#with the lana del rey debut album born to die (2012)

[supermarketcrush]

not to tomgreg post in october 2023 but i really think there is so much missed potential in everyone (most people) ignoring the lana-isms of their relationship 🤕🤒 u not rocking with the boss in an unhappy marriage fucking his young secretary affair type of relationship ⁉️

[marejadilla]

Lana Del Rey, “Gods & Monsters”, album “Born To Die”, 2012. "Gods & Monsters" is a song by American singer and songwriter Lana Del Rey, from her third extended play Paradise (2012), and the reissue of her debut album "Born to Die - The Paradise Edition". “Jessica Lange performed the song on the popular television show, "American Horror Story: Freak Show"

[candymay]

My crazy roman empire is Lana and Armie's work and life parallel like in that it's always sunny in philadelphia conspiracy theory meme way

2010: Lana's debut studio album as Lana Del Ray, a.k.a Lizzy Grant // Armie's breakout role in The Social Network. Fun fact: one of the songs is titled "Put Me In A Movie." Armie also tied the knot that year.

2012-2013: Marked Lana's major-label debut with "Born To Die," a divisive album that jumpstarted her career but also faced enduring criticism from media and critics. // Armie experienced his first "flop" with big studio films in "Mirror Mirror" and "The Lone Ranger," but the real ones know they're actually golden lol.

2017: marked a pivotal moment for both Lana and Armie. Lana unveiled her first SMILE on her album titled LUST FOR LIFE (the antithesis of her pessimistic Born To Die), sounds like a stupid insignificant detail yet it resonated deeply with the fans, marking a departure from her "sad girl" persona. It's her summer bop album. Very Timothee's Elio. // Obvi, Armie delivered his standout summer love performance in CMBYN, solidifying his position in Hollywood. It was a momentous occasion for Lana, particularly with the release of her song "Get Free" — you literally just had to be there it changed her history forever lol. Finally, I'm crossing the threshold From the ordinary world To the reveal of my heart I never really noticed that I had to decide To play someone's game or to live my own life But now I do I want to move Out of the black Into the blue

2020-2021: Lana faced major backlash for her infamous Instagram post "Question for the Culture" and later for wearing a mesh-looking mask during COVID. // Armie's divorce and scandal lol. Interestingly, the year before, Lana released the masterpiece "Norman Fucking Rockwell!" featuring the song "The Greatest." And I'm wasted Don't leave, I just need a wake-up call I'm facin' the greatest The greatest loss of them all The culture is lit and I had a ball I guess I'm signin' off after all

2023: Lana Del Rey released a diaristic masterpiece with "Did You Know That There's a Tunnel Under Ocean Blvd," transitioning from her self-indulgent, character-driven songwriting to a more personal and introspective exploration of her family and personal life. // After a period of silence, Armie's interview was published in AirMail as a full-length article. One of the songs, "Kintsugi," reflects on the recent deaths of three of her relatives, including her grandmother. Similarly, Armie had recently experienced loss; his father, his grandmother, and Florence.

Daddy, I miss them I'm in the mountains Probably running away, I've been meaning to say That there's nothing to do except know that this is How the light gets in Like cracking, the light gets in Then you're golden Just another folk song, but anyway I try so hard, but that's okay It's how the light gets in Armie opened up about his experience of sexual abuse by his youth pastor, marking the first time he publicly discussed it. Lana addressed a similar theme for the first time in her Grammy-nominated song "A&W". If I told you that I was raped Do you really think that anybody would think I didn't ask for it? I didn't ask for it I won't testify, I already fucked up my story On top of this, so many other things you can't believe

2024: Both are now living their best sober lives, with Lana having been sober for 20 years after her early struggles with alcohol and Armie has been sober for three years. They are now thriving, embracing new habits like vaping (lol), learning more about spirituality, and hanging with their family, and it seems like it's only up, up, up from here.

[shortfeedshq]

Lana Del Rey's Most Popular Album: A Comprehensive Analysis

Lana Del Rey is a renowned American singer-songwriter known for her unique musical style and captivating lyrics. With a discography spanning over a decade, she has released several albums that have resonated with fans and critics alike. In this article, we will delve into Lana Del Rey's albums and explore which one stands out as her most popular work. 1. "Born to Die": An Iconic Debut Lana Del Rey's journey into the music industry began with her debut studio album, "Born to Die." Released in 2012, this album introduced the world to her mesmerizing voice and cinematic soundscapes. With hits like "Video Games" and "Summertime Sadness," "Born to Die" showcased Lana Del Rey's ability to create hauntingly beautiful music that resonated with listeners. 2. "Paradise": An Enchanting Extension Following the success of "Born to Die," Lana Del Rey released the EP "Paradise" later that same year. Acting as an extension to her debut album, "Paradise" continued to captivate audiences with its atmospheric and introspective tracks. The combination of Lana Del Rey's ethereal vocals and thought-provoking lyrics further solidified her position as a rising star in the music industry. 3. "Ultraviolence": A Dark and Haunting Journey In 2014, Lana Del Rey unveiled her third studio album, "Ultraviolence." This album marked a departure from her previous works, embracing a darker and more melancholic atmosphere. Lana Del Rey's collaboration with producer Dan Auerbach resulted in a hauntingly beautiful collection of songs that explored themes of love, heartbreak, and self-discovery. 4. "Honeymoon": A Dreamy Escape Continuing her musical evolution, Lana Del Rey released "Honeymoon" in 2015. This album showcased a dreamy and atmospheric sound, with Lana Del Rey's vocals floating over lush orchestration. Tracks like "High by the Beach" and "Music to Watch Boys To" further solidified Lana Del Rey's artistic prowess and her ability to transport listeners to a world of nostalgic beauty. 5. "Lust for Life": Collaborative Brilliance "Lust for Life," released in 2017, demonstrated Lana Del Rey's willingness to collaborate with other artists. This album featured notable collaborations with the likes of The Weeknd, Stevie Nicks, and A$AP Rocky, adding a new dimension to her music. Lana Del Rey's introspective storytelling and the fusion of different musical styles made "Lust for Life" an intriguing and highly acclaimed album. 6. "Norman Fucking Rockwell!": A Magnum Opus Considered by many as Lana Del Rey's magnum opus, "Norman Fucking Rockwell!" (2019) garnered critical acclaim for its introspective and poignant songwriting. This album showcased Lana Del Rey's growth as an artist, exploring themes of love, Americana, and the complexities of the human experience. Songs like "Mariners Apartment Complex" and "Venice Bitch" showcased Lana Del Rey's ability to create intricate and emotive musical landscapes. 7. "Chemtrails over the Country Club": Atmospheric Beauty In 2021, Lana Del Rey released "Chemtrails over the Country Club," an album that further solidified her unique musical style. With introspective lyrics and atmospheric instrumentals, Lana Del Rey continued to enchant listeners with her evocative storytelling. This album showcased her growth as an artist, pushing boundaries while staying true to her signature sound. 8. "Blue Banisters": A Melancholic Reflection Following the success of "Chemtrails over the Country Club," Lana Del Rey released "Blue Banisters" in 2021. This album explored themes of heartbreak, nostalgia, and personal growth. Lana Del Rey's introspective lyrics and delicate melodies created a melancholic and introspective atmosphere that resonated with fans. 9. "Violet Bent Backwards over the Grass": A Poetic Departure Aside from her studio albums, Lana Del Rey also released a spoken-word poetry album titled "Violet Bent Backwards over the Grass" in 2020. This departure from her usual musical style showcased Lana Del Rey's lyrical prowess and her ability to evoke emotions through poetic storytelling. 10. "Ocean Blvd": A Recent Release Making Waves While the search results did not provide specific information about Lana Del Rey's most recent album, "Ocean Blvd," it is worth noting that the album received a review and song ranking from Billboard . This suggests that "Ocean Blvd" is generating attention and discussion among music critics and fans. Conclusion Determining Lana Del Rey's most popular album is subjective and depends on individual preferences. However, based on the rankings provided by Variety, Album Reviews Blog, Louder Sound, Ranker, and NME, "Norman Fucking Rockwell!" consistently emerges as a standout album. Its introspective songwriting, timeless quality, and critical acclaim position it as Lana Del Rey's most celebrated and influential work to date. FAQs 1. Is "Born to Die" Lana Del Rey's most popular album? While "Born to Die" achieved significant commercial success and introduced Lana Del Rey to a wider audience, various rankings highlight different albums as her most popular. According to Ranker, "Born to Die" holds that distinction, but other sources prioritize albums like "Norman Fucking Rockwell!" and "Ultraviolence." 2. Which Lana Del Rey album showcases her growth as an artist? Lana Del Rey's growth as an artist can be witnessed throughout her discography, but "Norman Fucking Rockwell!" is often cited as a significant milestone. This album demonstrates her maturity in songwriting, musical cohesion, and ability to create emotionally resonant narratives. 3. What makes "Norman Fucking Rockwell!" stand out among Lana Del Rey's albums? "Norman Fucking Rockwell!" stands out due to its introspective songwriting, timeless quality, and critical acclaim. Lana Del Rey's ability to craft vivid and emotionally resonant narratives resonated deeply with both fans and critics. 4. Has Lana Del Rey released any spoken-word albums? Yes, Lana Del Rey released a spoken-word poetry album titled "Violet Bent Backwards over the Grass" in 2020. This album showcases her lyrical prowess and ability to evoke emotions through poetic storytelling. 5. Where can I access Lana Del Rey's music? Lana Del Rey's music is available on various streaming platforms such as Spotify, Apple Music, and YouTube. You can also purchase her albums from online music retailers or local record stores. Image: Instagram/@lanadelreybr Read the full article

[iwanthermidnightz]

Lana Del Rey practices “automatic singing.” Using the improvisational songwriting technique, she lets her voice carry over accompaniments, not commandeering where her words or melodies take her, accepting all ideas she has in the moment and editing them later. Lately, her voice has led her home, back to memories of her childhood in Lake Placid, N.Y., and to ruminations on relationships with her family and the divergent paths they’ve taken.

That subject underpins her upcoming ninth album, Did You Know That There’s a Tunnel Under Ocean Blvd (out March 24). Del Rey, 37, says she hesitantly began to unpack this subject matter with her previous album, Blue Banisters — but now, she’s ready to dig deeper. “At first I was so uncomfortable,” she says of the more personal material. “Then, by the grace of God, I just felt completely unburdened.”

As a singer-songwriter, this year’s Visionary honoree has embodied that word for over a decade. Her 2012 major-label debut, Born To Die, made her a star and defined music’s Tumblr era, as a young Del Rey toyed with both the romantic and the darker sides of the American dream. Her “world building,” as she calls it now, for her early work created a collage of beautiful and disparate images, pairing hip-hop aesthetics with references to the Kennedy family, Elvis Presley with John Wayne, and old Hollywood glamour with biker gang grit.

Since then, Del Rey has pushed musical boundaries — seamlessly peppering an album with features from Stevie Nicks to Playboi Carti (2017’s Lust for Life), reworking a Sublime cover into a contemporary Billboard Hot 100 hit (2019’s “Doin’ Time”), for instance — while achieving both critical acclaim and commercial success. She has earned six Grammy nominations and holds the record for most No. 1s on Billboard’s Alternative Albums chart. And somehow, each week, it seems a new song from her vast catalog gains traction on TikTok. (“West Coast” and “How To Disappear” are two recent breakouts.) Younger artists often cite her as an inspiration — including Billie Eilish, whom Del Rey now calls “my girl. It makes me feel comforted that music is going in such a good direction.”

I think it might look like that! It’s funny because I keep telling people, “I haven’t worked in three years,” but really I just haven’t done shows in three years. As soon as I start getting ready for a show, that’s when it feels like work.

How has your process changed since Born To Die came out?

Eleven years ago I wanted it to be so good. Now, I just sing exactly what I’m thinking. I’m thinking a little less big and bombastic. Maybe at some point I can have fun creating a world again, but right now, I would say there’s no world building. This music is about thought processing. It’s very, very wordy. I’m definitely living from the neck up.

[annyuh]

this all of my favorite artist's album, her songs is so soothing for me , its recommadable artirst if u like music like me , fun fact;''Lana Del Rey has one of the most enigmatic personalities of modern pop, and it’s won her one of the most devoted audiences of the 2010s. ''amazing right ,she is very famous in both genders, MORE FUN FACTS ABOUT HERRR ,At age 18, Lana began performing in clubs around Brooklyn, NY under various monikers including Lizzy Grant, May Jailer, and Sparkle Jump Rope Queen. Around the same time, she began attending Fordham University in The Bronx, where she majored in philosophy with a specific focus on metaphysics.and

 was interested in God and how technology could bring us closer to finding out where we came from and why

Is what she said about her degree when asked. The theme of God and science remains persistent in all of her music. Alongside her college major, some of her song themes were the effect of attending a Christian high school.

She signed her first recording contract with 5 Points Records in 2007 and her first digital album, Lana Del Ray a.k.a. Lizzy Grant, was released in January 2010.

Traces of this era can still be found online but this commercially unsuccessful epoch was ultimately abandoned to make way for the rebrand of Lana Del Rey.

In 2011, a homemade music video for “Video Games” was uploaded to Lana’s YouTube channel. The track became a viral sensation, sparking widespread interest in the artist, and she signed with Interscope/Polydor in the October of that year. On the acknowledgements for her fifth studio album, Lust for Life she wrote

''Abel, I still think of the day u posted video games on your Tumblr. Grateful for u.'' now information about her

Since then, Lana has delivered a flair unlike any other artist of her generation, praised for its cinematic sound and references to various aspects of pop culture, particularly that of the 1950s and 1960s Americana.

After many studio releases that were removed from streaming platforms to make way for her rebrand, Lana explained the meaning of her stage name and how it was influenced by her time in Florida while in college.

I wanted a name I could shape the music towards. I was going to Miami quite a lot at the time, speaking a lot of Spanish with my friends from Cuba – Lana Del Rey reminded us of the glamour of the seaside. It sounded gorgeous coming off the tip of the tongue.

Before using Del Rey, she initially chose the alternate spelling Lana Del Ray and released an album under that name, but ultimately chose the latter moving forward.

On January 27, 2012, Lana’s first major-label project, Born to Die, was released. Despite mixed reviews from critics, it is the second-longest charting album on the Billboard 200 by a female artist, and gave Lana her best-known smash hit “Summertime Sadness”.

Later that year, the Grammy-nominated EP Paradise was released, and was packaged alongside the reissue of Born to Die.

Two years later, the atmospheric album Ultraviolence was released, showcasing a slightly darker sound and theme. The term comes from the Anthony Burgess novel, A Clockwork Orange, and refers to excessive or unjustified violence.

2015 saw the arrival of Honeymoon which Lana described as being “a tribute to Los Angeles”. The album became the subject of much critical acclaim, garnering the most praise of all of her projects before it, with some even calling it her best work yet.

Her fifth studio album Lust For Life followed in 2017, packing some high-profile features with artists including The Weeknd, A$AP Rocky, Playboi Carti and Stevie Nicks. Billboard called it a “new-age folk” record and it was named in the Top 50 Best Album of the Year lists by several high-profile music publications.

After much anticipation, teasing and at least one deferred release date, on August 30, 2019, Norman Fucking Rockwell! was debuted to the world. This album earned her Grammy nominations and places on year-end lists, launching her further than ever into the limelight.

Only days after NFR!’s release, in an interview with The Times, Lana confirmed that a new project entitled Chemtrails Over the Country Club (originally called as White Hot Forever) was in the works with a potential release in 2020. Nearing the end of 2019, Lana also announced she would be releasing a spoken word poetry album on January 4th, 2020, as the book itself was taking long to hand-bind.

Similar to the way Chemtrails Over The Country Club was announced, Lana took to Instagram after the release of Chemtrails to announce a follow-up eighth studio album called Blue Banisters (which was originally supposed to be called ‘Rock Candy Sweet’) that was expected to be released on July 4th, 2021, however was delayed for October 22nd of the same year. Three singles from Blue Banisters were released on May 20th, 2021.there is more but lets move on there now im going to tell my recommedation for her songs , in top 10 is born to die , i love this song , it is really famous in most countries , like western , and other more in top 9 is venice b1tch[this is is i cannot say]this song melody is so good , her songs it rymthys so good , this song is about love song and the american-made in top 8 is brooklyn baby this one is also amazing ,it is about her boyfriend, its love song again,which means se saying ''Del Rey declares, “You’re the man of my dreams, ‘cause you know how to leave.” top 7 is ''high in beach'' it is a moody and melancholic after being alone in 2015 top 6 is ''ride'' which the song is about ''No one loves a small-town Americana escape-meets-Lolita story more than Lana Del Rey, and “Ride” delivers a swelling ballad that recalls the quiet brilliance of “Video Games.” in top 5 is '' of to the races'' ''Lana Del Rey’s love of literature is underrated — but hyper-obvious — throughout her discography, but it’s on full display on this singsong-y track, which casts Del Rey as a life-hardened Lolita and her “old man” as a less gentile Humbert'' in top 4 is ''norman f0cking rockwell'' it means uhm i cant really say it but uh ill just put it ''Lana Del Rey opens her 2019 album of the same name with the stinging lyrics “Goddamn, man-child/You fucked me so good that I almost said ‘I love you,'” in top 3 is ''west coast '' it means ''Ambition and romance are warring forces on “West Coast,” one of Del Rey’s most psychedelic, unconventionally structured songs. In the “A” section of the rock ballad, the surf guitar is driving and tense, '' in top 2 is the greatest'' the meaning is “The Greatest” is the climax of Norman Fucking Rockwell!, a brilliant bicoastal reflection of pop culture in the same vein as Bob Dylan’s “Murder Most Foul,” Billy Joel’s “We Didn’t Start the Fire,”  in top one is ''video games'' made in 2011 its about

''The song that started it all: Lana Del Rey’s debut single under her new name created a whole aesthetic movement, changed the goal posts for pop music, and most importantly,'' that is all thank you[the image it isnt mine]

[radiomaxmusic]

Thursday, November 2, 2023 6pm ET: Feature LP: Lana Del Rey - Ultraviolence (2014)

Ultraviolence is the third studio album by American singer-songwriter Lana Del Rey, released on June 13, 2014, by Polydor and Interscope Records. Originally dismissing the possibility of releasing another record after her major-label debut Born to Die (2012), Del Rey began planning its follow-up in 2013. Production continued into 2014, at which time she heavily collaborated with Dan Auerbach to…

[4souljourney]

Born To Die - Lana Del Rey (Full Lyrics) | Rain Sound Effect

Born to Die is the second studio album and major-label debut by Lana Del Rey. It was released on January 27, 2012. The album was reissued on November 9, 2012, as an expanded version, subtitled The Paradise Edition.

More relaxing with rain sound effect by 4Soul's Journey.

Have a nice day!

[zanderbobs]

Okay, let us begin:

In 1905, discontent with working conditions and the state of the war with Japan in Russia led to a demonstration in what was then the capital, St Petersburg. The tsar's troops fired upon the protesters in an incident known as 'Bloody Sunday' (here's an artist's impression).

Bloody Sunday sparked disorder and revolt across the Russian Empire that lasted throughout 1905. However, the 1905 Revolution was put down eventually. Tsar Nicholas II, seeing that he had fucked up Big Time, made a few minor political concessions and allowed a parliament, the Duma, to be created.

A new political party had been created in the midst of the disorder was the centrist Kadet Party, one important member of which was Vladimir Nabokov.

In similar conditions to the 1905 Revolution, the February Revolution occurred in 1917, leading to the Liberal parties, including the Kadets and Nabokov, to take power from the tsarist regime as part of the Temporary Provisional Government.

However, the government of the February Revolution didn't last, with the Bolsheviks seizing power in October, leading to members of the Kadet Party, again including Nabokov, to flee to other countries in Europe.

Nabokov's son, also named Vladimir Nabokov, started writing his works in English and eventually moved to the United States.

In 1955, Nabokov wrote his most famous work: 'Lolita', infamous for being beautifully written while also being a viscerally disturbing story of pedophilia.

Cut to 2012, when American singer-songwriter Elizabeth Grant, aka Lana Del Rey, released her debut album, 'Born to Die'.

The album was instantly iconic, with one of its most notable and controversial aspects being the large amount of inspiration it takes from 'Lolita'. Lyrics from 'Off to the Races' are directly taken from the book, and on the extended 'Paradise Edition' of the album one of the songs is even titled 'Lolita'. Songs about abusive and toxic relationships quickly became a hallmark of Lana's music, partially because of this inspiration.

Now to the 'Question for the Culture' incident. In 2020, Lana made an Instagram post criticising popular female-led music and lamenting the reputation her work had gained:

The post was widely criticised for the fact that it mainly targeted women of colour in the music industry, and a general lack of self-awareness. She complains about how her work is often accused of romanticising abuse.

TL;DR: 1905 incident leads to creation of Nabokov's political party, Nabokov goes into political exile after russian revolution, Nabokov's son writes 'Lolita', Lana Del Rey inspired by 'Lolita' and gains reputation for romanticising abusive relationships in her music, Lana creates 'Question for the Culture' post.

GUYS I HAVE ANOTHER ONE OF THOSE DOMINO EFFECT MEMES IN MIND. It's very nerdy but it's brilliant and uhhh I'll make it when I wake up in the morning.

[shortfeedshq]

Lana Del Rey: A Melancholic Journey into Music, Artistry, and Cultural Influence

Lana Del Rey is an American singer-songwriter who has captivated audiences with her unique sound, melancholic lyrics, and vintage aesthetic. Her rise to fame has been accompanied by both critical acclaim and controversy. In this article, we will explore Lana Del Rey's musical journey, her artistic style, the controversies surrounding her, and her impact on popular culture. Early Life and Musical Journey Early Life Born as Elizabeth Woolridge Grant on June 21, 1985, in New York City, Lana Del Rey had a rather humble upbringing. Growing up in Lake Placid, New York, she was influenced by the beauty of nature and the tranquility of her surroundings. These early experiences would later find their way into her music. Musical Influences During her teenage years, Lana Del Rey discovered her passion for music and began performing in various clubs and venues. She drew inspiration from a diverse range of artists, including Frank Sinatra, Elvis Presley, and Bob Dylan. These musical legends played a significant role in shaping Lana Del Rey's distinctive style and vocal delivery. Breakthrough with "Born to Die" Debut Album In 2012, Lana Del Rey released her debut studio album, "Born to Die." The album showcased her haunting vocals, introspective lyrics, and a fusion of genres, including pop, indie, and alternative. Songs like "Video Games" and "Summertime Sadness" gained significant traction and propelled Lana Del Rey into the spotlight. Commercial Success "Born to Die" was a commercial success, charting high in multiple countries and earning Lana Del Rey a dedicated fan base. The album's atmospheric production and emotional depth resonated with listeners, solidifying her status as a rising star in the music industry. Artistic Style and Image Unique Sound and Lyrics Lana Del Rey's music stands out due to its unique blend of cinematic soundscapes, haunting melodies, and evocative lyrics. Her songs often explore themes of love, heartbreak, nostalgia, and Americana. The combination of her sultry voice and poetic storytelling creates an immersive experience for the listener. Visual Aesthetics Alongside her music, Lana Del Rey is known for her distinctive visual aesthetic. She incorporates vintage imagery, Hollywood glamour, and a nostalgic ambiance into her music videos and live performances. This attention to detail adds another layer to her artistic expression and enhances the overall experience for her audience. Controversies and Criticisms Authenticity Debate Lana Del Rey's rise to fame was not without its share of controversies. Some critics questioned the authenticity of her persona and accused her of perpetuating a manufactured image. However, Lana Del Rey has defended her artistic choices, asserting that her music and persona are sincere reflections of her inner self. Lyrics and Themes Another source of controversy surrounding Lana Del Rey's music is the interpretation of her lyrics and themes. Some have criticized her for romanticizing unhealthy relationships and glamorizing self-destructive behavior. However, others argue that her lyrics delve into complex emotions and provide a raw and honest portrayal of human experiences. Evolution and Growth as an Artist Album Discography Over the years, Lana Del Rey has released several critically acclaimed albums, each showcasing her growth as an artist. From the dreamy atmosphere of "Ultraviolence" to the introspective introspection of "Norman Fucking Rockwell!," she has consistently pushed boundaries and experimented with different musical styles. Musical Experimentation Lana Del Rey's willingness to explore new sounds and genres has contributed to her artistic evolution. She has collaborated with diverse artists, such as The Weeknd and Stevie Nicks, further expanding her musical horizons. This constant exploration has allowed her to maintain relevance and surprise her listeners with each new release. Impact and Cultural Influence Cultural Icon Status Lana Del Rey has achieved a significant cultural impact, transcending the boundaries of the music industry. Her music, style, and persona have influenced fashion trends, visual aesthetics, and the broader popular culture. She has become an icon for a generation that resonates with her nostalgic and melancholic sensibilities. Fan Base and Dedicated Following Lana Del Rey has amassed a dedicated fan base known as the "Lust For Life" community. Her fans appreciate her vulnerability, artistic vision, and the emotional connection her music provides. They eagerly anticipate her releases and engage in active discussions and interpretations of her work, further fueling her cultural influence. Conclusion Lana Del Rey has undeniably left an indelible mark on the music industry and popular culture. Her introspective lyrics, haunting melodies, and vintage aesthetic have captivated audiences worldwide. Despite controversies and criticisms, her authenticity and artistic evolution continue to resonate with fans. As Lana Del Rey's musical journey unfolds, it will undoubtedly bring forth more captivating music and inspire a new generation of artists. FAQs Q1: How did Lana Del Rey get her stage name? A1: Lana Del Rey chose her stage name as an embodiment of her musical persona. "Lana" is a nod to actress Lana Turner, while "Del Rey" translates to "of the king" in Spanish, representing her fascination with royalty and grandeur. Q2: What are some of Lana Del Rey's most popular songs? A2: Some of Lana Del Rey's most popular songs include "Video Games," "Summertime Sadness," "Born to Die," "Young and Beautiful," and "National Anthem." Q3: Has Lana Del Rey won any awards? A3: Yes, Lana Del Rey has received numerous accolades throughout her career. She has been nominated for Grammy Awards and has won awards such as the Brit Award for International Female Solo Artist and the Q Award for Best Solo Artist. Q4: Is Lana Del Rey currently working on new music? A4: Lana Del Rey's fans eagerly anticipate her new music. While specific details may not be available at the moment, she has expressed her dedication to the craft and her desire to continue creating heartfelt music for her audience. Q5: Where can I listen to Lana Del Rey's music online? A5: Lana Del Rey's music is available on various online platforms, including streaming services like Spotify, Apple Music, and YouTube Music. Her albums and singles can be accessed and enjoyed by fans worldwide. Read the full article

[samtrapani]

"i think luca would listen to lana del rey" idsjfjsdd ok now you have to say which ldr albums u think wld be everyones favorite 🔫

oh man uhm my lana phase was really long ago, and i kind of fell off the wagon after norman fucking rockwell </3 but i'll do my best lmao

born to die (2012) - luca obviously. he's one of those "her old music was better" people, and he has a fondness for her older songs from her debut album (+ her unreleased stuff that didn't really fit anywhere.) also, luca has the extended version of her album. because of course he does.

ultraviolence (2014) - vito. there's something about the vibe of this one that really speaks to him. his personal favorite off this album is money power glory (and he has a soft spot for shades of cool. he listens to that one with henry, and that in turn becomes henry's favorite song. he isn't really big into lana, but he has a couple of... different favorite songs across the albums. henry's a dad rock man <3 stealing that off @tommytranselo hehe)

honeymoon (2015) - lincoln! the weird gothic vibe it gives me kind of reminds of lincoln's whole journey, and i think he'd file it under "music to brood to". his favorite songs off it are freak and salvatore <3

not including lust for life (2016) bc i only know like. two songs off that album. i think joe would enjoy love off that album. it seems very yknow. hopeful and loving. the whole thing about being young and in love and careless screams joe, and he'd listen to it on repeat. joe isn't really big into lana, but bc he spends so much time with vito he's memorized every lyric in ultraviolence </3

norman fucking rockwell (2019) - eddie >:3c i don't doubt for a moment he would probably get sad drunk to this album. as honeymoon is like lincoln's brooding album, nfr is eddie's favorite album to play when the night is a little too long, and the fun part of drinking is over, and he's kind of left along with his drunken thoughts.

misc stuff: donovan would go insane over national anthem and king of the town. honestly, he'd listen to any lana song that references best boy jack <3 king of the town makes him sad though. modern au donovan is a jfk stan. he definitely has one of those "vote for jfk" badges and makes fancams.

[yanispopularmusicblog]

About my primary sources

Lana Del Rey released a lot of music before her debut major-label studio album Born To Die (2012). On top of that, hundreds of songs that weren’t intended to be released have been leaked on the internet. However, since she released six albums since 2012 (and is releasing her seventh tomorrow), an EP and several stand-alone tracks, there’s a lot of material and I chose not to mention her unreleased/leaked music. Some of these songs are related to my research project but from a ‘moral’ standpoint I don’t feel comfortable using them as Lana probably didn’t want us to know these songs. I’m interested in what you think about this matter: Do you think that, as these songs were put into the world and everybody can have access to them, I should treat them as I would any album track? I’m truly conflicted on the subject.

Nevertheless, I will incorporate her 2010 Lana Del Ray A.K.A. Lizzy Grant album, which is officially her first – although it’s nowhere to be found on streaming services. I haven’t listened to the album for a few years and didn’t have time to focus on it this week but I know that it may be relevant to my analysis as, if I remember it well, it tackles her life before moving to NYC or Los Angeles.

I already have a list of interviews, music videos and (too) many songs I want to focus on but I have to listen to Blue Banisters (go stream it, it’s out at midnight!) before posting the final version of it.

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“Tell Me I’m Your National Anthem”: Lana Del Rey’s Political Subversion

       When Lana Del Rey first hit the scene in 2012, critics immediately heralded her unique sound and retro influences. Her look, too, was as notable as her music and performance—promo images depicting the young singer began circulating on social media and became a fixture on sites such as Tumblr and Pinterest. Many of these photos featured Del Rey juxtaposed against imagery evoking patriotism and themes of Americana. One photoshoot in particular sees Del Rey draped in an American flag, and indeed, token symbols of America became key visuals in the construction of her brand. Del Rey aligns herself with a nostalgic Americana aesthetic, but the trope transcends mere visual positioning. References to and exaltations of thematic Americana permeate Del Rey’s lyrics, music videos, and aural aesthetic. Despite the political undertones that might be extrapolated from her continual employment of such patriotic aesthetics, Del Rey’s potential as political commentator was largely discounted from the start of her career—perhaps because of her gender, genre, or celebrity. Throughout the seven years that Del Rey’s career has existed in the mainstream, her visuals have evolved, but her fascination with Americana ideology clearly remains.

After Born to Die and the subsequent EP Paradise, Del Rey distanced herself from Americana aesthetics and relied on a neo-Californian look and sound reminiscent of the Beach Boys and other classic West Coast acts. Del Rey’s most recent album, though—Lust for Life—represents a return to form and resurrection of classic Americana themes. This album, too, marked the first time Del Rey made her implicit political leanings explicit. The persistence of these themes indicate Del Rey has always been politically agentive, but the barrier of entry to understand her intent has seemingly been lowered. Although not a single, “God Bless America — and All the Beautiful Women in It” was one of the most talked-about tracks. This song, along with her debut album Born to Die’s “National Anthem” and its accompanying video, indicate a deliberately political—and subversively so—subtext present throughout Del Rey’s music, videos, and aesthetics. Through subversions of Americana and patriotism, she creates a subtextual commentary indicative of feminist and liberal ideologies.

           The musical mantle of Americana, as a genre, is charged with the obligations of tradition, though. The genre’s conventions are associated with folk and country stylings as much as any particular subject matter or look, so Del Rey’s musical style causes her to fall short of the criteria for full classification within the genre. It is certainly a consistent influence on her image, content, and performance, though—so much so that one critic dubbed her “Pop’s Princess of Americana” (Turner, par. 1). Still, for traditionalists, Lana’s name is unlikely to come to mind—artists such as Woody Guthrie, Bob Dylan, Bruce Springsteen, and Johnny Cash are instead among the most commonly cited exemplars of the genre. Modern figures in the genre such as The Avett Brothers, The Decemberists, Brandi Carlile, and Jason Isbell reinforce the significance of sound as a defining hallmark. Despite common themes, Del Rey’s indie pop sound and style fairly preclude her from inclusion among these greats of the Americana tradition.

           Perhaps it is more than just these qualities which separate her from the genre, though. The sound of the music is not the only defining factor in the Americana genre—who’s making it matters, too. Music critic Giovanni Russonello draws attention to the parameters of Americana as he asks plainly: “Why Is a Music Genre Called ‘Americana�� So Overwhelmingly White and Male?” Indeed, although some women and minorities have found success in the genre, the most famous of its gatekeepers remain homogenous. Russonello elaborates: “the genre defines itself by its progenitors more than its present [ . . . ] [and] a handful of artistic traditions founded in rebellion (blues, Appalachian folk, outlaw country) got elided into a relatively conservative format” (pars. 4-6). What was once considered the genre of revolutionaries is at risk of becoming a storehouse for reliably orthodox ideas—if nothing else because of the exclusive nature reflected in the artists typically seen at its forefront. A genre that once urged listeners to revolt against the greater powers has lagged in matching the progress—in lyric or action—that other genres have exhibited in responding to the country’s most urgent political oppressions. Some artists who have taken liberal political stances, such as the aforementioned Jason Isbell, have done so against warnings of alienating audiences: “when some people first heard this record,” he told one interviewer, “they said that I was gonna alienate half my audience” (Doyle, par. 6). Indeed, even amongst those artists who voice such liberal politics, there is an assumption that such ideas are at odds with their genre and fans.

           The conservatism and exclusivity of the Americana musical genre has not prohibited Del Rey from utilizing its ideas and aesthetics throughout her work. She has succeeded in using its conventions to develop political conversations about feminism, gun violence, and race that are absent or secondary in most Americana musical content. Unlike Americana artists, though, Del Rey’s political expressions are likely already aligned with the young, semi-counterculture audience she courts. Defining Del Rey’s relationship with Americana remains a difficult task. She has, at different points, engaged with most its various facets—aesthetics, themes, imagery, and narratives. Indeed, one of the most important aspects of both Americana and Del Rey’s body of work is a focus on the narratives of so-called everyday Americans. In the tradition of working-class tomes such as Dylan’s “Maggie’s Farm” or Springsteen’s “Working on the Highway,” Del Rey’s texts have often employed the everyday stories of people living and working in America.

A fascination with Americana-inspired narratives is most evident, perhaps, in her 2012 music video for “Ride,” which sees Del Rey inhabiting the role of an aspiring singer but actual prostitute. Although the music video is not a particularly political moment in Del Rey’s career, it reveals her connection to the narratives and imagery at the heart of Americana. The video’s story is not about her character so much as it is “the men [she] met along the road,” as she reveals in an opening monlogue (“Ride (Official Music Video),” 00:01:29). These ordinary American men—bikers travelling the west coast—are the center of attention in the narrative. When Del Rey is the focus of the shot, she alternates between several outfits, one of which sees her familiarly draped in an American flag and wearing a shirt that appears to feature the Budweiser logo. Further inspection, though, reveals that it, in fact, says Buttweiser—a detail that declares intention. Replacement of the iconic Budweiser logo with an ersatz emblem constructs a layer of irony. The shirt’s visual subversion introduces the possibility that there may also be irony in Del Rey’s depiction of this particular narrative mode of Americana themes. At the video’s close, Del Rey returns to her monologue, and says “I believe in the country America used to be” (00:08:52). Although the video’s consideration of biker culture and sex work appear sincere, Del Rey’s reverence for American symbols and ideals, such as the flag or Budweiser logo, does not. Del Rey succeeds, then, in treating the visual elements of Americana with irony without discounting its narratives.

Any sentiment with sustainable longevity eventually may become a ripe subject for irony or satire, and Americana is no exception. Fervent wartime nationalism that defined the 20th century spilled into sincere early-aughts mantras demanding we support the troops, but these oft-repeated phrases eventually became hollow. After the ambiguous outcome of the Iraq war, patriotic impulses represented little more than virtue signaling to young people, and the arrival of the internet gifted millennials with access to information and ideas that, understandably, birthed a sense of disillusionment with the government and the sacredness of the country. The rise of ironic patriotism seeped into popular culture as a seemingly inevitable response. As essayist Conor Friedersdorf explains, when "confronted with displays of patriotism, many Americans react with ironic distance as a defense mechanism. They are wary that cynical actors are exploiting patriotic impulses and symbols as tools of manipulation because cynical actors frequently do just that" (par. 3). This impulse to counter the predominate narrative of patriotism is evident throughout Del Rey’s work—particularly in her first few albums’ use of irony in handling imagery associated with Americana.

Americana music and aesthetic, by contrast, are concerned with honoring the narratives and imagery of everyday American life—the pretense at the foundation of the “Ride” music video, for example. This interest in the lives and humanity of Americans is seemingly incompatible with the early-aughts intersection of irony and patriotism, but these sentiments have proved not to be incongruous at all. Millennials' general sense of national distrust effectively bred the ironic Americana that would be branded by Lana Del Rey. While she employs various facets of Americana ideology and iconography, she has focused most consistently on a satirical handling of patriotism; playing off of traditional images of patriotism and American history, Del Rey constructs a conscientious subversion of this aspect of Americana and uses it to deliver a political critique.

           Del Rey’s coupling of the genre’s themes and symbolism with progressively political subject matter is, in fact, almost necessarily subversive. Although she certainly is not the first to draw on Americana for its aesthetic appeal, Del Rey takes the trope a step further by integrating the patriotic ideals of Americana into her lyrical content, too. Such moves are never clearer than on “National Anthem,” a song that has little in common with its namesake. Rather than heralding the flag, Del Rey sings of a predatory relationship between an older man and a younger woman. He uses her for sex and her looks, and she uses him for his money, gifts, and access to parties. This transaction is conflated with American values as Lana sings the chorus:

                       Tell me I’m your national anthem

                       Tell me I’m your national anthem

                       Red, white, blue is in the sky

                       Summer’s in the air

                       And baby heaven’s in your eyes

                       I’m your national anthem

Far from a convenient rhyme or meaningless phrase, Del Rey repeatedly sings of the national anthem to communicate a specifically political idea: America is not defined by patriotism, history, heritage, or promise. Instead, our country relies on patriarchal systems and capitalistic exchanges to maintain the pretense of the American dream.

           Although the couple in the song seems mutually aware of the nature of their relationship, the exploitation described is a stark contrast to the traditional tropes of Americana that are invoked as Del Rey repeats the phrase "national anthem." When the song was released as a single, its cover featured Del Rey approaching a podium, styled to be reminiscent of Marilyn Monroe, with an American flag in the background (fig. 1). Across her eyes, though, is a black bar and the title of the record—indicating that her anonymity need be protected. The visual contrast between the seemingly wholesome environment of a political event and the bar eschewing her face reinforces the subversive text present in the song’s lyrics—all is not as it seems. While the podium, Del Rey’s formal attire, and the flag construct a sense of propriety, Del Rey’s obscured face counters this and implies less wholesome events might transpire than we would initially assume.

If these qualities were not sufficient evidence of Del Rey’s political intentions, the music video for the song should be. In it, Del Rey constructs yet another conflation between patriotism and subversive tropes—this time, she uses the story of JFK to present visuals of racialized violence. The video shows her again donning the character of Marilyn Monroe—and in other scenes, Jackie O—to recreate scenes from the Camelot presidency. The video ultimately includes JFK’s assassination, and Del Rey’s choice of actor to inhabit this role creates yet another layer of politicization beyond that which is already contained in the song. Although they would not collaborate on music together until several albums later, Del Rey chose to cast black rapper A$AP Rocky in the role of JFK.

           To place a black man in JFK’s iconic image subverts the political assumptions of whiteness associated with power and the presidency. When he was later interviewed about the video, A$AP Rocky made it clear that the move was both deliberate and directed by Del Rey:

Lana wrote the treatment with me in mind. She wanted me to be the lead guy. Shit is like, everybody knows we got a thing for each other and we wanted to show that on screen. She wanted me to be the main guy and she wrote the treatment herself and came up with all the ideas. [ . . . ] And so I got in character like, “Fuck that like, I’m gonna be the black, trill JFK.” (qtd. in Capper pars. 6-8)

Indeed, A$AP replaces the imagery of JFK that is so ingrained in American consciousness with images of racial equality. His role in the video specifically elevates depictions of interracial love and Black power to the highest possible validation in an American context: the presidency. Director Anthony Mandler further confirmed Del Rey’s agenda by saying “we used the Kennedy framework to kind of implement this new Camelot, this racially diverse Camelot, this maybe socially diverse Camelot [ . . . ] There's a kind of micro-commentary of 'this is the new royalty,'” (qtd. in Montgomery par. 6). Whereas the song’s lyrics create a commentary through contrast, the video sincerely suggests a new nationalism—one in which diversity is not just taken for granted—it is present in our country’s most prestigious position.

           Although the imagery is certainly subversive and political, Obama was in office at the time of its release, and the dream of a Black president had been finally realized. Simply placing A$AP in JFK’s role was not as revolutionary as it might have been prior to Obama’s election. The truly subversive value of the video is thus found in its nuanced depiction of A$AP’s JFK. He does not just play president; he also inhabits JFK’s role as a father (fig. 2), friend, and partner over the course of the video. In doing so, A$AP counters the stereotypical imagery so often projected on Black men in pop culture. A fully-realized portrait is painted in the video’s 7:48 timespan—not just of the JFK character, but of A$AP’s own persona, and the intersection of the two. In constructing this character, Del Rey explicates the separation between Black culture and American prestige that has typically sustained racial marginalization.

Del Rey constructs a representation of blackness, though, that counters this separation. In Lockstep and Dance: Images of Black Men in Popular Culture, Linda Tucker explains the stereotypes that African-American men are so often reduced to “representational practices in popular culture perpetuate the image of black men as a group predisposed to criminal behavior” (5). Tucker goes on to say that when black men are not explicitly depicted as criminal, they are often characterized in pop culture as lazy, disrespectful, or unintelligent. The “National Anthem” video’s resists stereotypes by maintaining A$AP's trademark hip-hop aesthetic even as he takes on the presidency—this positioning makes its ending all the more devastating. Del Rey stays true to history and recreates JFK’s assassination—its meaning is upended, though, as it is now a young black man who is shot and killed. If the video suggests that racial harmony be synonymous with patriotism, it also suggests that racial violence is, too. Just as the lyrics implicate the American dream’s reliance on patriarchy and exploitative capitalism, the video implicates the inescapable prevalence of racism in the country. Del Rey carefully scratches the surface of patriotic tropes to reveal the unsavory realities that are arguably just as American as the flag itself.

The aforementioned stereotypes are the ones commonly employed to indict young black men who have been victims of police brutality. One such victim, Trayvon Martin, was 17-years-old when he was killed on February 26, 2012. His death and the surrounding events brought awareness to police brutality and preceded a string of high-profile cases in which black men were shot by law enforcement. In many of these, the target was reported to be unarmed or otherwise unthreatening—but assumptions of criminality were made by both police and the media. These events ultimately led to the formation of Black Lives Matter, an activist group which aims to “intervene in violence inflicted on Black communities by the state and vigilantes” (Black Lives Matter, par. 1). Its official date of formation—July 13, 2013—occurred approximately a year and a half after Martin’s death. The video’s release mere months after the Trayvon case and about a year before Black Lives Matters’ formation places it in a unique sociopolitical moment—one in which images of a black man being shot take on a particularly potent meaning. Utilizing this imagery while contextualizing it in a narrative of power confronts and dismantles the aforementioned stereotypes of blackness, and Del Rey succeeds in channeling the historical moment of her art.

           Despite the clear potential for political reading in her visual and lyrical rhetoric alike, Del Rey has long been disregarded as a serious contributor to political discourse. Her exclusion from pop culture’s political discourse is not without reason, though. In the early days of her career, she stumbled through softball questions and infamously declared that “feminism is just not an interesting concept” (qtd. in Finger, par. 3). She explained the statement later, saying "it’s not to say that there’s not more to do in that area. I’ve gotten to witness through history the evolution of so many movements and now I’m standing at the forefront of new technological movements" (Spanos, par. 4). Still, her resistance towards any explicitly feminist stance solidified her reputation as a reliably apolitical figure on the pop landscape—and she still has avoided comment on other sociopolitical issues such as race.

           As critic Kelsey McKinney describes, “while artists like Beyoncé and St. Vincent have confronted the American political landscape, Lana has just floated through it. Her work has existed in a nonexistent otherworld where America is a flag that waves behind her” (McKinney par. 2). Although Del Rey has indeed taken a my-art-speaks-for-itself approach to politicization, her music has been denied the same legitimacy afforded to male artists who similarly skirt political statement. It is worth questioning whether male artists face demands of politicization as often as their female counterparts. While Del Rey is derided for failing to declare a political stance, comparable male celebrities—including collaborators such as The Weeknd, Børns, and the aforementioned A$AP Rocky—are rarely subjected to such demands.

           Despite consistently political lyrical content, Del Rey successfully avoided any verbal declaration of politics for about five years before markedly shifting her stance and returning to the Americana tropes that defined her earlier work. Both of these changes are evident in “God Bless America—and All the Beautiful Women in It,” the tenth track off Lust for Life. As the title suggests, Del Rey deliberately invokes the purest elements of Americana—faith, patriotism, and appreciation of women—in her return to familiar subject matter. If the political content of songs such as “National Anthem” is left at subtext, though, “God Bless America” may finally make patriotic themes as manifest as Del Rey’s style permits. At its onset, Del Rey sings the following:

                       Take me as I am

                       Take me, baby, in stride

                       There’s nowhere to run, nowhere to hide

The opening’s major key and melodic sound contrast the ominous lyrics it leads into: “there’s nowhere to run, nowhere to hide.” The implication of looming danger, of course, makes listeners wonder what Del Rey may want to run and hide from. The effect reveals that despite pleasant appearances (or sounds), there is something seriously amiss in the situation Del Rey sings of—there is a threat to the safety of the woman in question.

           The dissonance is ultimately indicative of the message the song delivers. As she does in “National Anthem,” Del Rey uses the nostalgic Americana associated with the phrase "God Bless America" to deliver a specific political commentary. In this case, she comments on the various threats women face and the reality of often being unsafe in daily situations. The chorus seems innocuous enough, though, if one listens only to the lyrics Del Rey sings:

                       God bless America, and all the beautiful women in it

God bless America, and all the beautiful women in it

May you stand proud and strong like Lady Liberty shinin’ all night long

God bless America

The chorus reads like a modernized ode to America, but the exaltation is interrupted by the sound of a gun firing, twice, after Del Rey sings the words “God bless America.” It is clear that Del Rey is constructing an alignment between America and violence—specifically violence that is targeted towards women.

           The verses and chorus of the song both invoke imagery constructing commentary that is socially incisive—if not clearly political. Here, Del Rey further alludes to the ambiguous threat referenced throughout. She describes the following scene:

                       Even walkin’ alone, I’m not worried

                       I feel your arms around me

                       In the air on the streets of the city

                       Feels like I am free

Del Rey at once references being alone and feeling an embrace. The arms she feels are “in the air, on the streets”—thus, it is implied that the latter is the result of her imagination. The threat referenced in the prior verses, on the other hand, recurs as Del Rey asserts she is not worried about walking alone—as though this action would make her vulnerable were it not for the imaginary arms’ embrace. The lyrics thus construct a narrative illustrating the imaginary exercises a woman must indulge to feel safe in the face of danger. The verses and chorus implicate the dangers women face even in a country supposedly as safe and progressive as America as the dramatic sound of gunshots punctuating the chorus further reinforces the song's subversive meaning.

In discussing the song, Del Rey shed the aversion to politics she had maintained for years and confirmed the inspiration behind the lyrics she’d written. Interviewer Alex Frank goes so far as to say Lust for Life is comprised of “protest songs” and asks what changed. Del Rey answers plainly: “women started to feel less safe under this administration instantly. What if they take away Planned Parenthood? What if we can’t get birth control?” (qtd. in Frank par. 32). She goes on to fully explicate the meaning of “God Bless America”:

[It’s] a little shoutout to the women and anyone else who doesn’t always feel safe walking down the street late at night. That’s what I was thinking of when I wrote, “Even when I’m alone I’m not lonely/I feel your arms around me.” It’s not always how I feel when I’m walking down the street, but sometimes in my music I try to write about a place that I’m going to get to [ . . . ] I feel less safe than I did when Obama was president. (qtd. in Frank pars. 33-34)

This acknowledgement of a decidedly political issue—and a stance on it, no less—positions the song’s patriotic reference in the spirit of subversion originally intended. As she has done throughout her career, Del Rey uses the phrases and visuals of Americana to uncover the less-than-appealing dangers some of the country’s residents face.

Del Rey certainly is not the only artist who has found a political voice in the wake of Trump’s administration, but perhaps due to her prior comments—and the implicit nature of the political commentary in her earlier content—she has faced an inordinate wave of backlash from critics and fans alike. Aforementioned critic McKinney wrote off Del Rey’s “problematic political awakening” (par. 1) based on presumptions of prior political apathy, and many others echoed similar sentiments. In defense of such doubters, deliberate politicization is seemingly irreconcilable with Del Rey’s notoriously aloof persona. Detachment is perhaps one of her defining characteristics, as audiences became aware of during her first televised performance on Saturday Night Live on January 14, 2012. She was described as "emotionless" (Semigran, par. 2) and perhaps the "worst 'SNL' musical guest of all time" (Semigran) by one critic—thoughts that most critics agreed with. Indeed, her apparent apathy baffled audiences, but cast member Kristen Wiig illuminated the intent behind Del Rey's persona in a parody included in the show's next airing. Mimicking the performance's half-hearted swaying, she addressed critiques of Del Rey's mannerisms by saying "I am stiff, distant and weird. It's my thing" (NBC.com).

           This detachment may have served Del Rey well when she avoided deliberate politicization. As she has made her implicit leanings more explicit, though, she has adapted her persona to accommodate. The separation between Del Rey’s divested persona and passionate lyrics may have served her well in constructing the irony that characterized her earlier work, but in the post-Trump Lust for Life era, ironic distance is less useful to communicating her political ideas. The subtle political subversion suggested by a Buttweiser shirt is no longer sufficient. Del Rey has escalated her political commentary accordingly, and the dissonance between explicit political statement and Del Rey’s aloof persona might have ultimately been resolved on February 24, 2017—at the stroke of midnight—when she urged her fans and followers to take action on four specified dates. The request was posited via Twitter (fig. 3) but was still characteristically mysterious. Before the tweet was deleted, the internet decoded the message: Lana was joining a community of witches—and inviting her fans to do the same—to cast a spell that would hex Donald Trump.

           Many questioned whether the move should be taken seriously—and whether Del Rey meant it seriously—but any follower of Lana would recognize the move as her own unique brand of politics. When asked whether she was indeed attempting to use a spell against the president, she answered unambiguously: “Yeah, I did it. Why not? Look, I do a lot of shit” (DiMeglio 1). After this, she also announced that she would no longer employ American flag visuals while Trump was in office (Stutz). This shift from vague aesthetic homages to America towards explicit political calls to action surprised many, but perhaps it is indicative of the intent Del Rey has always had. If the aforementioned Lust for Life-era interviews are an accurate barometer, this shift is resultant of a sincere political impulse. Subtlety might have been appropriate in an Obama-era world, but a Trump-era America demands explicit and deliberate art—and Del Rey has responded accordingly.

��          While Trump’s election seems to be the clear impetus for Del Rey’s shift to a more explicit political expression, an indictment of socioeconomic problems in America has always been present in her lyrics and videos. If fans and critics are slow to recognize her newfound political agency, it is no longer due to any ambiguity or conflicting statements. Those who still deny her legitimacy as a subversive artist and commentator may be guilty of prejudice against Del Rey on the basis of her gender, genre, or status as a celebrity. Listeners no longer need to read into subtext to find the political meaning present in Del Rey’s work, but it has been there all along. Critique of patriarchy, racial violence, and violence against women can all be read in texts such as “National Anthem,” the accompanying music video, and “God Bless America—and All the Beautiful Women in It.”

Just as she weathered attacks on her authenticity and style, though, Del Rey will likely ignore those who discount her political agency. Perhaps this progress marks the arrival of a new patriotic impulses derived from Americana music and ideology—ones concerned with acknowledging oppression within our country rather than simply upholding a façade of patriotic aesthetics and rhetoric. While her music's pop inclinations deviate from the typical genre conventions of Americana, Del Rey's attention paid to political subversion makes her a prime candidate for ushering in the change she indicts in her lyrics, imagery, and videos. Although it has been consistently overlooked, Del Rey’s legitimate role as a political commentator makes her an important figure in the pop culture landscape, and her progression from ironic treatment of patriotism to sincere indictment of social issues solidifies her ability to represent her work’s unique historical context. By using tropes of Americana, she claims her place in an artistic political tradition—a place that comes with much responsibility. Del Rey’s lyrics and imagery indicate she intends to live up to her political predecessors, though—and in doing so, affect the sociopolitical change she calls for in her most recent work.

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TOP 20 ALBUMS (Part 2 of 2)

Part 1

Dystopia: The Tree of Language - Dreamcatcher (2020)

Favourite Tracks: Black or White, Jazz Bar, In The Frozen

For starters, if you haven’t heard of Dreamcatcher or their amazing music then you are very much missing out. It has taken them a while to reach their place in the mainstream music setting, and they are still sorely underrated. With rock as their central genre, their first full-length album infuses their flawless rock-style with a myriad of other genres - EDM, R&B, and even a bit of jazz. This is one talented group of women, and this album is just one of their many great musical releases.

Ruins - First Aid Kit (2018)

Favourite Tracks: Fireworks, Postcard, Ruins

I do have a soft spot for female folk musicians, and these two Swedish sisters are no exception. Undeniably this is, overall, a very sad album both lyrically and musically, so if you’re looking for music to wallow to then look no further. The highlight of this album is the STUNNING harmonies which can be heard in every track, and are the band’s greatest asset. If you’re a fan of ABBA’s more melancholy songs, or a fan of sad-folk in general, then do give this album a listen. You won’t regret it.

Kaleidoscope Heart - Sara Bareilles (2010)

Favourite Tracks: Gonna Get Over You, King of Anything, Let The Rain

Sara Bareilles is a huge musical inspiration of mine, and it will forever baffle me how she is so underrated by modern music standards. She has an incredible voice, both powerful and soothing, and has some rather incomparable skills on the keys. It was difficult to choose which of her beautiful albums to add to this list, but Kaleidoscope Heart is a nostalgic landmine - for me, anyway. It perfectly encapsulates Sara’s musical style, while having the variety to keep you engaged and refreshed with each track. A world class album from a world class musician.

The Trick To Life - The Hoosiers (2007)

Favourite Tracks: Worried About Ray, Clinging On For Life, Everything Goes Dark

This album is, rather unfortunately, the very epitome of a one-hit wonder. Apologies to any of their more recent fans who disagree with that statement, but it cannot be denied that The Hoosiers have rather fallen off the radar since this brilliant debut release. Falling mostly within the descriptor of indie-rock, this album is full of catchy tracks, all fitting beautifully together to create a very unique sound. They may not be so well-known anymore, but this album will remain iconic for years to come.

The Black Parade - My Chemical Romance (2006)

Favourite Tracks: Welcome to the Black Parade, Famous Last Words

This album is arguably one of the greatest in punk-rock history, and is certainly a MAJOR source of nostalgia for all the emos (past and present) out there. It is absolutely chock-a-block full of hardcore bangers, with some absolutely gorgeous lyrics to go along with the epic drum fills and guitar solos. All of that topped of with Gerard Way's unique, raspy vocals is one stunning addition to My Chemical Romance's already impeccable discography.

The Kids Are Alright - Chloe x Halle (2018)

Favourite Tracks: Cool People, Drop, Fall

These two sisters are full of talent. Writing and producing this spectacular debut album themselves, we get a wonderful example of how to mix pop and R&B in a way that is perfectly unique to them. I will say, this is definitely a must-listen for any Beyoncé fans out there, with the album being released under her label. If you're looking for absolutely stunning vocals and harmonising on top of some top-notch production, this one's for you.

Born To Die (Paradise Edition) - Lana Del Rey (2012)

Favourite Tracks: Off to the Races, Million Dollar Man, Yayo

It was extremely difficult to narrow Lana's albums down to find my favourite, but I had to go with the first one I was blessed with hearing. While the original edition is great by itself, The Paradise Edition gives us a nice handful of extra great tracks. I'm aware that Lana's music can be considered quite polarising, but if you're a fan of sad-core pop and have yet to hear this beautiful album, please do give it a listen. It's the perfect album to listen to while smoking a joint, for one (as all of Lana's albums are, to be honest), and no one can deny how hauntingly beautiful the vocals are on each and every track. This album is a must listen, joint or not.

Six: The Musical (Studio Cast Recording) (2018)

Favourite Tracks: No Way, Heart of Stone, All You Wanna Do

Now, I'd like to preface this choice by saying that if you don't normally enjoy musicals then go into this one with an open mind. Six is a remarkably unique take on the six wives of Henry VIII, however, in a universe where they are alive and in a girl group. We get to see each queen have their shining moment with a solo song that tells the story of their time with Henry from their point-of-view. No two tracks could be considered the same on this album, as each queen takes musical inspiration from a woman in modern music. It has it's cheesy moments, as all musicals do, but if you're willing to give it a chance then you'll be treated to some really clever music and lyrics, and an extremely empowering set of songs.

WARNING - Sunmi (2018)

Favourite Tracks: Black Pearl, Curve

This EP marks the first of Sunmi's since her departure from JYP Entertainment, and the first that we got to hear of Sunmi's own writing and production during her solo career. After a four year solo hiatus, this EP is an absolute treasure for pop music. We get to see Sunmi's longstanding love for 80s synth, having caught a glimpse in her band, Wonder Girls', album 'Reboot' (2015), and the sound perfectly matches Sunmi's overall vibe as an artist. She has released some excellent stuff since this EP - all wonderful in their own right - but this will always remain superior, at least in my opinion.

Turning Tides - Wildwood Kin (2017)

Favourite Tracks: Circumstance, Taking a Hold, The Valley

This one is a treat for any lovers of folk out there. A highly underrated English trio, this debut album has some stunning vocal harmonies which are, honestly, some of the best I have ever heard. It has some nice variety for a folk album, with some more hardcore tracks scattered in amongst some classic folk ballads. Folk is a highly underrated genre, in general, and this band is a highly underrated group of talented women who deserve so much more recognition and success.

[bbbrianjones]

i was tagged by @psihokracija to list my top ten favourite debut albums! i have already done this however i missed SO MANY that it needed to be rectified! 

crowded house self-titled [1986]

stoneage romeos by hoodoo gurus [1984]

mental notes by split enz [1975]

born to die by lana del rey [2012]

rattus norvegicus by the stranglers [1977]

get wet by mental as anything [1979]

duran duran self-titled [1981]

definitely maybe by oasis [1994]

rollin’ by the bay city rollers [1974]

leisure by blur [1991]

[lizzygrantarchives]

Rolling Stone, January 30, 2012

The singer on her controversial 'SNL' performance, getting sent to boarding school and loving Biggie

JUST 36 HOURS AFTER THE the most polarizing Saturday Night Live performance in recent memory, Lana Del Rey is in New York, eating a cookie. “I actually felt good about it,” she says. “I thought I looked beautiful and sang fine.” But it’s clear that Del Rey has been rattled by the overwhelming Internet vitriol hurled her way after her awk­ward renditions of two tunes, including the breakout single “Video Games.” Del Rey’s ace in the hole: her debut LP, Born to Die, which blends sweeping orchestral arrangements and hip-hop beats with confessional lyrics about partying and unhealthy relation­ships. “Now my life is sweet like cinna­mon,” she sings on standout cut “Radio.” “Like a fuckin’ dream I’m livin’ in.”

How did it feel to sing on live TV?

It felt OK. The cast and crew said they loved it. I know some peo­ple didn’t like it, but that’s just the way I perform, and my fans know that.

Are you comfortable on stage?

I’m nervous. I’m not a natural performer or exhibitionist. When I was younger, I hated the focus, and it made me feel strange.

The backlash to that performance has been pretty harsh.

There’s backlash about everything I do. It’s nothing new. When I walk outside, people have something to say about it. It wouldn’t have mattered if I was absolutely excellent. People don’t have anything nice to say about this project. I’m sure that’s why you’re writing about it.

Have I given you the impression that I don’t like your music? I do! Especial­ly the song “Radio.”

No. I don’t know how you feel about it. It’s not easy to gauge how people feel about it. I don’t really want to go into it. But thank you, I love “Radio” too.

When was the first time you stepped onstage?

I was the littlest orphan in Annie when I was three.

What was the first music you loved?

We didn’t have a TV, so I remember seeing Nirvana’s “Heart-Shaped Box” video when I was 11, at a party at my mom’s friend’s house. There was just something about the look in Kurt’s eye that made me feel like I knew what he was feeling, like I could relate to him. I still listen to Nirvana most days.

In your song “Blue Jeans,” you sing, “I grew up on hip-hop.” Did you?

I really loved Eminem. And in high school, my English teacher introduced me to Biggie Smalls. I loved “Me & My Bitch.”

Do you have a big record collection?

I’m more of a singles person. I love the Beach Boys'”Fun, Fun, Fun,” Leonard Cohen’s “Suzanne” and Nina Simone’s “The Other Woman.” And hearing Bob Dylan’s “It’s Alright, Ma (I’m Only Bleeding)” for the first time was a revelation. I watched Don’t Look Back a lot and read the biography by Anthony Scaduto. Like everyone else, Bob floors me.

Where did you write “Video Games”?

In London. I was with Justin Parker, one of my producers, and I just start­ed humming and freestyling over that progression of chords. It took me about 10 minutes, maybe. We knew we had something special. It was the perfect song for me — it was me in song form.

In your song “Off to the Races,” you mention cocaine, Bacardi chasers and cognac. Do you drink much?

I’ve been clean for some time now. I haven’t had a drink in many years, but I used to. Back when I was drinking a lot, I got in trouble and was sent to boarding school. But I straightened out after that.

Lyrics about taking some­one’s body “downtown” appear twice on the album. What does that mean?

It has a couple of mean­ings. One is, “Let’s go out, let’s go downtown!” And the other is… [Laughs] That’s it.

Originally published on rollingstone.com with the headline Q&A: Lana Del Rey.