Fetish

Someone pointed out it would be impossible for her to have that much debt. Hang on, I got it:
 
"To be fair, she wouldn't have been able to have Credit Card debt of $17,200 if someone fairly rich wasn't supplying the credit card.
​
Still respectable to put in all the time and effort to make it but it probably is a lot easier, when you have the ability to run up $17,000 credit card debt and possibly have your housing and maybe even a car paid for by someone enabling you to spend a lot of time writing music and singing in bars."
 
and
 
"Over $17,000 though for a young woman without an actual job, she'd need to have probably at least 10 credit cards to get that much in debt and it would be hard to get so many since if you get one your rating goes down and you need to wait quite a while to apply for more or you get rejected and if you get rejected you need to wait even longer again.
​
To me it's more likely her parents if they are Millionaires had credit cards with $20//30/50,000 limits and she just used one for food and clothes and stuff while she lived there and her dad probably paid it but then she could have given him the money back once she got rich enough and was making her own money.
​
I'd also guess the ding craigslist jobs thing was something she more done just for experience or maybe something to do, rather than it being something she had to do for money. Same as she said she lived in a trailer but I remember reading before how she bought it but never really lived in it, just used it to go to sometimes to hang out or to write songs in it."
 
I mean, if I had wealthy parents, I could probably go play in trailer parks too for the ~experience~ without worrying about shit.
 
There was a famous guy who did an interview and said she met Lana before she was famous and said Lana liked to lie lmao.
She's a damn liar and we know this. Justice for Norman Fucking Rockwell.

It's not just an American thing to have shitty police but the backlash cops get now definitely seems more performative. People were silent for too long on the sick shit cops did until it became trendy to hate cops. It's always been Russian Roulette when you call 911 and nobody wanted to hear shit from those who got shot playing until it was Woke to. And bad cops aren't always white, a dirty cop is a dirty cop.
I've had absolutely shitty experiences with the police but met enough people who managed to get help from them to go 'I guess some are alright.'
 
but I wouldn't go fucking dating one, christ. This guy is obviously not a good cop, good ones don't exploit their profession for fame. Lana just keeps proving she's a huge dumbass. Every interview reveals a new level of dumb.
 
Like...he gets it, he's, like, a good cop. He, like, gets it. Gets what, Lana. What does he get. What.

It's not just an American thing to have shitty police but the backlash cops get now definitely seems more performative. People were silent for too long on the sick shit cops did until it became trendy to hate cops. It's always been Russian Roulette when you call 911 and nobody wanted to hear shit from those who got shot playing until it was Woke to. And bad cops aren't always white, a dirty cop is a dirty cop.
I've had absolutely shitty experiences with the police but met enough people who managed to get help from them to go 'I guess some are alright.'
 
but I wouldn't go fucking dating one, christ. This guy is obviously not a good cop, good ones don't exploit their profession for fame. Lana just keeps proving she's a huge dumbass. Every interview reveals a new level of dumb.
 
Like...he gets it, he's, like, a good cop. He, like, gets it. Gets what, Lana. What does he get. What.

so what do you want them to do? anarchy? a country without cops? It would be the only country without cops, and how would that work? Are Americans stupid or brainwashed...

.

I broke the printer at work and I'm feeling quite highly strung rn, so I'm going to rant:
 
In the recent Billboard (?) interview, and in reply to someone on Insta, Ed basically admitted they give her the freedom to do what she wants. That's obviously a very good thing in some ways, but in other ways it is not.
 
She is surrounded by "yes" people. She has admitted that she is lazy and nobody around her is willing to push her for whatever reason. This is why nothing ever changes. I mean, her idea of an overhaul is adding two new songs (NFR and Bartender - and not even singing half of the latter), carting out a peach tree and hanging some shit from the rafters of the stage. Yawn.
 
I don't know if it's because the people around her just lack vision or what, but it's frustrating.
 
This is a separate issue to her live shows but just to illustrate that point further: NFR's messy production. I know people keep saying that she purposely kept the production to a minimum on NFR but that's not the same as having messy production, and I'm sorry, but that's what it is. There are glaring errors - for example, the volume changes in HTD - which imo, are inexcusable. She admitted that she enjoys working with Jack because he doesn't say no to her, and doesn't tell her when something sucks "like other producers do". In other words, he's a "yes" person.
 
Nothing will ever change because the vast majority of her fans are enablers who think any feedback other than "OMG LANA ILY U R SO PERFECT" is mean. So like, she probably reads her insta comments, and thinks "oh yeah! They love my shows!" and it's true, most of them probably do. However, at the risk of sounding snobby, those are the same people who don't give a fuck about the deeper meaning of her art and I think Lanz has, for a long time, yearned to be taken more seriously as an artist. If she wants that, she needs to take risks and evolve, and that includes her shows, instead of being lazy and pandering to the masses.

Lana Del Rey released her third major-label studio album Honeymoon on September 18, 2015.

 

The spacey, soothing record finds Del Rey at her most introspective and lyrically and sonically artistic: she goes on a mysterious honeymoon with herself in order to re-invent her self-perspective, ambitions and wishes. The album has such a deep sense of thinking that it feels like she's time-traveling through her mind, re-evaluating her past experiences with love, drugs, alcohol, analyzing her very present (which is now her past) as a woman and celebrity and projecting her wishes for the future (now her present onwards). Perhaps the reason she decided to make such a self-examining, vain and almost psychological album is the 'post-Ultraviolence trauma': her dark, self-destructing 2014 release, which Lana herself admitted it "went too far". However, it was necessary for her growth and evolution as a depressed being: her broken state of mind was clearly expanded throughout Ultraviolence. The time-travel is also represented in the production: the smooth mix of jazz-influenced instrumentation, trap beats that go backwards and forwards endlessly, operatic and retro-filtered vocals, a balance between programming and live recordings and, of course, the non-existent space between the songs -- Honeymoon is a gapless project.

 

The ambitious album opens with the cinematic, orchestral title track: it functions excellently as the opening song as it describes the absence of this troubled man Del Rey is longing for. She calls him "elusive" and at last embarks on this honeymoon with herself. Her trip included no other than the most Lana Del Rey destinations: Beverly Hills, Santa Monica, Malibu, Hollywood (location that would later be the stage of the following record, Lust for Life) and also New York and Florida. "Music to Watch Boys To" is a sensual, playful number in which we find Lana taking, for the first time, a more dominating, empowered role: she's hypnotizing men with her echoed "I like you a lot so I do what you want", though it is "all a game to [her] anyway". She's watching them fade, fall one by one as she plays some Caribbean-influenced music and drinking lemonade lazily. However, this character is not strong consistently: the slow process to inner peace, happiness and independence has its highs and lows, and that is exposed in the vulnerable "Terrence Loves You". Now all the bad men are gone, but there is one that still haunts her: "I lost myself when I lost you", she sings in a jazzy tone. All the lines indicate she's describing her breakup with Barrie-James O'Neill, who Ultraviolence was mostly about, making these two projects sister albums: two chapters of the same story. 

 

After being stuck in the past for a few minutes, we fly gently to the present: in "God Knows I Tried" she expresses that fame was not as she expected. The lyrics suggest she has her breakdowns alone in her room, lamenting everything she's going through; however. "I feel free when I see no one and nobody knows my name".

 



 

At this point, it is clear that Honeymoon is not like Del Rey's previous works, where production shined for its grandness and claustrophobic nature: this time, she is inspired, alongside producers Rick Nowels and Kieron Menzies, by ambient music and minimalism. There is so much space to breathe, to think, to stay silent, to sing as high and low as she can, to penetrate the words into your mind, to let the instruments and sound effects melt with each other.

 

The following track introduces an entire section of the album: we are in the present, as we noticed with "God Knows I Tried", but now the background music accompanies the travel: Lana Del Rey says welcome to trap music for the first time in her discography. Something must have happened when they were sent, though, because there's slightly different from what we know as trap: they're muffled and distorted or, how she calls it, muddy. The pioneer, forward-looking "High By the Beach" shares the same concept as the previous track, but instead of being reflecting alone in her house, now she's outside, ready to fight whoever obstructs her path, especially those who wish to attack her privacy. There is a feeling of danger and assertiveness -- she dreamily expresses her mundane wish to smoke weed in the shore, an activity most humans would enjoy without any problem, but she as a celebrity has to carry an enormous gun to shot down an helicopter full of paparazzi. Of course, this is a metaphor (though I am sure Lana, more than once, wanted to actually do this) to people wanting to know everything about her and questioning her so-talked-about authenticity and how she's using her ever-growing music to fight them. In this time and space she has found a new interest, a man of "leather black and eyes of blue" she begs him to "come to California" to be a freak with her and escape. She is aware of time even in the way they listen to whatever 70s band is playing: "We could slow dance to rock music". "If time stood still," she says, "I'd take this moment and make it last forever". The experimental "Art Deco" is perhaps the song that defines the sonical world of Honeymoon the best: back and forth beats, soft orchestra, layered vocals, timid yet epic saxophone and subtle electronic effects that sound like psychedelic drops of water.

 

The record is separated in two by a trippy, on-loop-like interlude: Lana is reading a part of "Burnt Norton", a poem by T.S. Eliot. The work explains that one individual, in order to grow and achieve peace, must momentarily leave the metaphorical space and forget the limits of time they're in and start to look into themself, a dimension where is always present. "Time present and time past," she reads, "are both perhaps present in time future / And time future contained in time past." The poem is part of Eliot's Four Quartets, a collection that "symbolically represented the completion of his former poems and his moving onto later works," very much like Honeymoon. In the following second half of the album, the present is set and there's no more traveling to the past -- we are, however, thinking and reflecting of it (which is different than dwell in it). The concept of escapism is the protagonist here; perhaps as a way to avoid the future or, oppositely, to actually travel to it -- to escape from this present of pain and uncertainty.

 

In "Religion", this time lapse is depicted just like that -- yes, her past is gone and "everything is fine now" but it's still the present and it's haunted. "You're my religion," she sings layered endlessly, "all my friends say I should take some space / But I can't envision that for a minute". In the song, Lana has fallen on the philosophical question of what to do when things are fine -- when the tangible horror is gone, what is next? Post-trauma feels like that. It's a void; you're not there anymore but the experience is now within you. In the bridge, the instruments go back and forth, as an effort to time-travel again, but it fails and we continue the story in the epic "Salvatore". What's around her is described, just like in "Religion", as fine -- gleaming lights in Miami, beatboxers and rappers by the beach, jazz and blues. However, the hypnotizing, empowered chanteuse from "Music to Watch Boys To" is back: she half-lies, borrowing the melody of the romantic "Careless Whisper" by George Michael, "The summer is wild and I've been waiting for you," only to play with her lover's mind again -- "Catch me if you can."

 

And we're back to the lows. Exquisitely positioned towards the end of the album, the spectacular centerpiece "The Blackest Day" is the result of so much thinking, lamenting, healing, speculation, delusion, time-travel and mind-playing: the ultimate breakdown. "Carry me home," she demands with her blue nail polish on as a tense pad plays in the background. "I don't really want to break up / We got it going on / It's what you gathered from our talk but you were wrong," again lost in the past. Like in "Religion", the present is such an empty concept for her now that there's nothing left to do other than go on. She finds no words to explain her state, this feeling of her life being one long dark day ever since that happened. So much soul searching has made her fall "deeper and deeper" and now she finds herself "looking for love in all the wrong places," making every word more dismal with a dramatic "oh my God!". Now the music is enormous; the sonic landscape of Honeymoon has so much empty space that it let "The Blackest Day" fill it all with its progressive music structure, ethereal, FKA twigs-like synthesizers and sawers and gentle, post-rock drums, beats and overall production. She is in denial with the future and what it takes to get there: "There's nothing for us to talk about / There's nothing for me to think about." At the end of the song, she has no other option than to accept her reality, because that's exactly what she needed: she already embraced her past, and now it was time for the present to receive the same treatment. "I'm on my own," she sings in a tone of isolation.

 

In the cinematic "24" she depicts her lover as a liar and a dog with fleas, only to slowly find peace with herself in "Swan Song", an ode to escapism and isolation. The fact that this process felt like one long day is strong as she sings "The world can change in a day if you go away". "Let's leave the world for those who change everything," she says apocalyptically, "Let's just get lost if that's what we want." It is also a reference to the 'white tennis shoes syndrome': the feeling that makes it seem as though there's always something interrupting us from doing our most important (and also most difficult) task. In her case, getting to a better place mentally and emotionally -- the worst of procrastinations. "Why work so hard when you could just be free?". Entelechy at its finest.

 

The album closes with a cover of the classic "Don't Let Me Be Misunderstood", where she sings "No one alive can always be an angel", justifying her ever-changing and postponing behavior throughout the project. She is trying, and her intentions are always good: she only needed space and, of course, time, for no one to interfere with her thoughts and, what she fears the most, misunderstand her. However, she must know (as she does on Lust for Life), total isolation does not do, especially when the relationship with oneself has been broken and tortured.

 

good intentions to get paid yes

also she loves that tour lyfe so much and always talk a big game about loving touring in interviews... Girl, you're on stage for an hour at most, you perform the same overlplayed songs you've been singing for eight years AND you take selfies with the same five creepy fans that follow you everywhere. That's all there is. I'm glad she didn't come near me this time around, I just saved money for acts that are actually worth spending money on! Love you Lana, but after being a fan for quite some time now, the truth is: your concerts ain't it.

No one here hates her. Don't be dramatic. Just because people are blunt and say it like they see it doesn't mean it's hating Lana. It is what it is. 

Everyone who is saying that last night's dress is the worst thing she has ever worn on stage.... have y'all forgotten about this atrocity
 

I don't really have any opinion on the setlist, but who cares about TNC when Chelsea Hotel #2 exists? 
 
https://www.youtube.com/watch?v=UTwkoz0XYhU
 
The chemistry, delivery, embodiment and synergy between them in this piece is stunning. She sounds beautiful and confident, and clearly loves the song (also no need for any vocal tracks). It's like the piece she was born to sing! Very happy and taken with this performance and it would have been very special to hear live.
 
I hope one day there is a lil release where they do a studio recording together . . . maybe in 10 years on 'Noir: The Best of Lana del Rey'

I think I finally have the power to face this: Her voice just died. Look how she couldn't got the high notes on nfr which are e5s I think? She murdered one of fav song bartender with the backing track and those horrible low notes. Also aside from her voice I think she makes it harder for her too by using backing tracks that are higher than her voice. Look how she handled Chelsea hotel. Like what I mean when she uses that high backing track it forces her to be the exact same which is impossible. Take Chelsea hotel old money and doin time and compare them you'll see what I mean

Imagine having 6 studio albums, more than 200 unreleased songs, several soundtrack themes and collabs, yet sticking to the same 15 songs for nearly 4 years now. Imagine opening your NFR tour with the summer-festivals set. Imagine ghosting Ultraviolence, Honeymoon and now also NFR. Fuck. If I've paid for last night's concert, I think that I would be cutting my testicles off in this moment.

By the way, what's that throwing peaches thing you are all talking about?

This doesn't make any sense at ALL. It implies that she doesn't like to sing her recent songs since Honeymoon and I doubt she would go through the pain of writing, producing and recording songs she would not like to sing live like she's just lazy and she doesn't want to get out of her comfort zone.

people are paying high amounts for these concert tickets lmao, and it's to experience a good concert, not for the pleasure of being in the same city as Lana. People are allowed to complain when it's clearly not worth the money.

Someone pointed out it would be impossible for her to have that much debt. Hang on, I got it:
 
"To be fair, she wouldn't have been able to have Credit Card debt of $17,200 if someone fairly rich wasn't supplying the credit card.
​
Still respectable to put in all the time and effort to make it but it probably is a lot easier, when you have the ability to run up $17,000 credit card debt and possibly have your housing and maybe even a car paid for by someone enabling you to spend a lot of time writing music and singing in bars."
 
and
 
"Over $17,000 though for a young woman without an actual job, she'd need to have probably at least 10 credit cards to get that much in debt and it would be hard to get so many since if you get one your rating goes down and you need to wait quite a while to apply for more or you get rejected and if you get rejected you need to wait even longer again.
​
To me it's more likely her parents if they are Millionaires had credit cards with $20//30/50,000 limits and she just used one for food and clothes and stuff while she lived there and her dad probably paid it but then she could have given him the money back once she got rich enough and was making her own money.
​
I'd also guess the ding craigslist jobs thing was something she more done just for experience or maybe something to do, rather than it being something she had to do for money. Same as she said she lived in a trailer but I remember reading before how she bought it but never really lived in it, just used it to go to sometimes to hang out or to write songs in it."
 
I mean, if I had wealthy parents, I could probably go play in trailer parks too for the ~experience~ without worrying about shit.
 
There was a famous guy who did an interview and said she met Lana before she was famous and said Lana liked to lie lmao.
She's a damn liar and we know this. Justice for Norman Fucking Rockwell.

Someone pointed out it would be impossible for her to have that much debt. Hang on, I got it:
 
"To be fair, she wouldn't have been able to have Credit Card debt of $17,200 if someone fairly rich wasn't supplying the credit card.
​
Still respectable to put in all the time and effort to make it but it probably is a lot easier, when you have the ability to run up $17,000 credit card debt and possibly have your housing and maybe even a car paid for by someone enabling you to spend a lot of time writing music and singing in bars."
 
and
 
"Over $17,000 though for a young woman without an actual job, she'd need to have probably at least 10 credit cards to get that much in debt and it would be hard to get so many since if you get one your rating goes down and you need to wait quite a while to apply for more or you get rejected and if you get rejected you need to wait even longer again.
​
To me it's more likely her parents if they are Millionaires had credit cards with $20//30/50,000 limits and she just used one for food and clothes and stuff while she lived there and her dad probably paid it but then she could have given him the money back once she got rich enough and was making her own money.
​
I'd also guess the ding craigslist jobs thing was something she more done just for experience or maybe something to do, rather than it being something she had to do for money. Same as she said she lived in a trailer but I remember reading before how she bought it but never really lived in it, just used it to go to sometimes to hang out or to write songs in it."
 
I mean, if I had wealthy parents, I could probably go play in trailer parks too for the ~experience~ without worrying about shit.
 
There was a famous guy who did an interview and said she met Lana before she was famous and said Lana liked to lie lmao.
She's a damn liar and we know this. Justice for Norman Fucking Rockwell.

Doin' time was so good. They finally gave her a budget for music videos.
When huge Lana steps out, with all her fame and glory and gets revenge for Lizzy. The symbolism. The legs. The poise and grace.
 
She's back.

Doin' time was so good. They finally gave her a budget for music videos.
When huge Lana steps out, with all her fame and glory and gets revenge for Lizzy. The symbolism. The legs. The poise and grace.
 
She's back.

Doin' time was so good. They finally gave her a budget for music videos.
When huge Lana steps out, with all her fame and glory and gets revenge for Lizzy. The symbolism. The legs. The poise and grace.
 
She's back.

Doin' time was so good. They finally gave her a budget for music videos.
When huge Lana steps out, with all her fame and glory and gets revenge for Lizzy. The symbolism. The legs. The poise and grace.
 
She's back.

Doin' time was so good. They finally gave her a budget for music videos.
When huge Lana steps out, with all her fame and glory and gets revenge for Lizzy. The symbolism. The legs. The poise and grace.
 
She's back.

Doin' time was so good. They finally gave her a budget for music videos.
When huge Lana steps out, with all her fame and glory and gets revenge for Lizzy. The symbolism. The legs. The poise and grace.
 
She's back.

Doin' time was so good. They finally gave her a budget for music videos.
When huge Lana steps out, with all her fame and glory and gets revenge for Lizzy. The symbolism. The legs. The poise and grace.
 
She's back.