sparklrtrailrheaven

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

For Venice Bitch, I'm reminded of the Doors, especially wrt the moog, and maybe it's crossed a little with Simon and Garfunkel. She's influenced by artists like Cat Power and Father John Misty, who do longer tracks on occasion, and Jonathon Wilson, who do longer tracks plus significant jamming. I hope she took the primary role in creating the interlude music, as having longish instrumentals is a really big change for her, and one of the obvious ways she can grow musically. Of course with experiments come failures as well as successes, but I don't think of this as a failure by any stretch. However, I do hope the album has more "torch-singing" in the other songs, as I kind of miss that.
 
With regards the album title: Hopefully, the descendents of Norman Rockwell (who died in 1978) are Lana stans and will let the title stand. It's a title that will really discomfit award shows that nominate it. What gives me hope from the album title, being as unexpected as it is, is that "Lana Del Ray AKA Lizzy Grant" and "May Jailer: Sirens" would make the sequence of released album titles a bit more reasonable, so maybe the probability is higher she (re-)release these works?  And maybe NFR will disinhibit her enough to release some unreleased collections (with surprising titles). With this artist it may be her diversity that ultimately sets her apart, which is why I stan the unreleased/suppressed stuff (as extensions of that diversity) and am not turned off by a direction change.
As for the song NFR? It will be interesting (for me, at least) to compare it to Ani Difranco's "Napoleon" (which also uses the word "fucking") and Carly Simon's "You're so vain", both classics in the genre of egotistical-artist-diss songs.

Also guys I cannot believe we actually made it out of the trap beats  
 
Now can people stop shitting on Jack as a producer??? I knew him and Lana would make amazing music together, Jack is such a talented and versatile producer

This makes me so emo. NYC to LA, girl to woman, legend to goddess

wow, pretty sure VB is going to hit 1,000,000 on youtube in its first 24 hours which is just incredible. Ten minutes of actual euphoria. 
I was soooo afraid after LFL that we were going to end up with some shitty half-assed follow up with Rick, my god, I'm so grateful- This is the complete opposite.
 I love her so much

Ugh I feel that... I'm aware this is gonna sound very melodramatique-wigs-snatched-crops-watered-acne-cured but something in the vibe of the songs makes me want to become better. A better person. Cut all the toxic stuff in my life and take advantage of every moment because everything's fleeting and soon enough you'll become nostalgic of your happiest memories and you'll end up crying on Venice Bitch at three am. So you gotta live every moment fully and thrive to be a better person. I decided to quit smoking today and for the first time in over a year I actually feel I can keep on this time. Talk about Lana Del Rey having a bad influence on the youth

What I'm understanding her to say is the first week they worked together she wrote what felt like were two of the best songs she had written. She then said he just has a lot of juice in him, I think she was just trying to say that he is very inspirational and has a lot of talent/ideas. If these two songs were indeed written that first week then thats going to be a no for Yosemite. I really think all the outtakes are dead for this album. I see this being all new music that she and Jack created.

GIRL i love this theory so fucking much i'm gonna shed real tears
 
Norman Fucking Rockwell era already making me feel like the drunk girl @ the party telling everyone she loves them.... i have so many feelings rn and they're all positive

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

VB is #1 single of the year on Rate Your Music, with a 4.21 (at the moment of this post), putting it on their charts for the top 100 singles of all-time. 

Relatable

Her twitter layout rn is so interesting. The pure, sheer glamour of BTD/Para era represented by heavy eye makeup and iconic big hair, vs the completely bare, stripped cover of MAC. There's something about the contrast
 
Also one of the things that make me happy about VB is that my father, a big Dire Straits lover, is gonna DIG this. He already loooooves Honeymoon and sings Video Games out of the blue from time to time. Which means I'll easily get to listen to VB in the car at midnight going to the seaside for the weekend and the thought makes me extremely happy

Are we gonna ignore the fact that miss May Jailer overcome her dissociative identity disorder and finally is working on her pilot license, our girl could be flying fighter jets all over the nation any time soon

This album title perfectly encapsulates how
 
This album title perfectly encapsulates how ****ed America is at th moment. What a thoughtful, twisted, and brilliant album title. I’m shook!

I'm spazzing I love how in her interview she was all nonchalant, and lighthearted. We love a happy humorous, life-enjoying kween NORMAN FUCKING ROCKWELL only Lana could properly pull that all off - 

I don't mind the video... The speeding cars on repeat with the instrumental puts you in a trance and takes your mind somewhere else. She had me thinking *I* was your little Venice Bitch there for a hot minute.

TBH I had given up hope of ever falling in love with her music again. Lizzy is back!!!

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

norman  
 FUCKING
 rockwell

norman  
 FUCKING
 rockwell

I'm so in love with these songs, and all the creative decisions she's making -- I've never been so excited for an album, nonetheless one by Lana. 
 
I have so many thoughts right now
 
Like, as much as I loved LFL, it seems like such an anticlimax compared to this. It's fun enough to listen to, but it really does feel empty compared to what she's given us here, already. I already love this for the same reasons I love AKA so damn much: it's Lana pursuing what she's passionate about, creating extremely unique, layered music. There's thought, soul, and inspiration behind it, and it shows. 
 
As for how strongly the era is already dividing the fans, I think it's brilliant. I haven't seen such outrage or vitriol directed at Lana for her creative choices since Born to Die, and I think it's absolutely amazing this time around, because she's consciously making provocative decisions. Like, you can't title an album Norman Fucking Rockwell without knowing it's going to give you some hell. This is the same woman, the same provocateur, that once raised eyebrows in the extreme for opening a track with the line "My pussy tastes like Pepsi-Cola". She's back.
 
I love that, especially with Venice Bitch, she's returning to that idea of nostalgia and classic Americana that we haven't seen in years and years, but as someone here said (apologies that I can't remember who), it's matured. She's become the most adept at writing in her own style that she's ever, ever been, successfully combining her starry-eyed view of the past and America (hence the reference to Rockwell, who painted an idealistic, wholesome America) with the reckless abandon and controversial attitude that made her famous in the first place, which leads us to the big ol' "fucking" slapped right in the middle of the name of an American icon.  It's heart without excessive sentimentality, and attitude without bitterness. 
 
I think these things combined (and things we have yet to see) will propel NFR to classic-level, like Born to Die or moreso -- maybe not in terms of widespread fan adoration, but in terms of being a stylish, smart, thoughtful and timeless record. 
 
I'm over the moon 

norman  
 FUCKING
 rockwell

i usually never even venture into the pre-release threads but i want to talk so much about this era, this concept, her mind, UGH