hongkongdisco mysterygirl15

Oh my fucking God the way she was hitting those low notes AND those high notes. I feel like I haven't heard her use that low register with such clarity for 5 years. Not to mention the fact that she has jumped right back into her 2015 body and face. This is the Lanaissance I kinda never thought would happen..

We listen to Lana, we see her, we get her 100% without any effort. It's almost instantaneous. 
 
Her critics look at her, they listen to her, they can't grasp her in the least, and they embarrass themselves attempting to define what they do see. Look at narcissistic, fascist Anne Powers, complaining that Lana didn't carry herself the way Anne Powers believes she should as a female artist in the 21st century, didn't have the right political opinions, didn't have the correct vision and correct attitudes, as if Lana was Anne Powers, and not a completely different individual in her own right. 
 
Lana seems to have an unusually high level of people, especially in the critic class, that don't get her, but everyone who does get her loves her passionately. 
 
And the fact that Lana has a long string of dedicated admirers, some of whom are musical and creative legends—David Lynch, Joan Baez, Bruce Springsteen, Father John Misty, Courtney Love, the Weeknd, John Waters, Stevie Nicks—and they see and hear her, as we do, has to rankle. 
 
Obviously this has been a huge year for Lana; she won the war even if she lost a few battles. 

“I think I would have to get my orientation toward where I want to be geographically stronger in my solar plexus, like a knowingness there, before I could tune into a stronger desire romantically. Because if you don’t feel a connection necessarily to the pavement you’re walking on, the love thing stays over there"
 
me when i'm having a stroke

This being the entire interview

“Her t-shirt has holes in it, the heating doesn’t work, there is black mold growing from underneath the couches in her tiny small piece of shit house, yet I wonder, is this all a façade?”

The only singer I can find that is remotely comparable to Lanas music and style was Amy Winehouse. Lana is the most emotionally profound, nostalgic, classy, eclectic, singer/poet of the past 13 years. Change my mind. 

double post (kinda...and also off topic, but also not? lmao) but i think Lana has lots of love for Priscilla (i mean, she's very much inspired by her during the beginning of her career), but it's different than the love she has for elvis. It's clear that she was heavily inspired by his music/aesthetic/authenticity (referring to his dirty laundry, anger issues, rise n fall, etc that's been public knowledge long before he even passed). while i don't recall her ever defending him, I believe she more likely than not looks up to him as a musical idol. would explain why she's performing at a tribute for him. 
 
as stated above, i really don't think she chose to perform at this to slight priscilla, but i will say the announcement is a bit ill timed lol. 

yeah i doubt lana meant it as a slight but......i'd rather she had done both honestly..... not a huge fan of the optics of just doing the Elvis special.....especially as Lana utilized the Priscilla/Elvis imagery extensively in the beginning of her career.  that said i absolutely want a lana elvis cover.

I think she sometimes just sees these things and has flashes of being like… waitttt I’m a legend actually

The lyrics are sooo cringe lol

Are they gonna acknowledge the fact that Coco Chanel was a literal Nazi in this series, or are we once again going to get the portrait of a glamorous young entrepreneur who everyone should look up to?

but she didn't have time for Priscilla
 
i mean we'll eat tho

jack antonoff will you ever give it up

Also “summer’s getting hotter” that’s a MOTHER type of lyric not just anyone can say that

He needs to do some intensive therapy to grow out of this retarded artistic persona that I feel is keeping him mentally trapped in the trauma of his teenage-hood. I think it would be really good for him spiritually and artistically to do a Lust For Life and conceive of a futuristic album at the same time so that he can devote the full scope of his life to imagining himself in a better place

I agree 100% with this cause at the end of the day it's Lana's vision being the driving force but I have to say, in the piano department Rick's melodies are way stronger than Jack's (but he shines in other areas of course)

And you think Jack Antonoff's production style is not completely banal and comatose in 2023?

I'd like to see her change course, whatever we call the course she's on right now. I'd love to see her go 'full pop' for an album, like Meet Me in the Pale Moonlight, Ride, or Bel Air, not the half-hearted pop of 'Margaret,' with its needless chatter at the end, that only breaks the song up. Sometimes it is better to have a producer making a good deal of the decisions. look at what a great job Rick Rubin did on Ride. I miss the perfection of tracks like Wait for Life—certainly including the production. 
 
It's ironic, not iconic, for me that OB has received 3 Grammy nominations when it's such a scattershot effort, with a lot of poor production and though overall album cohesion doesn't matter a great deal to me, I see little on OB. Maybe the academy feels it's a sort of lifetime achievement nomination for Lana; I don't think those are fair. If an artist is considered for such an award, then let it be an outright 'Lifetime Achievement' award.
 
(Look at Joni Mitchell's crappy new 'Live At Newport' receiving a nomination because she's a legend and has had a hard last two decades. She only does what amount to backup vocals on most tracks, while younger singers take the lead.)
 
As far as the dreamy ballads go, it's hard to say, because everything since Honeymoon has been such a mishmash in terms of song styles and/or quality. We don't know if there's actual logic behind her final choices for an album or if it's done more like, "Well right now I feel this way, I just wrote and produced this song and I'm really excited about it." I tend to think the latter is closer to the truth. I don't think she's very objective about the choice of tracks she places on an album. It's a truism that most artists are poor judges of their own work, and I think that applies to Lana to some definite degree.
 
Since Tori Amos has had a long career in some ways similar to Lana's, and Tori was the artist I listened to the most before Lana and 2012, I know Amos constantly left her best material on the cutting room floor and instead placed often-cringy tracks on albums instead. The best material, which she would often discuss in media, al la 'Yosemite,' was either saved and released on a 'career retrospective' or other compilation project, or on the flip side of the release. As a result, these songs haven't entered broad American culture, are known by almost no one outside of the Amos Stan base, and will no doubt be swept away into the dustbin of history. Which is a shame. 
 
I think Lana will make a mature album, but certainly not necessarily a commercial one, when she takes her time to make and think an album through, limits her advisors, and sticks to some kind of conception of what she wants the result to be. The general public may not want an album of dreamy ballads, but her Stans do, I think (as opposed to tepid piano ballads). Things do change midway, plans and conceptions change, but maybe if she really takes her time before she starts recording, she can stick to some sort of a schedule or overall conception and the result won't be a compromise. I don't see Lana as an album artist because of the poor choices or compromises she has sometimes made lately. 
 
I am thrilled it's been such a big year for her. That she deserves. 

Hell it posted before I even started writing nn.
 
Lana's too caught up with the "Folk/Americana/Songwriter" vibe, that's why. She wants her quick piano chords and acoustic guitar to do the heavy lifting instead of cooking up with the synths, pads, heavier guitars to wash the sound. I do miss it. I've always wanted a full on synth-y dreamy record in the vein of the original Lust For Life demo and these great cinematic soundscape, but she keeps doubling down on taking percussion out and stripping the songs away.

The best collab this yr would be lost at sea(not including OB collabs).....not any flop bleachers collab

It's going to be another Margaret mess ... thank you but no

Disgusting. 

I hope she never collaborates with The Weeknd again, I really hate his voice. 

Honestly I agree but stargirl interlude is one of the best things ever made ngl. And I HATE the weeknd lmao