Vertimus

Yeah, I found OC to be a real mishmash, very clumsy in that respect, and definitely not 'cohesive,' and 'cohesion' doesn't necessarily matter to me, but so many here say they like LDR albums to be cohesive. Also, I found some of Lana's vocals to be shrill for not good reason. The notes seemed to be notes she could sing without going sharp. I think 'Margaret' would have worked better without Jack's or Lana's spoken parts; both together sink the song for me, which is a shame, because I otherwise like it. The same with 'Taco Truck': it's so good but then just as it really gets going it turns into grunge VB, which I feel is a loss to what could have been an antisocial LDR classic. I like 'LTLI' best, as its not repetitive and as you say, their voices work well together, and the 'love to love you' 'hate to hate you' are the highlight of the album for me.

Absolutely, it's her most accessible album, though 'The Greatest' and 'Hope' are also included. It's not one of my favorites.

Sophistication--that's the word that eluded me earlier. I'd like to see a more sophisticated LDR again.

She is 14 years older than Rick. In 'the autumn years,' that's a lifetime.

63 is definitely not old--'60 its the new 40'--look at Joan Baez, still going strong at 82, Bob Dylan, 82, did some of his best work on his last album, and while Joni Mitchell has had a lot of health issues, she's at least on stage again. Blondie, led by 78 year-old Debbie Harry, just toured Britain, and that takes a lot of energy. Poor Glenn Frey was only 67 when he died, his voice still in perfect shape. DNA and lifestyle factor a lot. If LDR works with Rick again, that's fine by me, but I'd rather see her start over with a new producer. Something fresh. Nothing muddy. Nothing repetitive. I thought 'Blue Banisters' sounded good without Jack; I don't think he's anything like an absolute necessity to her present or future.

There was a while there when Lana really set the pace in her own way, musically speaking, she was a force, provocative and exciting, and I feel she's lost that. I know she's in a "doing the laundry-walking home from the mall-meeting for coffee-waitressing at Waffle House" mode, and while I'm glad she's happier--presumably--"A&W" certainly didn't suggest that if in any way autobiographical--I'd like to hear something edgier and with a little more distance from her actual life, like 'Serene Queen,' that sort of a sound, something fresh and clear. I'm not the biggest fan of 'OB'--it doesn't sound 'hip' to my ear, except for 'Taco Truck,' which fizzles too soon to become 'VB.' So I'd like to see her go less in that direction, and start fresh with a totally new producer.

Something different. Something upbeat in the vein of 'Serene Queen.' Something that doesn't sound like previous songs, the way 'TJF' and 'Fishtail' sound similar, or the way 'Sweet Carolina' and 'Hollywood Bowl' do. Though I like a lot of her deeply personal songs ('13 Beaches,' 'Yosemite'), I also like songs where she steps out of herself and/or plays roles, like on 'WTWWAWWKOD' or 'Brooklyn Baby,' or early tracks like 'Meet Me In the Pale Moonlight' or 'Live Or Die.' Whatever, she going to do what she wants to do, and that's as it should be. Maybe working at the Waffle House--a step down from The Cracker Barrel--will inspire her anew; maybe she'll see "clouds in her coffee."

Good taste. The Cracker Barrel is fun, if not exactly cuisine.

She really looks beautiful and happy.

https://www.thedriftmag.com/dream-of-antonoffication/ Just a thought.

If you believe it was, it probably was, because that's exactly or almost exactly how it was worded. It's a perfectly acceptable reaction.

Perhaps--perhaps--because it hasn't had a lot of "replay value" for some. Being only a moderate fan of it, it feels/seems to me like a failed experiment--and I realize that most members/Stans do not feel that way at all. So, like 'Watercolor Eyes,' which I was also only a moderate fan of, it does seem like it was released a considerable time ago. I recall one member said about the BB album, 'I played it once and never again,' and while that has not been my experience to OB, I can relate.

I still listen to ‘Peppers,’ ‘LTLI,’ ‘TT,’ & ‘Fishtail’ a lot, to ‘Margaret’ & ‘CN’ less frequently, ‘Sweet’ & ‘P,T’ once in a while, and the rest, never. I’m glad most seem to be enjoying it still, all or part.

For me, it just seems like an unfortunate fuck up, the kind which have haunted her career, but all in all, ultimately, it's no big deal. It can be added to the professional calamities that have followed her since BTD. It's over and done with, she got a lot of extra free press and word-of-mouth from it, hopefully she learned something valuable, and the next performance will go off without a hitch. She may be invited back to Glastonbury, depending on how she approaches this going forward. If she bad-mouths them excessively, it's unlikely she'll be invited back. I agree with the member who said the Glastonbury brass mean what they said about a sharp 12:00 a.m. cut-off, but perhaps it was, under the circumstances, the right thing for Lana to do to attempt to continue performing and end the show properly.

She did cover Joni Mitchell's 'For Free,' for which the correct line: I've got a black limousine And two gentlemen Escorting me to the halls Though Lana's cover goes: I got a black Limousine And two gentlemen Who escort me through these halls It seems she got escorted out this time.

It’s bad for all parties when we make a cult on an artist, like the Tori Amos cult or the Jeff Buckley cult.

Great. I am also a Thinking type.

It means individuals whose predominant 'function'--how they initially approach almost everything--is through 'thinking' rather than 'feeling.' Would you say that fits you? When I see your initial posts were about the creation process of Lana's various albums, your posts suggest to me that they are the result of 'thinking,' fact-finding, organization, and clarity.

I really appreciate 'Thinking' types.

Thank you. And thank you for all your amazing work here on LanaBoards. I am another LFL Stan, for which I've received a lot of grief here, but of course that changes nothing.

WHY do we think we're getting 'Malibu'? Thank you.

Got it, thank you both, blackenedrussianpoetry and Veinsineon. That makes perfect sense, as the one I'm referring to doesn't sound like 'Honeymoon,' the album, at all.

But is the 'Paradise' recorded during these sessions the same leaked song we have by that name? The one that's 3:40 and sounds like it came from the BTD era or earlier, based on the way she sings it? Isn't the song ('Terrence Loves You') about David Bowie, about him and his brother, Terrence?

The sad thing is that the producers seem to think that, in 2023, this is revelatory or 'shocking' or 'insightful,' like they're pulling a curtain back and showing us 'the truth.' But this is 2023, not 1970. With internet porn and 'erotica' being an overwhelming fact for the last 25 years, after the excesses of the 1980s, after the Punk and New Wave scenes, after everything that Madonna brought to the table, after Grunge and Jane's Addiction, after the success of books like Camille Paglia's 'Sexual Personae: Art and Decadence from Nefertiti to Emily,' etc., 'The Idol,' so far, isn't showing most people anything they're not already aware of. That's why it seems like a parody to me, with the shorter Tedros slapping the taller doctor and the doctor backing down instead of punching Tedros's lights out. To me, the Weeknd just doesn't have that smoldering, sensual, hypnotic quality they're apparently going for, and the 'deep' conversations are absurd.

It's still not really working for me; does anyone really like it? It seems like a caricature of itself, like when Tedros slaps the much taller doctor and the doctor backs down. I thought it was hilarious how Tedros had to reach up to slap the doctor. The Weeknd is clearly a good actor but he's not right for that role. At least, I'm not buying it. It's also odd how the producers would pair Tedros with that very tall actor, whose height only underscores the Weeknd's 5'8 (at best) size.