Vertimus

9 times out of 10 leaks happen without any fanfare or warning. When fans are being teased about things being leaked, that’s when it’s a dud. I’m sure it’s fun to sit and watch everyone on here go nuts about what could possibly happen and leak, but from a fan’s perspective it’s tiring and then gets extra annoying when the same insiders pull the “why is everyone mad, you’re not entitled to a leak” 
 
 

Me: I don't really like doing this anymore
Yall: YOU FUCKING FAKE LIAR BITCH I HATE YOU
 
I'm not going to fight anyone on this.
If you don't like me that's fine I'm not going to prove myself. I'm sorry if I feel like theres no reason people should be directly mean to me for no reason.

I don’t need to get into an argument but honestly everything you say contradicts itself [insert lana bio here], you say it was “dangling it over our heads” to tease it, but isn’t it worse to then decide not to do it all together? That caused quite a bit more commotion than it would’ve if you had just given the song titles or whatever. 

Goodbye Lindsay  it’s so sad it’s ending this way and I hope to see you in January for the 2023 LIPSTERS AWARDS. I hear we will be holding a moment of silence for Honeymouns/z that day 💔 and WHO KNOWS things change in a day- even an hour. You could still be redeemed or win an award!!!!

Blink - COTCC
Ex-Glory - NFR
Anyone Who Had A Heart - LFL
 
There's your 3 songs now you can't say I didn't come through... I'll just leave now since I am such a victim and I hope all of you have a lovely night.
 
#SpreadPeace #KindnessPunk 

love how everyone is just hovering around right now waiting for something to leak. we are really desperate right now 

i could never compete with 7 days of honeymouns! i'm so excited to see what he will give us 

okay so we are having a christmas leak RIGHT????

As I see it, there's no use doing a cover of a genuine, certified classic, especially of an American radio classic, if you don't feel it and don't think you can bring something genuine and fresh to it. That's the whole problem with covers. Linda Ronstadt was the classic covers artist of the 70s and she brought it almost all the time, even into the 80s with her immaculate covers of The Moon's A Harsh Mistress and Anyone Who Had a Heart. Even the old 70s semi-schlock classic Wildfire by Michael Murphy, for example. If you're going to cover a song like that, you'd better be ready to bring it, to bring the magical emotion that makes the entire song, because comparisons are going to be immediate. The same is true of movies remakes, with recent failures-at-the-box-office like Ben-Hur and Westside Story. 
 
Simon & Garfunkel are top-drawer Americana, foolhearty  to attempt, as I see it. 
 
I'd like to see Lana cover Lilac Wine, but not if she doesn't relate to it or can't feel it. I find about half her covers flat, lackluster. Even Season of the Witch lacked the punch of the original for me, and there's so much brooding spookiness in that song. I don't think she understood the song. I didn't see much effort put into it, anymore than has gone into CRTMH. The sad thing about her CRTMH is that, with all the touring, Lana no doubt knows that feeling very very well—she as much said so in the new interview. 
 
As always, I'm happy for those who enjoy it and hear something different than I do. 
 
Thanks. 

@111 @BlackoutZone @fl0r1dakil0s @Rust Dress @Wait For Life
 
 

I'm in between. I don't rate it very highly overall, especially due to the fucked-up version of BAR and HIAB, but love The Greatest, Venice Bitch, and Mariner's Apartment Complex. I like Cinnamon Girl but not the foggy production. Hope is obviously a very powerful and personal song, it's just not what I, personally, look for from Lana. 

I'm in between. I don't rate it very highly overall, especially due to the fucked-up version of BAR and HIAB, but love The Greatest, Venice Bitch, and Mariner's Apartment Complex. I like Cinnamon Girl but not the foggy production. Hope is obviously a very powerful and personal song, it's just not what I, personally, look for from Lana. 

if lana wanted this could be her second biggest album but she is lazy af. let the light in can still be a bigger hit if she really promotes it, and margaret too cause tiktok is loving this song

"When I look back Tracing fingertips over plastic bags." That's pretty bad. 

Olivia…so overrated.  I use to think Billie was but Olivia is even worse, you wonder what other girlie is gonna come along and water down Lana’s music and sell it to the masses. 
 
anywy Ocean Blvd 1 year today,  and still sounds great, Lana will remain timeless. 

I'm only a mild fan of OB, but I'm glad the world is finally waking up to Lana's work and giving her the props she deserves. 

I'm only a mild fan of OB, but I'm glad the world is finally waking up to Lana's work and giving her the props she deserves. 

As I see it, there's no use doing a cover of a genuine, certified classic, especially of an American radio classic, if you don't feel it and don't think you can bring something genuine and fresh to it. That's the whole problem with covers. Linda Ronstadt was the classic covers artist of the 70s and she brought it almost all the time, even into the 80s with her immaculate covers of The Moon's A Harsh Mistress and Anyone Who Had a Heart. Even the old 70s semi-schlock classic Wildfire by Michael Murphy, for example. If you're going to cover a song like that, you'd better be ready to bring it, to bring the magical emotion that makes the entire song, because comparisons are going to be immediate. The same is true of movies remakes, with recent failures-at-the-box-office like Ben-Hur and Westside Story. 
 
Simon & Garfunkel are top-drawer Americana, foolhearty  to attempt, as I see it. 
 
I'd like to see Lana cover Lilac Wine, but not if she doesn't relate to it or can't feel it. I find about half her covers flat, lackluster. Even Season of the Witch lacked the punch of the original for me, and there's so much brooding spookiness in that song. I don't think she understood the song. I didn't see much effort put into it, anymore than has gone into CRTMH. The sad thing about her CRTMH is that, with all the touring, Lana no doubt knows that feeling very very well—she as much said so in the new interview. 
 
As always, I'm happy for those who enjoy it and hear something different than I do. 
 
Thanks. 

publications will say ANY random album is a top album or album of the year just because it's popular or trendy... it's hard to ignore them, because they do reflect how our current society/media views and critiques art... so i feel like it would be silly for me to say that we should just ignore them, i feel like we have the right to complain about it, never complaining or having strong opinions results in nothing changing, or at least, nothing being expressed, and i think it's good and even healthy to express our thoughts, opinions, complaints, whatever it may be
 
i honestly feel like nowadays, publications, media outlets, or even just individual people/critics are just afraid of having opinions or being seen as negative or pretentious, but not every album that's popular is great or worthy of being labeled an album of the year

I'm only a mild fan of OB, but I'm glad the world is finally waking up to Lana's work and giving her the props she deserves. 

I'm only a mild fan of OB, but I'm glad the world is finally waking up to Lana's work and giving her the props she deserves. 

I'm only a mild fan of OB, but I'm glad the world is finally waking up to Lana's work and giving her the props she deserves. 

As I see it, there's no use doing a cover of a genuine, certified classic, especially of an American radio classic, if you don't feel it and don't think you can bring something genuine and fresh to it. That's the whole problem with covers. Linda Ronstadt was the classic covers artist of the 70s and she brought it almost all the time, even into the 80s with her immaculate covers of The Moon's A Harsh Mistress and Anyone Who Had a Heart. Even the old 70s semi-schlock classic Wildfire by Michael Murphy, for example. If you're going to cover a song like that, you'd better be ready to bring it, to bring the magical emotion that makes the entire song, because comparisons are going to be immediate. The same is true of movies remakes, with recent failures-at-the-box-office like Ben-Hur and Westside Story. 
 
Simon & Garfunkel are top-drawer Americana, foolhearty  to attempt, as I see it. 
 
I'd like to see Lana cover Lilac Wine, but not if she doesn't relate to it or can't feel it. I find about half her covers flat, lackluster. Even Season of the Witch lacked the punch of the original for me, and there's so much brooding spookiness in that song. I don't think she understood the song. I didn't see much effort put into it, anymore than has gone into CRTMH. The sad thing about her CRTMH is that, with all the touring, Lana no doubt knows that feeling very very well—she as much said so in the new interview. 
 
As always, I'm happy for those who enjoy it and hear something different than I do. 
 
Thanks. 

It sounds rushed, stripped down, flat, basic. As others have said, where is the instrumentation that made the original seem and feel sincere and of its time and place? 
 
She's singing the lyrics a la the classic John Denver version, but she's not singing it as if she means it or has experienced what she's saying. Where's the sense of loss, the passion, the relief of finally getting back to the place that she feels she belongs? Compare it to Buddy's Rendezvous, for example.  
 
Funny how on OB she says, "the WAYYYY JOHN DENVER SINGSSS" and she's doing the opposite here, no passion. It seems to me that this would drive away potential fans rather than create new ones. 
 
I hope we get the Americana | Classics album and soon, but I hope the rest is a little more fully realized and heartfelt than this. 

I love ‘Arcadia.’ Like so much of BB, it’s underrated. I’d take it any day over 9/10ths of OB.