GeminiLanaFan

God this is misogyny at its best, all those comments about her weight. This is such a shame: the girl is a legend, when it comes to her art, and to see that all people do is drag her about her looks And her weight, Jesus fucking Christ! The place of looks in our society is just crazy. I hope that the fuckers who dragged her down are always spot-on, to be so cruel about it.

If the video is a reharsh of the MAC and VB videos, which were already reharshes of the triple MV, I don’t want to see it.

Her mother being a teacher, it must have been challenging to say the least, to be her and live with a mother with « that kind of Personality » (often conservative, strict, perfectionists, with high expectations for their kids), based on the many teachers around me lol.As for the murders, it’s interesting that you relate the « murders » to her failed relationships, which I hadn’t thought of. Plus there are also rumours of at least one abortion she would have had in the past. But when I heard that line, I wondered if she had bought a house connected to the Manson murders. She did elude to that in Heroin, didn’t think it might be her house, maybe? Artists that are trailblazers take a lot of time to be recognized as such, most often than not.

Didn’t The Guardian love NFR?!? This new review of Violet, that I have not read by the way, is so frequent in the entrainment business: They love a project, then they give the next project by the same artist to the most critical reviewer, just to prove « they are always critical and not biased and still relevant to not always love what someone does. » Which is kinda bullshit.

The haïkus mentioned on Genius are the ones she posted on Insta throughout the years, after she teased Happy.

Quiet Waiter - Blue Forever is the « part 1 » and Bartender is « part 2 » to the story to me. Love your parallels! Never to Heaven and Cinnamon Girl could be linked indeed!

Love the whole « Greenwich Village beatnik poetry night » or « Café parisien du Quartier Latin » vibes... So vintage, with the cosmic vibes on some chapters... This project is so amazing and turned out even better than I was expecting. I’m glad we didn’t get it on January 4: we wouldn’t be talking about it that much if she had rushed to release it, I think.

I’m amazed by this woman. Within 10 years, she has put out one of the most coherent body of art out there, so rich and so consistent, so poetic. I was kinda worried that Violet would be a bit more « all over the place », and that the most « touching ones » would be featured on the second book, but these poems just are so consistent, nostalgic, hypnotic. LA is a masterpiece. I wonder which were written and recorded last...

It’s a massive work that flows well into her discography. Jack’s music being the right amount of emotion without overshadowing it. Love the atmospheric music to LA Who AM I..., Quiet Waiter, Blue Forever, the witchy vibes to The Land of a 1000 Fires. Love the storytelling on Tessa DiPietro (was honestly worried about that one), My Bed is in Peace (I think this is the title?!?), and SportsCruiser. A lot of these poems mirror NFR’s themes or complement them (this could be a complete analysis in itself). Now I can’t wait for Chemtrails (which is briefly mentioned on The Cypress Poem). We are now in a very interesting phase of her career, one where she is solidifying her writing heritage.

I preordered it on Amazon, because it’s audible’s store. I should be on Audible in a couple of hours, when it’s available.

She sounds so unfiltered on that book!!!!!

To me, Lana’s version of feminism is telling her own story, being able to live the life you want, and she feels that there’s no voice that tells her story except her own. And that’s her « jab » at feminism. She tells stories where she is sometimes « more passive » in her relationships and she wants to claim the possibility to tell those stories without being called an «antifeminist » I think.

When she talked about it a week before Jan 4, she said the project sounded unpolished and nitty-gritty. What I read into this is that Jack wasn’t probably on board for the music at first (or, at least, not on all the tracks), and that she didn’t have a publisher back then. Anyways, I’m happy it’s finally out and in the present form, sounding and looking professional. The only long break for her would be if she had a kid, I guess. Other than that, I don’t see it happening, she is too much of a workaholic.

I mentioned the little sister thing because that’s how she presented Chemtrails (we didn’t know back then it was its name) at the end of the year, when Norman was receiving all the acclaim for the end of the year reviews. We have yet to hear Violet in full, but I agree that Violet is maybe Norman’s mirror? She seems to have written a lot of Violet while recording Norman, and some themes will probably be very close on both album. Chemtrails might still be Norman’s little sister, and Behind the iron gates could be Violet’s little sister. If so, imagine how exciting both the second book and COCC will be... She seems to have gone a bit darker on the second book (and I hope the new album as well).

I’m not sure it will be on Spotify since it’s an audiobook, though some of you said there were audiobooks on that platform, but on podcasts?!? As for Apple, it should be on iBook. Otherwise, it will be on audible, or Kobo or some other platform proposed by her website.

Haha LFL begins with 13 Beaches for me too !! When the album came out, it made sense to have it begin there because I had listened to the two singles over and over and I wanted something new.

It’s exactly that, her most summery album. I don’t listen to all of it, these days, but there are at least 10 songs that are not only excellent but summery. Love and the title track are more “spring” to be, probably because of the time she released them.

She does very well with her streams overtime because all of her albums are grower. You find something new with each listen, and you kinda get under her spell and go back to her albums, even the ones that aren’t the best.

LFL and BTD are her only two albums with one billion streams. UV is slowly getting there (900M streams).

Another Grammy rob was Adele not-so-good 25 winning over Beyonce's Lemonade. Now, come on!

I thought at first it was a snippet and thought it would be an interesting direction for a couple of songs.

Lana's strategy seems to have been: «The critics have spoken», when it came to her Grammy campaign. It's true that Billie was promoting the record so much more when came time to campaign. I saw the Billie wins as a mean for the Grammy to prove they are still relevant and «cool», by having a young and talented singer win all the important awards that night, which has been a long-time critic of the Grammy's (a bunch of old geysers awarding their piers). I do wonder if she they regretted their choice, with the pandemic situation: NFR became so much more relevant than Billie's record, as good as it is. Anyways, I don't expect any Grammy wins for Lana, except maybe in the spoken-word category, or at some point in the future, for outstanding accomplishment in her career, or something like that.

I agree with you that it could mean nothing... and yet, the word Freak is capitalized. Like I said, it might just be a way to name Sean or someone else. Anyways, I'd love a song with Tulsa Jesus Freak as its title.

Looking back on her insta last year, where she was posting random selfies between music posts, I wouldn’t be surprised if she dropped a new single by the end of next week, even if it’s “Violet’s week”. She’s way more active on social media posting these days. You won’t like what I’m writing, but I wonder if her caption “Tulsa Jesus Freak: White Hot Forever” is not only a clue for music to come, but also a hint that she came back with Sean, like the first part would be adressed to him and WHF is about their relationship. It’s a big stretch, though, and it probably is simply the title of one or two songs (double release again ?)

I never was a big Taylor fan though I thought she has had real pop gems. I gave Folklore a chance and it’s honestly very good. I must confess that I do love The National and have a week spot for the early stuff Bon Iver put out, which are all over this album. Taylor paints great stories. She always had. It’s why she’s such a top singer in pop. Lana said herself that most of her songs are about two things, two subjects, and I will always prefer Lana’s songwriting, which is closer to poetry and literature. Her Americana references are always filed with nostalgia and just the right amount of kitsch. Coming back to folklore, if Lana goes folk, the two songs by Jack on folklore could be interesting for Lana as well. In all the big Female pop names around, Taylor is the one I’d see Lana have a collab with, not on one of her albums, but as a side project.Their storytelling could mesh well, their voices also, and they love each other. And with Jack who produced both of them many times, it’s almost stupid to not have that duet already.