pinkchiffon

Theshaderoom comments are surprisingly nice. People are telling her to stop responding though and everyone would’ve let it go (which is true). She needs her phone taken away lol.

I honestly think Lana's original point is REALLY interesting and REALLY complex - where's the line between asking women to be responsible with their output and then asking them to edit their truth? men aren't asked to be responsible. men aren't asked to edit their truth. That is a genuinely complex and nuanced question. But her point became moot when she used those those WOCs names as if to suggest they haven't recieved far worse critisism than Lana has ever or will ever recieve.
 
there could have been a really interseting conversation that came from her post if she hadn't executed it the way she did. the hate she recieved from mostly women at the start of her career WAS notably vicious and i think hurt her immeasurably to not be taken seriously and to be accused of fabricating her authenticity.

No more Chuck Grant album covers
Society has progressed past the need for Chuck Grant album covers
 
We need a photographer who will actually release more than 2 images from the shoot!!!!!

I just listened all the way through and I feel... cleansed. I really needed that. The album was very immersive and almost hypnotic for me, it's like I'm still in Lana's dream world and I haven't snapped out of that headspace yet. I don't understand how people can really hear NFR and not feel emotionally moved.
 
Here are just some initial thoughts: I got literal goosebumps during Love Song and Cinnamon Girl. I actually like the production on How to Disappear. I thought it was just a stripped back piano ballad when the Apple version came out and now I think the beats added something extra and exciting to it. I hated on Hope earlier in this thread, but I appreciate it a lot more now that I gave it a closer, more respectful listen. It truly is poetic and personal. I like how she's been ending albums with thought-provoking tracks like this, signaling where she currently is mentally.
 
This album is a mix of everything that makes Lana so good. I do see the Lizzy Grant vibes that everyone's talking about. There's also bits of Born to Die in there with tracks like HTD. Bartender reminds me of those deep Paradise-era vocals that I love so much. Venice Bitch is an echo of the melancholy psychedelia of UV. And while she does stick to certain themes in lots of the lyrics, none of the album feels truly recycled to me. NFR very much has its own unique, cohesive sound and I can understand her vision. This is the return of the brilliance that I feared we'd lost with LFL.
 
I hereby declare Norman Fucking Rockwell to be a masterpiece!
 
(I do feel a tinge of guilt because 4 or 5 days ago I was telling myself I'd be strong and refuse to listen to l***s. I didn't listen to the l****d version of LFL at all. But this time we just waited too long and I had to. I'm not going to listen again until Friday so it'll still feel fresh.)

My chaotic self liking a bunch of differing opinions because it's hard for me to pick sides 

Akshally I'm a Leo sun with an Aquarius moon and a Sagittarius rising who has more nuanced opinions about astrology than "lol Gemini's are two-faced" 

My chaotic self liking a bunch of differing opinions because it's hard for me to pick sides 

I just listened all the way through and I feel... cleansed. I really needed that. The album was very immersive and almost hypnotic for me, it's like I'm still in Lana's dream world and I haven't snapped out of that headspace yet. I don't understand how people can really hear NFR and not feel emotionally moved.
 
Here are just some initial thoughts: I got literal goosebumps during Love Song and Cinnamon Girl. I actually like the production on How to Disappear. I thought it was just a stripped back piano ballad when the Apple version came out and now I think the beats added something extra and exciting to it. I hated on Hope earlier in this thread, but I appreciate it a lot more now that I gave it a closer, more respectful listen. It truly is poetic and personal. I like how she's been ending albums with thought-provoking tracks like this, signaling where she currently is mentally.
 
This album is a mix of everything that makes Lana so good. I do see the Lizzy Grant vibes that everyone's talking about. There's also bits of Born to Die in there with tracks like HTD. Bartender reminds me of those deep Paradise-era vocals that I love so much. Venice Bitch is an echo of the melancholy psychedelia of UV. And while she does stick to certain themes in lots of the lyrics, none of the album feels truly recycled to me. NFR very much has its own unique, cohesive sound and I can understand her vision. This is the return of the brilliance that I feared we'd lost with LFL.
 
I hereby declare Norman Fucking Rockwell to be a masterpiece!
 
(I do feel a tinge of guilt because 4 or 5 days ago I was telling myself I'd be strong and refuse to listen to l***s. I didn't listen to the l****d version of LFL at all. But this time we just waited too long and I had to. I'm not going to listen again until Friday so it'll still feel fresh.)

I just listened all the way through and I feel... cleansed. I really needed that. The album was very immersive and almost hypnotic for me, it's like I'm still in Lana's dream world and I haven't snapped out of that headspace yet. I don't understand how people can really hear NFR and not feel emotionally moved.
 
Here are just some initial thoughts: I got literal goosebumps during Love Song and Cinnamon Girl. I actually like the production on How to Disappear. I thought it was just a stripped back piano ballad when the Apple version came out and now I think the beats added something extra and exciting to it. I hated on Hope earlier in this thread, but I appreciate it a lot more now that I gave it a closer, more respectful listen. It truly is poetic and personal. I like how she's been ending albums with thought-provoking tracks like this, signaling where she currently is mentally.
 
This album is a mix of everything that makes Lana so good. I do see the Lizzy Grant vibes that everyone's talking about. There's also bits of Born to Die in there with tracks like HTD. Bartender reminds me of those deep Paradise-era vocals that I love so much. Venice Bitch is an echo of the melancholy psychedelia of UV. And while she does stick to certain themes in lots of the lyrics, none of the album feels truly recycled to me. NFR very much has its own unique, cohesive sound and I can understand her vision. This is the return of the brilliance that I feared we'd lost with LFL.
 
I hereby declare Norman Fucking Rockwell to be a masterpiece!
 
(I do feel a tinge of guilt because 4 or 5 days ago I was telling myself I'd be strong and refuse to listen to l***s. I didn't listen to the l****d version of LFL at all. But this time we just waited too long and I had to. I'm not going to listen again until Friday so it'll still feel fresh.)

I just listened all the way through and I feel... cleansed. I really needed that. The album was very immersive and almost hypnotic for me, it's like I'm still in Lana's dream world and I haven't snapped out of that headspace yet. I don't understand how people can really hear NFR and not feel emotionally moved.
 
Here are just some initial thoughts: I got literal goosebumps during Love Song and Cinnamon Girl. I actually like the production on How to Disappear. I thought it was just a stripped back piano ballad when the Apple version came out and now I think the beats added something extra and exciting to it. I hated on Hope earlier in this thread, but I appreciate it a lot more now that I gave it a closer, more respectful listen. It truly is poetic and personal. I like how she's been ending albums with thought-provoking tracks like this, signaling where she currently is mentally.
 
This album is a mix of everything that makes Lana so good. I do see the Lizzy Grant vibes that everyone's talking about. There's also bits of Born to Die in there with tracks like HTD. Bartender reminds me of those deep Paradise-era vocals that I love so much. Venice Bitch is an echo of the melancholy psychedelia of UV. And while she does stick to certain themes in lots of the lyrics, none of the album feels truly recycled to me. NFR very much has its own unique, cohesive sound and I can understand her vision. This is the return of the brilliance that I feared we'd lost with LFL.
 
I hereby declare Norman Fucking Rockwell to be a masterpiece!
 
(I do feel a tinge of guilt because 4 or 5 days ago I was telling myself I'd be strong and refuse to listen to l***s. I didn't listen to the l****d version of LFL at all. But this time we just waited too long and I had to. I'm not going to listen again until Friday so it'll still feel fresh.)

to the person earlier who said that NFR reminded them slightly of Paradise rather than UV or HM, i honestly agree
 
Bartender reminds me of Bel Air
 
Cinnamon Girl and Love Song combined imo makes American (beat heavy, moody vs airy and orchestral)

I just listened all the way through and I feel... cleansed. I really needed that. The album was very immersive and almost hypnotic for me, it's like I'm still in Lana's dream world and I haven't snapped out of that headspace yet. I don't understand how people can really hear NFR and not feel emotionally moved.
 
Here are just some initial thoughts: I got literal goosebumps during Love Song and Cinnamon Girl. I actually like the production on How to Disappear. I thought it was just a stripped back piano ballad when the Apple version came out and now I think the beats added something extra and exciting to it. I hated on Hope earlier in this thread, but I appreciate it a lot more now that I gave it a closer, more respectful listen. It truly is poetic and personal. I like how she's been ending albums with thought-provoking tracks like this, signaling where she currently is mentally.
 
This album is a mix of everything that makes Lana so good. I do see the Lizzy Grant vibes that everyone's talking about. There's also bits of Born to Die in there with tracks like HTD. Bartender reminds me of those deep Paradise-era vocals that I love so much. Venice Bitch is an echo of the melancholy psychedelia of UV. And while she does stick to certain themes in lots of the lyrics, none of the album feels truly recycled to me. NFR very much has its own unique, cohesive sound and I can understand her vision. This is the return of the brilliance that I feared we'd lost with LFL.
 
I hereby declare Norman Fucking Rockwell to be a masterpiece!
 
(I do feel a tinge of guilt because 4 or 5 days ago I was telling myself I'd be strong and refuse to listen to l***s. I didn't listen to the l****d version of LFL at all. But this time we just waited too long and I had to. I'm not going to listen again until Friday so it'll still feel fresh.)

I just listened all the way through and I feel... cleansed. I really needed that. The album was very immersive and almost hypnotic for me, it's like I'm still in Lana's dream world and I haven't snapped out of that headspace yet. I don't understand how people can really hear NFR and not feel emotionally moved.
 
Here are just some initial thoughts: I got literal goosebumps during Love Song and Cinnamon Girl. I actually like the production on How to Disappear. I thought it was just a stripped back piano ballad when the Apple version came out and now I think the beats added something extra and exciting to it. I hated on Hope earlier in this thread, but I appreciate it a lot more now that I gave it a closer, more respectful listen. It truly is poetic and personal. I like how she's been ending albums with thought-provoking tracks like this, signaling where she currently is mentally.
 
This album is a mix of everything that makes Lana so good. I do see the Lizzy Grant vibes that everyone's talking about. There's also bits of Born to Die in there with tracks like HTD. Bartender reminds me of those deep Paradise-era vocals that I love so much. Venice Bitch is an echo of the melancholy psychedelia of UV. And while she does stick to certain themes in lots of the lyrics, none of the album feels truly recycled to me. NFR very much has its own unique, cohesive sound and I can understand her vision. This is the return of the brilliance that I feared we'd lost with LFL.
 
I hereby declare Norman Fucking Rockwell to be a masterpiece!
 
(I do feel a tinge of guilt because 4 or 5 days ago I was telling myself I'd be strong and refuse to listen to l***s. I didn't listen to the l****d version of LFL at all. But this time we just waited too long and I had to. I'm not going to listen again until Friday so it'll still feel fresh.)

I changed my mind the other way around. I cried the first time I listened to LFL and I listened to it everyday for almost a year. I thought it was so deep and shit. Then I realized how many songs I had to skip and that it just wasn't as good as I'd thought when there was still the hype of it being new.

Of any artist? To Pimp a Butterfly. That’s the first that came to mind. Of Lana’s? I prefer Ultraviolence. NFR is a close second.

People keep saying this but I can never see myself changing my mind on LFL.

My chaotic self liking a bunch of differing opinions because it's hard for me to pick sides 

My chaotic self liking a bunch of differing opinions because it's hard for me to pick sides 

Akshally I'm a Leo sun with an Aquarius moon and a Sagittarius rising who has more nuanced opinions about astrology than "lol Gemini's are two-faced" 

My chaotic self liking a bunch of differing opinions because it's hard for me to pick sides 

Akshally I'm a Leo sun with an Aquarius moon and a Sagittarius rising who has more nuanced opinions about astrology than "lol Gemini's are two-faced" 

me reading half of these 'hot takes':
 

My chaotic self liking a bunch of differing opinions because it's hard for me to pick sides 

I'd like you to keep the discussion ON-TOPIC because we have endless WPs for everyone!

I actually have to defend @@Cacciatore because I read your post and really thought "SAME" and I'm a Gemini sun. I came here to have a good time and I honestly felt very attacked back then.