West Coast

at 2:02 "cause we do a two hour soundcheck before each show"
 
Sorry but I have to laugh, this bitch barely stays on stage for an hour and fifteen minutes. Her fucking mind.
 

remember when NFR was the most anticipated album of all of 2019 and when it came out it fizzled like a damp firework and all the critics who used to trash Lana threw her some accolades bc they felt bad ab it, like what they did to Fiona Apple except her writing is actually brilliant and her music has meaning.
 
i think my biggest wish for Norman Fucking Rockwell is that it included more references to teletubbies.
if you hold me without hurting me, youll be the first who ever did

True. But at the same time the vast majority of songs on Honeymoon had bridges and it remains her most complete album too. Lyrically, or from a a song construction perspective, I find that there's something missing on a lot of tracks on NFR! (aside from the production/mastering). For instance, to me, California ends too abruptly, or like Hope is just very repetitive and drags on for way too long. The Next Best American Record, imho, despite not being as good as the demo version, is probably the most complete song lyrically on this record, and you know why? *Bridge* 
 
She and Jack definitely traded bridges for long musical outros on this record, I felt as though it was completely unnecessary at times, felt like kind of a drag to me personally.
 
For White Hot Forever (LDR6, LP6 (?)), I hope she has a completely different approach to making music than what she had on NFR!.

But that's the thing though... I felt like the musical outros on NFR! were kinda weak. Like in The greatest, it was weak to me, just lonesome piano notes? On Venice Bitch the musical interlude/outro makes up for more than half of the song, and it felt unnecessary long to me almost corny. I know this is an unpopular opinion, I know a lot of fans now revere VB has one of her best track, but to me it's a cute song, but just because it's 10 minutes long, doesn't make me think it's revolutionary for Lana as the instrumentation is very random in it. Also, Cinnamon Girl, that outro was very anticlimatic to me, same for How to disappear (but that goes for the entire song too).
 
I would definitely love her to get more bridges on WHF in lieu of these musical outros, but to each their own I guess.

and i --
wow. a truly moving analysis.  you're right.  the sun doesn't always come out tomorrow, and both Lana and the Teletubbies are lying about it.  i heard the war was never over for the exploited voiceless across the globe, yet their stories are still not being paid attention to.  i cant wait for Lana's upcoming album "White Girl Woke For Now"

at 2:02 "cause we do a two hour soundcheck before each show"
 
Sorry but I have to laugh, this bitch barely stays on stage for an hour and fifteen minutes. Her fucking mind.
 

can i just say i truly appreciate the level of valuable and edifying political teletubby discourse we're able to have on this site <3

at 2:02 "cause we do a two hour soundcheck before each show"
 
Sorry but I have to laugh, this bitch barely stays on stage for an hour and fifteen minutes. Her fucking mind.
 

That's what I thought too!
 
Who tf wears black for Xmas special though... 

Venice Bitch is obviously a great song, but it's clearly not her strongest lyrical effort, let's be real. Also, the long/hazy/dry musical outro basically beefs up what is a pretty ordinary song to begin with. Just because it's ten minutes long, doesn't make it one of her best song. 

at 2:02 "cause we do a two hour soundcheck before each show"
 
Sorry but I have to laugh, this bitch barely stays on stage for an hour and fifteen minutes. Her fucking mind.
 

at 2:02 "cause we do a two hour soundcheck before each show"
 
Sorry but I have to laugh, this bitch barely stays on stage for an hour and fifteen minutes. Her fucking mind.
 

at 2:02 "cause we do a two hour soundcheck before each show"
 
Sorry but I have to laugh, this bitch barely stays on stage for an hour and fifteen minutes. Her fucking mind.
 

honestly, i think Teletubbies says a lot more about the political state of the world today than Lana could ever dream.  The nuanced and delicate ways this groundbreaking show addresses such important topics is far above and beyond the child-like pattering of Lust For Life.  While the Teletubbies seek a world where everyone is treated equally, receives a fair portion of Tubby Custard and Toast, and enjoys their day in the sun - they face challenges such as the pervasive tech industry's mass surveillance encroaching into their personal lives and even their own bodies through Tele Tummy Screen Implants, and dealing with the issues y'all described above like Dipsy's mistreatment as a Tubby of Color, Tinky Winky's sexuality, Po's tendency towards far right ideology, etc.  Lust For Life barely scratched the surface of these issues, and Lana is content to just go to church and forget about it because it doesn't really affect her.  I think comparing LFL to Teletubbies really sells the world of Teletubbies short.

Well hello, let’s celebrate going back to PWIC’s original lyrics. Hopefully she keeps it up - she said “copyrights” on Wednesday. Girl, it’s been over a year, and you won...time to let go. She whistled live for WM on Wednesday too, and even though it’s been sounding...not great, I appreciate the effort! 
That’s so interesting about VIP and hearing they had that many tickets. I guess the rumors about 200+ VIP at my show were true, then. I’m curious about the reasoning behind that decision...maybe it’s because they decided on one VIP option versus a gold AND silver AND bronze option?
 
Glad you had a great time!

That dress with those boots don't go together. 
 
Want to hear CG in full live. 

LMAO I haven't fully enjoyed a Lana album since Ultraviolence. Honeymoon has a handful of songs I don't particularly like *cough* most notably Freak *cough*, LFL is a huge mess in general and doesn't deserve require a detailed comment, and NFR would have been flawless if it wasn't for certain... choices on some songs (the "t-t" sound in Bartender freaks me out, for example, and the Christmas bells in How To Disappear are annoying as fuck). Born To Die, Paradise, and Ultraviolence remain unbothered. 

Born To Die, Ultraviolence and Norman all getting recognized on these year end lists and I'm sitting here waiting for some Honeymoon acclaim.

There it is ladies and gents! 
 
Born To Die, Honeymoon, Lust for Life and NFR! are nowhere to be found on this list though.
 
 

But that's the thing though... I felt like the musical outros on NFR! were kinda weak. Like in The greatest, it was weak to me, just lonesome piano notes? On Venice Bitch the musical interlude/outro makes up for more than half of the song, and it felt unnecessary long to me almost corny. I know this is an unpopular opinion, I know a lot of fans now revere VB has one of her best track, but to me it's a cute song, but just because it's 10 minutes long, doesn't make me think it's revolutionary for Lana as the instrumentation is very random in it. Also, Cinnamon Girl, that outro was very anticlimatic to me, same for How to disappear (but that goes for the entire song too).
 
I would definitely love her to get more bridges on WHF in lieu of these musical outros, but to each their own I guess.

how about all of her albums - whatever fucking season

lana albums as seasons
 
btd: season 10 of project runway
paradise: season 7 of 30 rock
uv: season 1 of the affair
hm: season 3 of star trek: the next generation
lfl: season 5 of teletubbies
nfr: season 17 of dr phil

Surprise, surprise. I have honestly not been into a Lana album from start to finish after Honeymoon. Not to say that I don't like songs on both Lust for Life and NFR!, but there are just elements on both albums that make me not enjoy them to the fullest. Mainly the lyricism and trap beats on LFL and the horrendous production/mastering on NFR!.

Surprise, surprise. I have honestly not been into a Lana album from start to finish after Honeymoon. Not to say that I don't like songs on both Lust for Life and NFR!, but there are just elements on both albums that make me not enjoy them to the fullest. Mainly the lyricism and trap beats on LFL and the horrendous production/mastering on NFR!.

Surprise, surprise. I have honestly not been into a Lana album from start to finish after Honeymoon. Not to say that I don't like songs on both Lust for Life and NFR!, but there are just elements on both albums that make me not enjoy them to the fullest. Mainly the lyricism and trap beats on LFL and the horrendous production/mastering on NFR!.