hotschie

Short of a long-form birth certificate, this is about the most conclusive evidence she was born in 1985 you could get. You can pull up her voter registration info in the state of New York here entering the county (Essex) and zip code (12946) of her hometown of Lake Placid and her June 21, 1985 date of birth:
 

 
 
 
If you enter June 21, 1986 it does not work:
 

What you are talking about?! I read every damn critical piece about Lana. I don't remember many complaints about her vocals besides the very subjective assertions that she sings with "no emotion" or her singing is boring. To say that Lana has weak vocals it's a nonsense tbh. I was drawn to her because of her voice mainly and I have to say that I'm not a big fan of female vocalists. Is she technically perfect? No, but she improved a lot and frankly she's better than many hyped pop and indie female vocalists. Her songs are intricate, going from a low register to a high register in a dime which few female vocalist could pull of. And dear, her music was trashed on misogynistic and ideological grounds mainly and had little to do with her vocal delivery. She's a good lyricist and I saw a steady progression in her career, there are missteps as on any album of any artists but to say that she's a weak lyricist is just as nonsensical. I could show you tens of Lana's lyrics which could hold their own even without the music. Maybe the critics got tired of their own BS about Lana and they are just more courageous in praising her music because she's more accepted now.
 
I don't follow the critics this era and I'm late but I'm surprised in a good way that the UK papers are staning for HM and I hope that it will not happen the inverse reaction to the US that happened in the BTD and UV era.

Lana Del Rey looks out into the world and all she sees are stares. Cold faces, eyes hard with judgment. And lights, too — sharp beams that poke like needles and cut like lasers. For years, she has been scrutinized as intently as she’s been listened to. You would not blame her even a bit for wilting.
Instead, she has hardened, ossified into a thing of refined cool. The more famous Ms. Del Rey has grown, the more obscure she’s become. What was once something of an elaborate performance has become merely a simple mode of being.
 
Now, she meets the glares and the harsh lights with … nothing. Total blankness. The way that celebrities stand still on the red carpet and fix their eyes on some far-off point while a violent scrum of photographers fire flash bombs and shout their names, resulting in picture after picture of sturdy serenity, that’s Ms. Del Rey’s everyday. There’s no moment she’s not above the fray.
  Because of this, “Honeymoon” (Interscope), her third major-label album, achieves a sublimity missing from her first two. She’s been angry, and then bored of being angry, but now she’s just bored, and her boredom is entrancing.
 
There’s that taffy voice, resignedly oozing all over the place — rarely does Ms. Del Rey check in at something more intense than a yawn. She’s not an ornate singer, but she achieves a great deal with only the many shades of exhaustion.
 
On “Salvatore,” when she ooohs about “soft ice cream,” she’s a billowy cloud. On “Music to Watch Boys To,” she sighs, “I like you a lot,” but her voice is multitracked, as if arguing with herself whether it’s even worth the bother.
 
And in several places, she refers to the blues — the music, but also the color, and the mood. “Got my blue nail polish on/It’s my favorite color and my favorite tone of song,” she sings on “The Blackest Day.” On the title track, she merely exhales: “Dah-ah-ah-ah-ark bluuuuuuuuue.” Her blue is the ocean, and it’s clear sky, and it’s also blood.
 
For much of “Honeymoon,” she dwells on relationships so toxic they’ve turned her into an emotional refusenik. On “Terrence Loves You,” she sings, “I lost myself when I lost you/And I still get trashed, darling/When I hear your tunes,” and on “High by the Beach,” she moans, “We won’t survive/We’re sinking into the sand.”
 
“Religion,” a love song that would seem to demand preachy fervor, is instead delivered with a shrug:
Ms. Del Rey’s weakness remains her narrow field of vision. And her apathy does tend towards lethargy — individual songs seep long past their most pungent moments, and her unwavering vocal approach can induce somnolence.
 
’Cause you’re my religion, you’re how I’m living
When all my friends say I should take some space
Well, I can’t envision that for a minute
When I’m down on my knees, you’re how I pray
 
Apart from the album-closing cover of “Don’t Let Me Be Misunderstood” and the T.S. Eliot poem Ms. Del Rey reads during an interlude, all the songs were written by her with Rick Nowels (Lykke Li, Belinda Carlisle), and the album was produced by them along with Kieron Menzies.
 
Together, they have arrived at a solution to a problem that bedeviled Ms. Del Rey on her first two albums, “Born to Die” from 2012, and “Ultraviolence” from last year. On “Born to Die” especially, she was thwarted by the ambitions of her producers. Ms. Del Rey was still unsteady as a character, and the gorgeous, lush production often highlighted how fragmented she was.
 
Now she is steady, and resolute too. And so the music stays out of the way, ranging from melancholy to aspirated but never overwhelming, whether it’s the ethereal desert vibes of “God Knows I’ve Tried,” or the piano dirge “Terrence Loves You,” or the exceptional “High by the Beach,” which is like an ASAP Rocky song dubbed onto a fuzzy cassette.
 
Ms. Del Rey sounds lonely here, and fine with that. Perhaps “Honeymoon” is the first great prison album of the 21st century, her jail being celebrity and the scrutiny that comes with it. This album’s opening couplet is a hilarious troll: “We both know that it’s not fashionable to love me/But you don’t go, ‘cause truly there’s nobody for you but me.” And her cover of “Don’t Let Me Be Misunderstood” feels wholly earned — brittle and distant, a sad-sack meditation on inevitable disappointment.
 
Her acceptance of her absurd condition is there, vividly, in the incisive “Freak,” about life and love under the magnifying glass, which has a woozily seductive chorus:
 
In the video for “High by the Beach,” Ms. Del Rey lolls about in a glorious house on the Pacific until she’s interrupted by a helicopter with a paparazzo inside. She skips down to the beach, grabs a rocket launcher hidden in the rocks, and blasts the copter out of the sky, then resumes her blithe bliss.
 
Baby, if you wanna leave
Come to California
Be a freak like me, too
Screw your anonymity
Loving me is all you need to feel
Like I do
And so after four years in the limelight, here lounges Ms. Del Rey, immune to the gravitational pull of the discourse about her. Once a careful invention, she is now glassy-eyed and glassy-voiced, too cool to care. The result is something like a dog that, when its leash is tugged, simply lies on the ground and shuts its eyes: basking in the sun, feeding off its warmth, never giving an inch.
 
http://www.nytimes.com/2015/09/18/arts/music/review-lana-del-rey-honeymoon.html?_r=0

Which would be an issue if he had any credibility whatsoever 

Good reviews: Honeymoon is haunting, ethereal, ghostly, mesmerizing, beautiful, lush, cinematic. 
Bad reviews: Honeymoon is boring, slow, "limousines" and "soft ice cream" lyrics are ridiculous, it's the same from Lana, the shtick it's getting old, she mumbles the lyrics.
 
After being obsessed with Lana pieces I arrived at the point when I don't give a shit about the reviews because they are incredibly boring and cliche-istic. From some time I have the feeling that I read them before. I'm beyond the cringe worthy status when I'm reading some clueless writer's discovery of her story, having the big "revelation" that her real name is not LDR   or babbling about her non-authentic persona. I uber cringe when they are misspelling her stage-name to RAY (I always wondered if that is intentional) or calling her, in a patronizing mode, Lizzy Grant or mentioning SNL    . 
 
I expect something around 60-65 (there will be 3 or 4 scores in the 30-40 range Jim Farber NYD, Chicago Tribune, AV Club and a random idiot like last year 405 reviewer of UV Derek Robertson (Carl Williot from Idolator hates HM and the Baeblemusic blog has a negative campaign against her lately but I don't think that they count towards the MC score). Most of the reviewers will wash their hands with a 55-65 score and there will be some stans who will even out the hater scores. Really,"the same old" accusation it's more fitting to these writers than to Lana's music. I almost forgot that Youtube buffoon Anthony Fantano who will give Honeymoon a 0 score while singing mockingly the chorus of Salvatore.
 
Have "fun" I guess reading that BS, mostly the pieces where you have the clear impression that the critic didn't even bothered to listen to the album properly lifting out a word or a sentence to trash the entire lyrical content of the album. Most of the writers are misogynistic pricks, failed indie musicians who are jealous of her "undeserved" success or feminists who are cringing at her music and I'm frankly amazed, given the divide between her and the critics, that she has a respectable overall score on MC.

High By The Beach is my bop! and one of my favorites off Honeymoon

I freakin love Don't Let Me Be Misunderstood! 

oh wow this thread is already shaping up to be as messy as the pre-release one and it's not even been 10 posts yet congratulations

if that colourful 50s, pink flamingo, summer type of look is in the video like that concept board suggests, i will fucking die.
 
give us just one super slick, ultra glam video this era lana yessssss x

"MUSIC TO WATCH BOYS TO" MUSIC VIDEO

- Directed by Kinga Burza - 

OUT NOW

HONEYMOON ALBUM SAMPLER  

-Featuring Terrence Loves You, Music To Watch Boys To, Freak and High By The Beach- 

I love this transformation from submissive, needy and masochistic cry baby to revengeful and bloodlust Amazonian that grabs destiny in her own hands and clutches god by the balls. Sooo refreshing in contrast to her usual imagery. I am glad this is not overly produced, ultrapolished, fancy-schmancy grandiose video, because she already had ones, and also that it isn't flippant, sloppy and hermetic jerking off like Ultraviolence (ok, I don't hate that one, I just state that this overshadows Ultra, although it is as much as simple). It is something brand new, crazy hybrid between Tarantino action and Dogme 95/home video/Steve McQueen seventies/Larry Clark/documentary/voyeuristic  shaky camera, and you can feel that this kind of filming is deliberate. And it is masterfully delivered, because your site is really narrowed in suspense and you feel the excitement and vehemence of the action. Even slow parts are thrilling. Speed and poetry in one. And there is an excellent use of color (azure blue of vast ocean and bare, luminant crinoline of the sky), and frame from the balcony seems cosmically wide –that is the greatness of the vid also: the contrast between tight, claustrophobic tubes of villa halls with her rush like mercury through them and magnificent freedom of the big blue nature principles.
 
Although Shades of Cool have very strong visual metaphores, such as Lana in 3D illusion, stabbed by a sword, or gun pointing at her, bullets flying, flowers softly exploding, and magical amalgam of gem-like colors, like ruby, royal blue and mystic violet, this is much more cohesive and that Scarface shooting and explosion in the sky is like her initiation into whole new dimension of existence, personal (spiritual) and artistic. Enough experimental and intimate ("indie" formally, so to say) yet enough cohesive, articulate and charged, or should I say, blessed, with (almost) unexpected, brilliantly depicted culmination and message hidden in it. That climax is like her awakening from the nightmare into pure white bliss. Thousand orgasms from me.
 
And yes, she is so cute, funny, vulnerable and human in that scene of her gown being stuck, and the fact that we see her in different emotional states and in physical movement (running, stumbling) is a breezy shift from her gloomy, elusive, mysterious and impenetrable poutiness of a diva. I adore that expression of healthy rage and determination on her face. So complex, soulful and relatable. She creates a powerful space for catharsis.

ok but........

I can't believe I'm all over the place defending this not completely visually spectacular video, but she ignores the helicopter for the most part because she's used to it. She's hiding in her room and trying to ignore it (which is how she generally handles press) then she snapped for whatever reason, tired of seeing herself be misinterpreted and slandered and decided that it was time to shoot the shit talkers down.

I wonder if people at Interscope are remotely aware a bunch of 15 year old twinks have access to Lana's Vevo account

it's 10 am here 

I haven't cried like this in ten years it's so much better than what I could have imagined, life anthem, I will never unstan I don't know why I never trust her 100% because she saves my worthless life all the time. I'm extremely emotional idgaf this song is everything and it's so fresh I love her more than anything

The combination of the hypnotic bassy bounce beat and Lana's addictive, angelic ethereal vocals make High By The Beach addictive to me. Havent stopped playing it for the past 20-30 minutes i think.

i can't believe ppl are complaining about the setlist. we could have gotten the old standards but lana actually opted to do something brand new. this is a good sign, i think, of things to come.
 
florida kilos would have been amazing, though.

From the Houstonpress.com:
"It's probably a smart move that Lana Del Rey (or her management team, anyway) isn't allowing the press to cover her tour with Courtney Love, which began Thursday night at Cynthia Woods Mitchell Pavilion. To say the Hollywood “sadcore” singer has had a touchy relationship with the media is putting it lightly, and artists are well within their rights to restrict access that way; in fact, no less than Bob Dylan did it earlier this week and our reviewer Bob Ruggiero paid for a ticket with good old greenback US dollars. Thursday was also the first night of the tour, which surely added a few first-night jitters to the equation."
 
I criticized her team a lot but this is a good move defending her from negatively biased writers that are coming to her show for free and afterwards they are so "confused" about how she's adored like boy band but they didn't saw nothing worthy of that adulation. This is a nice "fuck yourselves" from Lana. I'm hoping now that they are getting their shit toghether from now on

SK, DR, UATW confirms that she reads LB. People always comment that they dream of her performing unreleased and DR.
 
This marks the end of the winter of her life, and it's going to be an endless summer.

I'm speechless watching these videos. So often when an artist will do obscure or 'fan favourite' songs, they will do a half assed version, as though just remembering them is enough. But Lana looks to be genuinely enjoying singing songs most of us had resigned ourselves to only ever hearing on demos and leaks. I don't even care what this means for the future - this is Lana reclaiming her own past.

I just watched the videos Colacunt uploaded (thank you very very much!) - Lanas vocal performance is awesome and breathtaking, she seems to be more confident than on her earlier tours. And I wouldn't have expected that she's playing unreleased stuff, incredible, it's like a dream come true! (I was at the Marina & the Diamonds gig in Hamburg yesterday, only 70 mins short (but very good nevertheless), and afterwards I told a friend that Lana never plays her unreleased stuff too - and now she proves me wrong, hehe.)

It was a cover of Why Don't You Do Right and she sang the lyrics "why don't you do right like some other men do?" And it was stunning- my phone was dead so I didn't record anything but I'm sure the cover will make an appearance soon!!!!
She did the moan in Serial Killer and it murdered me
At the end of the show she said "I'm a woman of few words, but this was really fun." And then she sang off to the races, took photos with fans for a couple minutes, and walked off stage wearing a cowboy hat.

i actually hurt reading this recent stuff about lana, it seems like theres been so much negative media about her lately.. from her dress, to kathy griffin, big eyes snubs, this, etc etc theres just a lot going on lately and i feel like if i was in lana's position i would be falling apart honestly i care about her being happy so much fuck them hoes lana