Creyk

Oh yeah she is the moment. Cover Girl is so forward-thinking. Artistic. Amazing.

...but Mary Jane Holland is a SONG!

WTF

Cinnamon Girl is the most streamed album track from NFR: Can someone explain why?

She is COMING for that spoken word album grammy! What miss thing wants, she shall receive

Yeah a return to her original aesthetic would be best. I don't think it will happen though, she is not that girl anymore. She is a tired woman.

Well to be fair the album should have been out officially 3 hours and 28 minutes ago

That is not exactly true, no one whispers better than her.

The deluxe edition of Rare is out now. Souvenir is the best. Boyfriend is nice. And She is there too! People are saying she chose Boyfriend as the single because it has good potential to go viral on TikTok with the lyrics it has. We'll see if it happens... A muic video is coming for this song https://www.youtube.com/watch?v=BUkat1R6AB4

Sure. Relationships are great. I've been with my current hubby for 3 years Do you ever wish you could eat ice cream but then realize the weather is not warm enough yet?

Delaying it for that long would truly be an act of homophobia

It is probable, yes. Let's hope for the best!

Do you think Gaga would react to it in any way?

To be clear it did not. He was most likely joking.

They will ship tomorrow

oh my fucking god I am so pressed this album was delayed I can not take this hyping how it's like finally a proper pop album and she won't give it to us I can't take it :( :(

Oh that's a good one. I want to re-watch.

Some people believe it will leak on the 10th. It will be interesting to see if it happens.

If you included the jazz one shouldn't you also include ASIB

The fact that we were supposed to get it on March 27.... Corona is such a bitch

I watched Amélie (2001). My name is Creyk and I’m a hopeless romantic. I’ve tried to hide it and keep it a secret but the truth is that there’s nothing better than getting swept away in a romance and cinema is the best medium for capturing that intoxicating feeling. From the grand gesture of A Matter of Life and Death to the tentative delights of Before Sunrise, film has captured love in its many shapes and sizes. One of the finest love stories this century is Jean-Pierre Jeunet’s Parisian fairy tale, Amelie. It possesses so many elements that I would normally hate - the quirky characters, sugary-sweet whimsy and soppy protagonist - but I fall under its spell each and every time I watch it. It’s hard to express why it works for me when so many films of this kind do not (although the presence of Audrey Tautou undoubtedly helps) but Jeunet has created that rare and beautiful thing - cinematic magic. Amelie, for the handful of people who still haven’t sampled its delights, is a thoroughly charming film about the eponymous ingénue - a waitress working in Montmartre who helps friends and strangers find the love and happiness she denies herself. She’s a dreamer living in her own world and too scared to make the leap until she meets a man almost as peculiar as she is. It’s easy to be critical of a film like Amelie. It’s a twee confection that bears no relation to reality whether in its depiction of an all-white Montmartre or the oddballs and misfits each living in their own obsessive worlds. I understand why it has its detractors and if you aren’t beguiled by its nostalgic whimsy and naive eccentricities I imagine it could be a quite torturous experience. It’s a film that transports me to a fantastical world filled with improbable characters and elaborate romantic gestures. Perhaps Jeunet’s methods are manipulative but the film shares the protagonist’s innocence and sense of wide-eyed wonder. As exaggerated and distorted as this Parisian depiction is you buy wholeheartedly into the world and the travails of its eccentric inhabitants. Jeunet has created a heavily stylised world bursting with warm reds and golds. It’s a romanticised view vividly brought to life and filled with beautiful touches and flights of fantasy. Every frame is exquisitely rendered and although stripped of the director’s earlier macabre embellishments (perhaps because of Marc Caro’s departure) this is perhaps his most visually striking work to date. The characters that orbit Amelie’s world are a collection of sad sacks and obsessives from a downtrodden grocer’s assistant to a man locked away in his apartment due to his brittle bones. Just like the audience, each one is enriched by the presence of Amelie as she helps them find happiness and new meaning in their lives. Her own story - the would-be romance with Mathieu Kassovitz’s mysterious collector of discarded booth photos - possesses an endearing innocence as she finds the courage to look for love herself. It’s not particularly sophisticated, and the object of her affection remains an indistinct presence, but you get swept up into her romantic viewpoint (which is made all the more impressive when they never even share a single line of dialogue together). The film’s episodic structure would normally be problematic yet it’s just a joy to spend time in this meticulously crafted storybook world. Like the unconventional characters that populate the film, Amelie isn’t perfect but it’s the quirks and peculiarities that ultimately make it such a magical experience.

Karvel is her best song. And that's that on that.

All she said it was coming "soon".

And I will never sing again And you won't work another day I will never sing again With just one wave, it goes away It will be our swan song It will be our swan song Be our swan song It will be our swan song

Lana Del Rey - Religion