Hey, come here for a second. Yeah, just for a second. Welcome to the New York Times podcast,

your gorgeous, gorgeous boys, take a week off, gorgeous, gorgeous boys, and girls.

I have a little gift for you of music, music, and criticism. I'm your host, John Carmonica.

As you can probably tell, this is an episode about Lana. We recorded this episode, me,

Lindsay, Mina, and Pedro. Recorded this episode, back around Chemtrails, and had a little bit of an

issue with the file. And it's been on my mind these past few months. I wanted to find a way to

hopefully rescue it and get it back. Fortunately, as a year beginning treat, Pedro is able to

rescue the file from the maw of technical difficulties. And here we go. I want to say it was a great

episode. It's one that I thought about a lot over the course of the year. So I'm really,

really happy that we're able to do this. And I hope you guys dig it. So look, we're just going

to jump right into it. Here is me, Lindsay Zollads, Mina Tava Coley, talking about Lana Del Rey.

Happy New Year.

I'm joined. Lindsay Zollads is here. Lindsay, hello. Hi.

Lindsay reviewed the new Londell Rey album for the New York Times. Joining us also for the first time,

Mina Tava Coley is here. Mina, what's up? Mina reviewed the album for pitchfork. We are going to be

talking about Lana, which means we are going to be talking about American conservatism or iconography,

or the tug of war of willpower. I don't know what we're going to be talking about. We're going to be

talking about California and leaving California. Actually, just a quick sidebar to the two people who

emailed me separately about our Grammy's episode, informing me that both Black Boomas and her are

played on the radio in California. I want to say to you that I appreciate you underscoring my New

York centric understanding of radio programming and also want to acknowledge that that is a strange

thing. Thank you for sharing with me. It remains strange. While we were in California, back to Lana

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