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Lana Del Rey


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woahwoahwoah

I'm not sure why but I'm in love with her SNL performance of Blue Jeans. I don't care how horrible the reviews of it were, or how flawed the performance really was, I love it. The first verse and chorus are really awkward but the second chorus on omg. She's so wonderful. I can't wait to buy the album tomorrow.

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LipglossLuxury

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What happens to a dream fulfilled? More specifically, an American dream fulfilled, rags turning to riches with the snap of a MANiCUREd finger, kissing James Dean in Gatsby's swimming pool, getting played on the radio. This is a central question animating Lana Del Rey's Born to Die. Our heroine has all the love, diamonds, and Diet Mountain Dew she could ask for, yet still sings, "I wish I was dead," sounding utterly incapable of joy. To paraphrase Liz Phair, if you get everything you wish for and you're still unhappy, then you know that the problem is you.

Given the waves of hype and backlash over the last six months, it can be easy to forget that we're here, first and foremost, because of a song. "Video Games" struck a nerve not just because it was an introduction to Del Rey's captivating voice but because it seemed to suggest something as-yet-unarticulated about the way we live today. Whatever her intention, as a metaphor about disconnect and detachment from our own desires, "Video Games" felt frank, pointed, and true, and it had a chord progression and melody to match. The ultimate disappointment of Born to Die, then, is how out of touch it feels not just with the world around it, but with the simple business of human emotion.

The singer born Elizabeth "Lizzy" Grant may have made her mark with a grainy homemade video that brought to mind other grainy homemade videos in the indie sphere, but the slick sound and sentiment of "Radio", Born to Die's most straightforward statement of purpose ("Baby love me 'cause I'm playing on the radio/ How do you like me now?"), places it firmly within the realm of big-budget chart pop. Born to Die was produced by Emile Haynie, whose credits include Eminem, Lil Wayne, and Kid Cudi, and the album's impressively lush atmosphere might be the one thing that will unite its detractors and apologists.

The album's recurring themes ooze out of every note: s-x, d--gs, and glitter hover in the yawning atmosphere around Del Rey's breathy vocals. There are strings and trip-hop beats and bits of 1950s twang, and the melodies, assembled with assistance from hired-gun songwriters like Mike Daly (Plain White Ts, Whiskeytown) and Rick Nowels (Belinda Carlisle's "Heaven Is a Place on Earth") are built to stick. But for an album that aims for fickle radio listeners, many of its pop signifiers feel stale and ill-fitting. On "Million Dollar Man", Del Rey drawls like a highly medicated Fiona Apple, and "Diet Mountain Dew" and "Off to the Races" aim for chatty, sparkling opulence, this singer doesn't have the personality to bring it off.

And speaking of fantasy: The conversation surrounding Lana Del Rey has underscored some seriously depressing truths about s-xism in music. She was subjected to the kind of intense scrutiny-- about her backstory and especially her appearance-- that's generally reserved for women only. But the s-xual politics of Born to Die are troubling too: You'd be hard pressed to find any song on which Del Rey reveals an interiority or figures herself as anything more complex than an ice-cream-cone-licking object of male desire (a line in "Blue Jeans", "I will love you till the end of time/ I would wait a million years," sums up about 65% of the album's lyrical content). Even when Del Rey offers something that could be read as a critique ("This is what makes us girls/ We don't stick together 'cause we put our love first"), she asks that we make no effort to change, escape, or transcend the way things are ("Don't cry about it/ Don't cry about it.") In terms of its America-sized grandeur and its fixation with the emptiness of dreams, Born to Die attempts to serve as Del Rey's own beautiful, dark, twisted fantasy, but there's no spark and nothing at stake.

The critic Ellen Willis once wrote of Bette Midler: "Blatant artifice can, in the right circumstances, be poignantly honest, and she expresses the tension between image and inner self that all of us-- but especially women-- experience." But Born to Die never allows tension or complexity into the mix, and its take on female s-xuality ends up feeling thoroughly tame. For all of its coos about love and devotion, it's the album equivalent of a faked orgasm-- a collection of torch songs with no fire. Given the lengthy build-up and all the YouTube leaks, think-pieces, and controversy that followed, you can only spend so much time in Born To Die's nihilistic Never Land before Peggy Lee's famous question starts to nag: Is that all there is?

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Where does everyone get their Lana images from? I've looked at one of the galleries and their aren't many photos. Help is appreciated :3

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The album is SUCH a grower :legend:

THIS.

Loved the whole album after one listen except Radio, Lolita and Off The Races.

Now they are one of my favorites (actually there are no tracks that aren't my favorite atm)

BEST ALBUM OF 2012 ( :troll:)

But honestly, it'll be hard to surprise me with an album that much (again) :wub:

Edited by MB_MTM
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Lana Del Rey

Where does everyone get their Lana images from? I've looked at one of the galleries and their aren't many photos. Help is appreciated :3

http://lanadelreyfan.com/gallery/

The best one.

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