Vertimus

We listen to Lana, we see her, we get her 100% without any effort. It's almost instantaneous. 
 
Her critics look at her, they listen to her, they can't grasp her in the least, and they embarrass themselves attempting to define what they do see. Look at narcissistic, fascist Anne Powers, complaining that Lana didn't carry herself the way Anne Powers believes she should as a female artist in the 21st century, didn't have the right political opinions, didn't have the correct vision and correct attitudes, as if Lana was Anne Powers, and not a completely different individual in her own right. 
 
Lana seems to have an unusually high level of people, especially in the critic class, that don't get her, but everyone who does get her loves her passionately. 
 
And the fact that Lana has a long string of dedicated admirers, some of whom are musical and creative legends—David Lynch, Joan Baez, Bruce Springsteen, Father John Misty, Courtney Love, the Weeknd, John Waters, Stevie Nicks—and they see and hear her, as we do, has to rankle. 
 
Obviously this has been a huge year for Lana; she won the war even if she lost a few battles. 

We listen to Lana, we see her, we get her 100% without any effort. It's almost instantaneous. 
 
Her critics look at her, they listen to her, they can't grasp her in the least, and they embarrass themselves attempting to define what they do see. Look at narcissistic, fascist Anne Powers, complaining that Lana didn't carry herself the way Anne Powers believes she should as a female artist in the 21st century, didn't have the right political opinions, didn't have the correct vision and correct attitudes, as if Lana was Anne Powers, and not a completely different individual in her own right. 
 
Lana seems to have an unusually high level of people, especially in the critic class, that don't get her, but everyone who does get her loves her passionately. 
 
And the fact that Lana has a long string of dedicated admirers, some of whom are musical and creative legends—David Lynch, Joan Baez, Bruce Springsteen, Father John Misty, Courtney Love, the Weeknd, John Waters, Stevie Nicks—and they see and hear her, as we do, has to rankle. 
 
Obviously this has been a huge year for Lana; she won the war even if she lost a few battles. 

We listen to Lana, we see her, we get her 100% without any effort. It's almost instantaneous. 
 
Her critics look at her, they listen to her, they can't grasp her in the least, and they embarrass themselves attempting to define what they do see. Look at narcissistic, fascist Anne Powers, complaining that Lana didn't carry herself the way Anne Powers believes she should as a female artist in the 21st century, didn't have the right political opinions, didn't have the correct vision and correct attitudes, as if Lana was Anne Powers, and not a completely different individual in her own right. 
 
Lana seems to have an unusually high level of people, especially in the critic class, that don't get her, but everyone who does get her loves her passionately. 
 
And the fact that Lana has a long string of dedicated admirers, some of whom are musical and creative legends—David Lynch, Joan Baez, Bruce Springsteen, Father John Misty, Courtney Love, the Weeknd, John Waters, Stevie Nicks—and they see and hear her, as we do, has to rankle. 
 
Obviously this has been a huge year for Lana; she won the war even if she lost a few battles. 

We listen to Lana, we see her, we get her 100% without any effort. It's almost instantaneous. 
 
Her critics look at her, they listen to her, they can't grasp her in the least, and they embarrass themselves attempting to define what they do see. Look at narcissistic, fascist Anne Powers, complaining that Lana didn't carry herself the way Anne Powers believes she should as a female artist in the 21st century, didn't have the right political opinions, didn't have the correct vision and correct attitudes, as if Lana was Anne Powers, and not a completely different individual in her own right. 
 
Lana seems to have an unusually high level of people, especially in the critic class, that don't get her, but everyone who does get her loves her passionately. 
 
And the fact that Lana has a long string of dedicated admirers, some of whom are musical and creative legends—David Lynch, Joan Baez, Bruce Springsteen, Father John Misty, Courtney Love, the Weeknd, John Waters, Stevie Nicks—and they see and hear her, as we do, has to rankle. 
 
Obviously this has been a huge year for Lana; she won the war even if she lost a few battles. 

I agree. The interview was very weak even though we did learn a few things. I wouldn't even call it an interview. The fraud charge will probably live with her forever, as lazy journalists love to pick up an old charge or accusation, especially from the beginning of an artist's career, and repeat it.
 
Poor Marianne Faithfull, now aged, has had to deal with the "voice of an angel with big tits" line that still gets repeated, even on the liner notes of her albums, or the charge that at the Rolling Stones Redlands bust in the second half of the 60s, she was found--get this--"naked, wrapped in a fur rug with a candy bar sticking out of her anus," which one of the Stones, presumably Mick, her boyfriend, was munching on when the police broke in. And we all know the urban legend about Rod Stewart, or Richard Gere and the gerbil. 
 
Very sad. Lana deserves better, but she's so nice, which journalists take as passive, that they keep repeating crap about her. 
Agreed. 

We listen to Lana, we see her, we get her 100% without any effort. It's almost instantaneous. 
 
Her critics look at her, they listen to her, they can't grasp her in the least, and they embarrass themselves attempting to define what they do see. Look at narcissistic, fascist Anne Powers, complaining that Lana didn't carry herself the way Anne Powers believes she should as a female artist in the 21st century, didn't have the right political opinions, didn't have the correct vision and correct attitudes, as if Lana was Anne Powers, and not a completely different individual in her own right. 
 
Lana seems to have an unusually high level of people, especially in the critic class, that don't get her, but everyone who does get her loves her passionately. 
 
And the fact that Lana has a long string of dedicated admirers, some of whom are musical and creative legends—David Lynch, Joan Baez, Bruce Springsteen, Father John Misty, Courtney Love, the Weeknd, John Waters, Stevie Nicks—and they see and hear her, as we do, has to rankle. 
 
Obviously this has been a huge year for Lana; she won the war even if she lost a few battles. 

We listen to Lana, we see her, we get her 100% without any effort. It's almost instantaneous. 
 
Her critics look at her, they listen to her, they can't grasp her in the least, and they embarrass themselves attempting to define what they do see. Look at narcissistic, fascist Anne Powers, complaining that Lana didn't carry herself the way Anne Powers believes she should as a female artist in the 21st century, didn't have the right political opinions, didn't have the correct vision and correct attitudes, as if Lana was Anne Powers, and not a completely different individual in her own right. 
 
Lana seems to have an unusually high level of people, especially in the critic class, that don't get her, but everyone who does get her loves her passionately. 
 
And the fact that Lana has a long string of dedicated admirers, some of whom are musical and creative legends—David Lynch, Joan Baez, Bruce Springsteen, Father John Misty, Courtney Love, the Weeknd, John Waters, Stevie Nicks—and they see and hear her, as we do, has to rankle. 
 
Obviously this has been a huge year for Lana; she won the war even if she lost a few battles. 

Literally this lol
 
Also this being age restricted is sending me even more 

Lana Del Rey covers Harper's Bazaar December 2023/January 2024 Art Issue, photographed by Collier Schorr.
See full photoshoot
Read full interview


 
 
 
 
 

she means the next album will be blues / glam / experimental 
 

The primary purpose of Violet is poetry, not music, and the music is 'background' music, as it was when poetry albums first came into being in the 50s, like those of Jack Kerouac and Kenneth Patchen. Sometimes there was a musical accompaniment, and sometimes not. There's a long history of such recordings. Carl Sandburg accompanied himself on guitar while he recited his work. If music were the primary purpose of Violet, then of course it would be one of Lana's music albums. That's how I see it. 

The primary purpose of Violet is poetry, not music, and the music is 'background' music, as it was when poetry albums first came into being in the 50s, like those of Jack Kerouac and Kenneth Patchen. Sometimes there was a musical accompaniment, and sometimes not. There's a long history of such recordings. Carl Sandburg accompanied himself on guitar while he recited his work. If music were the primary purpose of Violet, then of course it would be one of Lana's music albums. That's how I see it. 

The primary purpose of Violet is poetry, not music, and the music is 'background' music, as it was when poetry albums first came into being in the 50s, like those of Jack Kerouac and Kenneth Patchen. Sometimes there was a musical accompaniment, and sometimes not. There's a long history of such recordings. Carl Sandburg accompanied himself on guitar while he recited his work. If music were the primary purpose of Violet, then of course it would be one of Lana's music albums. That's how I see it. 

I agree; in the past, say, in the 50s and 60s, poetry, with or without backing music, and spoken word 'albums' by people like Jack Kerouac, Edith Sitwell, or Carl Sandburg were considered albums. The same with comedy albums by Bob Newhart, Woody Allen, or Nichols & May, and in the 70s, Cheech & Chong and George Carlin. 
 
The problem is not whether a poetry album is an album  or not, but simply distinguishing Lana's music albums from her poetry album(s).  
 
I think it's correct to say, if you're counting Paradise as an album, as I do, that Lana has 9 music albums, or just 'Lana has 9 albums, and 1 poetry album.' 

I agree; in the past, say, in the 50s and 60s, poetry, with or without backing music, and spoken word 'albums' by people like Jack Kerouac, Edith Sitwell, or Carl Sandburg were considered albums. The same with comedy albums by Bob Newhart, Woody Allen, or Nichols & May, and in the 70s, Cheech & Chong and George Carlin. 
 
The problem is not whether a poetry album is an album  or not, but simply distinguishing Lana's music albums from her poetry album(s).  
 
I think it's correct to say, if you're counting Paradise as an album, as I do, that Lana has 9 music albums, or just 'Lana has 9 albums, and 1 poetry album.' 

a spoken word album counts as an ALBUM
 
how many times are gonna go over this?? 😫

it’s so annoying because y’all DAMN WELL KNOW that btd, paradise, uv, hm, lfl, nfr, cocc, bb, and dykttatuob are her official albums. clearly this is what is counted when it’s said that lana has 9 albums. violet is not considered part of her discography no matter what lana says, it’s not even on spotify. aka is literally fucking unreleased. why are we playing dumb….
 
edit: by discography i mean if we’re talking official musical albums. think about it, no one rlly includes violet in their album rankings, because it’s a spoken word album not music.

Lana will sing a cover of a "popular early to mid-twentieth century song" on the Jack Antonoff-produced soundtrack album!
https://www.google.com/amp/s/deadline.com/2023/11/the-new-look-christian-dior-coco-chanel-drama-premiere-date-trailer-1235612245/amp/
 

I don’t want any more half baked wink wink nudge nudge middle finger up tongue out synth trap Taylor-lite Jack beats… it worked for A&W but no more please. I don’t like “lowkey” bops. I want raw emotion and fire. I can’t lie, I want some grit back. Obviously most of us always ask for a UV type sound but after 3 very paired down energy kind of albums, I want something more assertive sounding. 

i just hope ldr10 will be strong and cohesive, in retrospect, ocean boulevard feels like such a mixed bag for me, some songs are great, like the grants, A&W, and candy necklace, but some songs i strongly disliked on first listen and haven't felt any desire to go back to since, such as margaret, kintsugi, fishtail, peppers, and taco truck, i feel like having so many producers leads to albums feeling disjointed and varied in quality, i know jack's so polarizing here, but i wouldn't mind ldr10 to be solely produced by him, because it would be cohesive, as long as they give us material as good as venice bitch and A&W, i know they're capable
 
lana's albums which mainly feature one producer, or one stand-out producer (AKA with david kahne, born to die with emile haynie, ultraviolence with dan auerbach, honeymoon with rick nowels, and NFR with jack antonoff) tend to be her best or at least her most popular

Thanks, BCTs. Holly did a great job; it's very Lana-like, a sort of twin to 'Fine China.' 

I really like it now—it gelled for me yesterday. Did Lana have any part in the writing? The melody is beautiful perfect for autumn. I'd also like a solo version. 

Someone has to stop Jack!!!! 
 
This song is the Definition of boring.

I don’t think I’m gonna listen to it again at all, I like a few Bleachers songs but I think he should stick to producing.

Listened once & will never listen again, it's giving midnight rejects and this was another proof that I don't like Jacks voice