Florida Dark

To be fair, I’d say the UV era was more of an “act” — the smoky-eyed psych rock goddess shtick is definitely moreso an outlier in her career than what she’s doing now. Go back to the beginning, and see that it all started with very unadorned, Joni-esque singer-songwriter material — whether she was tying beats to it in the BTD era or adding fuzzy guitars for UV, I think COTCC kind of represents where she’s always been drawn.

I mean first, she clearly cannot see that she had some of the blame to bare, due to the fact that she doubled down in each of the situations. But I think if the argument is that she should stick to music and that she is clearly better at expressing herself in that medium, then I think if executed properly, it could be a great way for her to reclaim it. So to sum up, it could either be great or a big mistake, huge. In either case I will be purchasing.

she deleted and rewrote it

same with the dance till we die bridge, it was a glimpse into the return of a passionate style of singing (not that shes not passionate now) and a lot of ppl loved it

same with the dance till we die bridge, it was a glimpse into the return of a passionate style of singing (not that shes not passionate now) and a lot of ppl loved it

same with the dance till we die bridge, it was a glimpse into the return of a passionate style of singing (not that shes not passionate now) and a lot of ppl loved it

not the cringe twinks being terrible in the comment section....

anyway let’s just be respectful

most ppl dont like random interviews like this but i think its sweet to just know what shes up to. it wouldve made more sense for rolling stone to focus more on the music but its nice hearing her talk about her grandma, lake placid and elliott smith nonetheless

most ppl dont like random interviews like this but i think its sweet to just know what shes up to. it wouldve made more sense for rolling stone to focus more on the music but its nice hearing her talk about her grandma, lake placid and elliott smith nonetheless

most ppl dont like random interviews like this but i think its sweet to just know what shes up to. it wouldve made more sense for rolling stone to focus more on the music but its nice hearing her talk about her grandma, lake placid and elliott smith nonetheless

I'm sure people talked abou this when the tracklist came out, but I only now noticed that essentially three years to the day of Chemtrails' release she posted her singing For Free with a Yosemite shirt on  https://www.instagram.com/p/BR2tib_gMEx/

most ppl dont like random interviews like this but i think its sweet to just know what shes up to. it wouldve made more sense for rolling stone to focus more on the music but its nice hearing her talk about her grandma, lake placid and elliott smith nonetheless

When The World Was a Candle In The Wind We Kept Dancing - Japanese bonus track

Candle in the wind is the new party dress

most ppl dont like random interviews like this but i think its sweet to just know what shes up to. it wouldve made more sense for rolling stone to focus more on the music but its nice hearing her talk about her grandma, lake placid and elliott smith nonetheless

I haven't seen anyone talk about the central setting of this song, and how there's never been a 'Men in Music Business' conference. The very idea of it is absurd, because men are considered the default in this sort of thing, and it's only minorities/less recognised groups that the industry occasionally remembers.  What there have been, of course, are numerous 'Women In Music' conferences, which pretend to be about showing off, for that one day, the talents of women performers, but are actually just another chance to ogle them.
So it's pretty funny how she flips it around from what it probably was - a patronising event at which the music executives were, I'd imagine, made up almost exclusively of men, so that it reflects what it must have felt like to nineteen-year-old Lizzy. A circus where she was the one who was looked at, by people who forgot or didn't care that she was looking at them at the same time. She did the same with flipping 'Music to Watch Girls By', too.

He was an eccentric jazz artist with a small but cult following which allowed him to pursue a lifelong career despite all his idiosyncrasies. So maybe she harkens back to her Lizzy Grant days : yes it felt small (the budget, the scope, the audience), she had a very specific aesthetic which made her an original but it was on her plane, she had it under control every time...

tracklist leaked!
 
1. Rock Candy Sweet
2. Someone Left The Candle in The Wind
3. The Wind Can't Blow My Candle Out
4. Dark But Just A Candle in The Wind
5. My Candle in The Wind - Burns At Both Ends
7. Not All Who Wander are Candles (In The Wind)
8. Dealer
9. No More Candle in The Wind
10. Candle in The Wind (Elton John Cover ft. Nikki Lane)

I think the one thing Lana really needs to address on this album is the one question she has never really given her listeners a direct answer to, which is weather or not she is a candle in the wind.
I feel like its always asked by the fans, critics, and casual listeners, and Lana has never seemed to even bring it up in her music. This would be the perfect album for her to give a solid response.

Translated most of the article except  for page 40 which is just a rundown of her discography, maybe @COCC is gonna translate that at some point?  
 
Translation is a bit shaky at certain points, I didnt revise it at all but its still better than Google I suppose
here you go
 
 

As an unusual  and quirky  girl I for one would love to hear about paranormal encounters, favorite Elvis eras, and recurring dreams. Someone had to ask the important questions 

I just love this magazine cover. She looks so stunning and radiant. Reminds me of the scenes of her dancing in the top-down from the Let Me Love You Like a Woman video