Fingertips

omw to see Saw X and realised there isnt a saw thread so here we are 
 
i love the saw movies because they’re funny more than anything. the first few are great and i’m really hopeful X delivers a good story
 
plus i think the posters always serve:









 
will update later when i leave the cinema 

ok just got out of the movie theatre and i have thoughts
 
spoiler free: 
definitely the second best after the first film. they really focused more on the story and it pays off because i was SEATED for every little twist and turn in that movie. it was shot really well and the traps are really clever... tobin also acted his ass off
 
spoilers:
 
 
overall would give it a 9/10 it was genuinely really good 

What a beautiful, spot on analysis.
 
My trinity is The Blackest Day, Swan Song, Terrence Loves You 

Was with you until this distinction. Did you know that there's a tunnel under Ocean Blvd? is Lana's most existential record to date since Honeymoon and AKA, and I think that viewing introspective and existential lyricism as opposite ends of a binary does her music a disservice. I think they're pretty interchangeable. All of Lana's music is pretty existential, some more than others. However, this is the record where she puts her foot on the pedal and floors it. She writes about the most hard-hitting and universal experiences of what it means to be a living, breathing, feeling, and thinking human being that lives in societies that tend to impose meaning on us. Thoughts about having children, continuing her legacy, not wanting to be forgotten, taking the memories of her loved ones with her when she passes on,  the thoughts about her past negatively impacting the woman she is today. Those aren't just personal unrelatable ramblings from a mad woman''s diary meant for her and her alone, those are thoughts we all have as humans throughout our lives. That is by definition what it means to write existentially; there must be a contemplation about how one's eventual mortality often is what motivates us to create, to pass on a legacy, to make meaning. Writing something existential requires, at the bare minimum, for the writer to be introspective by nature. If you're not introspective, then you can't reflect upon or contemplate those bigger issues in any sort of meaningful way. 
 
If you meant something along the lines of scale in which she writes about, such as The Greatest tackling societal decay, for example, well the lyrics to that song and what was to come a few years later on Ocean Blvd aren't exactly polar opposites or mutually exclusive. Its just a matter of scale. 
 
Sorry, not attacking you btw, just wanted to share a different perspective. I just don't think that the scale of what Lana writes about over her last few albums makes her music any less existential. I actually think songs like White Dress, Kintsugi, and Blue Banisters are amongst her most raw and existentially written tracks to date for many different reasons. 

Was with you until this distinction. Did you know that there's a tunnel under Ocean Blvd? is Lana's most existential record to date since Honeymoon and AKA, and I think that viewing introspective and existential lyricism as opposite ends of a binary does her music a disservice. I think they're pretty interchangeable. All of Lana's music is pretty existential, some more than others. However, this is the record where she puts her foot on the pedal and floors it. She writes about the most hard-hitting and universal experiences of what it means to be a living, breathing, feeling, and thinking human being that lives in societies that tend to impose meaning on us. Thoughts about having children, continuing her legacy, not wanting to be forgotten, taking the memories of her loved ones with her when she passes on,  the thoughts about her past negatively impacting the woman she is today. Those aren't just personal unrelatable ramblings from a mad woman''s diary meant for her and her alone, those are thoughts we all have as humans throughout our lives. That is by definition what it means to write existentially; there must be a contemplation about how one's eventual mortality often is what motivates us to create, to pass on a legacy, to make meaning. Writing something existential requires, at the bare minimum, for the writer to be introspective by nature. If you're not introspective, then you can't reflect upon or contemplate those bigger issues in any sort of meaningful way. 
 
If you meant something along the lines of scale in which she writes about, such as The Greatest tackling societal decay, for example, well the lyrics to that song and what was to come a few years later on Ocean Blvd aren't exactly polar opposites or mutually exclusive. Its just a matter of scale. 
 
Sorry, not attacking you btw, just wanted to share a different perspective. I just don't think that the scale of what Lana writes about over her last few albums makes her music any less existential. I actually think songs like White Dress, Kintsugi, and Blue Banisters are amongst her most raw and existentially written tracks to date for many different reasons. 

Was with you until this distinction. Did you know that there's a tunnel under Ocean Blvd? is Lana's most existential record to date since Honeymoon and AKA, and I think that viewing introspective and existential lyricism as opposite ends of a binary does her music a disservice. I think they're pretty interchangeable. All of Lana's music is pretty existential, some more than others. However, this is the record where she puts her foot on the pedal and floors it. She writes about the most hard-hitting and universal experiences of what it means to be a living, breathing, feeling, and thinking human being that lives in societies that tend to impose meaning on us. Thoughts about having children, continuing her legacy, not wanting to be forgotten, taking the memories of her loved ones with her when she passes on,  the thoughts about her past negatively impacting the woman she is today. Those aren't just personal unrelatable ramblings from a mad woman''s diary meant for her and her alone, those are thoughts we all have as humans throughout our lives. That is by definition what it means to write existentially; there must be a contemplation about how one's eventual mortality often is what motivates us to create, to pass on a legacy, to make meaning. Writing something existential requires, at the bare minimum, for the writer to be introspective by nature. If you're not introspective, then you can't reflect upon or contemplate those bigger issues in any sort of meaningful way. 
 
If you meant something along the lines of scale in which she writes about, such as The Greatest tackling societal decay, for example, well the lyrics to that song and what was to come a few years later on Ocean Blvd aren't exactly polar opposites or mutually exclusive. Its just a matter of scale. 
 
Sorry, not attacking you btw, just wanted to share a different perspective. I just don't think that the scale of what Lana writes about over her last few albums makes her music any less existential. I actually think songs like White Dress, Kintsugi, and Blue Banisters are amongst her most raw and existentially written tracks to date for many different reasons. 

Was with you until this distinction. Did you know that there's a tunnel under Ocean Blvd? is Lana's most existential record to date since Honeymoon and AKA, and I think that viewing introspective and existential lyricism as opposite ends of a binary does her music a disservice. I think they're pretty interchangeable. All of Lana's music is pretty existential, some more than others. However, this is the record where she puts her foot on the pedal and floors it. She writes about the most hard-hitting and universal experiences of what it means to be a living, breathing, feeling, and thinking human being that lives in societies that tend to impose meaning on us. Thoughts about having children, continuing her legacy, not wanting to be forgotten, taking the memories of her loved ones with her when she passes on,  the thoughts about her past negatively impacting the woman she is today. Those aren't just personal unrelatable ramblings from a mad woman''s diary meant for her and her alone, those are thoughts we all have as humans throughout our lives. That is by definition what it means to write existentially; there must be a contemplation about how one's eventual mortality often is what motivates us to create, to pass on a legacy, to make meaning. Writing something existential requires, at the bare minimum, for the writer to be introspective by nature. If you're not introspective, then you can't reflect upon or contemplate those bigger issues in any sort of meaningful way. 
 
If you meant something along the lines of scale in which she writes about, such as The Greatest tackling societal decay, for example, well the lyrics to that song and what was to come a few years later on Ocean Blvd aren't exactly polar opposites or mutually exclusive. Its just a matter of scale. 
 
Sorry, not attacking you btw, just wanted to share a different perspective. I just don't think that the scale of what Lana writes about over her last few albums makes her music any less existential. I actually think songs like White Dress, Kintsugi, and Blue Banisters are amongst her most raw and existentially written tracks to date for many different reasons. 

Was with you until this distinction. Did you know that there's a tunnel under Ocean Blvd? is Lana's most existential record to date since Honeymoon and AKA, and I think that viewing introspective and existential lyricism as opposite ends of a binary does her music a disservice. I think they're pretty interchangeable. All of Lana's music is pretty existential, some more than others. However, this is the record where she puts her foot on the pedal and floors it. She writes about the most hard-hitting and universal experiences of what it means to be a living, breathing, feeling, and thinking human being that lives in societies that tend to impose meaning on us. Thoughts about having children, continuing her legacy, not wanting to be forgotten, taking the memories of her loved ones with her when she passes on,  the thoughts about her past negatively impacting the woman she is today. Those aren't just personal unrelatable ramblings from a mad woman''s diary meant for her and her alone, those are thoughts we all have as humans throughout our lives. That is by definition what it means to write existentially; there must be a contemplation about how one's eventual mortality often is what motivates us to create, to pass on a legacy, to make meaning. Writing something existential requires, at the bare minimum, for the writer to be introspective by nature. If you're not introspective, then you can't reflect upon or contemplate those bigger issues in any sort of meaningful way. 
 
If you meant something along the lines of scale in which she writes about, such as The Greatest tackling societal decay, for example, well the lyrics to that song and what was to come a few years later on Ocean Blvd aren't exactly polar opposites or mutually exclusive. Its just a matter of scale. 
 
Sorry, not attacking you btw, just wanted to share a different perspective. I just don't think that the scale of what Lana writes about over her last few albums makes her music any less existential. I actually think songs like White Dress, Kintsugi, and Blue Banisters are amongst her most raw and existentially written tracks to date for many different reasons. 

okay, everyone stay on topic
 
Warning points will be given out to those who continue with this discussion that does not belong on this thread (or really on Lanaboards at all)

Pawn Shop Blues
Fingertips
Did you know that there's a tunnel under ocean blvd?
White Dress
Blue Banisters
Terrence Loves You
 
one of those

My favourite is Fingertips currently. So confessional, rarely heard something so personal 😯.

Good for her!

"Most people" = the very loud and obnoxious minority of people who feel personally victimized by a musical instrument

Good for her!

Good for her!

Good for her!

God, I love reading her thoughts. She always says things in a way that feel slightly cryptic, like she’s either keeping much of her thoughts to herself or simply because she’s still processing reality as she goes. Or both. I adore her.
 
Great interview and photoshoot. She’s definitely getting those Grammy noms.

Earlier in your career, you had a lot of invasions of privacy — a home intrusion, car thefts, a hack. Has that cooled down for you? 
 
No. My records get [leaked] five months before they come out. They have for 11 years. I really don’t understand. I’ve gone to every great length to double check everything, but the songs come out. Even if I don’t [digitally] have them. I don’t like it. This is a lot of work. You want things to go well for the album.
 
 
@111 yeah she clocked ur ass

Good for her!

Are you still thinking about doing a cover album?
Yeah, I want to. I’ve collected my cover songs for seven years. And I’ve said so much that I wanted to say, so it’s an awesome time to think about that. The standards. 
 
Creatively, do you see yourself on a course right now? 
The music took a huge turn from Norman, and it’s been going down that path aggressively. I’m going to continue going where I feel the only next stop is, but I think it’ll be in an Americana vein. The hard thing, in your personal life or in public, is that you can lose the idea that passion should be your true North. And, instead, safety should be. That’s the biggest pitfall. Being scared into making safe choices. Having a little bit of a cool-off period from the heat that might have been in a bad way, I got to reevaluate things. When there’s a little space, you get to choose. Then things get good.
 

I don't know why this idea shocks and upsets people. It's feels full-circle from her early unreleased music. 

if you don't count AKA and sirens, honeymoon is probably my favorite lana del rey album (although sometimes it's hard to even say that when ultraviolence and born to die exist, honestly it's just a testament to how amazing her discography is) honeymoon really is lana at her absolute best, it's breezy, oceanic, luscious, atmospheric, mysterious, haunting, floral, romantic, moody, yearning... so many fascinating and thought-provoking qualities all in one terrific album, not many people can craft a body of work that displays so many moods, feelings, emotions and vibes as effortlessly as honeymoon <3 happy 8th birthday!

you guys are talking down on covers as if her covers of summer wine, blue velvet, goodbye kiss, doin' time, some things last a long time, heart-shaped box, roadhouse blues, the end of the world, the good life, where the boys are (coming soon! ...i hope) and buddy's rendezvous don't exist  i think lana is perfectly capable 
 
also... to say that a.i covers aren't really any different from actual covers recorded by the artist is just so, so wrong

I’ve been reading Joan Didion for the first time and it’s crazy to me how much Lana reminds me of her. Lana’s writing style in Violets reminds me a lot of Didion’s prose, moreso than Sylvia Plath tbh. There’s a certain detached nature in both of their writing styles that I really enjoy