sparklrtrailrheaven

This is a super interesting point! As someone from the southern US, I think that definitely feeds into my love for AKA — I’d never really thought about how those aesthetics would read outside of an American viewpoint

Oh, you know I love to talk about HER I feel like another factor in AKA getting a bit buried is (maybe obviously) that she’s just released so many more albums. Like, even becoming a fan in the Honeymoon era, there were only 3 studio albums and an EP, as opposed to 5 more since then. New fans have a much larger, readily available back catalogue to explore, and probably aren’t as driven to find every scrap of music (although there are still plenty, as evidenced by this site!!). Do I think they’re making a huge mistake? Duh! I’ll always believe AKA should’ve been bigger in its own time, and should be way more valued as part of Lana’s artistic legacy now. It’s honestly bizarre that with a producer as well-known as David Kahne involved, it hasn’t had a widespread reappraisal… but we can hope, and until then, I’ll enjoy AKA being our best-kept surf noir secret

“If I call you on the telephone, I might overdose / ‘cus I’m strong but I’m lonely / like Marilyn Monroe” is an all-timer for me and the rhythm of “Not since Bonnie & Clyde / was two kids so good at being bad, bad, bad / I’m flirtin’ with the checkout counter, baby / put the money in the bag” make it another absolute fave

This makes so much more sense, she still recorded it herself but Zach provided the instrumental

I thought VotD was self-recorded? It seems to pretty clearly be a laptop demo

When she told the children this would be released

The Instagram videos filmed off her cracked-ass phone screen of her screaming at a spider

Weeping @ ur genius... Seeing LDR + Elizabeth Short + Norma Jeane side-by-side is making me feel thingz

We are all welcome to our opinions... but you either appreciate the role of the BTS footage or you're WRONG

I wasn't sold at first, but... I'm sold Not only does this work so beautifully with the process-is-product aesthetic on Ocean Blvd, but is honestly such a definitive LDR statement. Like, the fact that there's already discussions about the BTS shots being inauthentic just speaks to how well she executed this concept of "blurring the lines between real and the fake" (to quote a certain BtD classic). You never know what's a persona and what's genuine LDR (whatever that is!). And the audacity of ending the video with her posing with her (as yet) nonexistent Hollywood star? It doesn't get any more classic Lana. In awe

Also sign me up — great idea!

AAAA AAAA AAA NOT THIS MARILYN BERT STERN 1962 LAST SITTING SERVEEEEEE this is so homemade video Lizzy Grant blonde wig Pawn Shop Blues core…. Losing my mind (obviously)

I linked the website in the previous post! The only drawback is that you've gotta enter all the information yourself

Just ranked the *full* LDR catalogue, and here's my top 20 -- idk if the order's perfect, but the songs are right 1. Peppers () 2. Put Me in a Movie 3. Greenwich 4. 4th of July 5. The Man I Love (yes I'm using the edit) 6. Off to the Races 7. Mermaid Motel (Demo) 8. Diet Mtn Dew (Demo 3) 9. Pin Up Galore (v.2) 10. Kill Kill 11. Mermaid Motel 12. Taco Truck x VB 13. Smarty 14. Dance for Money 15. Neon Palm 16. Stargirl Interlude 17. A&W 18. Driving in Cars with Boys (v.2) 19. 1949 (Demo) 20. Cult Leader Unsurprisingly pretty Lizzy-heavy, but it was a surprise to see 3 DYKTTATUOB songs make it (and Peppers dethroning EVERYONE)

I’m not arguing with verifying facts, just don’t act like you’re the sole crusader exposing the truth of something that you have just as tenuous a grip on as any non-insider on Lanaboards. Calling out BOZ for sensationalizing is very, very rich when you headlined this post with “It was all a lie…” Consider cutting the drama and simply discussing this stuff civilly like (most of) the forum does, instead of creating an incensed call-out post for someone whose veracity you have no better way of proving than anyone else here — anyway, stream TROPICO

I think the effort to cut through all the “insider” hype and think about this new information on its own terms is admirable, but… as others have said, even Lana herself can’t be trusted to provide hard facts — remember when she allegedly recorded Axl Rose Husband at age 16 If she, above all people, is not a verifiable source, then I don’t think we can judge anyone’s speculation/information too minutely if it seems to line up with the very limited hard evidence we have. With Lana’s penchant for fudging the facts, no one is a totally reliable source — framing this takedown of BOZ as an attack is a bad look when the information he’s given us is as close to verifiable as any we’ve received from an insider. We can’t expect him to be perfectly accurate on every detail when he wasn’t there, and the people who were tend to misrepresent/misremember the events. #JUSTICEFORBOZ

Gonna be honest — it’s already been long enough for me to decide that Peppers might be my favorite song she’s ever released Truly completes my holy trinity with PMIAM and OTTR So sexy, so weird, and it’s got a goddamn Dick Dale interpolation!!!!!!

Even without the username… Violet

For anyone who doesn’t mind putting in the song titles manually, this site lets you create the same kind of sorter for free: https://www.pubmeeple.com/ranking-engine — now I just rank everything bc I can, lmfao

I wanted to read through the entire thread before I posted, but went to work and came back to ever-multiplying pages... which actually makes me so happy This album feels like such an event in a way the last couple haven't (no shade; I don't think COCC and BB were intended to be 'event' records), and there's always something so special in feeling this collective rise in energy when a record drops. Love y'all, love this place, and, my god, I love the music... I don't think I can really formulate the full assessment I want to eventually write after only a couple listens, but I am really amazed at how quickly this record has found its way into my heart. There's nothing wrong with an album that grows on you (BB ), and sometimes, that experience is really rewarding, but there's something to be said for a record that immediately hits full-force -- even more remarkable when it's as dense as DYK... it's definitely a piece of music that rewards close listening. I achieved that with the help of some illegal substances that I can't help but feel that Lanita would endorse (GET HIGH! DROP ACID! NEVER DIE! NOT TONIGHT! LAKE PLACID!), of course, and it paid off to really become immersed in all the detail Lana and her incredible crew of collaborators worked into both the lyrics and the production. I love so much that Lana's still got the power to surprise me after so many years and so much deep-diving into her world, both the public and personal (get thee behind me, Lanalysis brainrot) That being said, I think what's impressed me most in the day following my first listen is how well this album illuminates all her previous work. I didn't want to ruin the magic by relistening to the album while I was at work today, but I needed my Lana fix, so I bumped unreleased stuff all day long -- and it all just sounds even more genius after Ocean Blvd. From Sirens, which so clearly provides the root of all the plain-faced confessionalism throughout DYK (who knew My Momma was the Rosetta Stone all along!!!) to the laptop demos, where I hear so much of the sampling and playful experimentation that makes DYK sonically so interesting. It's all been there, all along, and it's a real marker of success that an album so far into her career could invite such fresh perspectives on work that's even as old as the May Jailer recordings. If anyone were ever in doubt that LDR has created a bona fide artistic legacy, this should be the record to convince them. I was already a believer, but, man, it feels like becoming a fan all over again... Anyway, I'm going to hush for now before I start rattling off my stoned realization that the standard cover looks like an inversion of AKA's and all the implications I made up for that

The whole "cocoa puff"/"ko-ko bop" debate is so fucking funny to me because like every girl I went to kindergarten with was OBSESSED with Down, Down Baby... so when I first heard the song there was ZERO question in my mind that she was saying "Jimmy, Jimmy cocoa puff" and I loved the reference, only to find that everyone was at WAR about it That being said, I'm still a cocoa puff truther From some ~independent research~, it looks like "Down, Down Baby" has gone the route of virtually every playground chant, and separate variants have emerged with either "ko-ko bop" or "cocoa puff," the second of which is way less documented online. HOWEVER (!) as a child of the early 2000s, I wouldn't doubt that Country Grammar had some effect on spreading the "cocoa puff" variant. Like, I remember this rhyme circa 2005-6, so that's not too far out from the song being released. Besides, interpolating a playground chant into a bratty slut anthem is so very Lana, yes

Thought long and hard about this, and I think my top 5 are: 1. Flaunt - The David LaChapelle shoot constantly competes for my favorite ever, and I love everything about this cover. The colors, the found photo, the cheeky camp sensibility... whew 2. Billboard (2012) - A rare cover appearance by blonde Lana, in another of my favorite photoshoots. I've said it before, but this one is the perfect bridge between Lizzy and Lana, and kind of captures the best of both worlds 3. Q (2012) [Cover 2] - This one's the subscribers-only edition that's a tight closeup on Lana's face (posted earlier in the thread!). It's so intense and unexpected, and who doesn't love a Carrie moment 4. V (2017) - Another perfect shoot, crazy considering I thought she'd never top her first V cover with Steven Klein. This isn't even my favorite photo from the set, but it's still drop-dead gorgeous. Sophisticated, stunning, and just off-kilter enough to be LDR 5. Interview (2023) - The new cover!!!!! Nadia Lee Cohen has been on my radar for a long time now, and I never even considered how well she'd work with Lana. Totally genius, LDR looks like a broken-down bridal mannequin and I live for it. The shoot we always needed Honorable mentions include: Spex, Lovecat, Interview (2012) [the monochrome German cover edges out the Russian cover ever-so-slightly], and V (2015) For what it's worth, I ranked all of her major magazine covers bc I had a day off lmao and bottom position was Rolling Stone (2019)... no hate to Elton John but she looked weird and the cover was boring. Worst solo cover was California Style, which is one of the few I own I think she looks pretty and I like the green but god something about it is giving limp, dead fish

Saw this dropped while I was at work today, and almost listened to it then... but, I waited 'til I got home, loaded a bowl (), and made listening to A&W an event. And, holy fuck, I'm so glad I did!!!!!! I can't remember the last time a new LDR release blew me away like this -- MAC came close, but this is just like... next-level I'll always ride for Lana, and I've really appreciated her recent work, but it's been a while since a new track had me so excited!! Genuinely feels both totally unexpected and exactly what we've all wanted from Lana, and between this and the title track I absolutely can't imagine how great this album is going to be. Like it's gonna be her masterpiece right

She only released the title track bc she saw a snippet leak and knew we’d pay attention

Kintsugi leaked lyrics