Venice Jesus Whore

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I apologise if anyone is offended by the word ‘queer’. When I heard it first used I was little thrown too but in academia the word ‘queer’ (in terms of queer theory) is used to refer to a spectrum that is all inclusive and anyone can position themselves on. It also encompasses all genders and sexuality, and avoids labelling specifics that could cause offence, and is also inclusive to anyone who is discovering who they are.
 
First and foremost – no one picks to like a singer because they’re considered a queer icon, a woman singing about men, or out of obligation (Creyk, Bob Renoir de Monet, Tristesse). There is a clear trend of loving the music because it’s GOOD music. J  (heroinbeaches)
 
The second thing will do is clarify that my positionally is as a white, gay, cis-male who is scrappy and young(ish) but relatively well off. I’ve definitely been through some growing pains and experienced othering like many in the queer community, but the following is largely moulded into the perspectives from and for queer men. I would love to invite anyone else to synthesise the same about the female perspective – the rejection of Lana as an icon and the debate of authenticity is always brought up and there are some really good arguments here.
Thirdly, I supposed subconsciously we are all talking about 2010 – 2013 era of when Lana was first discovered. Nowaways, Lana is still emblazoned with her Hollywood sadcore aesthetic and sound, and despite her music continually shifting in style and influence, this is largely how she is typically regarded.
 
It is impossible to say, but gay men are probably not the majority, but certainly a vocal minority (cashcomesquick; sparklrtrailrheaven). Lana del Rey’s music isn’t exclusively enjoyed by queer men, but it is a negative stereotype, and there are a few factors to this. This is by no means a definitive answer, but from responses I am seeing the following correlations. I’ve noted below who I’ve taken major points from in the brackets. You lil geniuses. 
 
Lana del Rey became associated with queer culture from some of these factors.
 
THE RISE OF THE STEROTYPE
 
·      Lana del Rey’s music rose in popularity despite and against mainstream sound. Her musical style with an original 60s + hip hop style was cool and weird and different (HydroponicWeeds), her lyrical content was relatable and initial-DIY aesthetic countered mainstream female pop-singers. These factors went so far to an extent that she was considered an ‘other’ and outcast, and queer people found an affinity after Lana was ‘othered’ by mainstream media. This also exacerbated by her huge critical and public rejection from the SNL performance.
·      She rose to popularity amongst platforms (such as Tumblr and Myspace) which familiarised a section of her fanbase with her alternative sound for an ‘underground’ ‘undiscovered’ feeling that subverted the way artists were discovered (Pin Up Galore). (Again, a generalisation, but) A stereotype of these users on these platforms at that time considered themselves outcasts – this added to a unified feeling of “we don’t fit” which was a draw card to Lana del Rey (daisy fresh witch).
·      The persecution of the authenticity of Lana del Rey, and her perceived invented life of her ‘persona’ are continually debated and despite huge popularity, album sales, live concerts, and award nominations, Lana is still rejected by mainstream media. Non-conformity, as well as societal outsiders are always attractive, safe and inviting to the queer community, as we see ourselves in them. (gyu)
 
 
THE AFFINITY FOR DEL REY
 
·      Lana writes from a classically feminine perspective, the theatricality of her lyrics and aesthetic of the Born to Die era encompasses glamour and camp, with an unusual commitment to being ‘serious’ and ‘sad’. The meld of influences ticks some classic ‘gay culture’ boxes, including the femme fatale Hollywood trope, Marilyn Munroe appearance, and Golden Age Hollywood — she then exaggerates it all, creating a perfect (campy and gay) storm. (sparklrtrailrheaven; JazzSingrCultLeadr)
·      The tragic and submissive angle is the anthesis of the empowering anthems of the 2010s. An inverse of that, queer people often enjoy strong women, but identity intimately with the passive and demure in regards to being othered or feeling hidden (JazzSingrCultLeadr).
·      Lana del Rey’s music is relatable to and queer community (gasstationkween; GeminiLanaFan). Lana’s music connects with people that are very sensitive, feeling everything a bit too much, and people that have struggled in their lives. Many queer people have struggled at some point, which is why some queer fans are attracted to her resilience, perseverance, and ambivalence to the social norm.
·      Perhaps the biggest factor regarding the themes of her work - Lana’s initial releases presented love as an undying devotion with elements of desperation, doom, death etc. that really didn't fit into the zeitgeist at the time because of shifting discourses (WilshireBoulevard).
·      She is powerful, fresh-out-of-fucks forever singer – “it felt like [she] took the world by storm so nonchalantly!” (Veinsineon). Lana’s appearance, her interaction with her fans, her delivery and work holds an extreme femininity that queer people are attracted to. Whether it be radiating a softer, feminine side that’s attractive or desirable (PARADIXO), a coquettish and fun indulgence of hyperfeminitiy (Neptune) or her powerful and vulnerable radiating of power (trashmagiq), her energy is simply inspiring.
 
 
Thanks everyone for your extremely interesting and diverse answers (so far?). It's so good to be able to pinpoint some of this as (despite any misgivings...) Lana truly is an icon of our time and these stereotypes have been present since I've been a fan but not totally sure why.
 
@@WilshireBoulevard your post is so brilliant I haven't finished digesting it yet. Also @JazzSingrCultLeadr, simply brilliantly insightful.

There's this weird aspect of LGBT culture where gay men are preyed on at a young age, usually by older men, thus developing into some sort of worth issue.
I think most people who have experienced this flocked towards lana's music because of the correlation of the two. Lana acknowledging her objectification within the music, but also using it as a super power. I think we all dream about being that powerful

I mean this question could be asked of almost every female singer. She writes from a classically feminine perspective. Gays were particularly lured in during BTD because of the glamour and camp. And on top of that was the tragic and submissive angle. "Diva worship" has been a social and academic topic of discussion for years. I think Lana stood out when she debuted because it was around the time of female pop singers churning out empowering anthems, and she was the inverse of that. The gays love a strong woman but also identify with the passive and demure. And not passive and submissive in a "lol lana fans are bottoms" way. I mean it in a way of identifying with otherness. 
 
There are definitely other reasons for why she has a large gay following, but I think this specific facet stands out. 

I think that the whole idea of her being "un-PC" in her early days (as a certain member loves to talk about) needs to be talked about cautiously and carefully and with a lot more nuance than often given to it, but I think it plays a role in why she attracted the demographic she did in the BTD and Paradise days that has been sustained with leaks from her Lizzy era since. There's that quote from a critic about her (earlier) stuff being desperate, shirt-tugging, "don't leave me" that the critic hated, and I definitely think it's there.
 
She presented love as an undying devotion with elements of desperation, doom, death etc. that really didn't fit into the zeitgeist at the time because of shifting discourses. The whole femme fatale themes of film noir and to some extent, the 80s (so a lot of the films and ideas she grew up with) weren't popular at the time. I think a big part of why so much of her *active* fanbase is LGBT people and women (and of course the overlap) is because she was a contemporary female artist singing about that destructive and obsessive love while no one else really was, and making it look (and sound) glamorous and sexy. For LGBT and/or girl teens and young adults, there were relatively little artists willing to explore that side of love that you feel so strongly, because (for good reasons) a lot of discourse about love and attraction has been critical. That's probably why there's a lot (a LOT) of overlap between Lana fans and people who want to uncritically enjoy things like Lolita (particularly the Lolita "aesthetic") and CMBYN. Lana gave people spaces for people to be desperate and completely devoted with BTD and Paradise, and then followed up with UV as one of the best break-up albums. Most of the diehard BTD and UV stans don't really like HM as much, as far as I've seen, and I think part of this is because HM is a lot less dramatic in its lyrics and themes and is where change started to happen.
 
I'd add some more about the reclamation of things like religion (e.g. Tropico) and power (e.g. the national anthem video) but eh.
 
 
 
Might be misunderstanding but her detachment from the fanbase is kind of unprecedented in the stan age. The whole "Lana hates us and that's okay" thing definitely contains a grain of truth. I think she has a very understandable disdain for a lot of her fanbase, because a lot of her fanbase have very little respect for her and so she's kind of broken away and doesn't share much of her life now. She doesn't hate her fanbase imo - she clearly likes Win Edwards, who despite all the jokes is in some ways the ideal fan from her pov; clearly adores her but respects her boundaries. A lot of people here see going to every show as weird and obsessive but she's had much worse and much more dangerous than that, which is probably why she doesn't really interact with her fans much unless she's got something to sell. This inactiveness inevitably gets caught up in the "Lana hates us" narrative though. 
 
I'd also say that her change in dress and habits put people off. She's not an Ariana or Taylor Swift in that her success drives her to want to do more and better. Her success made her wealthy and she grew out of the more dramatic narratives, maybe got some therapy and didn't need or want to peddle that type of thing anymore. She's a wealthy white woman living in California who goes to church with her friends, wants a couple of kids, dresses comfortably, (probably) wants a husband and, going by what Sean was, doesn't want that husband to be an artistic type, but more on the boring suburban dad side. AKA she's living a very normal and basic heteronormative life, just with a bunch of money. That added to the fact she never really comfortably embraced her LGBT fanbase is what is turning some people off imo, and with stan twitter culture this switch can be read into ad nauseam.

https://www.billboard.com/articles/news/pride/7873862/5-reasons-lana-del-rey-is-a-muse-to-gay-fans
 
Personally, I think she connects with people that are very sensitive, feeling everything a bit too much, and people that have struggled in their lives. And all LGBTQ+ people have struggled at some point, which makes me think it's the reason why some queer fans are attracted to her. 
 
Her lyrics are very honest: I guess this is what many love about her, independently of their sexuality. 

What seasons and times of day do you associate each Lana Del Rey album with?
 
I could’ve sworn this was a thread before but I searched on here, on google, and went through pages and couldn’t find anything, so sorry if it already has been made.
 

AKA: Summer (May-July), midday to afternoon BTD: Summer (June-July), nights Paradise: Winter, night Ultraviolence: Summer, night Honeymoon: Fall, early night (8-10pm) LFL: I have no association with this album tbh NFR: Late summer, early fall (August-early October), the progression of evening to sunset to dusk

What seasons and times of day do you associate each Lana Del Rey album with?
 
I could’ve sworn this was a thread before but I searched on here, on google, and went through pages and couldn’t find anything, so sorry if it already has been made.
 

AKA: Summer (May-July), midday to afternoon BTD: Summer (June-July), nights Paradise: Winter, night Ultraviolence: Summer, night Honeymoon: Fall, early night (8-10pm) LFL: I have no association with this album tbh NFR: Late summer, early fall (August-early October), the progression of evening to sunset to dusk

I would say that I fall into the "want to know everything" category. I don't particularly want to meet L.D.R., but I am interested in her past life before she became a "pop star". I believe that one of the keys to understanding an artist's work is having knowledge about an artist's background and biography. I would also like to know more details about how Lana achieved fame. I think it's incorrect to presume that Lana is some kind of "product" manufactured by the music industry. I believe that's a reductionist view; but I do believe certain key elements of Lana's road to fame have not been fully explained. For example: when Lana Del Rey began to go viral, and after her performance on Saturday Night Live, she got a lot of "bad press" and harsh criticism. But this was actually helpful to Lana because it gave her more publicity. I suspect that all the negative press...may have been more than just good luck. But one thing to keep in mind: lack of accurate information leads to all sorts of theories and speculations, that's why it would be beneficial to have more comprehensive accurate information regarding the topic of Lana's origins, in my humble opinion.

I’ve been thinking about this a lot over the past week and I’ve only been able to decide that:
Blonde by Frank Ocean Norman Fucking Rockwell! are my top 2 favorite albums of all time. I can’t decide between the two either. Sorry, I tried picking 10 and I couldn’t do it. 

Can we get SSL support on the site? I'd feel a lot more secure

The way this album so solidifies her as being completely in her own lane with no modern contemporaries... I've been thinking about it a lot.
I see her most naturally grouped along with the likes of Van Morrison, James Taylor, Paul Simon, Carole King.... and absolutely nobody from the current music scene.

I really like NFR! and I still listen a lot to it. UV , HM and NFR! are Lanas  best albums for me. But I have to say that I barely listen to Honeymoon  in full. Honeymoon is such a good album and a mood album. I really wanna enjoy the listening. That's why I only hear the album in my holidays, when I'm alone at home or when I'm sun bathing. . UV still is my fave album and I love to listen to it on rainy and stormy days and every now and then.  I need everyday a listen to West Coast..... a bop!
Of course I'm listening to many songs besides the album, I'm only talking about listening to the whole record.
 
The difference to NFR!  is that it is more stripped down and acoustic. It has a day in the life feeling.That's why  play the album so often. It fits perfectly for driving, when your cleaning the house, cooking......I can understand that some people have problems  with the production of this album. The production is not that rich or big like on her previous albums..

How to Disappear went from one of my least favorites to a never skip song, maybe even one of my new favorites.

Oh god, I was listening to The greatest while on YouTube and an ad came on at the beginning of the video I wanted to watch. The volume for the ad was lower and The greatest was still playing over top of the ad. The guy in the ad was like "NOBODY! does spicy chicken like Wendy's" and I swear it triggered me to Smarty when Lana says "Who has the choice like smarty does? Nobody, nobody!"

The piano at the end of The greatest always gets me 

I can't believe how underappreciated hope is here

I'm almost not even looking forward to White Hot Forever because I don't know how this album can be topped. One of the best albums of all time and I don't say that often or easily.

How to Disappear went from one of my least favorites to a never skip song, maybe even one of my new favorites.

How to Disappear went from one of my least favorites to a never skip song, maybe even one of my new favorites.

Oh god, I was listening to The greatest while on YouTube and an ad came on at the beginning of the video I wanted to watch. The volume for the ad was lower and The greatest was still playing over top of the ad. The guy in the ad was like "NOBODY! does spicy chicken like Wendy's" and I swear it triggered me to Smarty when Lana says "Who has the choice like smarty does? Nobody, nobody!"

How to Disappear went from one of my least favorites to a never skip song, maybe even one of my new favorites.

Oh god, I was listening to The greatest while on YouTube and an ad came on at the beginning of the video I wanted to watch. The volume for the ad was lower and The greatest was still playing over top of the ad. The guy in the ad was like "NOBODY! does spicy chicken like Wendy's" and I swear it triggered me to Smarty when Lana says "Who has the choice like smarty does? Nobody, nobody!"

Oh god, I was listening to The greatest while on YouTube and an ad came on at the beginning of the video I wanted to watch. The volume for the ad was lower and The greatest was still playing over top of the ad. The guy in the ad was like "NOBODY! does spicy chicken like Wendy's" and I swear it triggered me to Smarty when Lana says "Who has the choice like smarty does? Nobody, nobody!"

How to Disappear went from one of my least favorites to a never skip song, maybe even one of my new favorites.