Vertimus

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.

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.