darknessthedeepness

My copy has just arrived. 
Damn, it's so aesthetically pleasing. The pages, the cover. It's all so nice

None of them are wearing masks. Fucking hell.

I think I found evidence that it’s photoshopped.
 
 

I cant fall asleep bc of this..

I'm not sure how people know exactly when her following count changes, but I myself have an instagram account that follows everyone she follows because I thought it would be interesting to see what her timeline would look like lol. Lots of Jason Aldean posts.. 
But in turn I can also notice who she recently follows, unfollows, who deactivates, etc x

Me at all the the people doing maths trying to figure out what fucking day the hair dude means:
 

@vodkaa once said that White Hot Forever gave them Saturday Night Fever by the Bee Gees vibes - someone else said that the “it’s so damn hot tonight / take the sadness out of Saturday night” lyrics could be part of White Hot Forever so maybe that’s a reference to the Bee Gees?
 
Lana referenced a lot of Laurel Canyon on NFR and there are definitely tinges of that sound on the record. Maybe that’s indicating a more upbeat ‘70s sound on this album? Like some wah-wah guitars, synthy-strings, and beats with more complex rhythms?
 
I also think @RormanNockwell’s theory about the Saturday night lyrics referencing her SNL performance in 2012 is very likely. In fact, if it’s part of White Hot Forever, then maybe that song is about a relationship but also about how singing and songwriting is her “white-hot forever” - in that she’s so passionate about it and it truly is intrinsic to her, even when there is discouragement from the media, etc. It could explain why that was the album title at one point - it could’ve been her looking back on the start of her success while summing up her career and making personal declarations for herself! 

Well on the bright side, at least it’s still coming this year, based on her source code! It does say 2020  

Someone reach out to Ava and Max (Lana’s cats). They might know more about the album than Alex and Ashley. 

"my father's love was always strong"
 

"I'm an orphan"
 
"I never had love"
 
Oof

Oh my fucking god Amazing. This feels so much like a poetic letter, instead of a poem (which is obviously the intention, I think).
 
The only part I didn't like was
 
"And I love that you love the neon lights like me
Orange in the distance
We both love that
And I love that we have that in common"
 
Very redundant, plus I don't think it adds anything.
 
But the rest is on fire.
 
@@Dominikx4 Can't merge this to the Violet lyrics thread, only Elle can. So we gotta wait for her!

we stan you but you don’t understand we! we’re real stans!
our forum is our tragedy
our theory forming is our legacy

bye
 
 

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". 

if lana's debut was full of songs like queen of disaster and prom song she wouldn't be as fascinating of an artist, she'd probably be more successful but just another run of the mill bubblegum pop star 

Made another album cover (how many times will I keep doing this?  )! What I imagine a cover shot by Neil Krug could look like. I would love if she adopted a luxury air-travel aesthetic! 

i just wish text was underlaid with some uniform color cuz this makes it really hard to read, especially the bread crumbs on top  otherwise i love it
 

I really love this^^^ 
 
Not only was NFR a “masculine” album in the sense that the title was a man’s name, but also the fact that she takes on a traditionally masculine role on the album cover and in the narrative, where she leads the dance through a relationship (particularly in MAC through the “I’m your man” affirmations). I think that explains why the album was received so well, which was because Lana presented a very commanding presence with this record, which proves the point she made in the Question for the Culture post. “Norman’s little sister,” being Chemtrails, will maybe see her step back from a role that is  typically associated with masculine characteristics and see her meditate on her own feminine “fragility” in relation to the romantic/sexual liberty that she feels society’s modern woman is seen to disassociate from in order to be seen as empowering;  I think Lana will offer an outlook through which women don’t have to be one prescribed thing in order to be seen as empowering. I think this record will contain a lot layers thematically and may lend itself to a certain inclusivity of all types of women, given the fact that Lana’s catalogue has seen her be more than just one type of woman, all of which are valid  Lana’s ability to be vulnerable is strength and empowerment, in my opinion. I’m thinking Let Me Love You Like a Woman will tie really nicely into this concept. 

Tbh I think Lana, whether intentional or not, is showing signs of an excellent businesswoman. She has us WHIPPED for anything about the album, will give us little tidbits but then post things not related to the album, which deprives us of said album-related content and all that does is build anticipation. No matter what she does, we all find ourselves satisfied and beyond happy when the album comes and it feels like a very special moment when it truly does come. I think she knows what she’s doing and I respect her so much for that - September 5th is definitely still on! 

she always deletes snippets after a while lol it has nothing to do with the album release date

Nothing ground-breaking, but I came to a solid conclusion that "Radio" is 100% about Barrie and here's how I summed it up:
 
1. In the Fader interview, it is stated that Lana and Barrie began dating right after the release of "Video Games"

https://www.thefader.com/2014/06/04/cover-story-lana-del-rey-is-anyone-she-wants-to-be  
2.  In this interview, she said this about the song:

https://www.facebook.com/watch/?v=3224525245356  
3. And the final piece - a barely noticed interview where she says she wrote the song right after "Video Games" started getting airplay.

https://www.thesun.co.uk/archives/bizarre/333178/when-i-write-songs-i-stand-under-the-telephone-wires-and-take-in-their-energy/

she’s showing her great boobs in the album cover
 
manifesting

COCC aesthetic dildo coming soon???

You hope a project with proceeds dedicated to charity is a massive commercial failure because it was inconvenient for you to download?