themusicbizisGONEgoingcountry

i feel like when u get rite down to the heart of it, the woman's been creating music in a way that takes u out of the banality of life, to then enjoying life for what it is. and most importantly, caring for it and knowing the importance of being where you are rn and honoring it. 

if u take out the veil of entitlement that a lot of people see her thru, you'll realize even more that she's been doin this for a long time under the radar. waaaaay before it was trendy. 

they don't really care, they just wanna be entertained, so her detractors find ways to weasel themselves in disgracefully. time'll prove again and again how her music and artistry is a caring message. they just don't know how to properly appreciate her. so it's really more on them. i feel like if ur gonna criticize someone, at least make it interesting constructive, and most importantly, be self-aware enough to not look like a total ass/ understand ur role in the equation for at least the principle of it. otherwise ur just complaining which is a waste of everyone's time. 

oh and also down for Rob being more involved on the piano. I hope he gets some kind of magazine spread bwahahahahahaha 

manifesting that DIAMONDS NEVER CRACK will be orchestral glamorous-albeit-gritty southern gothic country-infused rock w full string and brass sections, thinking raise me up + if you lie down with me's outro + hail mary strangeness, w the opening track 'rosary bead choir'  but the sound on the album travels to florida ofc w at least one song leaning towards miami hip hop energy and then to wayamaya tranquility 
 

64 users talking about her boobs 

she's like
 

BOOB TO DIE

w how narcisism was an overall topic on nfr, i think this record's one of her most intimately powerful in how she breaks literal cycles and grows out of them. most people don't have or don't even get to this sort of level of awareness so powerful 

10 years ago to this very day, January 27th, 2012, Born to Die was released as Lana Del Rey’s debut album with Interscope and Polydor.

Born to Die was first released in Ireland & Germany on the 27th, France & UK on the 30th, and in the US on the 31st. It was the 5th best-selling album of 2012 and the #1 best-selling vinyl record of the 2010s that was released during that time. The album has been regarded as one of the best albums of the 2010s by publications such as Billboard, NME, and The Guardian. Born to Die has also been certified Platinum in nearly 20 countries.
The record sparked many cult classic hits such as Video Games, Summertime Sadness, and Blue Jeans, and has spent 416 weeks on the Billboard 200, making Lana the second female in history to have spent 8 years on the list.
 
Happy 10th birthday, Born to Die! Oh, how the years fly by xx
 
 
Taking a trip down memory lane...
Photo Gallery:
 
 
Music Videos:
 
 
Live Performances:
 
 
Interviews:
 
 
Award Acceptances:
 
 
Memorable Moments:
 

I was so scared 

now how do YOU know that 

I'd take a Daytona Nightclub hip-hop trap rock alternative violins drums dance electronic bass album

Ok since this album is out now for a few a months I want to share some general thoughts.
It aged beautifully for me & it has become one of my favourites albums. Maybe my favourite album of hers along with Honeymoon 
Also Honeymoon , Blue Banisters,  Ultraviolence & Chemtrails is my holy quartet 

I can see why the flow might be not perfect for everyone. Thunder would have been a more nicely sonically after VfR & Nectar was sonically a choice after WFWF but I don't mind it actually. I got used to Dealer after VfR (it's somehow iconic when the drums kick in after VfR)  & in Nectar she starts with " What cruel world is this " after she realized how cruel the world is in WFWF. So I can see why Nectar comes after WFWF. Also the beats remind me of some lasers & sth burning & then the oooh intro of Nectar paints a picture in my head of a landscape that got burned & destroyed, like you sit in some ruins, with your head in the hands contemplating about this "cruel " world. I don't know if it makes sense but this is how it is in my head lol.

I still think she doesn't get enough credit for her songwriting. Like, over the last 3 years we've had some amazing albums and multiple career highs. And she seems to only be getting better with Blue Banisters and Watercolor Eyes!
 
If you look at the amount of music we've gotten in just over 2 years, and the quality overall. There's nobody else doing it like her and she doesn't seem to be stopping anytime soon...
 
I wouldn't be surprised if we get more new music throughout this year and personally I can't wait.
 
I've put a list of the songs I'm talking about above, below. And wow, that's only half her discography.
 
 

Honestly, I love this. It's giving Fiorucci 
 
 

Honestly, I love this. It's giving Fiorucci 
 
 

With the help of Watercolor Eyes, Lana was the 10th most streamed female artist on Spotify yesterday

is it similar to DBJAG/FIILY

Good morning!!!! Good news Watercolor Eyes debuted with 1.461.233 streams!!!! 
❤️‍🔥
❤️‍🔥
❤️‍🔥
❤️‍🔥
 
N.53 Spotify Global 200.       Keep streaming!!!!!!! 
🍬

While drinking coffee this morning I remembered that many countries in the (Western) world use a statue of a man punching a horse in front of their parlaments. Here‘s the one in Vienna:
 


It‘s a reminder to politicians to tame their passion and not let it affect their work. So I guess Lana used it in a similar way where wild horses represent untamed / wild passion and love.
 
 

I always feel bad when I see people aren’t liking the direction she’s going in. I respect all opinions and it sucks to be disappointed in your favorite artist’s releases, and I’ve tried to figure out why mid/post-NFR tracks sound so different from her older material. 
 
What I’ve decided is that, especially with the adoption of her spoken poetry, she said she likes almost freestyling and making very few edits to things—just letting them be what they are. I think she lived by this dogma in the beginning with AKA, where everything felt and sounded like it had spontaneous air in the mix. 
 
Once she was signed by a big label, naturally they try to boil it down to a concentrate—cut out any stray frequencies, smooth and condense her voice, have crisp instrumentals keen for radio and movie play, etc.
 
I had liked Lana’s music in the past, but I really became a stan with the release of Mariner’s and Venice Bitch, because, while I hadn’t heard much from UV or anything at the time, I felt I could hear her true artistry come through in those tracks, with their lo-fi, vocal-center approach. It captured the electricity of a live performance, of an artist creating and breathing in real-time that sounded so different from the slick, airtight productions on the radio or sleek, older material of hers that I was familiar with.
 
I think she’s leaned even further into that after her work with Jack. We’ve heard her collaborators say that she’s done vocals in one take, or how she literally wrote and recorded White Dress on the spot while Jack played some chords. I think, above all lately, she values organicness—the feeling of catching lightning and bottling up that emotion right away, to present it as it was at that moment in time, and not revisit it. While I agree it has led to some more human “errors” (slightly wrong notes, lags in timing, fuzzy gear playback), I feel this is all so hyper-intentional in her art now, almost like a protest of the modern music industry. It’s almost like her trajectory has been a circle to get back to that spontaneity she felt with AKA.
 
I really appreciate that art and feel it is true to her acoustic, songwriting soul, but at the same time I see how far that is from the BTD—and even Honeymoon—sound, for example. I definitely feel empathy for the people who don’t love it as much and just wanted to type out my thoughts in case it resonated with anyone. Artists’ journeys have always been so interesting to me, and Lana’s is certainly one of the most uniquely interesting ones we’ve had to witness, as one of the first true viral stars to reigning indie/alt queen of the music counterculture.

HOT SUMMER AND COLD WATERMELON 
 

what's funny is that lustforlife's "cherry acoustic" description was the most accurate description

I hate the “I got an opinion on your opinion but don’t have an opinion on my opinion on yours cause that’s silencing my opinion” argument it’s so stupid bsjjdfj 

lana fans hate everything then get mad if every other single fan doesn't have the exact same opinion as them.  some of us can just enjoy things and be happy.  it doesn't mean we're uncritical idiots who can't be trusted to have opinions. if you don't vibe with one of her releases, you can share that without acting like you're better than people who do enjoy it.  this happens with every song, every album, every video, everything. i get it, some of you are never happy and maybe you take it personally when people don't have the same criticisms as you.  i hate how everything is becoming like this like everyone has to have the exact same opinions on every single thing in existence or they're branded as idiots or villains.  like get over yourselves and go fly a kite.  

Obviously everyone can feel however they want about the song, but I personally think there's more to it than some of you are saying. It's simple and repetitive but that's part of its charm and there's something subtly magical about it. It really is addictive and the atmosphere gives this warm and special feeling, mixed with the sadness and disappointment in the lyrics. It reflects the mindset of a young love that's fading really well. Also it doesn't really feel that sparse to me? There are so many little things going on and it all comes together beautifully.
 

This is literally one of my favorite songs she’s released in years and I’ve been quite critical of her music for many years. What’s wrong with liking, even loving this song? I think it’s great. Just because it doesn’t fit your imagery of what Lana should be like doesn’t mean you have to be bitter about it.