Did you know that there's a tunnel under Ocean Blvd - Pre-Release Thread: OUT March 24th, 2023

[Venice Peach 54,337]

21 minutes ago, anwdelrey said:

Another Drew Erickson lashing because I’m just in a bitchy mood.

 

Y’all see how A&W’s first part, even if piano-oriented, evokes a very specific mood and tone? Drew Erickson could NEVER EVER. EVER.

Yes he could and he did on BB 

It's the same cycle again. Hating on Jack's piano, now on Drew's and next album cycle will be the poor soul that dares to produce a piano ballad for her.

Kinda tiring 

[taco truck 33,271]

6 minutes ago, Crimson and Clover said:

what if someone had asked Picasso not to be sad 

 

I do really enjoy his piano in Sweet Carolina though..we shall see how his songs turn out on TUOB 

Thats Rob’s piano

[Crimson and Clover 22,525]

1 minute ago, taco truck said:

Thats Rob’s piano

I’m screaming  I’m v excited for Rob’s album then!! 

[hotshot2am 18,791]

Both Rob and Drew have piano credit on Sweet Carolina 

[honeymoon is alive 21,405]

not the piano talk again 

[ivory almond 16,125]

me when I realize that the switch to the Lizzy Grant/BTD production in A&W is actually a symbol for how Lana almost reverts back to her old ways of being that sensual, sexy, glamorous "whore" because she doesn't feel loved in her current state of being, so going back to that old persona will at least make her feel wanted by men

however, this contrasts the first half of the song which IS that gentle, acoustic sounding that reflects her current persona, and the first half also talks about being sexualized and "asking for it" when it comes to assault, so she can never win because she will always be either criticized for being slutty or continue feeling the lack of love that she talked about in ocean blvd

 

Thank you for coming to my TedTalk

[American Bottom 16,229]

Imagine if when instead of just *teasing* drums at the second "it doesn't really matter" part, it just erupted into a Venice bitch final chorus x Cruel World type fiasco. 

 

Cmon @plastiscguy make us a mix! If anyone can do it, it's you. 

[LanaBalkana 6,736]

11 minutes ago, ivory almond said:

me when I realize that the switch to the Lizzy Grant/BTD production in A&W is actually a symbol for how Lana almost reverts back to her old ways of being that sensual, sexy, glamorous "whore" because she doesn't feel loved in her current state of being, so going back to that old persona will at least make her feel wanted by men

however, this contrasts the first half of the song which IS that gentle, acoustic sounding that reflects her current persona, and the first half also talks about being sexualized and "asking for it" when it comes to assault, so she can never win because she will always be either criticized for being slutty or continue feeling the lack of love that she talked about in ocean blvd

 

Thank you for coming to my TedTalk

I like this take but to me the first part sounds just as much Lizzy Grant as the second

[anwdelrey 9,271]

32 minutes ago, Venice Peach said:

Yes he could and he did on BB 

It's the same cycle again. Hating on Jack's piano, now on Drew's and next album cycle will be the poor soul that dares to produce a piano ballad for her.

Kinda tiring 

I’ve never hated on Jack. Like?

[nectarofthegodss 1,534]

Stop hating on the piano lanaboards challenge 

[the ocean 67,601]

this isn't on topic y'all

[sadness is a butterfly 5,796]

1 hour ago, lemonadedelrey said:

 

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Her referencing serene queen is killing me…these lyrics are just really something else. They’re so HER and so beautiful 

 

 

Spoiler

Already ready for the mashup after that line “They call me the Sereeeeeeeeene Queeeeeen come on baby if you want it you can get it”

 

[takeyourselftosleep 1,485]

My head canon for A&W is that the first half is like the 'morning after' with a hangover, honestly reflecting on the mistakes she's made and the horrors she's endured, and then the second half is when the sun goes down and she's repeating the trauma-cycle by numbing the pain with substance abuse (hence the vocal effects fading out her voice when the 808 kicks in) as the upbeat electronic music drowns out her thoughts and replaces them with a dumb repetitive jingle.

 

I have no basis for this, it just intuitive feels right and helps bind the two halves of the track into one cohesive work; there's the morning after comedown where the intrusive thoughts bleed in, and the numbing of these thoughts through sex/substance abuse and loud distracting music while she's in the club.

[past the bushes 30,939]

did you know there's piano talk under pre-release thread 

[clementines 9,901]

The piano on A&W is the best in YEARS so stop talking 

[love deluxe 8,861]

shimmy shimmy koko bop jimmy jimmy ride

[LanaBalkana 6,736]

OMG guys I just realised that Lana’s birth name is Lizzy Grant and the first track is called the GRANTS. Do you think it’s a coincidence? 
 

okay I’m sleep deprived and shitposting. Goodnight y’all

[jamesss 3,818]

3 minutes ago, LanaBalkana said:

OMG guys I just realised that Lana’s birth name is Lizzy Grant and the first track is called the GRANTS. Do you think it’s a coincidence? 
 

okay I’m sleep deprived and shitposting. Goodnight y’all

i think one of the questions that new members should be asked is "what is her real, full name". 

KIDDING though but fr im anticipating the grants

[mrborntolose 9,967]

okay i’m gonna say it: i’m so excited for Sweet 

[American Whore 51,541]

TW - SA

 

I have some feeling Lana is experiencing some internal slut shaming, fueled by societal media slut shaming. Clearly, AW is somewhat sarcastic in the same way that Boarding School is, where she's saying she's in the back of a club doing crack. But also, putting AW next to Ocean Blvd, it makes the title track make more sense and solidify what I was thinking when I heard it for the first time. "I can't help but feel somewhat like my body marred my soul" The entire beauty standard set by men/media (who, according to Lana on A&W, also might call her a whore), she's wondering if she takes control of that beauty standard and what she sees in herself, if she'd be forgotten, like the tunnel under Ocean Blvd, which was built to be at one time, beautiful with "mosaic ceiling, painted tiles on the wall". Would shen then have beautiful value, even if she's forgotten? And then on ocean blvd, she goes on to say, "Open me up, tell me you like it, fuck me to death, love me until I love myself" as if she's saying she's been inside this box and only when he finds her beautiful (or media finds her to be beautiful or her poetry, lyrics, what have you), they've already ran over her so many times that she's trying to figure out how to cope with herself from that initial running over, how to love herself. It goes along with A&W too - "it's not about having someone to love me anymore" is tragically sad, spoken by a woman who may not believe she's worth being loved by her lover or the media. I believe it's mostly about the media rather than a guy, but it all has that connotation that at first glance it is about a man but it can be applied to the media too.

 

"I mean, look at me, look at the length of my hair, my face, the shape of my body" She knows she's beautiful, but physical beauty in this business makes you seem from an outlooker like some cheap whore who fucked her way to a music deal. I guess this goes along with Fucked My Way Up To The Top, which may be why I'm pulling my own comparisons to UV right now, aside from this being another experimental sound from her. And then she goes on to talk about how she's been raped (which may have multiple meanings to it, whether she's talking about sexual assault, looking at how the media has absolutely fucked her, you could say that was a double entendre for that entire experience.) "do you really think that anybody would think I didn't ask for it, didn't ask for it, I'm testifying, already fucked up my story" which is true. After SNL, she didn't have a chance at redemption, she was fucked right from the start and when women experience SA/R they're told "You asked for it, you wore a mini skirt, you wanted it" or something along those lines. And in both contexts, I could see how invalidating that can be. She's shown us from the very beginning, whether in exaggeration or not, look at Tropico and what story that film told. It puts into perspective some of her other lyrics that I never really thought too deeply into. G&M, "Looking to get fucked hard, like a groupie, incognito, posing as a real singer, life imitates art" is one of them. Putting it next to A&W and Ocean Blvd, it kind of represents a path of a story she's been wanting to tell her entire career. 

 

Someone else has mentioned how it reminds them of Bare Feet On Linoleum too

 

"But alas.

This is a real life. And it’s been a real fight, just to stop my mind from committing treason.

Why, you ask?

Because she told the towns people I was crazy.

And the lies, they started to believe them."

 

 

 

Idk what I'm saying, maybe I'm analyzing too much into it (i'm sick rn, so maybe that's it) but the further we get into this album, I think a lot of things are going to fall into place and make sense.