Wryta Thinkpiece

Denial/Da Nile puns give me so much life. No matter what. :eartha: :eartha:

Omg his beard looks great.

Brooklyn Baby, Florida Kilos or Sad Girl. Or Is This Happiness. If "Say Something" got on the radio, any of UV's songs can end up on the radio...okay, except for FMWUTTT.

Probably explains why Barrie's been MIA with his music, too; he was so enthusiastic with sharing his music and now he hasn't updated his page in a month. I'm feeling for both of them. Sounds like this has all been going on for a while. Hope Barrie can jump back on the horse soon, and I hope Lana's in a good place.

I agree, but only to a point; Lana is not the only artist under any trade, be it music, literature, etc., that has established a particular method and ideal in her craft that's in her element. And as someone in the arts myself, I do not think anyone should have to apologize or compromise their art for the sake of the general public who can easily set their attention on artists that cater to their sensitivities. I do not think there's anything wrong with what Lana said. Controversial? Yes. Wrong? I think it's really unfair to invalidate someone's feelings just because they're otherwise not understood by everyone else. Yes, she should probably exercise better self-monitoring skills and develop a more "less-means-more" approach to answering questions in her interviews, but let's not disregard that Lana has always been generally cryptic and vague, and it's kind of unfair that when she does speak with candor, it turns into a hen-pecking session. And if she does keep it vague, she gets criticized for "lack of authenticity." She's damned if she does, damned if she doesn't, and that really sucks. And I'd have the same gripe about it if it was another artist. My only issue with Frances is that she contradicted herself by throwing a suicide-themed Sweet 16, and on top of that, wanted her attendees to get involved in a Who-Looks-The-Most-Dead contest. It may have been her father, but she's cut from the same cloth that she's trying to steam-clean Lana for supposedly being in. That's my only problem. Other than that, I respect her feelings about it. Sky, I don't follow or really listen to, but her statement alone only asserts my point that this isn't about Lana, so if they want to vocalize their feelings, they should probably be more involved with showing depressed/suicidal fans resources that could save their lives such as the Suicide Hotline and others. And I mean this in the most casual way possible, I'm not trying to undermine anyone here.

Fuck, I go to eat a cheeseburger and everyone else beats me to it. But speaking of "glamorizing death," I do wonder how Frances' Suicidal 16th turned out! Because, you know, glamorizing suicide has its conditions, such as using it as a contest for your friends to win an iPod Touch and a gift certificate to Amoeba. I get where Frances is coming from, but this really changed my opinion about her intentions with vocalizing her "feelings" about it, especially since Lana doesn't need to be sorry for anything she does that's challenged by an exercise of hypocrisy.

This is such a must.

I'm on fire on the toilet.

When she swings her free-flowing ponytail in WTW, it gives me life. Just MØ in fucking general gives me life. She definitely gives me vagina envy and I can't explain why, just her disposition and energy is so fucking chill. Hands down one of my favorite female artists of this generation, and all time. So fucking dope. And I'm still jamming out to Chillin' W/ Max.

It's just tasteless. I really doubt it matters whether or not he was already partial against Lana prior to the review. My gripe is that his review wasn't even up yet, and he couldn't be bothered updating his research, which would have given him a little more insight to the personal aspects behind the songs. I think this is the most candid and forthright Lana's been in her interviews, and it hasn't been taken into account. All that's been taken into account was the "I want to die" statement from The Guardian interview (which, Lana had cleared the air about in a later interview, for his information,) and it was used in the review to assert that all UV was, was a case of boo-hoo-wah-wahs and minimal substance. Which is bullshit. Overall it just seems really biased to me, but if that's how he feels, whatever. At least he didn't make fun of her looks like he did in the tweet about the West Coast video. I don't care that he gave it a 3, even if I do think it is a major abomination and was most likely done just to piss fans off (since he did post a link to LanaBoards and tagged 405 in it saying he's being trolled.) I care that he had more to say about Lana as an individual and the songs in BTD than he did about UV...which contradicts what the review is supposed to be about. I kinda expected to, I don't know, actually read about UV if I was going to click on a 3/10 review. Still would've been nice to hear more about the rest of the tracks, it just sounds to me like he aimed to get the general idea in the first few tracks and based it from there. Nothing about the sarcastic tones Lana confidently states are being used in songs like Brooklyn Baby, MPG, and Fucked My Way Up To The Top; nothing about how the song that resonates within her the most and she considers the concluding track (before any of the deluxe tracks for that matter,) is actually the cover of The Other Woman. Nothing about how SOC (aside from a brief mentioning) and Black Beauty especially seem to be consistent with Lana's statements in other interviews how hers and Barrie's relationship has an interesting dynamic because of how dark he is. Nothing about the deliberate keeping of the original lead vocals in Pretty When You Cry because "if you were at the studio when I was singing that song, you'd understand." Just really felt like I did not hear about what Derek thinks of UV, just what Derek thinks of Lana, BTD and her past and why he writes UV off as inauthentic because of those pretenses. Anyway. I am trying to avoid the reviews just because some of the negative ones are just bullshitting and rehashing BTD criticisms in regards to authenticity, and all the negative ones really do not care. But I am very delighted to see that a lot of the reviewers have praised UV highly, and a fair amount of them have owned up to judging her too soon because of BTD. Very happy for all of this happening.

Afraid No. 2, hands down.

Lana servin' that tripe tritely pretty realness.

Honestly, I actually changed my mind, I am on the fence between whether she's singing... "Got your gun, I got my Dad," OR "Got your gun, I got my debt," Only because it fits perfectly with the first verse saying she's a hard woman to keep track of, and the basic context of the song. She's crafted all this art from the inspiration of her experiences. She's got all these dark spots in her mind and heart from the tribulations she's endured, and they've driven her ambitions so much despite leaving her vulnerable all the same. After channeling that vulnerability, her experiences were invalidated by critics and pessimistic slags; it left a dent in her motivation and left her doubting her inspiration, which makes her unhappy. The total opposite experience of what showing humility and candor should do for her. Her art is her life, and it all amounts to something for her, even if it never meant much to anyone else. But being invalidated by people who don't want understand, who just want to coldly project who they think she is/should be, she's experienced a crippling self-doubt, and may regret trusting her inspirations to bring her happiness. "Witch hazel, witch hazel, betrayal, betrayal." It won't change her art though. She's paying her life for everything that brought her to this point, without rejecting any of it. She cares that people do that to her, but she's just exhausted; if fame or happiness amounted to being left so vulnerable, tired and damaged as a person and writer, she doesn't want it, and she won't fight being taken away from it all. I'm having an existential crisis listening to this song.

Oh god, that song is such a fucking gem. I can't stop giggling when I listen to H.W.C.

Firstly, I take it as an offense that none of you shitty fucking human beings have made a topic for this awesome woman yet. Been a fan since forever, some of her more recognizable songs if you aren't familiar may be Why Can't I? and Extraordinary. But anyone who's been really involved with her music can tell you that if that's all you know, you haven't heard the best yet. One of the ballsiest musicians, giving a big "fuck you" to the music industry by staying devoted to the integrity of her work, and not catering to the desires of mainstream music. (Oh, and her son's pretty damn attractive, too.) So here's some of my personal favorites from Liz! My love-life explained in "Chopsticks:" Next cover Lana should do tbh: http://www.youtube.com/watch?v=-WW9w8agvSA There are so many more, Exile in Guyville was one of the best '90s albums, and her mixtapes are fucking great and so are her other albums.

Dude, I fucking love Liz Phair so much. Totally counting on hearing demos soon, myself!

Yes! I even get some Juvenilia and Yo Yo Buddy Yup Yup Word to Ya Muthuh vibes, too!

Okay, I'm going to have to also vouch for for some of these sentiments, and I am so glad Buckley has been mentioned by a few others because now I feel a little fairer in asserting my standpoint by making it between three. While I can't say which one is best, I am partial enough to at least give my take. NINA SIMONE: JEFF BUCKLEY: LANA DEL REY: So yeah, can't say which one's best, since it's really all about personal taste, but I think I'll be playing Lana's version the most, it's definitely my favorite.

If Lana got possessed by Liz Phair, this is what it would sound like. Fucking showing Liz Phair this ASAP. ULTRAVIOLENCE is the sister to Exile in Guyville. They need to work together in the future.

The weird sound at the start is just the piano in a lower semi-tone and reversed; I think it opens into ITH interestingly, almost like a video being rewound and then starting at the beginning. Also, witch hazel often symbolizes perseverance, inspiration and spiritual understanding, and wisdom from one's feelings; it was also used to divine the future. Almost seems like the "betrayal" bit scoffs at remedies for a lost soul who doesn't have much direction and feels desolate. Such a fucking beautiful song. Definitely one of my favorites. Can't wait to hear it in HQ.

This interview made me really fucking emotional. And "Is This Happiness" has taken on such a desolate feeling for me because of this interview. And in regards to the death comment, I do understand what she means in a more metaphysical way. I don't even know what to say; I understand the feeling too well, but I am so conflicted; it's so heartbreaking, she's scattered, unsure, and just disconsolate. Yet, there's a really strong perseverance about her. I'm not really trying to analyze her, but I just got this "It's been a complete fuckstorm, but I'm going through it, and I'm living with it" kind of vibe. Even the saddest people know a different taste of bravery. I just want to give her a hug. Sending out positive vibes for the best summer of her life.

The Other Woman, Chelsea Hotel No. 2, The End of the World, Heartbreak Hotel, Goodbye Kiss, Blue Velvet, Once Upon a Dream, and Heart-Shaped Box. In that order.

Totally understandable! No rush. We still need Flipside, after all, and I totally forgot about the quality difference. I'll eagerly await beneath the cypresses until then!

Is this Lanalysis worthy? I think we've got that really dark theme Lana's been talking about with UV. If no one's seen it, they do now.

I never thought I was going to say this, but butterflies...I really have to agree to disagree with you here. Her slight lyrical variations, the delivery and the production really changed how I listened to TOW in the same way that Jeff Buckley's version changed how I heard TOW compared to when I first heard it from Nina Simone. I'll admit it was hard getting into the swing of it after being hooked on NS forever and JB just recently, but I gave it as many listens as it took, and HERE I AM NOW, SWAYING THE FUCK OUT TO THE OTHER WOMAN. Also, if you listen to Nina's TOW from Nina At Townhall, and the studio version in Let It All Out/Quiet Now, she's not exactly a sharp singer, either, especially the NAT version; I made the mistake of sleeping to it on repeat one night, and my brain was so over-stimulated during the REM stage of sleep that it analyzed and compartmentalized all the information coming in from the song, and when I woke up, I heard something completely fucking different that made the listening experience so uncomfortable until I left the song alone for a week. Still going back to that version in small doses. But the point of the REM is that, one of the things I noticed about Nina's voice since then, was yes, Nina had a very deep and smoky voice and quite the timbre, but she had that flatness in some notes, too, which I'm not pointing out as a flaw, just an observation. I think Lana had the LIAO version in mind more than anything, which is extremely different than NAT in delivery. But I have chronic TOW and Lana cover bias, so I'm not saying I should convince anyone who doesn't care for it.