Vertimus

For me, it's always the melody.

Obviously, one of her handlers could have ran and maintained her account, as many stars' and celebrities' accounts are maintained. This is just more typical Lana Drama. Maybe after the tour, she does want to take a break, get married, have a child, settle down a little more than she has so far. In a way, having rabid Stans, as many artists have, only adds to the problem, because they, for better or worse, have to be considered before a lot of choices are made, and that just adds another layer of heaviness and responsibility. In the past, where fans had very little or no public voice, albums by the most popular and famous artists just rolled out calmly. You'd read that they were recording, then eventually there'd be a release date, and a lot of music magazine advertisements, and sometimes a billboard or two, depending on how popular the artist was. So it was a much easier process. Today, artists know the voices and opinions of their Stans hand-over-fist, which are everywhere on TikTok, YouTube, blogs, vlogs, and sites like this. If she marries and has a child, perhaps future rollouts will be more like BB, low-key, less pressure, less expectation, less pomp.

No 'Carmen,' 'Lolita,' 'Blue Velvet,' 'Pretty When You Cry,' 'Please Don't Let Me Be Misunderstood,' 'Coachella,' 'Groupie Love,' 'Get Free,' 'Happiness Is A Butterfly,' 'Breaking Up Slowly,' or 'There's A Tunnel Under Ocean Blvd' for me.

Ride Born to Die White Dress Text Book Cruel World Love Honeymoon The Grants NFR

I liked Episode 2 more than the first, and I felt sympathy for Jocelyn when she had to perform with bleeding feet and was clearly having an anxiety attack or worse. It's hard to buy the Weeknd in that specific role due to his height---especially when Jocelyn is taller than him in almost every scene, as she's wearing platform shoes. His height sort of undercuts his credibility as a suave, dangerous, Svengali figure.

Do any of you who are here in the United States have a Tubi account, which are free? All of the movies have commercial breaks, but they're not obnoxious. Picture quality is excellent. Tubi has a lot of garbage (But one man's garbage is....), but also a lot of great old hard-to-find British horror movies, like 'Asylum' from 1972 with Charlotte Rampling, Herbert Dom, and Peter Cushing, the original 'Tales from the Crypt,' also with Peter Cushing as well as Joan Collins, the sci-fi horror 'Scream and Scream Again,' 1971, with Vincent Price, Peter Cushing, and Christopher Lee, 'The House That Dripped Blood' with Joanna Lumley, Ingrid Pitt, and Christopher Lee, 'Dr. Phibes Rises Again' from 1972, with Vincent Price and Robert Quarry, the 1971 version of 'Murders in the Rue Morgue,' with Jason Robards and Herbert Dom, the more obscure 'The Ghoul' from 1975, with Peter Cushing, the Hammer 'The Gorgon' from 1966, 'The Blood Beast Terror' from 1968, Mario Bava's stylish giallo of 1964, 'Blood & Black Lace,' and a host of other obscure Italian giallos from the 60s and early 1970s----and on and on and on. I love this era of gothic/horror/monster/science fiction film, though they're quite tame by today's standards, which is not say they're not clever, inventive, stylish, and great fun to watch. There's John Waters films from his classic raw era and Herschell Gordan Lewis gore films from the early 1960s, like '2,000 Maniacs' and 'The Gore Gore Girls.' There's also a lot of Mexican horror movies from the same era. The entire 'Dark Shadows' television series is there. Tubi is also available in Canada but the movies available are not the same, exactly, as those in the United States. Check it out.

'LMLYLAW,' like 'How To Disappear,' show Lana writing the music of early middle age and early middle age concerns, as do 'Sweet,' 'Arcadia,' 'Sweet Carolina,' 'Grandfather,' 'The Grants,' the COCC title track, 'Hollywood Bowl,' 'Violets For Roses,' 'Margaret,' and others. Of course, the quality and focus vary from track to track; we may prefer some over others, or like them all. The probably-unconscious influence of Carly Simon is manifesting. This is where she is as this point of her life; it's normal, it's natural, it's to be expected. She's listening to her inner voice and being responsible to it. And she hasn't even had a child yet. 'OB' was a real hodgepodge of sounds and song styles, and I get the feeling she was probably more comfortable with the more streamlimned 'BB' and 'COCC' albums, even if she thought 'COCC' needed a bit more filling out. And it felt to me as if she were more 'present' in 'The Grants,' 'Grandfather,' 'Kintsugi' and 'Sweet' than she was in, say, 'Peppers.' I'd prefer something different for LDRX, as I feel the songs mentioned above in the first paragraph are starting to sound repetitious thematically and musically. I still want lyrical substance, but both 'Peppers' and 'Taco Truck' were highlights of 'OB' for me, as well as 'LTLI.'

The entire album is beautiful, except, for me, 'The Mermaids' Lullbye,' but it may grow on me. He's very talented, and the fruit doesn't fall far from the tree. I hope the album is enough of a success that he's able to do another. My mother played the piano her entire life, could play anything after hearing it once, and composed her own songs very similar to these, so this sort of music has special meaning for me. I have a 'Pure Mood' playlist, where all of these will go. Placing 'Hollywood Bowl' at the end was the right move.

It's beautiful, perfect contemporary Lana; I could easily see it being on NFR!, COCC, or BB. She sounds peaceful, and the pool references remind me of the center gatefold photo of Joni Mitchell swimming in her pool on 'The Hissing of Summer Lawns.'

Thanks. I still think of you as Hydroponic Weed.

What time is that in EST time, like New York City and the east coast of the United States?

It seems like some have already heard 'Hollywood Bowl.' If it drops in NZ sometime today, then you know it will 'leak' or get out into the virtual world before the official release.

And in this era when porn and erotica are ubiquitous, the graphic sex being touted isn't going to make much of a wave.

Full agree. But they may be setting us up, like the movie 'Gone Girl' did.

For me, the three ultimate horror movies, which I'm not saying 'are the best,' are 'Mulholland Drive' (2001), 'The Bay' (2012) and 'The Skin I Live In' (2011). The first two go too far for my taste, the first being psychological horror approaching perdition and the second being physical horror coming from nature. I wouldn't casually recommend any of the three to my friends or acquaintances. If you all haven't seen 'The Skin I Live In' but are interested in LGBTQ+ issues, it's a interesting but very painful film, very well made. At least I found it to be so. The idea of the 'horror film' has really changed from the 20th to the 21st century, which started with 'Rosemary's Baby,' 'Night of the Living Dead,' and 'The Exorcist.' The major difference was the good guys lose, there's a lot more excess, and the film leaves you depressed instead of exhilarated. I personally prefer horror films that come out of the Romantic/Gothic tradition, like 'I Walked with a Zombie' (1943), 'Curse of the Demon' (1958), 'Carnival of Souls' (1963), 'The Reptile' (1966), or those that, like 'The Bay',' are about physical horror coming arising nature, like 'The Creature From the Black Lagoon' (1954), Hitchcock's masterful 'The Birds' (1963) or 'Frogs' (1971).

So far, it doesn't have the power of 'Euphoria,' which is based in a slightly altered version of everyday life, but we'll see where it goes. The assistant seems like the only 'normal'/real person.

I thought it would sound good on OB too. It was a mistake for anyone to expect that it would be a fully-developed song, especially after hearing the instrumentals over the last several months. 'Hollywood Bowl' might be a 'full song,' but I would think that a 'full song' would detract from the album as a whole. The more I hear 'LAS,' the more I like it. And it's not as if Lana tried to hard-peddle it as anything major or life-changing.

It's dreamy and pretty, very much what I expected it would be. I didn't have high expectations. I like it. Ultimately, it doesn't add much to her catalog, but perhaps the second song will.

'Lost At Sea' is out now on iTunes.

Exactly. I'm a huge BB fan except for the title track, and I've not been offended by all those who discount, dislike, or hate it, or the member here who continues to mock me for loving 'VFR.'

Look, GeminiLanaFan answered someone's question about NFR!, and, in good faith, stated the generally-accepted opinion of the album and its theme, and I challenged that on a factual level, because I think it's incorrect, and that many people have just repeated the same thing over and over and over without thinking or checking to see whether it was actually accurate. Just like the ''Blue' is Joni Mitchell's best album" phenomenon that was, as I understand it, essentially started by Brandi Carlisle about a decade ago. The psychological phenomenon of "jumping on the bandwagon" is a century old, it's a real thing that we can and do observe daily, such as 'trendiness' in matters of dress, politics, or the color you paint your kitchen, so why do you think it doesn't happen here sometimes? Of course it does. I've pointed out numerous times how much 'sociology' one can observe in boards and chatrooms, just as you can in parks, beaches, at the airport, or bus depots Why it's so terribly offensive to point that out, I don't know. We are all subject to human nature, obviously. That's all. I never said I don't want people to love or cherish NFR!. Obviously, a great many people do. But I think most of the claims made for it are inaccurate as presented.

Terms like 'hive mind' and 'group think' have existed for 7 or 8 decades--'hive mind' since the early 50s and 'group think' since 1971--and and don't belong to anyone or any one group in particular, and shouldn't be co-opted. They certainly were not used against LGBTQIA+ persons in those eras. Thanks for informing me that these terms are seen by LGBTQIA+ people as 'dog whistles,' because, while gay, I do not generally conform to LGBTQIA+ politics and am not 'hardline,' and so have never heard them used in that capacity. Here in NYC, they're used all the time in a variety of capacities, especially at the workplace. Had I known, I would not have used those specific terms, but the idea/ideas behind them are still absolutely valid and accurate. Exactly. It's been as if you don't follow the NFR! drumbeat, you must be silenced and crushed.

How is anything I said "dog whistling conservative talking points in a LGBTQ safe space"? I'm gay myself, on the bi-side. I've stressed free speech here multiple times, all interpretations are acceptable. I'm debating points stated. And as far as I can tell, every LDR album is 'accused' of being over-rated and then defended vigorously by its admirers.

It's ranking by an objective standard among her albums for Stans has gotten way, way out of control, and yes, I remember that era you speak of. I was there, here, in fact, on LB. It wasn't that long ago. I am glad so many people the world over enjoy NFR! it, which they obviously do.

I accept that may be the concept, but for me, if that is the concept, then it fails in its goal almost completely. What does 'Love Song' have to do with that? Or 'How To Disappear'? On the previous album, LFL , despite a few silly tracks, we had direct political commentary in 'WTWWAWWKOD' and subtler social, or social-political, commentary on 'Change,' 'God Bless AMERICA,' 'Heroin' and 'Get Free,' and references to many aspects of American life, past and present, on '13 Beaches,' 'Love,' 'White Mustang,' 'Summer Bummer,' 'Heroin,' and 'Tomorrow Never Came.' What happened with NFR! is that some influential internet critic said, "The entire album is a kind of metaphor for an America in decline," which she or he did not say, as it happens, about LFL, and that sounded really astute to a lot of people, who all began repeating it everywhere, until it became the general consensus whether it actually reflected the individual's own impressions of the album or not. In this age of the internet, we see this happening again and again, this bandwagon-jumping, like "'Blue' is Joni Mitchell's masterpiece." People who don't know the first thing about Mitchell's 70s work will repeat that--and do repeat it---because it makes them feel in-the-know and part of a movement, however small in the scheme of things. And then, having repeated it a few times, they actually buy a copy and listen to it for the first time, and never bother with any of her other brilliant 70s work, besides which 'Blue' pales. It's fine to see it as the album of a "woman with a weak constitution," but she also had a weak constitution on '13 Beaches,' 'White Mustang,' 'The Blackest Day,' 'God Knows I Tried,' 'Swan Song,' 'Pretty When You Cry,' 'Ride,' and several from 'BTD.' Don't underestimate the power of 'group think' or 'the hive mind.' We see this every day in our own lives, like, someone asks you where you would like to go for dinner with the rest of the group, and you are the kind of person that immediately says, "Well, where does everyone else want to go? What are others thinking?" It's just a very extroverted way of thinking, there's nothing wrong with it.