Louise

Just in: Lana joined Bleachers onstage in Charleston for the live debut of Margaret, acccording to this tweet posted 25 minutes ago . . . I searched youtube and instagram tagging bleachers, but noone uploaded, yet!

Thank you thank you thank you! Oldster introduced newster with a remark of appreciation meant something to the oldster - thanx. Lana has grabbed and has achieved a new direction in production . . . It had to be. Lana's voice is her instrument. It's hers.

Thanx! Thanx for collecting and posting the audio tracks! It is as though the louder tracks lack texture . . . not a treat to the ears as much as Candy Necklace for its variety of ups and downs . . . Appreciate this kind of discussion. I have one ongoing with a musician friend who is high up in tech understanding. There aren't many musicians I would bother to make a case for a quieter production around their vocals, because I do not listen to the pop girlies, and I wear hearing protection whenever I go out, and quit gyms to protect my ears! It isn't for me to say their offerings . . . because to each his own . . . Here is a little live fan cam of Ann Wilson which the image is out of focus, but for once the band around her dials back to allow the star, Ann's voice, to mine the gorgeousness out of Simon Garfunkel's folk song, American Tune, which melody I recognized from a documentary about Haydn's Emperor Quartet came from Serbian folk song! The piano is too loud, but because it is only the piano which is competition to Ann's voice and louder and softer in parts, finally you could hear the artistry, the inflections.

After what I said Snoop posted on his IG stories love for Candy Necklace! Look at the effort with the heart shape cutouts of Pharoah Snoop, and the "Love you." It is insider appreciation . . . from a colleague, a fellow musician! Makes a material award like a grammy seem dingy and hollow!

Love this! 🙂

How pretty is the candy necklace? Someone likely posted the pic already . . . Here it is again.

the matching skirt, too! fashion break . .

Ha ha! No stopping Lana fans, according to the Pre-Release thread tracking down singles and release dates which were unannounced, or signing up for OceanBlvd IG! This looks like the best place for newest aritcles: https://www.nytimes.com/section/magazine

Deciphering the current issue, the url shows for The 4.9.23 Issue was live digitally the previous Thursday, on the 6th? https://www.nytimes.com/issue/magazine/2023/04/06/the-4923-issue Maybe we can look for it Thursday the 20th . . . But the previous issue was live on Friday . . . https://www.nytimes.com/issue/magazine/2023/03/31/the-4223-issue I tried all the combos to find out is there anything in place for the issue after the next, but there isn't!

Song of the year, or record of the year nominee, will be Candy Necklace. A&W is critic fav, but not mainstream enough for that award. The subject matter is too edgy . . . Also, does anyone on here agree it is telling mainly about white girl problems? Not that they are not universal . . . Black child abuse is incestuous rape by an uncle . . . or, being prostituted out by family members. What was Oprah's deal? From wikipedia: Oprah went on to graduate college and become a successful journalist, parlay that into a hit show, and touched lives, mine included! That is before the time of most of the Lanaboards members. Oprah had everybody on the show, even kleptomaniacs, survivors of abuse, and Southerners who used the "n" word! Besides celebs. The reviewers who read A&W as chaotic have it right, imo. But some are saying in Part II, Lana is claiming her freedom and living it up. Because it sends mixed messages that Lana has historically had pinned on her, which are not true, I think it shouldn't be a contender. Candy Necklace, a collab with John Batiste, already a Grammy fav, might be a suitable nominee. I think all the songs on Ocean Boulevard album could be, except Judah interlude, which I never heard. I love them, except the last two are a bit too gritty for me . . . Candy Necklace is just as worthy as any of them. A&W I agree with the commenter who said, "A&W is a masterpiece for feminine pain." Across cultures, adults sticking children with adult accountability and shame is real.

Aaron's okay. It is temporary. I get it, because sometimes I have to walk away from my laptop and twitter accounts to get stuff done . . .

Needed this cool breakdown on Jacks rhythms and instrumentals, and Lana's vocals, melodies, and rhythms on A&W (Lana sings rhythm, people! Yes, she does.) by composer Vivek Maddala courtesy of Stereogum: A Composer Breaks Down The Music Theory Behind Lana Del Rey’s “A&W”

Pretentious journalism majors! People do not know how to feel. They do not know how to listen! I badgered a certain artist to please take fans on a journey of his musical taste in classical music, which are his influences, and I'll be moving on to this next . . . Composed with Devonté Hynes . . . It's like, his camp got the memo! https://www.bbc.co.uk/programmes/m001jy35 It is music class, to learn how to listen with someon you trust, not someone who jumped on a bandwagon and is following the herd, saying how great this is. Re the review from Fantano, this is the one fans can point to, as the authentic review from a head-banging metal or punk snob! That is what I thought. But he is articulate. So I listened to his feedback on Ocean Blvd album before I saw the score, and the first two minutes, when he said: "I'll say this. Lana may not be one of my favorite artists. Period." It's like, we know. You're a head-thumping metal head snob. Do you HAVE to put the disclaimer here? And he went on: "But she has been one of the most frequently reviewed on this channel. Cause there's only a few artists I can say like I've covered for the eigth time in album reviews alone." So what? You gave awful reviews! "And, at least for me, in Lana's catalog there's been some highs, but a lot of lows up until this point, too." That isn't the opinion of most on Lanaboards. I prefer live, and enjoy lots of performances from the early eras. Many here view BTD, UV, and Honeymoon peak Lana, and her style changes are regression. Fantano goes on to say: "But, the progression has mostly been all uphill as I think Lana's chops and sensibilities as a singer and a songwriter have gotten better over the years. Her sense of adventure as an artist has increased, too." Do you think that is more about giving Lana a chance as time progresses? So he's discovering what fans have known all along? "Not only that, but I think she's done a great job of coming into her own, becoming more self-aware, portraying herself in a more flattering, compelling, and authentic light. And, actually embodying the classic Americana aesthetics that at one point in her career came across way more tacky. Creatively, I really think she hit a peak with the record, NFR, as many people do. I think the following Chemtrails Over the Country Club was mostly pleasurable as well, but something did feel slightly off with her last full length lp Blue Banisters. While there was some likeable content and songwriting on that one, the peformances and song structures were pretty blemished and drawn out. I know historically, Lana hasn't been the strongest singer or anything like that, but up until this point it seemed like she was making a genuine effort to just kind of keep her vocals and instrumentation more on point and interesting." The first couple of minutes were like this, what came across to me patronizing, condescending, and trying to soften the blow of what was to follow, leading to a poor grade for Ocean Blvd. At about the two minute mark, his review went from condescending to Lana's talent, to effusive praise so nonstop it is like a steam roller of praise you had to get out of the way. It makes me emotional. I see what Anthony planned. HIs review is a song or poem itself! To preface by saying, "Lana may not be one of my favorite artists. Period." It annoyed me so much, like, we already know that. But he was going deep. His mindset after listeningn to Ocean Blvd moved him so emotionally, he started out by almost dissing Lana, to prepare you that what was coming was a fierce, true, heartfelt and unemotional praise! Some highlights I appreciate in the steam roller of positive feedback which followed: *********************Quote************************************* Which is why I say Ocean Blvd is actually a very nice bounce back, because I think she has hit another high on this one. Sweet has one of the prettiest melodic runs on the entire record. Endearing ballad about building a life with another person. Fingertips: Not the strongest direction songwise of all the tracks here, but it's still a compelling whirlwind of emotions. Moody ballads with striking melodies continue Fantano said Margaret haunting refrains in the track, When you know you know, are gorgeous and hard hitting. Tore me apart emotionally. After Margaret, deluxe edition. Like Ocean Boulevard is over and has just a few odds and ends to dish out. The first 13 cuts on this thing are amazing, they're fantastic, in my opinion, nearly flawless, Lana's best work, yet. Her finest crop of songs. Good production. Good instrumentation. The lyrical content at the core of these tracks is personal. It is detailed. It is thoughtful. It is moving. It's also pretty low on cliches as far as the Lana average. Plus, these tracks didn't really need a whole lot of dolling up instrumentally, because how catchy and emotionally potent they are comes across regardless of how many strings are piled on top of them. I'll also add, this record really is the best application of features on any Lana record so far, too. The John Batiste contributions are especially fire. I'll reiterate, the ending moments are a little odd and not entirely necessary, but I'm not mad they're here, either. They do kind of add to the mythos of this record in a way, and Lana's progression as an artist over the years. I don't want to belabor my thoughts on this album any further. I think it's great. I genuinely think Lana did a wonderful job on this one. She knocked it out of the park. I'm feeling a light to decent "9" on this thing. *********************UnQuote************************************* This is the review by a musician who listens to music, who doesn't mince words on what he likes and expresses himself eloquently. I don't want to say who lives for music. What is the expression? Who needs it like a drug. Woah I wrote another long-winded post! Fantano's carefully worded and well-spoken review made me emotional, like a Lana song, understated and subtle and hard-hitting at the same time!

How can someone new to Lanaboards keep dissing a favorite Lana reactor? That said, Ajay should listen to OB first . . . Just discovered another Lana fan I adored this reaction of OB: Meyechel Angelo

Wow! 17 years ago, and Lana was only 20, and wrote a song like that, with very clever lyrics! But it is cute, and there is depth to it, and it is gratuitous, too. I thought you quoted another artist, but I did a search and found the song, My Momma. The humor is already in play! Thanx for the quote.

You said: We're in agreement there!

Wow! Good answer! You responded over there, and I had responded over here. I will post your quote here, with your permission:

From the Did you know that there's a tunnel under Ocean Blvd - Post-Release Discussion Thread + Poll discussion, I prefer to reply here: Wow! Emotionally I am still shaky from TUOB, or maybe I am more "available," but I had a mini-breakdown just reading the lyrics! Here goes: I stand by my interpretation it is the daughter, Alyssa. It is unthinkable to drag someone in the limelight in an unflattering way, is why Lana was vague. The prior verse: And I thought I found it in Brentwood It seemed only appropriate you'd easily have my back talking about Sean - what do you think? Agree? as well as the verse which follows And then there was the issue of her I didn't even like myself, or love the life I had: And there you were with shining stars Standin' blue with open arms You touched the detriment most of the friends I knew already had So even though Lana mentions her mother often, and it is a valid take on your part, in this case, with the "her" lyrics sandwiched between two sentences about the cop, I think it refers to Alyssa, the daughter, who outed the cop's and Lana's relationship. I remember People magazine posting the unflattering photo and quoting Alyssa. Paparazzi never quit descending on Lana. Nor, sometimes, the fans! I think everyone on Lanaboards is cool and would give Lana her space, but some young stans go beserk, like those driving in the car next to her driving a 4Runner on the freeway, obviously in a private moment, and feeling entitled to film Lana. I shudder because of the danger to themselves and other drivers! Inappropriate. And the license got captured, too, with the entire thing viral on twitter . . . Alyssa was excited her Dad was dating Lana, and maybe wondering is Lana going to become step-mom, and requested selfies with Lana. That's why Lana said "I didn't even like myself, or love the life I had." Like, people think celebrity is so great, and famous people have it made . . . so selfies are an entitlement to the fans . . . It is not true. What goes on inside, Lana was trying to share. Sometimes Lana is barely holding it together!

Now I have to go reread the lyrics!

"with or without him" him being sean" I think that is correct! Here is an interpretation I haven't read online: I think her refers to the daughter. And there was the issue of her. I didn't even like myself, or love the life I had. The daughter, Alyssa , is the one who outed the romance . . . Alyssa seems like a nice girl, tho celeb-struck. Could be.

Because of the lyrics and melody moving the song along, I agree with the comment on youtube: after the comments about girls losing their innocence prematurely. Is it because you are streaming? Lana made this for me with my sensitive hearing. Can't listen to mainstream pop with its heavy production. Lana Del Rey on the bleeding edge of sonic exploration, going quieter. Sorry of your jumpscare, tho! Thanx for your observation! Did anyone notice the "death spiral" on The Grants: "but . . . but?" Gerschwin's My Man's Gone Now as interpreted by Sarah Vaughen has several is an aria with the voice doing the death spiral in several places, no lyrics, just pure emotion over the grief of a dead loved one. Cannot believe, with this album, and what you said about the voice, putting Sarah Vaughan and Lana Del Rey in the same sentence? Oldster like me understands the significance . . . but I'm hearing it on DYKTTATUOB!!! Put your opera ears on. I timestamped it to start at the first vocal death spiral. You are bold to voice your opinion, which I read with interest. It is valid! I do not trust streaming! Perhaps Spotify cannot get the compression right on a delicate production like this! But it sounds good on PC listening to mp3s on my headphones, left ear only, because of damage in my right ear that distorts sounds. Haven't heard the entirety of Folklore, only Cardigan, but am tickled for Lana's sense of humor to write a Taylor-esque song, if what you said is true. That is why I enjoy Lanaboards so much! It is another love tribute to Jack Antonoff. Taylor's bonus track on 1989 is called, "You're in Love" is tribute to Lena Dunham and Jack Antonoff, with lyrics that read: Lena Dunham tweeted, IMO, Lana is entitled to appropriate from Taylor, imo, because Taylor draws major "inspo" from Lana . . . so much I used to feel indignant in Lana's behalf! At least Taylor credits Lana. Not like others who steal and DO NOT credit. In these apocolyptic times, a dying breed, like from the hippie dippy love generation flower children? 1967 was the summer of love, Vietnam protests and civil rights. Suicidal. Lana is not allowed to say it. Guardian UK burned Lana for making an off-hand joke about joining Morrison, Hendrix, Joplin, and Winehouse when Lana was also aged 27. After Lana trusted the interviewer, he turned the off-the-cuff wry observation into a headline . . . for which Lana it seems did not forgive The Guardian . . . and granted no more interviews, as far as I can tell. Guardian did reviews and think pieces about Lana Del Rey since, but no exclusives . . . It's you the fans who keep Lana from doing the unthinkable, imo. Like the Japan idols venerated around the world, Lana is so influential, her taking the easy way out would result in a domino effect of copycats. I am sure Lana has had low points, as her recent works infer, but she dismisses the thought, because of you. It is not just about her, I am certain . . . RollingStone put Video Games at the top, and rated Heroin the bottom? I have nothing against Video Games, but there are so many great Lana songs even from that era that outshine it frankly, to me! People love Video Games. I do not want to take that away from them! I would much rather read the reviews here because the fans are educated at least, even if your opinions differ from mine! You study your subject. It is much more illluminating to get the feedback from you, even if I do not agree. Mostly I agree, though. About Heroin being bottom. The journalists get it wrong! Not with the album, but I did catch up on the last 50 pages of this thread today . . . Like I said, above, your opinions so much more captivating than anything out there. Not even reading the reviews. They just do not know. Structure, melody, instrumentals. It is a real song! I skipped JS interlude, but am interested in the tea about Sean disrespecting Lana. It is the crux of songs from Chemtrails on. Why why why why why did Sean walk away, when he had Lana? It must go deep, the climate at the time, the anti cop sentiment, protests over cop abuse, perhaps feeling like Sean's loyalty to his badge was tested for dating Lana? If I had a life, it wouldn't concern me, I suppose. But Lana' music speaks to me so much, I suffer, too. I felt violated when Chuck was robbed of digiatal photos, etc. let alone the recent car breakin Lana made public. It hurt.

When Lana sings: "I'm not that smart," I can relate! Your comments and observations make me think about listening in a different way, or understanding better what Lana went through. Your comments really enhance my enjoyment! The album is too much for me. I don't know if my emotions spill because of what I bring to the listening experience, or because Lana, Melodye Perry, Pattie Howard, Shikena Jones, Jack Antonoff, and Father John MIsty . . . mine the gorgeousness out of the melodies and lyrics, which touch another brain space that releases sadness . . . You know, having something in the past the lyrics you can relate. One more reason I cry is tears of joy over Lana's triumph over this original work - the album, Did You Know That There's a Tunnel Under Ocean Blvd? It speaks to the fans! Which Taylor Swift is one - I cried over Taylor's remarks on Lana in her intro to Snow in her Vegas show! Catching up on the comments here, I thought I'll listen to the final tracks starting with Fishtails, because they were reviewed as being, "light." Fishtails did me in. I'm spent. With two more track to go, but I am switching up to relive the opening tracks with Aaron (ForWhateverReason on youtube).

Grandfather please stand on the shoulders of my father while he’s deep-sea fishing - staggering! The stuff is happening! The kite is flying high on the melodies and poetry! The [Outro] Three white butterflies to know you're near is like a child how we would pray . . . That's it for today for me. I began by relistening to Fingertips, and bawled again to the verses, now that I know what they mean. Enjoyed the pleasant, Paris, Texas, and I just needed one more. Is this the track everyone said is tour de force?

How can you do it? I thought, I'll listen to one song, open it like a gift. It is Fingertips, and I am listening with the lyrics open on Genius, and sobbing! Instead of gobble this album up, maybe I have to listen one song per day . . .

Just finished listening to Kintsugi, after I played The Grants and the title track and the rest through except A&W because I already overplayed that one and am skipping Judah Smith Interlude . . . I am purchasing the mp3s one by one on Amazon, because Judah Smith Interlude is a skip to me, audio unheard. Youtube has too many pops and pauses, and I do not subscribe to Apple, Spotify, or the other streaming services. Mp3 the way to go, for me . . . As soon as Lana's voice started doing arpegios on "I'm sweet, bare feet" on Sweet, I pronounced, Album of the Year! Now, I'll pause and do my cleaning job for my absent neighbor before catching up.. Thanx so much for all your opinions! You can tell from my Likes I read through and enjoy them!