Kurac na Biciklu

so i've worked on this blog entry this whole morning because it's sunday and i have nothing better to do, i still love this album but i feel like it could've been so much better 

I love this record but being honest with myself I never get the urge to listen to any of the middle tracks (9-13) Coachella - Tomorrow Never Came. I’ll definitely listen through the album sometimes but I never pick those songs specifically to start.
 
I usually start with 13 Beaches-In My Feelings and then skip to the holy triology of Heroin, Change and Get Free and then I’ll let it start over and listen to Love and LFL.
 
I especially skip Tomorrow Never Came frequently, it’s a beautiful song but it’s a lil too folky/country for me and I got bored with it.

ps: I loved her hair,simple but amazing

http://instagram.com/p/BeK0ZC2A3Xr/
The way she sings Ride now breaks my heart but also makes me smile.
“I’ve been trying too hard.. on only one hit song.”
 
I feel like she’s admitting that she’s only putting out songs like “High by the Beach” & “White Mustang” because she thinks it’ll appeal to the general public, but it never does. Probably for some reason she doesn’t understand, the remix of “Summertime Sadness” was her only smash hit (of course there were VG, BJ, + Y&B but when most people think Lana Del Rey they typically only recall the summertime sadness remix) Even in the Complex interview last year the interviewer said to her “Is it weird that it’s probably your biggest hit?” and she replied with “Really?? You’re gonna say that?? Well, you’re probably right...”
 
But then again, right after she sings the lyric, she beams a huge smile. Because I think she knows that all of that aside, it doesn’t matter that she isn’t an artist that produces “hits” because she doesn’t need them. She’s won all of us without it. She has all of us waiting out for hours in the freezing winter weather all over the world to fill an arena just to see her for 90 minutes. But it’s always so worth it to us, and we do it over and over. & she knows that. She feels the love we give her. And she gives us that love back. At one of the other dates, in the middle of Ride she just kind of stopped and said “Do you all know how much you mean to me?” and just smiled and looked at the crowd for a bit before continuing the song.
 
She knows we love her because of who she is, and she loves us back just as much.

30ш

+

I almost got in the wrong Lyft on the way to the venue and the guy asked me if I wanted some blow instead... I said no thanks! But my night is off to an interesting start...

FUCKING LEGEND. HER BEST OUTFIT, HAIR AND MAKE UP AFTER YEARS. WE STAN

30ш

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Congratulations to our wonderful girl, 300 week’s and six years, feels like just yesterday it was released. Here’s to another 300! One of the greatest and most iconic albums of all time.

6инмлчп

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The moment you've all been waiting for....
According to approx. 55 LB members, here's the results of the rate!
 
 
Love: 8.21
Lust For Life: 6.14
13 Beaches: 7.9
Cherry: 8.9
White Mustang: 6.6
Summer Bummer: 7.0
Groupie Love: 6.8
In My Feelings: 5.9
Coachella- Woodstock In My Mind: 5.3
God Bless America- And All The Beautiful Women In It: 6.6
When The World Was At War We Kept Dancing: 7.3
Beautiful People Beautiful Problems: 6.4
Tomorrow Never Came: 7.4
Heroin: 9.2
Change: 8.12
Get Free: 9.08
 
Heroin came out on top, only a few points higher than Get Free, which had the most 11s. 
Unsurprisingly Coachella flopped at 5.3. 

Well, does anyone think this is tied to this Gucci project? Or separate and co-promotion?
 
She did release Paradise 9 months after Born to Die. Maybe it's an continuation of Lust for Life (like Lust for Life: The Cherry Edition haha).

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She has Whitney tattooed on her collarbone, she’s a fan

pretty sure Gerald refers to G-Eazy, the rapper Lana dated at some point (maybe someone else knows when? i couldn't ever keep up with *when* they dated), whose real name is Gerald (and who In My Feelings and White Mustang are ostensibly written about)

Hello everyone. Not sure if many of you know, but i'm pretty good with editing music. So i decided to create a Deluxe Edition for LFL. It includes my own edited versions of songs, along with BAR, and an Interlude to better transition into the second half of the album. For a taste of how it transitions with the interlude, here's a snippet http://picosong.com/wyC4T/
Tracklist



Note 1. Songs with ** Next to them are special mixes created by me.
Note 2. For Daisy Chains, i mixed the Alt. Mix and Album Version together. It's wayyy better imo
Note 3. When the instrumentals leak, i plan on making solo versions for all songs with features. Then i will add them as bonus tracks.

Link


 
(Update March 18) 
 
 
 
ENJOY :)

They are right; it would be better decided out of court; not only for their sake, but for the sake of working musicians in general to not expand copyright restrictions in published music.
 
"Credit where credit is due" to me implies some kind of plagiarism. Should Radiohead/The Hollies receive credit for something that Lana + co created without their involvement? The law may not care about intent, but this phrase kinda rubs me the wrong way. Maybe I'm overreacting. Is our society one where a musical idea or two's entire merit can be boiled down to "who put it to paper first"? I understand receiving financial compensation for an idea, but in general that seems kinda silly to me.
If you can't tell, I'm firmly on the side of Lana did not intentionally use the melody/chord progression from Creep. For the verses in the last track on an album? Not even the chorus, bridge, instrumental, etc? Just one vocal melody? (and while its quite similar, its not exactly the same, which I think is still really important) That just seems like such a stupid idea. I hope no one on either team honestly believes it was intentional. 
 
I just hope it gets worked out. Get Free is an incredibly beautiful and moving song in Lana's discography and its definitely not because of any kind of similarity to one of the most overrated alt-rock songs in history 
 
*edit*
 
Vulture had a musicologist come up with a sort of lead sheet version of both (in the same key) :
https://pixel.nymag.com/imgs/daily/vulture/2018/01/11/11-sheet-music.nocrop.w710.h2147483647.jpg
 
They also came up with the point that along with chord progression, rhythm is a musical element that can't be a part of the claim, so it really does default to the melody. (As their rhythms are quite different in duration and a lot more - some of it because of lyrics) 
 
But the melody isn't actually the same, its similar. Rhythm aside, there are distinctly different intervals, and seeing as how neither of these songs are classical compositions, I think musicologists arguing that Lana's verses melody being an ornamented or slightly varied version of Creep's verses holds little merit... Unless of course you presuppose that Creep did in fact inspire Get Free's verses. Based on how you interpret this, The verses are an ornamented form of Creep because its inspired, or the rhythm and melodic intervals are actually different because this song wasn't composed with Creep in mind at all. It's a subtle, nuanced mess, like much of music and all the more reason a jury and even judge should not be deciding this kind of thing in court.