Lamar got a Pulitzer prize for DAMN, even if it wasn't necessarily his best album.
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Nice interview. As much as I hate the idea of turning any seminal pop album (e.g., Jagged Little Pill) into a Broadway musical, I really, really liked the idea that she would only let them do it, if they could retrofit a non-autobiographical plot to the songs (and there's supposed to be two new ones by her, as well).
Reasons I Drink is OK, I'm warming up to it. Yeah, it's like the Sande song, but only on the (basic) piano beat, and the chorus seems characteristically hers. Her voice is definitely older, but still powerful and recognizably hers.
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The Greatest has a horrible, stupid outro. There, I said it.
The outro, specifically the terminal piano part, initially annoyed me too. Then I sort of rationalized it (see below). TG grew on me (I guess from initially annoying to interesting, but definitely not my top tier for the album).
I honestly went from thinking it was one of the few great songs on this album, to think it's one of the most annoying ones. The vocal arrangement/progression is a mess, it sounds hella compressed, but also I hate how she mumbles the lyrics in the two verses (and that "and I'm waaaaaaaaaasted"). The guitar solo/instrumental climax sounds flat too, it lacks bass as well.
"Hella compressed" : The beginning of it, on my equipment/ripping, has some noticeable overamplification (fuzzing). Other than that I don't really notice its compression, maybe because most pop is "hella compressed", but I wonder if TG stands out as being the most compressed song on NFR.
lol I remember hearing and thinking "ok, it's enough. End it". It even gives me anxiety, I'm always "now it will end, now it will end...". That was so unecessary
I tend to skip sometimes.TG's piano getting really tinny at the end, with the repetition of the piano motif and final resolution (tonally speaking) musically reminds me of the death rattle of a terminally-ill patient taking their last breaths. Not that I think that will make you like the end of the song any better, but the way you worded your comment about it seemed very poignant to me.
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^
Ouch, that bodes ill. The video/single isn't available in my dimension yet, so I can't judge anything. I like her stuff prior to HABL (which is meh compared to her earlier work) and I think her self-banished "Alanis" albums, in the early 90s (where she's sort of like Britney Spears way before Britney Spears), is underrated. Anyway, it's weird when people I think are creative decline, and therefore interesting (and depressing) to witness, but I still hope she'll make a comeback by producing something of merit. A lot has happened since 2012.
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I can not believe there is no thread about Alanis Morissette!
She is releasing a new song tomorrow after almost 9 years!
The new song is called Reasons I drink
the album title is ...
Such Pretty Forks in the Road
The album Havoc and Bright Lights was 2012, so "nine years" is a little off (unless you're not counting HABL, which I, and a lot of critics, thought ended her career). She was one of my first pop musical "crushes", and I am hoping she comes back hard (aka angrily) and successfully. No news on the producer?
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Not to derail the flow of convo with a dumb question, but what's people's take on the 'gatekeeper carelessly dropping my keys on my nights off' line from Hope? I remember articles kept on referring to it and saying it was meaningful, but I don't get it
Just some stuff one could argue/suggest..."There's a new revolution, a loud evolution that I saw
Born of confusion and quiet collusion of which mostly I've known
<<< feels bad about Trump and not supporting Clinton more>>>
A modern day woman with a weak constitution, 'cause I've got
Monsters still under my bed that I could never fight off
<<< allusions to substance abuse >>>
A gatekeeper carelessly dropping the keys on my nights off
<<< fear of lapses>>>
"
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I guess you're talking about indigenous people being pushed out by an "occupying" (what they call colonialism now?) culture, so your point is a good one. She is however using the word in a negative way (e.g., a context to resist), so her use, at least, is not that insensitive. I haven't read any criticism either here or elsewhere too; I just saw a youtube hit "Lana Del Rey Attends Church After Canceling European Tour Due To Illness" in a 24-hour Lana Del Rey google scan and figured she'd seen it too.