IanadeIrey

I feel like Stella got Lana into Adidas lol 

I totally agree. If she wants fillers, and she feels good, then let her live!
 

I feel like Honeymoon was the record that really allowed Lana to be herself and was a platform through which she could communicate her internal struggle of the whole persona of Lana Del Rey versus Elizabeth Woolridge Grant. The lyrical parallels in some songs (HBTB and PMIAM from AKA) and themes from songs like GKIT and Swan Song really show this struggle I feel. 
 
The whole record deals with themes of escapism and voyeurism, feeling like you're being watched, and living out fantasies of your own downtime and freedom. The visuals for this era also convey this, what with the whole Starline tours bus - showing Lana, a star herself, literally surrounded in a world of stars, but the obvious factor is that these kinds of Hollywood tours are for the average person, which I think subtly but brilliantly shows the way in which Lana both objectively and personally views herself. 
 
I think out of all her discography, Honeymoon is THE record that she probably let the most go with; she really seemed like she was having a lot of fun with the whole process of creating it and the lyrics are more a tool for imagery rather than narrative, which paints a beautiful picture for the listener. It truly is a shame that it is so under-appreciated by her fanbase.
 
I think the main encompassing feeling and vibe throughout the record is Lana's interpretation of jazz and timelessness, and what the definition of timelessness is, sonically speaking. 
 
It's so soft and lush too. Someone else said it in another thread, and I completely agree with them - there are so many layers to it, you're definitely going to continue to discover different sounds and instruments the more you listen to the songs and even the instrumentals. 
 
I just love Honeymoon so much - it's my favourite Lana album. 

I recall Lana talking about how time was a central theme throughout the record. That feeling of timelessness and what one's interpretation of timelessness reveals about their own self is what I personally view as an overarching theme throughout the record. 
 
The whole record contains this feeling of time, both moving backwards and forwards. Both melodically and sonically. Burnt Norton in particular illustrates this lyrical idea of certain events and mindsets of different times coexisting in the past, present, and future. I feel like this was included as the interlude of the record because it almost serves as a metaphor for that gap between who Lizzy was/is and who Lana Del Rey is calculated to be. There are parts of Lizzy that exist within Lana and there are parts of Lana that were part of Lizzy even before Lana was calculated. What also leads me to believe this is something Lana said from the Billboard 2015 interview: Lana referred to herself as "her" rather than "I," saying that she's "protective of her - Lana..." Lana also stated this year that she did view "Lana Del Rey" as more of a persona than herself.  Also, in early 2015, Lana changed her Instagram icon to a picture of Lizzy. In terms of the sonic aspect, there is a lot of recycling of various sounds and the inverting of various instrumental sequences throughout songs. For example, the drums at the end of Religion slow down into nothingness, which almost sounds like time stopping. In HBTB, the last "high" sequences are later used for the Swan Song intro. Salvatore features a laugh that sounds both played forward and in reverse (it is more prominent in the instrumental rather than the actual album track). I feel like time is a metaphor for Lana versus Lizzy, and timelessness refers to parts of Elizabeth Woolridge Grant that exist in all versions of herself. 
 
 
Of course, there are also some songs that deal with Lana versus Lizzy, like Swan Song, where she asks both her man and herself if everything they're doing is really worth it, perhaps the theme of freedom in the song is letting go of who Lana Del Rey is ("I will never sing again" is quite open to interpretation but definitely fits this). God Knows I Tried also deals with escaping fame and feeling free. In fact, the whole record is called Honeymoon. A honeymoon is something that is to be enjoyed without any stress, and it is meant to be done in a fashion that ensures the privacy and relaxation of one. The privacy aspect is key to Lana versus Lizzy, because Lana is probably not the coolly detached, stiletto-nailed, false-eyelash batting Lana Del Rey when she's on her own time, at least not at the time of the journeys chronicled in Honeymoon. Honeymoon is the bridge between that persona of Lana from Born to Die, Paradise, and Ultraviolence, to the more grounded, aware of the real world Lana that is present in Lust for Life.
 
I could go on, but I would take forever. Honeymoon is an album that has a lot beyond it's surface and I have so much to say about it. I don't know if what I wrote was what you were looking for, but I hope it was!

I feel like Honeymoon was the record that really allowed Lana to be herself and was a platform through which she could communicate her internal struggle of the whole persona of Lana Del Rey versus Elizabeth Woolridge Grant. The lyrical parallels in some songs (HBTB and PMIAM from AKA) and themes from songs like GKIT and Swan Song really show this struggle I feel. 
 
The whole record deals with themes of escapism and voyeurism, feeling like you're being watched, and living out fantasies of your own downtime and freedom. The visuals for this era also convey this, what with the whole Starline tours bus - showing Lana, a star herself, literally surrounded in a world of stars, but the obvious factor is that these kinds of Hollywood tours are for the average person, which I think subtly but brilliantly shows the way in which Lana both objectively and personally views herself. 
 
I think out of all her discography, Honeymoon is THE record that she probably let the most go with; she really seemed like she was having a lot of fun with the whole process of creating it and the lyrics are more a tool for imagery rather than narrative, which paints a beautiful picture for the listener. It truly is a shame that it is so under-appreciated by her fanbase.
 
I think the main encompassing feeling and vibe throughout the record is Lana's interpretation of jazz and timelessness, and what the definition of timelessness is, sonically speaking. 
 
It's so soft and lush too. Someone else said it in another thread, and I completely agree with them - there are so many layers to it, you're definitely going to continue to discover different sounds and instruments the more you listen to the songs and even the instrumentals. 
 
I just love Honeymoon so much - it's my favourite Lana album. 

Don't know it if's already been discussed but look at Chuck's Instagram story. 
 
There's a film camera and a cat on a floral chair, and if you look at that chair, it's the chair from Lana's Instagram video of the spider on the Honeymoon account last year. 
 
You know, that floral, green, pink, and white one.
 
Is she perhaps filming the Cherry video? It's in one of Lana's houses, evident from the chair, so that leads me to believe it's Lana related. 

This is actually what I imagined the aesthetic of the entire record to be back when Love came out! I love this  so much, you're very creative! 

I feel like Stella got Lana into Adidas lol 

I feel like Stella got Lana into Adidas lol 

I feel like Stella got Lana into Adidas lol 

I feel like Honeymoon was the record that really allowed Lana to be herself and was a platform through which she could communicate her internal struggle of the whole persona of Lana Del Rey versus Elizabeth Woolridge Grant. The lyrical parallels in some songs (HBTB and PMIAM from AKA) and themes from songs like GKIT and Swan Song really show this struggle I feel. 
 
The whole record deals with themes of escapism and voyeurism, feeling like you're being watched, and living out fantasies of your own downtime and freedom. The visuals for this era also convey this, what with the whole Starline tours bus - showing Lana, a star herself, literally surrounded in a world of stars, but the obvious factor is that these kinds of Hollywood tours are for the average person, which I think subtly but brilliantly shows the way in which Lana both objectively and personally views herself. 
 
I think out of all her discography, Honeymoon is THE record that she probably let the most go with; she really seemed like she was having a lot of fun with the whole process of creating it and the lyrics are more a tool for imagery rather than narrative, which paints a beautiful picture for the listener. It truly is a shame that it is so under-appreciated by her fanbase.
 
I think the main encompassing feeling and vibe throughout the record is Lana's interpretation of jazz and timelessness, and what the definition of timelessness is, sonically speaking. 
 
It's so soft and lush too. Someone else said it in another thread, and I completely agree with them - there are so many layers to it, you're definitely going to continue to discover different sounds and instruments the more you listen to the songs and even the instrumentals. 
 
I just love Honeymoon so much - it's my favourite Lana album. 

I would really love Salvatore, Religion, GKIT, The Blackest Day, Terrence Loves You or Art Deco on the setlist.
And of course, keep MTWBT and bring back HM, HBTB and Freak. 
 
She should just have a show where the setlist is just HM songs! 

I recall Lana talking about how time was a central theme throughout the record. That feeling of timelessness and what one's interpretation of timelessness reveals about their own self is what I personally view as an overarching theme throughout the record. 
 
The whole record contains this feeling of time, both moving backwards and forwards. Both melodically and sonically. Burnt Norton in particular illustrates this lyrical idea of certain events and mindsets of different times coexisting in the past, present, and future. I feel like this was included as the interlude of the record because it almost serves as a metaphor for that gap between who Lizzy was/is and who Lana Del Rey is calculated to be. There are parts of Lizzy that exist within Lana and there are parts of Lana that were part of Lizzy even before Lana was calculated. What also leads me to believe this is something Lana said from the Billboard 2015 interview: Lana referred to herself as "her" rather than "I," saying that she's "protective of her - Lana..." Lana also stated this year that she did view "Lana Del Rey" as more of a persona than herself.  Also, in early 2015, Lana changed her Instagram icon to a picture of Lizzy. In terms of the sonic aspect, there is a lot of recycling of various sounds and the inverting of various instrumental sequences throughout songs. For example, the drums at the end of Religion slow down into nothingness, which almost sounds like time stopping. In HBTB, the last "high" sequences are later used for the Swan Song intro. Salvatore features a laugh that sounds both played forward and in reverse (it is more prominent in the instrumental rather than the actual album track). I feel like time is a metaphor for Lana versus Lizzy, and timelessness refers to parts of Elizabeth Woolridge Grant that exist in all versions of herself. 
 
 
Of course, there are also some songs that deal with Lana versus Lizzy, like Swan Song, where she asks both her man and herself if everything they're doing is really worth it, perhaps the theme of freedom in the song is letting go of who Lana Del Rey is ("I will never sing again" is quite open to interpretation but definitely fits this). God Knows I Tried also deals with escaping fame and feeling free. In fact, the whole record is called Honeymoon. A honeymoon is something that is to be enjoyed without any stress, and it is meant to be done in a fashion that ensures the privacy and relaxation of one. The privacy aspect is key to Lana versus Lizzy, because Lana is probably not the coolly detached, stiletto-nailed, false-eyelash batting Lana Del Rey when she's on her own time, at least not at the time of the journeys chronicled in Honeymoon. Honeymoon is the bridge between that persona of Lana from Born to Die, Paradise, and Ultraviolence, to the more grounded, aware of the real world Lana that is present in Lust for Life.
 
I could go on, but I would take forever. Honeymoon is an album that has a lot beyond it's surface and I have so much to say about it. I don't know if what I wrote was what you were looking for, but I hope it was!

I feel like Honeymoon was the record that really allowed Lana to be herself and was a platform through which she could communicate her internal struggle of the whole persona of Lana Del Rey versus Elizabeth Woolridge Grant. The lyrical parallels in some songs (HBTB and PMIAM from AKA) and themes from songs like GKIT and Swan Song really show this struggle I feel. 
 
The whole record deals with themes of escapism and voyeurism, feeling like you're being watched, and living out fantasies of your own downtime and freedom. The visuals for this era also convey this, what with the whole Starline tours bus - showing Lana, a star herself, literally surrounded in a world of stars, but the obvious factor is that these kinds of Hollywood tours are for the average person, which I think subtly but brilliantly shows the way in which Lana both objectively and personally views herself. 
 
I think out of all her discography, Honeymoon is THE record that she probably let the most go with; she really seemed like she was having a lot of fun with the whole process of creating it and the lyrics are more a tool for imagery rather than narrative, which paints a beautiful picture for the listener. It truly is a shame that it is so under-appreciated by her fanbase.
 
I think the main encompassing feeling and vibe throughout the record is Lana's interpretation of jazz and timelessness, and what the definition of timelessness is, sonically speaking. 
 
It's so soft and lush too. Someone else said it in another thread, and I completely agree with them - there are so many layers to it, you're definitely going to continue to discover different sounds and instruments the more you listen to the songs and even the instrumentals. 
 
I just love Honeymoon so much - it's my favourite Lana album. 

I recall Lana talking about how time was a central theme throughout the record. That feeling of timelessness and what one's interpretation of timelessness reveals about their own self is what I personally view as an overarching theme throughout the record. 
 
The whole record contains this feeling of time, both moving backwards and forwards. Both melodically and sonically. Burnt Norton in particular illustrates this lyrical idea of certain events and mindsets of different times coexisting in the past, present, and future. I feel like this was included as the interlude of the record because it almost serves as a metaphor for that gap between who Lizzy was/is and who Lana Del Rey is calculated to be. There are parts of Lizzy that exist within Lana and there are parts of Lana that were part of Lizzy even before Lana was calculated. What also leads me to believe this is something Lana said from the Billboard 2015 interview: Lana referred to herself as "her" rather than "I," saying that she's "protective of her - Lana..." Lana also stated this year that she did view "Lana Del Rey" as more of a persona than herself.  Also, in early 2015, Lana changed her Instagram icon to a picture of Lizzy. In terms of the sonic aspect, there is a lot of recycling of various sounds and the inverting of various instrumental sequences throughout songs. For example, the drums at the end of Religion slow down into nothingness, which almost sounds like time stopping. In HBTB, the last "high" sequences are later used for the Swan Song intro. Salvatore features a laugh that sounds both played forward and in reverse (it is more prominent in the instrumental rather than the actual album track). I feel like time is a metaphor for Lana versus Lizzy, and timelessness refers to parts of Elizabeth Woolridge Grant that exist in all versions of herself. 
 
 
Of course, there are also some songs that deal with Lana versus Lizzy, like Swan Song, where she asks both her man and herself if everything they're doing is really worth it, perhaps the theme of freedom in the song is letting go of who Lana Del Rey is ("I will never sing again" is quite open to interpretation but definitely fits this). God Knows I Tried also deals with escaping fame and feeling free. In fact, the whole record is called Honeymoon. A honeymoon is something that is to be enjoyed without any stress, and it is meant to be done in a fashion that ensures the privacy and relaxation of one. The privacy aspect is key to Lana versus Lizzy, because Lana is probably not the coolly detached, stiletto-nailed, false-eyelash batting Lana Del Rey when she's on her own time, at least not at the time of the journeys chronicled in Honeymoon. Honeymoon is the bridge between that persona of Lana from Born to Die, Paradise, and Ultraviolence, to the more grounded, aware of the real world Lana that is present in Lust for Life.
 
I could go on, but I would take forever. Honeymoon is an album that has a lot beyond it's surface and I have so much to say about it. I don't know if what I wrote was what you were looking for, but I hope it was!

Swan Song really speaks to me, especially these particular lines:
 
"The world can change in a day if you go away"
"Why work so hard when you can just be free?"
"Do you like where you've been and where you're going to?"
 
She really said it clear for me. 

"I'm flying to the moon again, dreaming about heroin" - even weed can make you feel like you are shooting into space (hence being 'high' haha) and it can also have a strange effect where while under the influence, thinking about other drugs can have an almost magnetic pull towards them. It's hard to explain, but it's almost like the drug is calling out to you, inviting you to take a trip.
 
"I put you on an aeroplane, destined for a foreign land" - I associated this with the ending of her relationship with Barrie, as she kind of sent him back to Europe, and from an outside perspective, he seemed to subsequently enter into a very dark time of life.
 
"Topanga's hot today, Manson's in the air. And all my friends have come, cuz they still feel him here" - although not found in Topanga Canyon, the John Lautner house she was (is?) renting where the 2015 Joe Pugliese Billboard shoot was done, is literally one street adjacent from where Sharon Tate was murdered by the Manson group. These lyrics gave me the visual of her friends being fascinated/creeped out how close they are to where the murders happened.

"Makes me feel like I can change" in Heroin >>>

Can we all agree that Heroin, Change and Get Free SHOULD belong at the end of the record? 
 
I see some people saying that Heroin should be in the first half of the album, and I personally think the tracklist works really well, sonically and thematically. 
 
We have Love, LFL, and 13 Beaches at the start, which are quite different but wouldn't really belong anywhere else. 
Then we have the "fiery bops" which start with Cherry and end at IMF. Sonically, they're very contemporary and fun, upbeat songs.
Coachella is the bridge from bops to political songs, while having boppy production and somewhat political related lyrics.
Then we have political songs from GBA - BPBP
TNC is another fun love song, but sonically, it wouldn't work before Coachella, nor would it fit anywhere within Cherry - IMF, so it's placement is perfect, esp after BPBP with Stevie.
 
Then the last 3 tracks document Lana's growth and journey as a human being, so those are perfect.
 
Heroin is Lana hoping to change and describing what went wrong with her life.
Change is Lana anticipating this change.
Get Free is Lana manifesting her hopeful words into an actual change. 

Can we all agree that Heroin, Change and Get Free SHOULD belong at the end of the record? 
 
I see some people saying that Heroin should be in the first half of the album, and I personally think the tracklist works really well, sonically and thematically. 
 
We have Love, LFL, and 13 Beaches at the start, which are quite different but wouldn't really belong anywhere else. 
Then we have the "fiery bops" which start with Cherry and end at IMF. Sonically, they're very contemporary and fun, upbeat songs.
Coachella is the bridge from bops to political songs, while having boppy production and somewhat political related lyrics.
Then we have political songs from GBA - BPBP
TNC is another fun love song, but sonically, it wouldn't work before Coachella, nor would it fit anywhere within Cherry - IMF, so it's placement is perfect, esp after BPBP with Stevie.
 
Then the last 3 tracks document Lana's growth and journey as a human being, so those are perfect.
 
Heroin is Lana hoping to change and describing what went wrong with her life.
Change is Lana anticipating this change.
Get Free is Lana manifesting her hopeful words into an actual change. 

Can we all agree that Heroin, Change and Get Free SHOULD belong at the end of the record? 
 
I see some people saying that Heroin should be in the first half of the album, and I personally think the tracklist works really well, sonically and thematically. 
 
We have Love, LFL, and 13 Beaches at the start, which are quite different but wouldn't really belong anywhere else. 
Then we have the "fiery bops" which start with Cherry and end at IMF. Sonically, they're very contemporary and fun, upbeat songs.
Coachella is the bridge from bops to political songs, while having boppy production and somewhat political related lyrics.
Then we have political songs from GBA - BPBP
TNC is another fun love song, but sonically, it wouldn't work before Coachella, nor would it fit anywhere within Cherry - IMF, so it's placement is perfect, esp after BPBP with Stevie.
 
Then the last 3 tracks document Lana's growth and journey as a human being, so those are perfect.
 
Heroin is Lana hoping to change and describing what went wrong with her life.
Change is Lana anticipating this change.
Get Free is Lana manifesting her hopeful words into an actual change. 

Can we all agree that Heroin, Change and Get Free SHOULD belong at the end of the record? 
 
I see some people saying that Heroin should be in the first half of the album, and I personally think the tracklist works really well, sonically and thematically. 
 
We have Love, LFL, and 13 Beaches at the start, which are quite different but wouldn't really belong anywhere else. 
Then we have the "fiery bops" which start with Cherry and end at IMF. Sonically, they're very contemporary and fun, upbeat songs.
Coachella is the bridge from bops to political songs, while having boppy production and somewhat political related lyrics.
Then we have political songs from GBA - BPBP
TNC is another fun love song, but sonically, it wouldn't work before Coachella, nor would it fit anywhere within Cherry - IMF, so it's placement is perfect, esp after BPBP with Stevie.
 
Then the last 3 tracks document Lana's growth and journey as a human being, so those are perfect.
 
Heroin is Lana hoping to change and describing what went wrong with her life.
Change is Lana anticipating this change.
Get Free is Lana manifesting her hopeful words into an actual change. 

Can we all agree that Heroin, Change and Get Free SHOULD belong at the end of the record? 
 
I see some people saying that Heroin should be in the first half of the album, and I personally think the tracklist works really well, sonically and thematically. 
 
We have Love, LFL, and 13 Beaches at the start, which are quite different but wouldn't really belong anywhere else. 
Then we have the "fiery bops" which start with Cherry and end at IMF. Sonically, they're very contemporary and fun, upbeat songs.
Coachella is the bridge from bops to political songs, while having boppy production and somewhat political related lyrics.
Then we have political songs from GBA - BPBP
TNC is another fun love song, but sonically, it wouldn't work before Coachella, nor would it fit anywhere within Cherry - IMF, so it's placement is perfect, esp after BPBP with Stevie.
 
Then the last 3 tracks document Lana's growth and journey as a human being, so those are perfect.
 
Heroin is Lana hoping to change and describing what went wrong with her life.
Change is Lana anticipating this change.
Get Free is Lana manifesting her hopeful words into an actual change. 

Can we all agree that Heroin, Change and Get Free SHOULD belong at the end of the record? 
 
I see some people saying that Heroin should be in the first half of the album, and I personally think the tracklist works really well, sonically and thematically. 
 
We have Love, LFL, and 13 Beaches at the start, which are quite different but wouldn't really belong anywhere else. 
Then we have the "fiery bops" which start with Cherry and end at IMF. Sonically, they're very contemporary and fun, upbeat songs.
Coachella is the bridge from bops to political songs, while having boppy production and somewhat political related lyrics.
Then we have political songs from GBA - BPBP
TNC is another fun love song, but sonically, it wouldn't work before Coachella, nor would it fit anywhere within Cherry - IMF, so it's placement is perfect, esp after BPBP with Stevie.
 
Then the last 3 tracks document Lana's growth and journey as a human being, so those are perfect.
 
Heroin is Lana hoping to change and describing what went wrong with her life.
Change is Lana anticipating this change.
Get Free is Lana manifesting her hopeful words into an actual change. 

Can we all agree that Heroin, Change and Get Free SHOULD belong at the end of the record? 
 
I see some people saying that Heroin should be in the first half of the album, and I personally think the tracklist works really well, sonically and thematically. 
 
We have Love, LFL, and 13 Beaches at the start, which are quite different but wouldn't really belong anywhere else. 
Then we have the "fiery bops" which start with Cherry and end at IMF. Sonically, they're very contemporary and fun, upbeat songs.
Coachella is the bridge from bops to political songs, while having boppy production and somewhat political related lyrics.
Then we have political songs from GBA - BPBP
TNC is another fun love song, but sonically, it wouldn't work before Coachella, nor would it fit anywhere within Cherry - IMF, so it's placement is perfect, esp after BPBP with Stevie.
 
Then the last 3 tracks document Lana's growth and journey as a human being, so those are perfect.
 
Heroin is Lana hoping to change and describing what went wrong with her life.
Change is Lana anticipating this change.
Get Free is Lana manifesting her hopeful words into an actual change.