Whoopiedoo

Face it, LDR is not a cover queen. Paradise is sultry and may be her best looking one to date, but it's still simple.
 
This is what we know about Lana when it comes to album covers...
She doesn't do gimmicks (we will never see her body contorted into a motorcycle or see her with black wires wrapped around her head) She doesn't like over processed graphic design. She likes things simple. Simple photo with simple font. The End.

This is so much better.

Dark Paradise.

Thank you for this, was able to do some searching:

I think it's pretty evident that Cola is about Barrie, and not about any of her past lovers. What gives it away is, "don't treat me ruff, treat me really nice-ies." A bulk of her old songs, she sings about wanting to be treated badly and roughly. In reality, Lana wants a real relationship. While she may have matured, her pussy will always taste like pepsi cola, as in, all the elements of her past that make up the Lana Del Rey DNA (american flags, white trash, motels, streamers, fake nails, american kitsch) will always be part of her.

Not much is really known about Lana's childhood, right? Raise Me Up is the only song that actually speaks about her relationship with her mother, or how it was in the past, didn't seem like it was a good one.

more vinyls
more pictures/posters
a book would be lovely
 
that is all.

Will you still love me when I no longer sing about green swimming pools?
Will you still love me when I no longer have my original nose?
 
Will you still love me when I no longer taste like Pepsi Cola?

Sorry if there's a thread about this (I couldn't find it)
But I'm so excited! I was hoping she'd do NYC, but happier she's doing my state!
Tickets go on sale Saturday April 4th at 10am
Facebook Presale is Friday at 10am
But what's the presale code!!

You wouldn't? I bet it's bleached to a hot pink.

We can't really assume that, as we don't know how many songs are in the vaults for each artist.
Lana's stuff just must be easy to access.

Nicole Sia at Wondering Sound is yet another journalist that has come to the conclusion that our girl is not an act, but rather a real person telling her story through her music, and sometimes painfully honest interviews.
 
http://www.wonderingsound.com/feature/lana-del-rey-ultraviolence-review/
 
 
On Ultraviolence, her second album since her Norma Jeane-style transformation from bottle-blond folk singer to pin-curled indie lightning rod, Lana Del Rey tells us a secret: She was once the Other Woman.
 
Self-identifying as a mistress may feel like a minor revelation, but it gives context for the self-destructive Lolita persona that’s become Del Rey’s trademark. On one hand, the role can be read as a metaphor — the artist fully embracing her identity as the music industry’s beautiful, dirty shame, derided and cast off by critics while her debut album quietly moved 7 million copies worldwide. Or we can read it as autobiography, the experiences of the woman born Elizabeth Grant bleeding into the Lana Del Rey mythology like a red bra through a translucent collared shirt. Each of her aesthetic choices — the girlish pout, the baby-doll register, the “It’s you, it’s you, it’s all for you” pathology — are the lamentations of a woman forced to define herself through stolen moments and dark corners. It’s a dangerous line to take, to cop to being a home wrecker. No one pities the mistress, and Del Rey knows this. But the singer isn’t concerned with forgiveness. Half confession, half redemption and written from a safe remove, Ultraviolence is, instead, a medallion of recovery.
 
“I’m finally happy now that you’re gone,” she sings on opener “Cruel World,” flexing her muscular lower register over steady tom-tom rhythm. “I did what I had to do, I found another anyhow.” Album closer “The Other Woman” is even more on-the-nose: “The other woman will always cry herself to sleep/ The other woman will never have his love to keep.”
 
For a singer repeatedly taken to task for her lack of authenticity, on Ultraviolence Del Rey comes across both honest and unguarded. Produced by the Black Keys’ Dan Auerbach (that’s his indelible wah-wah on “West Coast”) the album strips out the sonic Webdings that plagued Born to Die (the incessant “Blue Jeans” “Shyah!” sample; the self-conscious boom-bap of “Diet Mtn Dew.”) Instead, the album evolves the full-band sound of her Rick Rubin-led 2012 Paradise EP into something raw and unadorned. It’s also steeped in pop history: The symphonic guitar work on “Cruel World” summons visions of Magical Mystery-era Beatles. The fuzzy saxophone drawl on “The Other Woman” recalls Gene Pitney’s “Town Without Pity.” And a more oblique reference to the classics appears on the title track, which cribs lyrics from the Crystals’ “He Hit Me (It Felt Like a Kiss)” — the ’60s pop-progenitor of negative feedback loops in dysfunctional relationships.
 
And there are subtle nods to her own past: The strings on Ultraviolence‘s title track reuse the chord progression that opened “Born to Die.” The synth glide in the last minute of “West Coast” scans as a cute wink at Born to Die‘s hip-hop non-sequiturs. “Brooklyn Baby,” with its arch references to rare jazz records and hydroponic weed, and “Fucked My Way Up to the Top,” with its tongue-in-cheek title, come off like fuck-yous to the canon of think pieces written in her wake. Del Rey, as this writer was once assured, “reads everything.”
 
So, she’s most likely caught wind of the backlash to her recent open-for-interpretation sound bite about feminism. “For me, the issue of feminism is just not an interesting concept,” she told The Fader. “Whenever people bring up feminism, I’m like, god. I’m just not really that interested.”
 
Indelicately put and poorly timed, the quote got her in hot water, critics’ hands already full with young Hollywood star Shailene Woodley distancing herself from the F-word. But let’s be fair: Del Rey’s personal indifference and Woodley’s feminist dodge — “I think the idea of ‘raise women to power, take the men away from the power’ is never going to work out because you need balance,” she told Time — are two different opinions. Perhaps Del Rey, who’s been held over the fire for perpetuating anti-feminist ideas is done with being forced into a conversation she never sought in the first place, just as she’s over her Million Dollar Man.
 
Or perhaps she’d prefer to let her music speak for her. Because taken as a whole, Ultraviolence is her most feminist work to date. It presents, without judgment, the ecstasy and agony of one woman’s choices — a bird’s-eye view of a woman suffocating, then escaping from under the weight of her man. She treats her former self tenderly: “The Other Woman is perfect where her rival fails,” she sings. But that was then. Now she’s got a cool boyfriend in her band, “but he’s not as cool as me.” And she’s out for money, power and glory. Hallelujah

You're right BTD will never be UV. UV for the win.

I;m glad UV is weeding all the BTD lovers out o the picture. I love BTD, prob still prefer it to UV in a way [we'll see over time though], but UV is an essential artistic and musical transition for her that has revealed the artist she really wants to be. I'm invested in her as an act who can shift and grow, i don;t care to compare or expect BTD ever again to her future work. 

You're right BTD will never be UV. UV for the win.

Confirmed? Where are the receipts? I could make a tumblr and "confirm" shit about the new album too.

Lana writes for the music not for the charts!!1!!11

Next perform on SNL pls

That was beautiful investigative journalism.
 

I support the unpopular opinion that  AKA should be completely redone, because it has the potential to be better than it is. And we know for a fact that Lana is not satisfied with it.
 
For those who missed it:
Lana has stated that she wants to redo AKA and especially Yayo (which has been redone for Paradise), Kill Kill and Mermaid Motel As mentioned above Yayo has already been redone for Paradise. That rendition, however, has been criticized for being underwhelming compared to the original, which is the reason why some members fear that this new rendition of Kill Kill might be underwhelming as well. An alternative title for Kill Kill was "Florida Dark". We know for a fact that Kill Kill was never meant to be the title for the song, but accidentally became the title when a record executive called the original title "The Ocean" boring. Out of anger Lana crossed out "The Ocean" and wrote Kill Kill over it. "Florida Kilos" as a title has strong resemblance to both song titles, "Kill Kill" and "Florida Dark". "Kilos" is slang for cocaine and is abbreviated with simply "k". LANALYSIS: There have been a lot of Florida <-> K <-> Drugs cross-references in many of Lana's unreleased songs, such as "Daytona Meth", "Methamphetamines", "For K. Part 2" aka. "Rehab" <- feel free to call this point reaching. Folrida Kilos is a bonus track along with Black Beauty, which might suggest that Lana added/reworked three leaked/old songs as bonus tracks for UV. I think most people keep denying all this, because they don't want their precious and perfect Kill Kill "ruined". Then, again there's people who are just greedy for new songs and want as much new music as possible, which is why they didn't even want the perfect Black Beauty to be included.

wow. really?

May I join your quest on destroying this forum?
 
Apparently iconicLDR thinks he can make exceptional rules for me by deleting my status updates w/o further notification, simply because I was criticizing Lady Gaga's artRave. After complaining numerous times I received a warning point for spamming.
 
I posted this because it's not the first time he's done that and I'm sick and tired of him abusing his power by harassing me and trying to silence me, simply because we had some personal issues in private. I feel like I'm the only LB member who's not allowed to express his opinions w/o having to fear to receive warning points or deletion of my content. May, I also add that he went as far as removing my "campaign posters" during my run as MotM? How pressed?
 
Anyway, since this thread has become a "random discussion" thread anyway and since complaining via SU's doesn't work I'm gonna expose this injustice in here.

Dont know why ya'll want to turn her into Rihanna or something with promo. I'm glad she does nothing, radio play, Ellen???? Save that for shit like Taylor Swift and TV actress of the year type people. I'm not to see her talking to the masses on some promo tour that caters to mainstream fan bases and families at home watching tv.

How do people have such intense feelings about what 'fits' the album or what doesn't 'suit' the album. Like you haven't heard it yet? No one has... All we have are these vague descriptions to go off of. yall are silly. I mean maybe when we've heard a few more songs only then can we get an accurate idea of UV's style aesthetically.
 
Only one month (roughly), and I cannot wait!! I haven't been so excited for anything in such a long time.. it's nice.