xAlex

I think it is interesting the way the author thinks and kind of generalizes Lana's fans, lmao 

The sun also rises on those who fail to call
My life, it comprises of losses and wins and fails and falls
I can do it if you really, really like that
I know what you really want, b-baby
I can do it if you think you like that
You should run, boy, run
 
Vs
 
You're no good for me,
baby, you’re no good for me.
You’re no good for me,
but baby, I want you, I want you.
 
Diet Mountain Dew, baby, New York City.
Can we hit it now, low-down and gritty?
Do you think we’ll be in love forever?
Do you think we’ll be in love?
 
Baby, put on heart-shaped sunglasses
'cause we’re gonna take a ride.
I’m not gonna listen to what the past says,
I been waiting up all night.
 
______________________________________
 
 
Blue hydrangea, cold cash, divine,
Cashmere, cologne and white sunshine.
Red racing cars, sunset in vine,
The kids were young and pretty.
 
Where have you been? Where did you go?
Those summer nights seem long ago,
And so is the girl you used to call,
The Queen of New York City.
 
Vs
 
Kiss me in the d-a-r-k dark tonight
(D-a-r-k, do it my way)
Kiss me in the p-a-r-k park tonight
(P-a-r-k, let them all say)
 
Hey Lolita, hey! Hey Lolita, hey!
I know what the boys want, I'm not gonna play
Hey Lolita, hey! Hey Lolita, hey!
 
______________________________________
 
I paint my nails black,
I dye my hair a darker shade of brown
Cause you like your women Spanish, dark, strong and proud
I paint the sky black
You said if you could have your way
You'd make a night time of today
So it'd suit the mood of your song
 
Oh, what can I do?
Nothing, my sparrow blue
Oh, what can I do?
Life is beautiful but you don't have a clue
Sun and ocean blue
Their magnificence, it don't make sense to you
 
Vs
 
All my friends tell me I should move on
I'm lying in the ocean, singing your song
Ahhh, that's how you sang it
Loving you forever, can't be wrong
Even though you're not here, won't move on
Ahhh, that's how we played it
 
Every time I close my eyes
It's like a dark paradise
 
_____________________________________
 
Don't say you need me when
you leave and you leave again
I'm stronger than all my men
except for you
 
Don't say you need me here
You leave us, you're leaving
And I can't do it, I can't do it
But you do it well
 
Vs
 
Drugs, suck it up like vanilla icys
Don’t treat me rough, treat me really niceys
Decorate my neck, diamantes ices
Why? Come on, come on
 
____________________________________
 
White lines, pretty baby, tattoos
Don't know what they mean
They're special, just for you
White palms, baking powder on the stove
Cooking up a dream, turning diamonds into snow
I feel you, pretty baby, feel me
Turn it up hot, loving you is free
I like it down, like it down way low
But you already know that
You already know
 
Vs
 
 
I think I'll miss you forever
Like the stars miss the sun in the morning skies
Late is better than never
Even if you're gone, I'm gonna drive, drive
 
I've got that summertime, summertime sadness
S-s-summertime, summertime sadness
Got that summertime, summertime sadness
Oh, oh
 
Kiss me hard before you go
Summertime sadness
I just wanted you to know
That baby you're the best
 
I've got that summertime, summertime sadness
S-s-summertime, summertime sadness
Got that summertime, summertime sadness
Oh, oh
 
 
____________________________________
 
Witch hazel, witch hazel
Betrayal, betrayal
One gun on the table
Headshot if you're able
 
 
Vs
 
Feels like, feels like, you know it feels like
Falling in love for the first time
Feels like, you know it feels like
Falling in love
 
 
__________________________________
 
My baby lives in shades of cold
Cold heart and hands and aptitude
He lives for love and women, too
I'm one of many bonnies blue
 
And when he calls, he calls for me
And not for you
He prays for love, he prays for peace
And maybe someone new
 
But I can't help him, can't make him better
And I can't do nothing about his strange weather
 
'Cause you are unfixable
I can't break through your world
'Cause you live in shades of cool
Your heart is unbreakable
 
Vs
 
Tell me I'm your national anthem
(Boo-yah, baby, bow down, makin' me say wow now)
Tell me I'm your National Anthem
(Sugar-sugar, how now, take your body downtown)
Red, white, blue's in the skies
Summer's in the air and, baby, heaven's in your eyes
I'm your national anthem
 
_______________________________
You're falling hard, I push away
I'm feeling hot to the touch
You say you miss me and I wanna say, "I miss you so much"
But something keeps me really quiet
I'm alive, I'm a lush, your love, your love, your love
 
I can see my baby swinging, his Parliament's on fire and his hands are up
On the balcony and I'm singing, ooh baby, ooh baby, I'm in love
I can see my sweet boy swinging, he's crazy and Cubano como yo, my love
On the balcony and I'm swaying, move baby, move baby, I'm in love, I'm in love, I'm in love, I'm in love, I'm in love
 
Vs
 
I'm driving fast, flash, everyone knows it, I'm trying to get to you, baby
I'm feeling scared and you know it
I'm driving fast, flash, everyone knows it, I'm trying to get to you, baby
I'm feeling scared and you know it
I'm driving fast, flash, everyone knows it, I'm trying to get to you, baby
I'm feeling scared and you know it
I'm driving fast, flash, everyone knows it, I'm trying to get to you, baby
I'm feeling scared and you know it
 
Woo-ooh-ooh-ooh-ooh
 
I've got a Burning Desire for you, baby (I've got a burning desire) (Come on tell me, boy)
I've got a Burning Desire for you, baby (I've got a burning desire) (Come on tell me, boy)
I drive fast, wind in my hair
Push it to the limits 'cause I just don't care
I've got a Burning Desire for you, baby (I've got a burning desire)
 
________________________________
 
 
 

HOW many times is she gonna mention how Auerbach brought the fire back to her life...wouldn't be surprised if she was sucking off his fingers in the UV video

It is, though. Read Sasha Geffen's review at Consequence of Sound, she argues it pretty well.
 
i love the final version of DMD idgaf 

Beautifully written (though trite at times), decently insightful, and well-researched. 
 
However, I don't really get much from this that hasn't already been said before, and I don't appreciate the jabs at BTD masterpieces BJ and DMD. 

Funny. The Fiona lyric, "You fondle my trigger, then you blame my gun," feels relevant here. But it's a two-way street, for sure: Lana provokes the media by saying strange/unsettling things in interviews and in music then refuses to account for them; the media provokes Lana by asking her difficult and triggering questions, and then sensationalizes her dramatic and/or uncooperative response. Neither side is innocent at all.
 
I've said before that Lana's willful solipsism is what really rubs people (in the media and in general) wrong. In an age of interconnectivity and transparency, with an emphasis on social cooperation, Lana basically says 'fuck that.' In this interview she admits she's very selfish, says no therapist could possibly know her better than herself, says she doesn't need money, is glib about smoking, etc. Basically, she comes off like an obstinate 17-year-old. Some part of her refuses to grow up. I love this about her in many ways, but it will continue to work against her as she ages and people expect more candor and less defensive posturing from her. I hate to say it, but her extreme 'selfishness as a virtue' stance reminds me a bit of Ayn Rand at times (who is adored by angsty teenagers who cannot see a world beyond their own.) There's an interesting thing here about Mammalian vs Reptilian thinkers/creators. It's about the workplace, but it's applicable to anything. I think Lana, right now, is Reptilian.
 
'While mammals need others from the day they’re born, reptiles are adapted to living on their own. So, as they grow--whether we’re talking about the culture of crocodiles or a corporation--they have lives that are "individually oriented and socially isolated," they live in a world, Porges says, "defined by risk and not sharing or benevolence or creativity," and so the defining features of a reptilian workplace are embedded in defense and fear.'

Well fuck. This reporter sure spent a lot of time scooping around the internet but mainly this forum because I actually gasped at the part where he brought up the whole "infamous" teacher/student relationship Lana was supposedly had going on with that dude + the pro ana lyrics which I think have been discussed here before and the part where he mentioned the fwuttt possibly being about Lorde which I really think is fucked up to put that in an article that's going to be read by so many people and start drama, where people might actually credit Rolling Stone and say that's it's somehow confirmed ugh.  Especially when it's basically one of the dumbest and most reaching theories I've heard.
 
Also I was honestly going to say this interview is amazing and so informative to people who don't really have a lot of knowledge about Lana other than her music but then It was ruined by that ending....? ugh. Mess.
 
I don't know if I should be annoyed with Lana for being unprofessional and dramatic or that reporter for actually including that in the article like wtf did she really leave that bad of an impression on you? Because it really does seem like he just added that last part about her slamming the door in his face as some sort of dramatic conclusion in some cheap soap opera that's probably never happened irl but is supposed to leave some sort of impact on you. Yikes. Lana never seems to get it right with these interviews at all....i feel bad for her.

I don't hear the need for a beat drop after this snippet? Hopefully she leaves that shit behind. She said this album wasn't going to sound like Electra Heart.
 
In fact, it just sounds like a power-ballad, and it's exactly what I want from her. I love love love what we can hear of the vocals. This shit is going to destroy me.

This sounds like her getting over the depression and lust for fame that EH brought on, and the new age of moving forward and comig to peace.

bye

Sounds like the calm before a beat drop

Please don't let this discredit me because I absolutely ADORE the song, but I don't get what you're all raving about that happens in the final chorus of Mermaid Motel. Can someone explain why I'm missing this? I know there's a whole technical post about what's going on musically at that point, but it's pretty vague and I've listened to it a million times and even consulted a friend and we can't seem to get it to click. What's the difference between the last chorus and the others? How is it one of the best moments in pop music of the last decade if it's so subtle that I can't even notice it? 
 
Anyways, my all time favorite moment in a Lana song is that part at the end of Cola. You've all heard it but I want to articulate why I love it so much.
 
I feel like the whole song builds up this sexual tension: she kicks it off with the infamously provacative opener: "my pussy tastes like pepsi-cola," then raises it with her falsetto, singing "Harvey's in the sky with diamonds," and stimulates even more with the chorus' "come on, come on baby"s. All the while, the electric guitar is plucking about in the background (and the violin production is closing in/rushing the song). She brings it back to a simmer for the second verse, and works it back up again to maintain the tension during the bridge, where she trails off with some pretty satisfying "why, come on, come on, oooh" high notes. But the foreplay isn't over. She leads it back into a few repetitions of the chorus that are super well-produced and interesting because while she's singing "come on, come on, come on baby" the guitar is slowly climbing higher and higher and meandering around, flirting with her voice. It continues to do this through the best part of the song: the final three times that she repeats "my pussy tastes like pepsi-cola" where in the background she is moaning/singing as the guitar is still climbing, but it won't resolve until about 4:06 -- after the third and final "my pussy tastes like pepsi-cola!" as the track is actually fading out…those final three guitar notes are what I'm waiting for in the ENTIRE song. It's a glorious, sexy, triumphant and satisfying climax to the song and I freak out and blush every time. Damn, it's so badass. 
 
I also think the part where she whispers "it's been a long time" in Trash Magic is a stroke of brilliance in theory and execution. I'll explain:
 
In a super old interview, Lana explained that this song was written about a hotel room she was staying in that she decorated with tinsel from a dollar store down the street. I interpret this song as an innocent plea to an ex to come to this ghetto-fancy hotel room and reconnect, but it's enigmatic and ethereal undertones suggest a darker motive. The chorus is the sweet plea, "don't ya want to come to my motel, honey?" Throughout the song, she works to justify her well-intentioned invitation by arguing that it comes from a good place and she really, truly loves her ex ("Don't you know that I have really never love nobody but you?"). The verses illustrate the setting and reminisce on good times the pair shared. She begs and begs through the entire song, the chorus repeats a lot until it becomes a sweet, catchy little melody replaying in your head. Then it gets a little more creepy when she begs for empathy:  "all I want is to feel good, you know?" and then she goes into the sensual and siren-like repetition of "come on now, if you want to" and finally her true motivation becomes clear when she reveals that "it's been a long time…"
 
*gasp!* Shame on you, you horn-dog! 
 
And then we're launched back into the chorus. That right there is one of the most innocently sinister and satisfying moments of pop music of the last decade.
 
Unfortunately, this part is left out of the live performance of this song. However, I think she does something else genius in her live performance of this that makes me love her in a different way. When she performed in her Lizzy days, she seemed to have a different way of connecting with the audience. A lot of her songs were kind of conversational with the audience, so she would often pitch a character to them and then become that character. She does this during the spoken part of that song: it's right after "and you look even more handsome than you did on that day, that i met you" (she's still explaining what she said to him there) then she jumps right into character here for "how do you spend your niiiiiights, honey, still watching' tv?" Truly stunning. 
 
She also does this during her performance of End of the World, although it's a bit more subtle. It's after the second time she asks "why does my heart go on beating?" and someone laughs (it seems like that question is directed towards the audience). Then she jumps into her pouty character and reflectively croons, "why do these eyes of mine cry?" I love that part.
 
I know everyone has already listened to these songs a million times and I'm not sure how well I did these parts justice, but they are all seriously so sublime. Someone please tell me I articulated this perfectly and that they agree with me  

Please don't let this discredit me because I absolutely ADORE the song, but I don't get what you're all raving about that happens in the final chorus of Mermaid Motel. Can someone explain why I'm missing this? I know there's a whole technical post about what's going on musically at that point, but it's pretty vague and I've listened to it a million times and even consulted a friend and we can't seem to get it to click. What's the difference between the last chorus and the others? How is it one of the best moments in pop music of the last decade if it's so subtle that I can't even notice it? 
 
Anyways, my all time favorite moment in a Lana song is that part at the end of Cola. You've all heard it but I want to articulate why I love it so much.
 
I feel like the whole song builds up this sexual tension: she kicks it off with the infamously provacative opener: "my pussy tastes like pepsi-cola," then raises it with her falsetto, singing "Harvey's in the sky with diamonds," and stimulates even more with the chorus' "come on, come on baby"s. All the while, the electric guitar is plucking about in the background (and the violin production is closing in/rushing the song). She brings it back to a simmer for the second verse, and works it back up again to maintain the tension during the bridge, where she trails off with some pretty satisfying "why, come on, come on, oooh" high notes. But the foreplay isn't over. She leads it back into a few repetitions of the chorus that are super well-produced and interesting because while she's singing "come on, come on, come on baby" the guitar is slowly climbing higher and higher and meandering around, flirting with her voice. It continues to do this through the best part of the song: the final three times that she repeats "my pussy tastes like pepsi-cola" where in the background she is moaning/singing as the guitar is still climbing, but it won't resolve until about 4:06 -- after the third and final "my pussy tastes like pepsi-cola!" as the track is actually fading out…those final three guitar notes are what I'm waiting for in the ENTIRE song. It's a glorious, sexy, triumphant and satisfying climax to the song and I freak out and blush every time. Damn, it's so badass. 
 
I also think the part where she whispers "it's been a long time" in Trash Magic is a stroke of brilliance in theory and execution. I'll explain:
 
In a super old interview, Lana explained that this song was written about a hotel room she was staying in that she decorated with tinsel from a dollar store down the street. I interpret this song as an innocent plea to an ex to come to this ghetto-fancy hotel room and reconnect, but it's enigmatic and ethereal undertones suggest a darker motive. The chorus is the sweet plea, "don't ya want to come to my motel, honey?" Throughout the song, she works to justify her well-intentioned invitation by arguing that it comes from a good place and she really, truly loves her ex ("Don't you know that I have really never love nobody but you?"). The verses illustrate the setting and reminisce on good times the pair shared. She begs and begs through the entire song, the chorus repeats a lot until it becomes a sweet, catchy little melody replaying in your head. Then it gets a little more creepy when she begs for empathy:  "all I want is to feel good, you know?" and then she goes into the sensual and siren-like repetition of "come on now, if you want to" and finally her true motivation becomes clear when she reveals that "it's been a long time…"
 
*gasp!* Shame on you, you horn-dog! 
 
And then we're launched back into the chorus. That right there is one of the most innocently sinister and satisfying moments of pop music of the last decade.
 
Unfortunately, this part is left out of the live performance of this song. However, I think she does something else genius in her live performance of this that makes me love her in a different way. When she performed in her Lizzy days, she seemed to have a different way of connecting with the audience. A lot of her songs were kind of conversational with the audience, so she would often pitch a character to them and then become that character. She does this during the spoken part of that song: it's right after "and you look even more handsome than you did on that day, that i met you" (she's still explaining what she said to him there) then she jumps right into character here for "how do you spend your niiiiiights, honey, still watching' tv?" Truly stunning. 
 
She also does this during her performance of End of the World, although it's a bit more subtle. It's after the second time she asks "why does my heart go on beating?" and someone laughs (it seems like that question is directed towards the audience). Then she jumps into her pouty character and reflectively croons, "why do these eyes of mine cry?" I love that part.
 
I know everyone has already listened to these songs a million times and I'm not sure how well I did these parts justice, but they are all seriously so sublime. Someone please tell me I articulated this perfectly and that they agree with me  

Please don't let this discredit me because I absolutely ADORE the song, but I don't get what you're all raving about that happens in the final chorus of Mermaid Motel. Can someone explain why I'm missing this? I know there's a whole technical post about what's going on musically at that point, but it's pretty vague and I've listened to it a million times and even consulted a friend and we can't seem to get it to click. What's the difference between the last chorus and the others? How is it one of the best moments in pop music of the last decade if it's so subtle that I can't even notice it? 
 
Anyways, my all time favorite moment in a Lana song is that part at the end of Cola. You've all heard it but I want to articulate why I love it so much.
 
I feel like the whole song builds up this sexual tension: she kicks it off with the infamously provacative opener: "my pussy tastes like pepsi-cola," then raises it with her falsetto, singing "Harvey's in the sky with diamonds," and stimulates even more with the chorus' "come on, come on baby"s. All the while, the electric guitar is plucking about in the background (and the violin production is closing in/rushing the song). She brings it back to a simmer for the second verse, and works it back up again to maintain the tension during the bridge, where she trails off with some pretty satisfying "why, come on, come on, oooh" high notes. But the foreplay isn't over. She leads it back into a few repetitions of the chorus that are super well-produced and interesting because while she's singing "come on, come on, come on baby" the guitar is slowly climbing higher and higher and meandering around, flirting with her voice. It continues to do this through the best part of the song: the final three times that she repeats "my pussy tastes like pepsi-cola" where in the background she is moaning/singing as the guitar is still climbing, but it won't resolve until about 4:06 -- after the third and final "my pussy tastes like pepsi-cola!" as the track is actually fading out…those final three guitar notes are what I'm waiting for in the ENTIRE song. It's a glorious, sexy, triumphant and satisfying climax to the song and I freak out and blush every time. Damn, it's so badass. 
 
I also think the part where she whispers "it's been a long time" in Trash Magic is a stroke of brilliance in theory and execution. I'll explain:
 
In a super old interview, Lana explained that this song was written about a hotel room she was staying in that she decorated with tinsel from a dollar store down the street. I interpret this song as an innocent plea to an ex to come to this ghetto-fancy hotel room and reconnect, but it's enigmatic and ethereal undertones suggest a darker motive. The chorus is the sweet plea, "don't ya want to come to my motel, honey?" Throughout the song, she works to justify her well-intentioned invitation by arguing that it comes from a good place and she really, truly loves her ex ("Don't you know that I have really never love nobody but you?"). The verses illustrate the setting and reminisce on good times the pair shared. She begs and begs through the entire song, the chorus repeats a lot until it becomes a sweet, catchy little melody replaying in your head. Then it gets a little more creepy when she begs for empathy:  "all I want is to feel good, you know?" and then she goes into the sensual and siren-like repetition of "come on now, if you want to" and finally her true motivation becomes clear when she reveals that "it's been a long time…"
 
*gasp!* Shame on you, you horn-dog! 
 
And then we're launched back into the chorus. That right there is one of the most innocently sinister and satisfying moments of pop music of the last decade.
 
Unfortunately, this part is left out of the live performance of this song. However, I think she does something else genius in her live performance of this that makes me love her in a different way. When she performed in her Lizzy days, she seemed to have a different way of connecting with the audience. A lot of her songs were kind of conversational with the audience, so she would often pitch a character to them and then become that character. She does this during the spoken part of that song: it's right after "and you look even more handsome than you did on that day, that i met you" (she's still explaining what she said to him there) then she jumps right into character here for "how do you spend your niiiiiights, honey, still watching' tv?" Truly stunning. 
 
She also does this during her performance of End of the World, although it's a bit more subtle. It's after the second time she asks "why does my heart go on beating?" and someone laughs (it seems like that question is directed towards the audience). Then she jumps into her pouty character and reflectively croons, "why do these eyes of mine cry?" I love that part.
 
I know everyone has already listened to these songs a million times and I'm not sure how well I did these parts justice, but they are all seriously so sublime. Someone please tell me I articulated this perfectly and that they agree with me  

YESSSSSSSSSSS!!!
 
I thrive off of the questions that ask about certain songs and what mindset she was in when she wrote them. Bravo to the interviewer for actually being interested in the music.
 
I will say that I wish we could just move past the fact that she's a highly criticized artist. That's well-known at this point and it probably drags her down when she's reminded of that all the time. She needs to know how interested people are in her songs and creative process! Love the short PWYC anecdote. 
 
My favorite part of it all is that her goal is to create music that fits in with the stuff she enjoys listening to. I totally get that from Ultraviolence and her describing it like that brings a new layer of enjoyment to listening to the record. 

I've never heard about the short movie called Poolside, thank you for sharing. Just watched it. Didn't really like it. I don't know why, I'm not such a big fan of short movies. I find most of them pretty boring. Lana was good in it though.
 
-
 
I'm glad I'm not the only one having a hard time properly gluing those little suckers on
 
 
 
 
 

Well considering it's set up the wrong way it looks like Lana took the screenshot but is also conversing with someone named Lana Del Rey with the Chloe icon

this is complete bullcrap, right?

Come When You Call Me America (version 2) - LDR
 
I'm the biggest fan of CWYCMA ever.

YESSSSSSSSSSS!!!
 
I thrive off of the questions that ask about certain songs and what mindset she was in when she wrote them. Bravo to the interviewer for actually being interested in the music.
 
I will say that I wish we could just move past the fact that she's a highly criticized artist. That's well-known at this point and it probably drags her down when she's reminded of that all the time. She needs to know how interested people are in her songs and creative process! Love the short PWYC anecdote. 
 
My favorite part of it all is that her goal is to create music that fits in with the stuff she enjoys listening to. I totally get that from Ultraviolence and her describing it like that brings a new layer of enjoyment to listening to the record. 

Omg someone who has listened to her songs! What a difference that makes in an interview

I think this is the most anticipated part of all the lyrics in all her songs for me

It's so perfect.

 
He said, “Lana Ray, will you serve me lemonade”

and I said, “Yes, Bill, I will, it’s the day of the parade

And you look even more handsome than you did the day that I left you

How do you spend your nights, honey, still watching TV

I long to be in your arms honey, come back to me please”

Sorry to bump but I just discovered this song (it was one of the few that slipped through my radar) and it seriously takes me away to another place. The version with the brass…it captures a visual moment in time so well. A youtube comment on one of the videos with the audio for this song describes the feeling I get with accuracy: "it seriously reminds me of being in the passenger seat next to a guy I like, just cruising down an empty highway, while looking out the window at the city skyline."
 
Its kinda got a Quadron/Robin Hannibal (also of Rhye) vibe to it. So relaxing, so groovy, so sassy, so nostalgic. I'm in love with it. It seems to be just as divisive as Lana herself is, though, interestingly enough - some people really hate it. 
 
I'm interested in it's backstory too. It doesn't really sound like anything else she's ever done, and especially if its from 2008? It doesn't really bridge any sonic gaps between Kill Kill and AKA or AKA and BTD. I wish Lana released this and went this direction with all her music. I'm so curious about this song and I want more where it came from. And why do some people love it and some people hate it?

Sorry to bump but I just discovered this song (it was one of the few that slipped through my radar) and it seriously takes me away to another place. The version with the brass…it captures a visual moment in time so well. A youtube comment on one of the videos with the audio for this song describes the feeling I get with accuracy: "it seriously reminds me of being in the passenger seat next to a guy I like, just cruising down an empty highway, while looking out the window at the city skyline."
 
Its kinda got a Quadron/Robin Hannibal (also of Rhye) vibe to it. So relaxing, so groovy, so sassy, so nostalgic. I'm in love with it. It seems to be just as divisive as Lana herself is, though, interestingly enough - some people really hate it. 
 
I'm interested in it's backstory too. It doesn't really sound like anything else she's ever done, and especially if its from 2008? It doesn't really bridge any sonic gaps between Kill Kill and AKA or AKA and BTD. I wish Lana released this and went this direction with all her music. I'm so curious about this song and I want more where it came from. And why do some people love it and some people hate it?

I live UV, but it wouldn't make me a stan.
BTD did.
And now that BTD did make me love her, I really love Ultraviolence.
But BTD is the best, yes