takeitdoen

It's pretty overlooked and never discussed or mentioned by anyone, and then a claim it was 'farewell' project (maybe just for the era . . .) . I love it, but it is soooo extra.

The fact she made Tropico??? A short Biblical film with her songs about sins and redemption?? With Elvis, Marilyn Monroe, Adam and Eve, biker gangs and strip joints? With Latin-American offspring? All in that OSCENE small widescreen ratio???

That's cute and all Clampi but where is ??? ????? ◉ل͜◉ mkay I'm done now.

I think this project is only going to have photos featured that Lana herself has taken? Not that it excuses her low effort selfie (it's so eye-rolling when people don't have headshots), but the description mentioned the book includes photos by her. So she might not have wanted Chuck to have anything to do with this project.

FANTASTIC taste. The Last of Us Part 2 is probably the greatest narrative game I've ever played. From Seattle Day 3 onwards, the relentless emotional scenes packed one after the other meant I had to take a few breaks. I was clawing at my face during the cut scenes. I wrote this in the general video games thread but I only played Part One last month, and I thought it was great but not really exceptional (not the game's fault - I think it's a product of it's time and the whole 'loss via apocalypse' premise is pretty common now). But I was totally blown away by Part 2 and I liked it a lot more. The narrative is absolutely stunning, the character writing is amazing and I can't believe how they literally get you to empathise with both leads. I literally recoiled in horror when it looked like It's scary and sad how much it feels like it could be real. The cruel relentlessness and emptiness that comes with seeking revenge, but maybe even scarier is how selfish human nature is. It made me feel really uneasy with we saw how factions rose up, only to cannibalise each other - I'd like to think humans aren't so selfish but considering this pandemic with basic things like panic buying/hoarding alone, it's pretty scary and grim to predict what might happen in the future . . . The hate it gets yeah, just fragile masculinity shining through as normal - and people bitching that they couldn't play as Joel. It was so necessary to not play as him because if it wasn't there the game would be essentially the same as the first time, and the mirrored quest for revenge wouldn't work at all. It's also a fuckin' ballsy move and is amazing how blinded you are trying to get to that end goal. I still think about the ending and the game weeks after I finished it. I want everyone to experience the story.

I'm going for Worst Taste at the Lipsters this year!!

Time to sign off for a while

Fair enough, I've edited my post. I'm sure that fan is very happy.

not to be a cantankerous BITCH but what is this she is promoting?

So many fucking GREAT lines in this song. A nihilistic anthem! "What did you do last night? Ugh I was out so late . . . and now I'm . . . so tired". "What's your name? What's your art? Nobody knows about my broken heart" "In the back of a car, I just met them tonight, and I feel like such a star." "I used to cry, but now I don't have the time! I used to be so fragile, but now I'm so wild."

C O O L COOL! I'm a cool party girl, in a cool party world.

Wowza. Really feeling (and hearing) his heartbreak on this one. STUD is so uncomfortably familiar it made me feel dirty. Rager is probably my favourite on a first listen. He's our little darling of music in Aus so I expect there'll be some kind of radio play to look forward to.

Hi everyone! Ya boy Sam has just dug a ditch in the side of the road, where you can probably find my body after everyone has read these hot takes! The second half of Honeymoon is really boring and doesn't have the replay value that Lana's other records have. Justifying Honeymoon as an 'experience' that you need to sit through in its entirety to enjoy doesn't excuse how slow the entire album is. Chuck's cover is bad, but Neil Krug's is even worse. Freak's demo is better than the album version. There's a reason Art Deco, 24, Religion and Swan Song are never on the setlist (some never being sung) Don't Let Me Be Misunderstood is a good cover. 24 is the worst song Lana has produced. I would rather listen to Noir on repeat. Liking Honeymoon most doesn't make you interesting or unique, since every Lana del Rey album has incredible elements. Signing off, bang bang, kiss kiss. xo

I have lots of horror movies I love (Us, Hereditary, 30 Days of Night eh) but I am loving all the movies about zombies/pandemics at the moment. They're a little formulaic once you're watching them back to back, but there is a weird comfort in them and I love me some jump scares. I've seen (in order of entertainment) Train to Busan Contagion Shaun of the Dead I Am Legend World War Z I wanna watch 28 Days Later but it's not on any Aus. streaming services atm! Also shout out to 30 Days of Night for this eye watering scene

I just watched 365 Days and it wAS TERRIBLE!! 50 Shades of Grey level bad. Simply incredible how terrible it was. Jaw dropping how bad it is. It literally has 0% on Rotten Tomatoes. Incredible - 10/10 recommend it as a hilariously guilty must-watch.

Live stream happening now!!

I really praised this recording when it came out - I'd only listened to it twice (first listen, a second listen later that day) and gave it a third listen today. It's still marvellous and such a special project that we have seen Lana's personality and an exploration of the the legend of the Lana del Rey identity. I have minor criticisms of the work but overall I can't wait for the book. I am still very impressed by the musicality and range from Jack. It really took me by surprise, and sonically I hope Chemtrails moves into a more experimental genre bend like this score did. This isn't the greatest poetry of the world, but it does two great things. Firstly, it has a clear separation of the 'music' of Lana del Rey. I can't imagine the immense pressure she must be feeling to follow up NFR - the fact she literally has this island as a mini-stop to transition between sounds and lyrical content I think will serve her well for critics and big fans (if not GP). Secondly, it has arguably made a portion (even as small as Lana del Rey fans) of people more interested in poetry. Poetry is extremely personal and for some naturally difficult to get into, so the fact that people are listening to this, appreciating and identifying with topics, and then seeking out more in the same vein is really wonderful. Similar to how film scores can lead to enjoying classical music, there's nothing shameful about enjoying a popular artist like Lana's poetry (similar to her music) as its a stepping stone into enjoying more of the artform. I have been weighing up on this for a while but ultimately I feel the question of the authenticity around the autobiographical content is irrelevant, and people are being obdurate if they can't separate and allow it to spoil their enjoyment of the work. Artists take artistic liberties in exploring a story or point and to quote Whitman is the key to just enjoying the work - "Do I contradict myself? Very well then I contradict myself, I am large, I contain multitudes." Violet mixes the urban legend of Lana del Rey, with her real life experiences, with imaginary events. In 'LA Who Am I To Love You', I've seen criticism on the line "they say I come from money and I don't" talking about Lana's origins as it reignites the endless argument of how we classify middle-class as rich - but the same weight is not allocated to "Party of thousands of people I don't know at Delilah where my ex-husband works". Likewise, people obsess over the lines "You see, I have no mother" and connecting it to her family life but not to "I'm an orphan A little seashell that rests upon your native shores". This is in addition to other fantastical elements in the text like existing on seven planes, to the mundane of having two children with imaginary friends. It's bullish to obsess over one point but not others, especially when the delivery is earnest and even the mistakes are laden with an authentic fragility. Also, simply put also, it might just not be your cup of tea. Saying that, there are obviously sections and entire works that are authentic that are beautiful and fascinating. Sportscruiser obviously evokes a strong reaction for myself on my own criticism. @HighbytheSea articulated this beautifully so I won't bother going any further. But there is such a personal reflection and also a willingness to laugh at herself. I find Salamander brilliant and the line "YOU DON'T UNDERSTAND ME . . . MY LOVE MAKING IS MY LEGACY etc" actually tongue-in-cheek and exploring her own self awareness. I had a big smile on my face for most of this album, and it was a wonderful sanctuary for the small hours in my lonely house on a very cold winter in the middle of a fucking epidemic. Also people criticising the longevity or replay factor - get over yourselves. This is poetry not music. Just like any wonderful art, I don't watch a piece of theatre repetitively, look endlessly at a painting, or rewatch a film I loved. You're allowed to consume a work and then let it sit with you as it provokes debate. If you're replaying it GOOD ON YOU. TL;DR - Not the greatest poetry in the world, but the most earnest, surreal and interesting work of legitimate art that Lana has created. I will now take rebuttals and people saying "THAT'S JUST YOUR OPINION". My initial album review:

Just popping in to say ~controversially~ that I prefer the followers option - it was always kinda awkward when some random added me as their friend and I had literally never spoken to them before (and definitely vis-versa SORRY). Plus it's fun to win people over with mutual respect. Gotta catch 'em all!

okay the outfit is fine but why is no one talking about the D O G in this photo #whoisshe

Rich Lee must've been like "what the fuck are you talking about" when it was edited. and yeah, Ultraviolence would've been my favourite video probably ever if it had kept its original music. The drinking the Kool Aid and then wiping the mouth is one of the sexiest, most beautiful yet paralysing things I've ever seen. UGH LANA YOU DOOOOOFUS. and I love YOU. the taste. Justice for BAR

I would agree with this. People say "it changed because it leaked" and I think that might've had sooooome thought to it, but the overall I think she was just not comfortable with what made the song so good. I'm a very spiteful person so I really dig it, but a change of heart is probably one of the strongest aspects that trumps artistic statement. I can't believe someone on Lanaboards used to word 'monomania' - I am swoonin'

it's like meeting a beautiful baby everyone loves and then punching it. I guess it's audacious but everyone else will see it as horrifying. As a quick overview, the main problem with the song is that we all heard the original, thus it's impossible to remove that positionality for some people (myself included). The original BAR told a brilliant story of schadenfreude - it was full of vitriol, Lana having the last laugh over someone who put her last and neglected her by obsessing over something else constantly, which ultimately wasn't worth it since they lost everything. She is literally one of the world's biggest alternative stars singing to (probably Barrie) 'you got bored of me trying to write music, now you're obscure, dumped and forgotten - how does that feel now you've lost everything including me?'. Anyone that says they don't understand the problem with the new one either didn't hear the original first or is just being absurd, because even Lana butchers the lyrics by moving between past and present tense, and the bridge makes no fucking sense. "I see you for who you really are - why the thousands of girls of girls love the way Bill plays guitar" as she realises she's under the same spell and is not different to his thousands of other disposable fans. I see you for who you really are and TOPANGA'S HOT TONIGHT!? or I see you for who you really are and I JUST WANNA PARTY WITH YOU? Could this chorus be any more fucking disparate. We've now disregarded everything before, thrown away a message people feel strongly yet so ephemerally (especially scorning your ex - hellooooooo romantic culture), and replaced it with OOOO BABY I WANNA PARTY and I wanna SEX SEX SEX you TEE HEE TAKIN' OFF MY BATHING SUIT im so cheeky and in LOVE!. And another thing - the new one literally relegates The Next Best American Record to a red herring. In the original, it was an unobtainable goal that demanded sacrifices that ultimately destroyed a relationship. The fame that is being chased is what consumes them, in a brilliant self-referential way as she records what was to be her leading single and the original title of the work. In this new version, it's apparently just another exhausting aspect of the relationship but doesn't matter because 'we were just that good' and then the verse + bridge makes no references to how it impacts on their relationship. As we discussed in the Queer Affinity for Lana thread, I think a lot of people really loved the original since for her audience it was a lot more demure, and there is a quiet regret but also scathing taunt and victory in the final lines "How does that taste now / Now that you've lost the game / Baby how're you feeling now? / I told you". It's awesome. Empowering. Like walking slowly away from a building that just blew up as the villain delivers one last scream. We have gone on a journey from the intial adoration, to a problem being presented, to the bridge showing the villain, and then the vindication. The song is genius. The new one disregards the entire original message and replaces it with something really, really vapid. We didn't need to hear another song about how cool it is to be in love - we had that with Love Song. I don't wanna sing along to "I'm taking off my bathing suit" - it sounds cheap and tacky. And a few other factors - it sonically does not fit with NFR, and it literally goes against what she claimed the record was about and the title song about the guy thinking he's top shit but in reality, he just actually is shit. I've no doubt Lana just at the last minute went 'hmmm maybe it's too mean' but to shoot an entire music video for it and then reworked it? Plus can't even bother performing it in the right pitch live . . . or remember the lyrics. Ugh. It could've actually been her best song. I will now take rebuttals and people saying "THAT'S JUST YOUR OPINION".

I'm the opposite way around, I love Paul Epworth's epic production, plus the lush big string sections. I don't think they'll revisit that sound though - it was like a mature step forward that didn't quite seem to make the buzz for them that it did for other artists. Impossible to say from their silence but I think this new albums going to be full of pop sounds and more electronic instruments (particularly if Let Me Know is on it, and if that tiny clip of Baby It's You is to go from!). Alexa stream WIDE EYED (which I don't think they've ever sung live . . . which is okay, I think they might not be able to pull it off !)

Video Game has grown on me a lot, especially when I'm not focusing on it 100% with the music video, and taking as a just a fun pop song. It's so different to his other stuff including the other two singles so far. BUT, I am super excited now, and I'm listening to a ton of his older stuff at the moment. I also made it through Run Rabbit Run today for the first time, but still haven't listened to Decalogue or Aporia in full . . . Also unnff I just need to gush, this is gay rights He is my celebrity crush.