IanadeIrey

Also, does anyone else remember that time in June 2016 where Lana (the last official candid of blonde Lana RIP) was spotted with Stella and someone else at Yosemite National Park? 
I think it's very plausible that she wrote the track shortly after that, or around that time. 
 
I love folky 70's desert Lana so much. 

Also, does anyone else remember that time in June 2016 where Lana (the last official candid of blonde Lana RIP) was spotted with Stella and someone else at Yosemite National Park? 
I think it's very plausible that she wrote the track shortly after that, or around that time. 
 
I love folky 70's desert Lana so much. 

Seems too good to be true if we’re getting Yosemite in 6 months... I’m keeping my hopes low.

So I made this LA to the Moon poster and wanted to share in this thread. Apologies if it's considered off-topic. 
 
http://lanaboards.com/uploads/monthly_11_2017/post-19462-0-29348300-1511153780.jpg

Sigh, I'm still not over it
I want to know how BAR and Yosemite connect to each other.
I still think BAR was supposed to start the record and Yosemite to end it 

That could be true  But i'm sticking with the prank theory until someone proves it wrong  
 
I found the interview for the "candle in the wind" part - https://www.pressreader.com/uk/elle-uk/20170601/281483571311492

Does anyone know where the source of these lyrics are from?
 
http://lanadelrey.wikia.com/wiki/Yosemite_(song)

Actually, I was thinking that too. Maybe at the pop-up today some fans asked about Yosemite's lyrics @@Roctab 

Actually, I was thinking that too. Maybe at the pop-up today some fans asked about Yosemite's lyrics @@Roctab 

the fuck are those new lyrics...?..
 
the chorus 'we did it for fun' im sure was mentioned in an interview, but those were sung at her album preview party
 
and the candle in the wind line is from another interview, i think it's the same one in which she first mentioned the song and talked about TNC
 
but yea those new lines are either some bullshit edit or she gave people new lyrics and LB have yet to post it/ any of us have yet to see it...but still dont catch me off GUARD like this gal

"I'm no longer a candle in the wind" comes from an interview.
The chorus comes from the live snippet (and previously from the interview with Stevie Nicks).
 
"I was waiting for us to shine
Until everything was done and
Till this time all I think is"
 
^ I have no idea where this comes from, probably edited by some user that wanted to prank people or something.

Yeah, the lyrics you highlighted in blue I had never seen/heard of before, either they're trolling or they have the song (but I doubt it).
There was another part about dreams being different from someone else's in the chorus, too, though, and I hadn't seen those before, so those must be fake too. 

I'm low-key torn on the album's aesthetic. I love it because it's so diverse, but I feel like cohesiveness was part of what made Lana's aesthetic kind of shine, if that makes sense.
BTD, Paradise, UV and HM had imagery that fit the music, but with LFL, the earthy, 70's flower child look that best suits the songs,  Love, 13 Beaches, Coachella, GBA, WTWWAWWKD, BPBP, Tomorrow Never Came, Heroin, and even Change, clashes with the 60's girl group look for the title track and Get Free (although the latter could fit the album cover's  aesthetic). And then there are bops (which are the best tbh) like Cherry, WM, SB, GL, IMF that suit Lana's adidas phase. And then there's the sci-fi witchy and space theme. 
 
Don't get me wrong, I love how varied the imagery is, and how she uses different looks and visuals to tell the stories of various songs on the record, but I feel like Lana always incorporated imagery that would represent the album as a whole story. I guess she did that because either she herself was not sure what she wanted the record to be ("Lost for Life") or maybe because this record touches on themes that are bigger than herself, politically and globally speaking, she wanted to represent different sides of herself.
 
I don't know, I'm just very interested in the psychology behind all this imagery that seems random on the surface but must have deeper connections to one another. It's Lana, we're talking about. Abstract, over-analysis is expected. 

This is a very good way of looking at it

can't believe lana is criticizing her own album theme

I'm low-key torn on the album's aesthetic. I love it because it's so diverse, but I feel like cohesiveness was part of what made Lana's aesthetic kind of shine, if that makes sense.
BTD, Paradise, UV and HM had imagery that fit the music, but with LFL, the earthy, 70's flower child look that best suits the songs,  Love, 13 Beaches, Coachella, GBA, WTWWAWWKD, BPBP, Tomorrow Never Came, Heroin, and even Change, clashes with the 60's girl group look for the title track and Get Free (although the latter could fit the album cover's  aesthetic). And then there are bops (which are the best tbh) like Cherry, WM, SB, GL, IMF that suit Lana's adidas phase. And then there's the sci-fi witchy and space theme. 
 
Don't get me wrong, I love how varied the imagery is, and how she uses different looks and visuals to tell the stories of various songs on the record, but I feel like Lana always incorporated imagery that would represent the album as a whole story. I guess she did that because either she herself was not sure what she wanted the record to be ("Lost for Life") or maybe because this record touches on themes that are bigger than herself, politically and globally speaking, she wanted to represent different sides of herself.
 
I don't know, I'm just very interested in the psychology behind all this imagery that seems random on the surface but must have deeper connections to one another. It's Lana, we're talking about. Abstract, over-analysis is expected. 

I'm low-key torn on the album's aesthetic. I love it because it's so diverse, but I feel like cohesiveness was part of what made Lana's aesthetic kind of shine, if that makes sense.
BTD, Paradise, UV and HM had imagery that fit the music, but with LFL, the earthy, 70's flower child look that best suits the songs,  Love, 13 Beaches, Coachella, GBA, WTWWAWWKD, BPBP, Tomorrow Never Came, Heroin, and even Change, clashes with the 60's girl group look for the title track and Get Free (although the latter could fit the album cover's  aesthetic). And then there are bops (which are the best tbh) like Cherry, WM, SB, GL, IMF that suit Lana's adidas phase. And then there's the sci-fi witchy and space theme. 
 
Don't get me wrong, I love how varied the imagery is, and how she uses different looks and visuals to tell the stories of various songs on the record, but I feel like Lana always incorporated imagery that would represent the album as a whole story. I guess she did that because either she herself was not sure what she wanted the record to be ("Lost for Life") or maybe because this record touches on themes that are bigger than herself, politically and globally speaking, she wanted to represent different sides of herself.
 
I don't know, I'm just very interested in the psychology behind all this imagery that seems random on the surface but must have deeper connections to one another. It's Lana, we're talking about. Abstract, over-analysis is expected. 

I'm low-key torn on the album's aesthetic. I love it because it's so diverse, but I feel like cohesiveness was part of what made Lana's aesthetic kind of shine, if that makes sense.
BTD, Paradise, UV and HM had imagery that fit the music, but with LFL, the earthy, 70's flower child look that best suits the songs,  Love, 13 Beaches, Coachella, GBA, WTWWAWWKD, BPBP, Tomorrow Never Came, Heroin, and even Change, clashes with the 60's girl group look for the title track and Get Free (although the latter could fit the album cover's  aesthetic). And then there are bops (which are the best tbh) like Cherry, WM, SB, GL, IMF that suit Lana's adidas phase. And then there's the sci-fi witchy and space theme. 
 
Don't get me wrong, I love how varied the imagery is, and how she uses different looks and visuals to tell the stories of various songs on the record, but I feel like Lana always incorporated imagery that would represent the album as a whole story. I guess she did that because either she herself was not sure what she wanted the record to be ("Lost for Life") or maybe because this record touches on themes that are bigger than herself, politically and globally speaking, she wanted to represent different sides of herself.
 
I don't know, I'm just very interested in the psychology behind all this imagery that seems random on the surface but must have deeper connections to one another. It's Lana, we're talking about. Abstract, over-analysis is expected. 

I'm low-key torn on the album's aesthetic. I love it because it's so diverse, but I feel like cohesiveness was part of what made Lana's aesthetic kind of shine, if that makes sense.
BTD, Paradise, UV and HM had imagery that fit the music, but with LFL, the earthy, 70's flower child look that best suits the songs,  Love, 13 Beaches, Coachella, GBA, WTWWAWWKD, BPBP, Tomorrow Never Came, Heroin, and even Change, clashes with the 60's girl group look for the title track and Get Free (although the latter could fit the album cover's  aesthetic). And then there are bops (which are the best tbh) like Cherry, WM, SB, GL, IMF that suit Lana's adidas phase. And then there's the sci-fi witchy and space theme. 
 
Don't get me wrong, I love how varied the imagery is, and how she uses different looks and visuals to tell the stories of various songs on the record, but I feel like Lana always incorporated imagery that would represent the album as a whole story. I guess she did that because either she herself was not sure what she wanted the record to be ("Lost for Life") or maybe because this record touches on themes that are bigger than herself, politically and globally speaking, she wanted to represent different sides of herself.
 
I don't know, I'm just very interested in the psychology behind all this imagery that seems random on the surface but must have deeper connections to one another. It's Lana, we're talking about. Abstract, over-analysis is expected. 

I'm low-key torn on the album's aesthetic. I love it because it's so diverse, but I feel like cohesiveness was part of what made Lana's aesthetic kind of shine, if that makes sense.
BTD, Paradise, UV and HM had imagery that fit the music, but with LFL, the earthy, 70's flower child look that best suits the songs,  Love, 13 Beaches, Coachella, GBA, WTWWAWWKD, BPBP, Tomorrow Never Came, Heroin, and even Change, clashes with the 60's girl group look for the title track and Get Free (although the latter could fit the album cover's  aesthetic). And then there are bops (which are the best tbh) like Cherry, WM, SB, GL, IMF that suit Lana's adidas phase. And then there's the sci-fi witchy and space theme. 
 
Don't get me wrong, I love how varied the imagery is, and how she uses different looks and visuals to tell the stories of various songs on the record, but I feel like Lana always incorporated imagery that would represent the album as a whole story. I guess she did that because either she herself was not sure what she wanted the record to be ("Lost for Life") or maybe because this record touches on themes that are bigger than herself, politically and globally speaking, she wanted to represent different sides of herself.
 
I don't know, I'm just very interested in the psychology behind all this imagery that seems random on the surface but must have deeper connections to one another. It's Lana, we're talking about. Abstract, over-analysis is expected. 

I'm low-key torn on the album's aesthetic. I love it because it's so diverse, but I feel like cohesiveness was part of what made Lana's aesthetic kind of shine, if that makes sense.
BTD, Paradise, UV and HM had imagery that fit the music, but with LFL, the earthy, 70's flower child look that best suits the songs,  Love, 13 Beaches, Coachella, GBA, WTWWAWWKD, BPBP, Tomorrow Never Came, Heroin, and even Change, clashes with the 60's girl group look for the title track and Get Free (although the latter could fit the album cover's  aesthetic). And then there are bops (which are the best tbh) like Cherry, WM, SB, GL, IMF that suit Lana's adidas phase. And then there's the sci-fi witchy and space theme. 
 
Don't get me wrong, I love how varied the imagery is, and how she uses different looks and visuals to tell the stories of various songs on the record, but I feel like Lana always incorporated imagery that would represent the album as a whole story. I guess she did that because either she herself was not sure what she wanted the record to be ("Lost for Life") or maybe because this record touches on themes that are bigger than herself, politically and globally speaking, she wanted to represent different sides of herself.
 
I don't know, I'm just very interested in the psychology behind all this imagery that seems random on the surface but must have deeper connections to one another. It's Lana, we're talking about. Abstract, over-analysis is expected. 

I'm low-key torn on the album's aesthetic. I love it because it's so diverse, but I feel like cohesiveness was part of what made Lana's aesthetic kind of shine, if that makes sense.
BTD, Paradise, UV and HM had imagery that fit the music, but with LFL, the earthy, 70's flower child look that best suits the songs,  Love, 13 Beaches, Coachella, GBA, WTWWAWWKD, BPBP, Tomorrow Never Came, Heroin, and even Change, clashes with the 60's girl group look for the title track and Get Free (although the latter could fit the album cover's  aesthetic). And then there are bops (which are the best tbh) like Cherry, WM, SB, GL, IMF that suit Lana's adidas phase. And then there's the sci-fi witchy and space theme. 
 
Don't get me wrong, I love how varied the imagery is, and how she uses different looks and visuals to tell the stories of various songs on the record, but I feel like Lana always incorporated imagery that would represent the album as a whole story. I guess she did that because either she herself was not sure what she wanted the record to be ("Lost for Life") or maybe because this record touches on themes that are bigger than herself, politically and globally speaking, she wanted to represent different sides of herself.
 
I don't know, I'm just very interested in the psychology behind all this imagery that seems random on the surface but must have deeper connections to one another. It's Lana, we're talking about. Abstract, over-analysis is expected. 

(For me, and I listen to them in any season obviously but in my head they're best linked in my mind to:) 
AKA - night album, no specific season
BTD - mainly winter because of the NYC-sound
Paradise - summer but like, mild heat
Ultraviolence - hot summer night
Honeymoon - mid summer day, on a really warm and humid day
LfL - late spring 

I wonder if Lana has some sixth sense abilities. Think about; she’s mentioned Manson before but most recently was technically when the record came out, which was a few months ago, and now he’s gone.
 
It happened to Lou Reed when she was supposed to work with him on Brooklyn Baby.
It happened to David Bowie after she referenced both his brother for the name of the song and “ground control to major tom” in Terrence Loves You.
This one’s a bit of a reach, but in 2015, Lana referenced Purple Rain on the Honeymoon instagram account, and 10 months later, Prince died.
And now with Lana most recently referencing Manson in Heroin, he dies 4 months later.