Vertimus

I think she tried to do it again with 'Groupie Love,' but it didn't work, at least not for me. 

I'd like to see some pure, fun pop songs on NFR (or whatever it turns out to be), like 'Radio,' 'National Anthem,' 'Making Out,' 'Go Go Dancer' and 'Meet Me In The Pale Moonlight.' I miss her lightness and humor, the clever lines like those in 'Hollywood's Dead,' which seemed to be full of brief but accurate commentaries on what was going on around her. 

I think the classic rock lyric and title references in her songs are getting too obvious. They used to be clever and insightful, but now they often seem redundant and lazy. This is one reason I can’t agree that LDR’s lyrics are always sterling.
 
I mean the “I’m your man / Crimson and clover / Stairway to Heaven / Rosemary and thyme / Hotel California / Ground control to Major Tom” stuff.

I think the classic rock lyric and title references in her songs are getting too obvious. They used to be clever and insightful, but now they often seem redundant and lazy. This is one reason I can’t agree that LDR’s lyrics are always sterling.
 
I mean the “I’m your man / Crimson and clover / Stairway to Heaven / Rosemary and thyme / Hotel California / Ground control to Major Tom” stuff.

I think the classic rock lyric and title references in her songs are getting too obvious. They used to be clever and insightful, but now they often seem redundant and lazy. This is one reason I can’t agree that LDR’s lyrics are always sterling.
 
I mean the “I’m your man / Crimson and clover / Stairway to Heaven / Rosemary and thyme / Hotel California / Ground control to Major Tom” stuff.

I think the classic rock lyric and title references in her songs are getting too obvious. They used to be clever and insightful, but now they often seem redundant and lazy. This is one reason I can’t agree that LDR’s lyrics are always sterling.
 
I mean the “I’m your man / Crimson and clover / Stairway to Heaven / Rosemary and thyme / Hotel California / Lay lady lay / Ground control to Major Tom” stuff.

About her songwriting, I agree that it's suffered at least a little. I don't we'll ever get anything as pure or personal as 'Yayo' again, though there were some weak songs on BTD, certainly.
 
About the time of 'Paradise,' she wouldn't have used phrasing, I don't think, like "People are powerful be-ins" the way she did on 'Change,' which mars the song for me, or the way she sang, on 'Coachella,' "..and what about all their parents" in the inexplicable hard manner she did, which jumps out at me every time I listen to it, which isn't often. 
 
I wonder where the un-PC LDR has gone, the writer of 'Gods & Monsters,' the more visionary LDR. I like MAC very much, but it does seem 'safe,' 'warm and fuzzy' to me, and at least a slight example of 'virtue signaling.' When we find out how it fits in with the rest of the album, it will probably seem more that way, or less that way. 

I think she tried to do it again with 'Groupie Love,' but it didn't work, at least not for me. 

I'd like to see some pure, fun pop songs on NFR (or whatever it turns out to be), like 'Radio,' 'National Anthem,' 'Making Out,' 'Go Go Dancer' and 'Meet Me In The Pale Moonlight.' I miss her lightness and humor, the clever lines like those in 'Hollywood's Dead,' which seemed to be full of brief but accurate commentaries on what was going on around her. 

I think she tried to do it again with 'Groupie Love,' but it didn't work, at least not for me. 

I'd like to see some pure, fun pop songs on NFR (or whatever it turns out to be), like 'Radio,' 'National Anthem,' 'Making Out,' 'Go Go Dancer' and 'Meet Me In The Pale Moonlight.' I miss her lightness and humor, the clever lines like those in 'Hollywood's Dead,' which seemed to be full of brief but accurate commentaries on what was going on around her. 

I agree, it's one of her most personal and daring songs and places her in Joni Mitchell/Tori Amos territory, but for me, personally, it's not what I look for when I look to LDR.
 
It's not the rawness and vulnerability that is a slight turn off to me, it's just that musically, I don't find any sort of catharsis in the music or by the end. Objectively, I admire it and can see everything valuable and progressive in it in terms of her songwriting, but subjectively, I don't care for it a great deal.  

About her songwriting, I agree that it's suffered at least a little. I don't we'll ever get anything as pure or personal as 'Yayo' again, though there were some weak songs on BTD, certainly.
 
About the time of 'Paradise,' she wouldn't have used phrasing, I don't think, like "People are powerful be-ins" the way she did on 'Change,' which mars the song for me, or the way she sang, on 'Coachella,' "..and what about all their parents" in the inexplicable hard manner she did, which jumps out at me every time I listen to it, which isn't often. 
 
I wonder where the un-PC LDR has gone, the writer of 'Gods & Monsters,' the more visionary LDR. I like MAC very much, but it does seem 'safe,' 'warm and fuzzy' to me, and at least a slight example of 'virtue signaling.' When we find out how it fits in with the rest of the album, it will probably seem more that way, or less that way. 

I'd like to see some pure, fun pop songs on NFR (or whatever it turns out to be), like 'Radio,' 'National Anthem,' 'Making Out,' 'Go Go Dancer' and 'Meet Me In The Pale Moonlight.' I miss her lightness and humor, the clever lines like those in 'Hollywood's Dead,' which seemed to be full of brief but accurate commentaries on what was going on around her. 

About her songwriting, I agree that it's suffered at least a little. I don't we'll ever get anything as pure or personal as 'Yayo' again, though there were some weak songs on BTD, certainly.
 
About the time of 'Paradise,' she wouldn't have used phrasing, I don't think, like "People are powerful be-ins" the way she did on 'Change,' which mars the song for me, or the way she sang, on 'Coachella,' "..and what about all their parents" in the inexplicable hard manner she did, which jumps out at me every time I listen to it, which isn't often. 
 
I wonder where the un-PC LDR has gone, the writer of 'Gods & Monsters,' the more visionary LDR. I like MAC very much, but it does seem 'safe,' 'warm and fuzzy' to me, and at least a slight example of 'virtue signaling.' When we find out how it fits in with the rest of the album, it will probably seem more that way, or less that way. 

I think she tried to do it again with 'Groupie Love,' but it didn't work, at least not for me. 

I'd like to see some pure, fun pop songs on NFR (or whatever it turns out to be), like 'Radio,' 'National Anthem,' 'Making Out,' 'Go Go Dancer' and 'Meet Me In The Pale Moonlight.' I miss her lightness and humor, the clever lines like those in 'Hollywood's Dead,' which seemed to be full of brief but accurate commentaries on what was going on around her. 

Oh, honey. That Lana Del Rey is dead.

I agree, it's one of her most personal and daring songs and places her in Joni Mitchell/Tori Amos territory, but for me, personally, it's not what I look for when I look to LDR.
 
It's not the rawness and vulnerability that is a slight turn off to me, it's just that musically, I don't find any sort of catharsis in the music or by the end. Objectively, I admire it and can see everything valuable and progressive in it in terms of her songwriting, but subjectively, I don't care for it a great deal.  

I agree, it's one of her most personal and daring songs and places her in Joni Mitchell/Tori Amos territory, but for me, personally, it's not what I look for when I look to LDR.
 
It's not the rawness and vulnerability that is a slight turn off to me, it's just that musically, I don't find any sort of catharsis in the music or by the end. Objectively, I admire it and can see everything valuable and progressive in it in terms of her songwriting, but subjectively, I don't care for it a great deal.  

About her songwriting, I agree that it's suffered at least a little. I don't we'll ever get anything as pure or personal as 'Yayo' again, though there were some weak songs on BTD, certainly.
 
About the time of 'Paradise,' she wouldn't have used phrasing, I don't think, like "People are powerful be-ins" the way she did on 'Change,' which mars the song for me, or the way she sang, on 'Coachella,' "..and what about all their parents" in the inexplicable hard manner she did, which jumps out at me every time I listen to it, which isn't often. 
 
I wonder where the un-PC LDR has gone, the writer of 'Gods & Monsters,' the more visionary LDR. I like MAC very much, but it does seem 'safe,' 'warm and fuzzy' to me, and at least a slight example of 'virtue signaling.' When we find out how it fits in with the rest of the album, it will probably seem more that way, or less that way. 

About her songwriting, I agree that it's suffered at least a little. I don't we'll ever get anything as pure or personal as 'Yayo' again, though there were some weak songs on BTD, certainly.
 
About the time of 'Paradise,' she wouldn't have used phrasing, I don't think, like "People are powerful be-ins" the way she did on 'Change,' which mars the song for me, or the way she sang, on 'Coachella,' "..and what about all their parents" in the inexplicable hard manner she did, which jumps out at me every time I listen to it, which isn't often. 
 
I wonder where the un-PC LDR has gone, the writer of 'Gods & Monsters,' the more visionary LDR. I like MAC very much, but it does seem 'safe,' 'warm and fuzzy' to me, and at least a slight example of 'virtue signaling.' When we find out how it fits in with the rest of the album, it will probably seem more that way, or less that way. 

About her songwriting, I agree that it's suffered at least a little. I don't we'll ever get anything as pure or personal as 'Yayo' again, though there were some weak songs on BTD, certainly.
 
About the time of 'Paradise,' she wouldn't have used phrasing, I don't think, like "People are powerful be-ins" the way she did on 'Change,' which mars the song for me, or the way she sang, on 'Coachella,' "..and what about all their parents" in the inexplicable hard manner she did, which jumps out at me every time I listen to it, which isn't often. 
 
I wonder where the un-PC LDR has gone, the writer of 'Gods & Monsters,' the more visionary LDR. I like MAC very much, but it does seem 'safe,' 'warm and fuzzy' to me, and at least a slight example of 'virtue signaling.' When we find out how it fits in with the rest of the album, it will probably seem more that way, or less that way. 

When the Interscope site lists Lana Del Rey: 'Norman Fucking Rockwell,' and a release date, we'll know for certain that nothing has changed with the album and title, or when there is an official press release.
 
Neither Eclipse speaking to the estate or what Abagail Rockwell wrote in a tweet is hard evidence. We all know anyone can say almost anything on Twitter. 
 
If Eclipse was a legitimate journalist working on specific assignment for the New York Times, the Washington Post, the Wall Street Journal or Rolling Stone, etc., and if he contacted the Rockwell trustees and was given a formal interview, and could prove that and produce even a short article for his employer, that would be hard evidence and news. Short of that, such a claim has to remain in the realm of hearsay, gossip, wishful thinking. 
 
In most cases, such organizations do not speak to the press, and certainly not off the cuff to curious strangers about legal issues. He would be given a 'no comment' at best, by phone or in person. 
 
This is not a matter of emotion, feeling or what we want to believe, not for me, not for anyone. We're trying to figure out what's causing the delay with the best information, the best hard, authentic information we have. 
 
As I have acknowledged, there could be numerous other reasons why the record has been delayed, especially because LDR decided to change her last album, LFL, at the 19th hour two years ago and add and subtract songs. 

I agree, it's one of her most personal and daring songs and places her in Joni Mitchell/Tori Amos territory, but for me, personally, it's not what I look for when I look to LDR.
 
It's not the rawness and vulnerability that is a slight turn off to me, it's just that musically, I don't find any sort of catharsis in the music or by the end. Objectively, I admire it and can see everything valuable and progressive in it in terms of her songwriting, but subjectively, I don't care for it a great deal.