evilentity

For that matter, Adele didn't even make the list at all. I mean, I get the argument for not ranking Adele high-- too safe, bland, etc.-- but not even making a top 200 list at all? Come on.

Pitchfork has also finally put out there 200 Best Albums of the 2010s list and NFR comes in at #19, a great showing. 19. Lana Del Rey: Norman Fucking Rockwell! (2019)Norman Fucking Rockwell!, Lana Del Rey’s fifth and finest album, begins with a breakup and ends with self-affirmation and hope. In between, she takes on wide-lens topics—climate change, gun violence, depression, death—with effortless cool. (She even manages to seamlessly fit in a Sublime cover.) Her indelible pop melodies are strung together with the grace of a tragic ballet. Lana worked on the record with Jack Antonoff, a producer known for encouraging pop artists to indulge their most theatrical, bombastic sides. Del Rey, however, encourages a more somber atmosphere, defined by muted piano, acoustic guitars, and layered harmonies that pair with her angsty, existential stories—’70s in spirit and ’90s in frame of mind, to paraphrase a lyric. If Lana’s music once sounded like a collage of her heroes’ greatest hits, then here is where she lapsed into her own language entirely. –Sam Sodomsky I had mixed feelings about BTD-- great songs, overdone production-- but how THE FUCK is it not on this list? Seriously, the second longest charting album by a female solo artist in the history of the Billboard 200, after only Adele's 21 (released about the same time), and hugely influential, doesn't make Pitchfork's top 200 albums of the decade? FWIW, AKA was released in January of 2010 and should be on this list too, not that I would have ever expected it to be.

*looks up from my posts criticizing her dating the reality TV cop because of his outlook on policing and reform to see a Facebook notification for my 20 year high school reunion and degrees in two different fields on my wall* Something we can agree on! Peace in our time.

If someone has the time to transcribe this interview, I'd be much obliged.

Recency bias is definitely a factor here, but I don't think we should be surprised it would be the other song besides "Video Games" to make this list. Obviously stans are gonna have different favorites from her catalog, but it makes sense that "The Greatest" would resonate most with non-stans. It really captures the moment we're in right now as well as any other song. It's also beautifully written and executed. Full disclosure: "The Greatest" is my favorite track off NFR.

"The Greatest" clocks in at #79 and "Video Games" cracks the Top 10 at #9. 79. Lana Del Rey: “The greatest” (2019) On “The greatest,” Lana Del Rey’s world is aflame. Carefree nights have been poisoned by the constant threat of nuclear warfare; her beloved Malibu is ravaged by monstrous wildfires; nothing feels like it used to, and holding onto hope no longer seems plausible. “The culture is lit, and if this is it, I had a ball/I guess that I’m burned-out after all,” she concludes over a noir swell of strings and keys. Despite its tongue-in-cheek fatalism, “The greatest” doesn’t submit to nihilism; it feels like the logical apex of Del Rey’s ever-present nostalgia. Surfing on a languid ’70s guitar wave, her blasé murmur wraps each turbulent image in a gauze of comforting warmth. The end of the world has never felt so assured. –Quinn Moreland 9. Lana Del Rey: “Video Games” (2011) When Lana Del Rey first arrived, she was bored and glamorous, looking by turns like a queen of Old Hollywood and like she was too young to be smoking. Her makeshift visual for “Video Games” confronted the incongruity without shame: The retro-gazing torch singer uploading webcam footage to YouTube, the beautiful pop star acquiescing to feeling ignored. The most familiar version of “Video Games” is actually the rough mix, a working draft built over live vocals and piano. It’s not quite polished, and like the grain on a photograph, that’s part of its charm. Tolling church bells, harp arpeggios, and chilly gasps of electric air swirl around submerged 808 hits, as Lana, low and smooth, sounds self-assured or desperate or even sarcastic. “They say that the world was built for two/Only worth living if somebody is loving you,” she sang, pining after a man-shaped vacancy, as if self-sacrifice could make her any less alone. It was outright depressing, and she made it look good. –Anna Gaca source: https://pitchfork.com/features/lists-and-guides/the-200-best-songs-of-the-2010s/

Petition for this to be a real thing at the next show. Wait, so did Joan Baez sing these by herself or did Lana duet with her?

Yeah, I mean, if I read that exchange blind and didn't know who it was about, I would infer that that person was trying to say without explicitly saying it that they had been abused as a child, and probably by a family member or in some way that implicates a family member. And even knowing who said it I'm not sure that isn't the correct inference to make.

His nickname is #Fuckstick. Get it right.

"The whole area is a terrorists utopia". In terms of the incidence of terrorist attacks, the UAE is not. But your ignorant belief that it is is based on racist generalizations about the entire region. Being scared of actual terrorists is not racist or xenophobic. Fearing that people are terrorists simply because they're Arab or Muslim or Middle Eastern is. The UAE is not in chaos, not unsafe in terms of terrorist attacks, and its government hasn't been linked to any state-sponsored terrorism.

I'm afraid so.

@ me next time Yeah, reading through Ann's article again, I'm pretty sure she's referring to this line in the last two paragraphs that I've bolded below: That sorta echoes another line earlier in the piece. Anyway, damn... I thought I read things into things a lot. I don't think Ann had any special knowledge here. I think her comments were just based off the narrative content of her lyrics and Lana read something into these words that I don't think Ann intended, something she's sensitive about, and it triggered her. And now she's put out there, vaguely, what Ann didn't. Basically the Streisand effect in interview response form. Is that right? It was a sort of Trumpian statement to begin with, but that would make it even more so. Oh yeah, I'm not saying her being into Joni is a new thing, just that it seems heightened lately.

Hmm... Would be really curious to know which one of them chose Central Park. I mean, surely it's just a coincidence that a new season of Live PD just started, and he recently joined Live Rescue which just had a new season start... #Bothsidesism Lana endorsing Lanalysis and the entire forum right here. Hi Lana. TIWMUG.mp3 Ah yeah, that's the shit right there.

Between this and the "For Free" cover, man, Ann Powers really got in her head with that backhanded comparison to Joni Mitchell. Living "for free" in there. A little less Live PD, please and thanks. Must be the season of the witch... Well... this explains a lot. LOL at Lana saying she didn't promote out of spite at not getting enough credit for mixing. Cock tease. Blueballin' me here. She's obviously thought about it a lot. She even has a title for it. And a Christmas album, can you imagine? Somewhere in the back of my mind (and in rough outline on my laptop) I've been coordinating this concept covers-themed Lana Del Reydio podcast follow-up to the one I did several years ago. I know it's not true, but I paranoidly believe that Lana keeps putting out covers just to ensure that critical ol' me will never finish it. I love it though, keep 'em coming, Lana. Ummm... what the fuck? Is there something you're trying to tell us here, Lana? I'm gonna have to go back and read that Ann Powers review again. I do not remember reading that into it. No......

"I'm not technically a racist, I'm just an Islamaphobic xenophobe!" is not much of a defense. lol When there is significant overlap between a religious group and an ethnic or national group, there is significant overlap between religious bigotry and racism. Functionally, there is no difference. Morally, there is no difference. It's a distinction without a difference. The only difference is the term "racist" hurts yours and Wynwood's snowflake feelings because there is more stigma attached to it. I can imagine one of my Dutch Protestant ancestors saying of their Polish Catholic neighbors, "I don't hate those Polacks because I'm racist, I'm just anti-Catholic!" Nah dude, you racist too. It is racist if your belief that it is in shambles is not based in fact but irrational racist fear. None of this is relevant to the stastical likelihood of a terrorist bombing. For the purposes of this discussion, yes, it is meaningless. You're catching heat because you're conflating separate issues-- the issue of safety from terrorist bombings and the issue of societal treatment of women, LGBT, and minorities-- in order to defend a bigoted statement.

How Lana Del Rey reinvented herself ... and modern-day rock stardom “She’s a little weird,” said Rock Hall of Famer Stevie Nicks of pal Lana Del Rey, above in Los Angeles, “and she likes being a little weird. She’s a real artist.” (Jay L. Clendenin / Los Angeles Times) By MOLLY LAMBERT OCT. 3, 2019 3 AM Just off Laurel Canyon, up a long, rickety flight of outdoor stairs, Lana Del Rey is puttering around the kitchenette of a rented luxe cabin, while a couple of her musician friends hang out on the porch. It’s exactly the kind of idyllic spot in the cradle of L.A.’s ‘60s and ‘70s folk scene — the onetime home of her hero Joni Mitchell — where you’d expect to find one of the world’s most dedicated California music enthusiasts. She may have originated in New York as Elizabeth Woolridge Grant, but Lana Del Rey has become the preeminent modern practitioner of the California sound — the dreamy, psychedelic style associated with El Lay acts like the Mamas and the Papas and Fleetwood Mac. Del Rey, 34, recently released her sixth album, “Norman F— Rockwell,” to nearly unanimous critical acclaim. With a little downtime between appearances promoting the record, including her upcoming concert at the Hollywood Bowl, she’s been taking pleasure in doing mundane things: grocery shopping, arranging flowers, catching up on reality TV. In a white tank top and denim cutoff shorts, makeup-free save for her Bambi lashes, she’s a warm and friendly host, offering a cup of kombucha or a perfect red apple from a bowl on the table, spinning Joni albums to fill the space with sound. Lana Del Rey: “I’ve put a lot of stuff out there on the table. But I’ve been very appropriate in other ways. I’m not throwing everything out there on the table for a reason.” (Jay L. Clendenin / Los Angeles Times) Del Rey occupies a place in the popular music firmament unlike anyone else. “Norman F— Rockwell” debuted at No. 3 on the Billboard album chart, quite a feat in 2019 for a confessional singer-songwriter who pointedly evokes the ghosts of both hallowed rock poets like Leonard Cohen and the femme fatales of Hollywood’s golden age. She was tagged as “sadcore” on her earlier albums, but her biggest chart hit was an EDM remix of “Summertime Sadness” and she recently slid in gracefully next to blockbuster pop stars Miley Cyrus and Ariana Grande on “Don’t Call Me Angel,” a glossy bit of girl-power branding for the new “Charlie’s Angels” movie. On “Norman F— Rockwell,” she lets the sunshine in more than ever. “There’s room now,” she says. “There’s a little bit of a lightness to some of the stuff.” Her career has been unusual in many ways. After releasing music under the names Lizzy Grant and May Jailer, she took on the mantle of Lana Del Rey. She quickly played “Saturday Night Live” and was met with fierce criticism for her look, her sound, her lyrics. But that fast rise to fame and chauvinist response from some critics didn’t scare her; she just doubled down on what she does best: writing songs. A decade in, against all odds, Lana Del Rey has established herself as a bonafide rock star in an era in which fewer are minted than ever before. On Oct. 10, she’ll take the stage at the Hollywood Bowl, a venue whose place in rock history is very meaningful to her. She cites the famous 1968 Jimi Hendrix show at the Bowl where audience members got naked and climbed in fountains (no longer there) as her model for an ideal Bowl show. She has a couple of special guests in mind for next week, and has been mulling an Eagles cover if she can pull it together and it’s up to her standards. “It’d be so fun to do ‘Hotel California,’” she says. “It’s really hard to sing, though. You think you know it and then seven minutes in you’re like, ‘Oh, Jesus!’” Lana Del Rey performs during the 2016 Outside Lands Music and Arts Festival at Golden Gate Park in San Francisco in 2016. (C. Flanigan / WireImage) Fleetwood Mac’s Stevie Nicks, with whom Del Rey collaborated on the 2017 track “Beautiful People Beautiful Problems,” says by phone from Hawaii that she and Del Rey shared an “instant connection. We both love writing songs more than anything: Sitting in a room with some candles and a piano and communing with our own channels that are going up to the spirit world and coming back down through us. She’s a little weird, and she likes being a little weird. She’s a real artist. I think she should direct movies when she’s tired of all this.” Del Rey speaks thoughtfully, taking time to express herself to ensure she won’t be misunderstood. Lately, she’s been thinking a lot about her voice, how much power it has and how she ought to use it to speak up for herself. She dabbles in California new-age culture, but she’s ultimately a realist. In 2017, she gave her fans instructions on how to cast a spell on Donald Trump. When I asked if it had been effective, she said “No,” then laughed. “It’s slow, I guess. It takes three years to work.” It feels like you’re being a lot more public during the release of “Norman F— Rockwell” than you were for your previous albums. Was that always your plan for this one? No. It’s just that people like it. I’m like, “Alright! Let me tell you about the album!” I remember when I made [the 2014 album] “Ultraviolence,” I put so much work into it. I mixed on my own console for months. And then I did extensive interviews and no one cared that I mixed anything. So I stopped promoting after that. I was like, “Honeymoon,” “Lust for Life” ... just take them. You’re renowned for your lyrics, but you probably had your biggest radio hit since “Summertime Sadness” with your cover of Sublime’s “Doin’ Time,” and you also covered Donovan’s “Season of the Witch” for the recent horror film “Scary Stories to Tell in the Dark.” Would you like to record more covers? Somewhere in the back of my mind, I’ve been coordinating this concept covers album called “Pacific Blue.” It would be a very low-key thing, like acoustic Beach Boys stuff, Elvis, Chris Isaak. People usually think your career is over when you record a covers album or a Christmas album. But my musician friends and I are always playing covers. We could probably do that album in a week. Like Linda Ronstadt when the Eagles backed her, before they became the Eagles. I wanted Don Henley to be a guest at the Bowl show, but I think he’s in Texas. Also, it’s Don Henley. After “Norman” came out to glowing reviews, you took to Twitter to criticize a piece written by NPR Music critic Ann Powers, a longtime champion of female artists. Your fans then trolled her. Why did you choose to go that route? First of all, and this is very me, there were a million beautiful reviews that I didn’t read. And then I randomly see this one thing. In the piece, she said that I’d overcome something, and the way she said it one can only assume she meant I’d overcome child abuse. I’m like, “Don’t bring kids into it. Even if it’s me.” And I’ve never said anything about that. Was she writing about your use of Lolita imagery? One can only assume. I’ve put a lot of stuff out there on the table. But I’ve been very appropriate in other ways. I’m not throwing everything out there on the table for a reason. Mostly because my family is big and they’re here. I don’t go there. So it’s like, “Why do you think that you’re going to be the one to put that out there?” Did you think about reaching out to Powers instead of clapping back on social media? No. By the way, I didn’t know she was a big journalist. It probably would have been a good time to exercise some restraint. But I felt that she wasn’t taking me seriously. My album’s not good because I overcame things from my childhood. It’s good because the melodies are great, and because I have a natural-born ability to put words together. Even so, why do you think her piece stuck with you the way it did? There’s probably a reason that I’ll understand in time. I think part of my response was showing myself I do have a voice. All I wrote was, “I’m not uncooked and I don’t have a persona.” You say you don’t have a persona, but you do have a stage name... True. But I also don’t know anyone who doesn’t. Onstage, I wear the same shoes and dress that I go lunch in. It’s always just a dress off the rack. I’ve never had a costume maker. I do my own makeup. But everyone says I have a “persona.” Just because I wear short dresses doesn’t mean I can’t write my own narrative. Lana Del Rey showed her support for the Time’s Up movement with a white rose corsage on her wrist at the Grammy Awards, Jan. 28, 2018. (Jewel Samad / AFP/Getty Images) People seem to project a lot of strong psychological energy on you, for good and ill. It was that way when I was younger too. Even when I was a waitress. I definitely took on a lot of other people’s energy because I’m just sensitive in that way. Do you think about the power you have when you’re onstage? No. I just really don’t want to mess up! Do people misjudge your perfectionism as aloofness? Maybe my privacy as aloofness. I’m not a perfectionist. My live shows are not perfect. They’re not choreographed to a T. Speaking of not choreographed: Last week, you were photographed by the paparazzi in New York’s Central Park with Sean “Sticks” Larkin, a cop from the reality show “Live PD.” I didn’t know we were being photographed. I would’ve worn something different. Were you caught off guard when the pictures came out? Yeah. It’s funny because I was with someone for years and we never had that problem. Were you worried about the reaction to you dating a cop? Well, the thing is, he’s a good cop. He gets it. He sees both sides of things. Do you feel that your fans shouldn’t care about your personal life? Hell no. I care about what Bob Dylan is doing right now. I’m curious to know if he’s wearing a hoodie or a blazer. I get it. Alessandro Michele, Lana Del Rey and Jared Leto at the 2018 Met Gala, where the theme was “Heavenly Bodies: Fashion & the Catholic Imagination.” (Jamie McCarthy / Getty Images ) Criticism of you is often levied at your appearance — the choice to wear makeup and dresses. There’s a theatricality to femininity that gets falsely equated with fakeness. I agree. But I always think of Amy [Winehouse] with her bouffant and full face of makeup. There’s something about women like Winehouse and yourself who are very done up and unwilling to smile that scares some people, especially men. Right. I do smile at my shows, though. My mood will dictate the show, but there are many joyful ones. But your debut as Lana Del Rey definitely had a strong sense of importance and symbolism. That was intentional. It was like, “I’m taking this seriously, so you should take this seriously.” Were you taken less seriously as Lizzy Grant? No. I just liked the sound of “Lana Del Rey.” And I also knew the music sounded as big as that name. It had a ring to it. It must be strange to be discussed so intensely by critics who don’t know you. Freud and Jung say that 30% of what you end up thinking about your own self is based on what other people think of you. I believe that. I make sure I know what my story is. That’s why I get mad if I read something that seems off. Because I’m so sure of my story. How do you relax when you’re not being Lana? Do you watch TV? I watch a lot of reality TV. I’m obsessed with “The Bachelor.” Your songs can be brutal about romance, just like “The Bachelor.” It’s brutal out there! Even good guys don’t know what toxic masculinity is. My friends and I didn’t either. We had bad experiences that we didn’t share with each other. We were like, “Oh, that was so stupid that I got myself into that.” Now, we realize, “Oh, you actually didn’t.” Besides your beloved Joni and Stevie, are there other female public figures who inspire you? Oh yeah. Lately, I was so inspired by Greta Thunberg. I’m not saying it’s similar to what I’ve experienced, but it’s interesting when people say how “angry” she is. I think one of the reasons that climate-change advocates haven’t made more progress is because they are kindhearted. It’s not the Trumpian way of the iron fist. It’s very interesting to see someone who’s so young come off as so angry, and then see people’s reactions. I’m sure she smiles and is nice to her family, but why should she smile at people who are killing the planet? I really like when she said something to the effect of, “I don’t want to hear you say that we understand and we hear you. Because if that were really true, it would mean you were evil, because you’re not taking any action.” I think that line also sums up the #MeToo movement … and every cultural shift we’ve been experiencing lately. Once you’re done finally touring behind “Norman,” what do you plan to do? What’s your dream vacation? Just relaxing. Buying groceries. This here, this is definitely the dream. Just this little spot. Lana Del Rey: “Freud and Jung say that 30% of what you end up thinking about your own self is based on what other people think of you. I believe that. I make sure I know what my story is.” (Jay L. Clendenin/Los Angeles Times) Source: https://www.latimes.com/entertainment-arts/music/story/2019-10-03/lana-del-rey-hollywood-bowl-norman-rockwell

Fearing and assuming a terrorist attack would occur in a place that does not have that high of a statistical rate of terrorism, but simply because it is an Arab Muslim nation, while conspicuously not voicing such fears about concerts in Western cities Lana has performed in that have higher rates of terrorist incidents or even specific incidents of attacks at concerts is bigoted and racist. And coming from someone with several warning points for using racist slurs it's simply not credible to say some other meaning was intended.

Are you trying to be cute?

No. Why would you assume so?

As with the Israel show, Lana might want to reconsider. The UAE and Abu Dhabi specifically have a really bad human rights record and homosexual acts are illegal. Somebody tell her registered Republican Fox News-appearing Okie TV cop boyfriend she's performing someplace that practices sharia law. Whether she drops the concert or he drops her it's a win in my book. While the UAE has a bad record of funding terrorism, incidents of terrorism occurring in Abu Dhabi are actually really rare. This can only be interpreted as a racist statement.

weird flex for Lana to say she's rich enough so you should go listen to a talented busker instead of spending your coins on her mediocre concerts

People gave you a lot of shit for your opinions in the #Fuckstick thread, but drinking Michelob is the real crime here.

*Catalogs another song for my never-finished Lana Del Reydio covers show sequel* Reminds me of this: source Don't remind me about #Fuckstick. This. I need this.

Is there (or going to be) a physical release of the Scary Stories to Tell in the Dark soundtrack? If not, where is the best audio quality digital copy of "Season of the Witch" to purchase?

Hey Eddie, can you play "W.M.A." for Lana?