evilentity

Um, yeah, this might be analogous if Lana was making statements in interviews suggesting she thought sexual relationships between tween girls and middle aged guys were great. I'm not objecting to the sordid or unsettling themes she sings about (and in some cases glamorizes) or anything else in her lyrics. In fact, that has always been part of her appeal to me since the beginning. But there's a difference between singing songs that fetishize abusive relationships and buying into that. I'm merely noting that I find statements of hers that suggest she may actually buy into some of that stuff disconcerting.

I don't know Swedish, but it's pretty similar to Danish and I know enough Danish to be able to say Google Translate has translated it back to English pretty accurately. Whether her words were accurately translated into Swedish in the first place is another question, but I'd be surprised if they weren't. Scandinavian languages have pretty similar grammar and sentence structure as English and Scandinavians learn English in school from an early age. (FWIW, if Lana and her management end up trying to claim she was misquoted or something was lost in translation, I'd be disinclined to give them the benefit of the doubt. They tried to pull that trick before with the quote about her name coming from "a series of managers and lawyers over the last 5 years who wanted a name that they thought better fit the sound of the music." That came from a pre-fame interview that had the fingerprints of Ben Mawson's heavy-handedness all over it: "A very special thanks to Lana and to Ben @ SSB, for all of their time and help." ) I have to say I'm perpetually amused by how many of you bend over backwards and contort yourselves in knots to rationalize comments of hers like these or the fetishization of domestic violence in her work ("oh, she's just into S&M"), or to defend her against charges of being antifeminist (or at least insufficiently feminist). My enjoyment of her work doesn't depend on this very much so I don't feel compelled to deny what is undeniably a current in her work or abstain from criticism of it.

Ha, sort of how he's "like an American"?

Ha, that would be a very Lana thing to do. Reuse lyrics that weren't even original in the first place: Lana, of course you're going to get shit for that in 2014. Radio stations stopped playing that song because people protested when it came out in 1962, an era when domestic violence was more acceptable.

@Are we unable to afford a reliable server? If that's the problem, why not ask people for donations again or encourage people to click ads so we can afford one. If we can't even handle the traffic from "West Coast", how the hell are we going to be able to handle the traffic when Ultraviolence comes out?

I'll see what I can do.

Did Lana's droogs start the ultraviolence a bit early? http://www.tmz.com/2014/04/15/lana-del-rey-lawsuit-photographer-music-video-box-cutter-assault/ http://www.independent.co.uk/news/people/lana-del-rey-west-coast-singers-entourage-sued-for-1million-over-alleged-knife-attack-9264318.html

You summoned me? I can't speak for anyone else, but yes, I am. I never cared much for the hip hop beats or overused samples on BTD, and at times even the felt the orchestral arrangements sounded overproduced. I really felt they over-egged the pudding as the Brits would say. Worst of all, I felt like the whole album was confined in a straightjacket, as if there was some BTD filter applied to each song, whether it fit the song or not. But I've often mentioned my affinity for the more jazzy, bluesy, or alterna-rock oriented songs in Lana's oeuvre—"Pin-up Galore", "The Man I Love", "Tired of Singing the Blues", the live rock versions of "Yayo" & "Brite Lites"— so it should surprise absolutely no one that I love this and the direction it augurs for her sound on Ultraviolence. The drums fills, that groovy syncopated guitar riff, those tempo changes—all great stuff. Some more specific thoughts as I listen for the bajillionth time: I love the creakiness/croakiness in her harmony on the first "then you're not playing" and later on the first "your love". As others have noted, it has a lot of resonances with other songs, um, lyrically and sonically. "You've got the music in you" is a lyric from the New Radicals song "You Get What You Give" (which Rick Nowels co-wrote). It also reminds me of the line "we have the music" in "Chelsea Hotel #2". The "don't you" even reminds me a little bit of Carly Simon's "You're So Vain". The line "it all could happen" makes me think of the lyric "it's all happening" from "My Best Days". Those high harmonies in the pre-chorus sound a lot like "Burning Desire". Then there's the "And I Love Her" riff, slowing things way the fuck down, with a guitar chord reverberating in the background like something out of the intro to "She's Not Me". The high harmonies during this slow chorus are absolutely gorgeous. "Parliament's on fire": although almost certainly a reference to the cigarette brand, I don't think the double meaning evoking an image of revolution isn't deliberate, especially taken with the line "his hands are up". Taken with "on the balcony" it reminds me of the line from "Butterflies", "We're sippin' cocktails lookin' down upon the riot" (if that is indeed the lyric and not "Rhine"). "Ooh baby, ooh baby" borrows the rhythm and melody of those same words in Stevie Nicks' "Edge of Seventeen". The high "Oooo-oooh" after swaying is so haunting. It reminds me of similar harmonies in a couple songs by my other current fave Jessica Hernandez & the Deltas, "Young Dumb & Drunk" & "Shadow Boy". "Golden god" is possibly a reference to Led Zeppelin singer Robert Plant's claim about himself (or the line from "Almost Famous" based on that). I love the whispered "ah, ah, ah, ah" over "ooh baby, ooh baby" the second time through the chorus. And that synth tone that comes in over "move baby, move baby" reminds me of the synth in Pink Floyd's "Have a Cigar" or some, uh, west coast G-funk era rap. I did this exact same thing before I even read this. Great minds.

Yes, they are! P-FUNK 4EVA

:monicker: :oprah2: #MONALYSIS

Yeah, for example I remember Y&B sounded really monotone when she previewed it in that one interview. Well, there was a lot of Gregg Alexander on Rick Nowels' site...

South isn't necessarily down and west isn't necessarily to the left. They only appear down and left on most maps which follow the north-up convention started by Ptolemy, possibly arbitrarily. Topographically, the west coast actually is down compared to most other places on land because it is closer to sea level.

Not at all. You're perfectly free to express your uninformed opinions. And I'm free to call you out on them. But I tell you what, I'll talk to @about having your Member Title changed to "Fan Police".

You don't know who you're talking to, do you? You don't know it, but you're actually embarrassing yourself right now. @@maru (like myself) was a fan months before Born to Die came out and AKA and unreleased tracks were the only game in town. In fact, she was very active and instrumental in the early development of the fanbase and put together one of the earliest most comprehensive discographies. She was also the biggest post whore most frequent poster on the precursor to this forum, the now-defunct LanaDelRey.FM. Actually, there's a number of longtime fans here who have migrated through several Lana forums, each the best in their heyday. Of course, if you were a real fan, you'd know that. I'm kidding. This bullshit about who's a fan and who's not is so childish and stupid. Being a fan doesn't mean you have to love everything Lana does. Doesn't it make sense that her biggest fans would have some of the strongest feelings-- both positive and negative-- about her work? FWIW, although I like the songs on BTD, I also hate the production on most of the songs and usually prefer the demo versions. And that's coming from the person voted Best Stan!

Done and done. (Well, post-restricted anyway.)

20 if she follows the original American edition of the book. Lana likes to reduce things by one anyway.

BTD for Best Rock Album in 2014?

I don't understand the hate for Shaun.

How to Break the Cycle of Ultraviolence in 3 Easy Steps: Stop engaging in wishful thinking about release dates. Stop getting upset when invented dates inevitably fail to pan out. Get a life.

Still waiting for Stephen Colbert's Ching Ching Ding Dong character to give a eulogy to Mr. Yunioshi.

Other than it being registered around the same time as the others, there's no reason to believe it has anything to do with Y&B or GG. My best guess is maybe it's something she recorded for a film Morricone is scoring or maybe an unreleased song that samples his work, but we really have no idea what it is or isn't.

But doesn't there come a point where you realize someone is actually so douchey that you can no longer have any positive feelings towards them and their objective hotness is negated so much that there can no longer be any attraction? Also, maybe it's just because I'm straight, but I've never understood his appeal in the first place. Sure, kind of a pretty boy face, but marred by the face tats, and a body that's nothing special, marred by stupid tats. (To paraphrase Obama, I don't oppose all tattoos. What I am opposed to is a dumb tattoo.) TPD, dick-smeller

I cut Lana a little more slack with her recycled lyrics because so much of them are from unreleased songs that may have been works in progress. However, I agree there's a fair amount of lyrical repetition even within her released material, which is why I'm quick to be critical about this. She's in danger of repeating herself too much, and not in a clever self-referential way or merely revisiting similar themes like an auteur. FWIW, I'm not sure if I've ever directly complained about her lyrical self-plagiarism on the forum (and I can't be bothered to go looking for examples) but I've frequently made fun of it. A couple non-forum examples I can think of off the top of my head are my #ComputerGeneratedLanaDelReyLyrics and #LanaDelReyMadLibs tweets and the "wrong" montage from my LanaDelReydio podcast.

Except some of the concert venues have been mentioning Ultraviolence in their promotion...