brokenfaith

When the strings jump an octave in the second chorus of BTD.
 
The drum roll right before the second chorus of CW
 
The spoken part of UV
 
The synth in the last chorus of WC
 
"Te power of youth" in OM

"Mariah blah blah blah Ariana blah blah blah FKA twigs blah blah blah" 

When the strings jump an octave in the second chorus of BTD.
 
The drum roll right before the second chorus of CW
 
The spoken part of UV
 
The synth in the last chorus of WC
 
"Te power of youth" in OM

I never understood why people hate DMD so bad! The demo is cool, but I looooove the album version as well

BORN TO DIE
This has always been and will always be my favorite on the album. It sets the pace and tone of the record, it has the most poetic lyrics, it's the most ambiguous, and it really describes the album as a whole in terms of the theme of dangerous love (hence it being the title track). I like it because while it used as a metaphor for the relationship (from the very beginning, she knew the relationship would end. They were never going to work out; they were always doomed to fail/end/"die"), it is also a broader metaphor for life in general: from the very moment we are born, we beginning to die. Life and death are obviously interesting concepts, and as you grow up and learn to live and you are emotionally growing, biologically speaking you are always deteriorating and dying. Anyway, the first verse is about fate. It's very spiritual ("the gates"), and she relies on fate alone to get her through this hard time, and even though the relationship is over, she still hopes that at those gates, she will be with him again. "Is it by mistake or design?" is my favorite quote--well, one of them--because it is really poetic and further plays into the idea of fate, destiny. Maybe you don't always have to be in total control of the decisions of your life; instead, you just go with the flow, or what feels right, and leave it to destiny? She has felt lost before and blind, but he made her feel "found" and she was able to "see"/live/strive with him; however, without him, she feels alone. She asks if she would devote herself entirely to him, would he be there for her? The chorus tells us how happy he made, and there are allusions to the "road" of love ("the road is long, we carry on, try to have fun in the meantime."), which is accurate, since that is what love is: a path towards the end.
 
OFF TO THE RACES
I think she uses "the races" as a symbol for risk and luck. People go to the races and place bets on horses; of course, any gambling or betting induces risk or chance of loss. This relates to her relationship, in which she knows there is risk of losing everything, yet she bets everything on it to "win" or get the "prize" of a successful relationship. The lyrics suggest he is a "bad man," with his dark soul and tough nature and all the other one-liners that insinuate danger and an evil nature. She lists everything bad about him, and yet se still loves him clearly, which is a common theme in all of her music--loving someone completely, regardless of his obvious flaws. I LOVE the flow of this song--the rhythm, how she sings the words, how they all flow so well and rhyme and everything. Casino, races, Las Vegas etc. are all references to betting/gambling, or things that may harm her in the end. She goes for it anyway, she "trusts in the decision of the lord." The song is also rather sexual, as he obviously has a very firm "hold" and "grab" on her, and the "light of my life, fire of my loins." This isn't the only reference to Lolita on the album, which also describes an older, dangerous man. but as Lana has said, danger = interest. A safe love would be boring. The chorus shows a duality to her character: the innocent outward appearance ("singing in the garden") matched with the inward, actual dangerous/crazy/naughty personality. There are lots of references and objects so as to give the listener a clear picture in his/her mind. Throughout the song, she is never unsure of her feelings for him, and the end sums up her positivity: "Love you forever, not maybe--you are my one true love." Her chances of a happy relationship may be risky and slim, but her love for him--for better or worse--is absolutely definite.
 
BLUE JEANS
This song is basically about the guy who left her, as told in the second verse entirely ("caught up in the game"), and the jeans are a symbol: probably a notable feature of his that left an impact on her, but also meant to represent the literal movement of "walking into and then out of her life" that he did (this probably sounds stupid, but jeans are worn on legs, and legs are what carry you, so he walked out of her life. That's obvious xD). Disease and evil/bad things are always references she uses in her music when describing her men, and she has an interesting play of words in the verse: "fresh" and "sick" are words that generally mean "cool" in colloquial English, and she uses them here paired with "death" and "cancer," respectively, which is common in her music to refer to death. It was just interesting to me. Like the song before, I think she acknowledges that he is bad for her, but she devotes herself to him "until the end of time" or "a thousand years"--whichever will come first. I think the chorus and bridge of this song are straightforward, more just repeating what I already said, so I won't be repetitive in analyzing them as well.
 
VIDEO GAMES
This song sounds sad, but as she has said it really isn't. This is the first part of the "trilogy": this one telling the beginning, BJ telling the result, and BTD the aftermath. I think the title is a symbol for an imaginary life. People play video games to escape reality. Lana, in believing this relationship that is doomed, or that is "born to die", could ever work, she is escaping reality. That, plus she has said she enjoyed watching him play video games. Everything she does is to please him, and while it sounds sad and a little disappointing to us, she is very, very content obviously. She sings about forever again, like in BJ. There are lots of specifics references that I imagine are about there relationship; like most of her songs, it seems highly personal. Heaven as a place on Earth too is another escape of reality. The song is about leaving reality and allowing yourself to make believe in a fantasy world where you have everything you want. Here, again, she sings about a crazy, turbulent love that she admires so much. The song gives a very nostalgic vibe and sounds classic.
 
DIET MOUNTAIN DEW
First of all, people always say that diet sodas are "healthy" or better for them, when in reality they are just as bad with added artificial sugars and such. I think this relates with the unhealthy relationship we have established--the one in which Lana ignores the bad, maybe even embraces it, because she loves him so much. She knows he is no good for her, but she wants him anyway. "Turn me to ashes" also shows she knows he's bad for her. She doesn't care what people think/say of her or "what the past says". They will take Jesus off the dashboard, even, so that truly no one can judge them. She loves him because he gives her a rush--the roller coaster, the speed, the high--and he will teach her "just what fast is," which is the feeling we know she craves: feeling alive, young, wild, and free. That's why she loves the men that we most likely find terrible! She keeps asking "Do you think we'll be in love forever?", which to me is the first time on the album she shares the same doubts we as the listeners may have for their relationship (though, she surely is positive of her feelings/love for him).
 
NATIONAL ANTHEM
This song is a little different, because it's the first one that doesn't seem very, very personal to her. A national anthem is a song of devotion to one's country, and I think she uses it as a metaphor to show her devotion to and love for this twisted man. But in general, as we all know, the song is about the rich, superficial lives of the upper class. Constantly through the song she refers to various places, objects, and concepts associated with the rich. Lana loves talking about the privileged, upper class in her music, but again we know that, so I will focus on a couple different, smaller things. I think the song is very sexual for a number of reasons: (1) Chanting "Red, White, Blue, is in the sky. Summer's in the air, and, baby, heaven's in your eyes. I'm your national anthem" seems very sexual, like an orgasm to me (think about it!); (2) "Can't keep your pants on" or "Put your hands up" or "Give me a standing ovation" (erection); (3) "Standing over your body, hold you like a python", which sounds like a penis to me, but also snakes are obviously very dangerous. She shows more confidence in this song than any other (sans Radio) on the album.
 
DARK PARADISE
I love the title and concept. She talked in an interview about this song--the pairing of "death" with "paradise." She says death must be calm and relaxing, which is strange, because most people wouldn't associate the two words together. The song, as we know based on the line "Dead like you," is about her lover who died (or maybe she's just being crazy and using death as a metaphor for leaving her life). When she closes her eyes, she still feels and sees him, and so in the darkness, she finds a peaceful paradise. He's gone, and she should move on, but she can't and won't. The rhyming scheme and flow of words in this song is beautiful, too. She feels haunted by him, but in a good way. The pairing of normally bad things (haunted, dark) with good things (a "good ghost" that she invites into her life, paradise) is interesting as well. Whatever this romance was, it obviously left strong enough an impact to be able to touch her in her sleep!
 
RADIO
This one, like NA, doesn't necessarily relate to her life directly and personally in terms of the relationship in the rest of the album, but it is still personal and about her career. The first word you think of when you hear "Lana Del Rey" is criticism. This song was a hint to the future of the backlash she would experience. There's really nothing much to say since this song is very straightforward and obvious, but I will add that again she compares good and bad things with "sweet" and "venom." Also, is cinnamon even sweet? Not really. I don't know if that was a mistake or an incidental comparison. Who knows.
 
CARMEN
I don't know who she uses the name "Carmen," but we know she likes to adopt other personalities/names, so I think "Carmen" is just a representation for both the worst parts of Lana, as well as the exaggerated personality traits she thinks or even wishes she has. This one I think is just a slightly over-the-top representation of her past as a troubled teenager. She had a drinking problem, a boy problem, etc. Everyone appears to love her, yet she feels entirely alone ("You don't wanna see all the things I've seen"), which she has said on numerous accounts that she's always felt that way. Basically, I think everyone sees Carmen's outward appearance as beautiful, flawless, perfect, yet Carmen herself knows how troubled and messed up she actually is. Or does she even know she has a problem? As suggested by the last line, everyone thinks she is fine: "Carmen, Carmen, doesn't have a problem. Lying to herself..." I think the song is about denial of one's darkest traits.
 
MILLION DOLLAR MAN
This song is about her bad boy. It's a song of admiration for his life, career, art, and skill. He has a power over people, her specifically, that she can't understand. She knows he's bad and wrong, yet she's absolutely captivated. I thinks he definitely knows she needs to escape, but again can't. Then, she uses one of the most clever puns she has ever used: "You look like a million dollar man, so why is my heart broke?" At first I was like, "Ugh, Lana, your grammar is awful!" but then I realized it is intentional. Meaning, all the money in the world can't buy happiness; she still feels empty and meaningless. I love that! The same idea is in the second verse: "You got the whole world, but, baby, at what price?" She will follow him anywhere, regardless of what it costs her.
 
SUMMERTIME SADNESS
At this point in the story, Lana knows he's leaving and I don't think she's fighting for him back, because she knows it is over. All she is asking for is a kiss goodbye. During summer, people are supposed to be happy and having fun, yet she is experience immense sadness, which just shows what a toll the breakup had on her. The verses suggest she is happy (putting on her dress, heals, makeup), but the chorus and title say otherwise. the pre-choruses all seem to be very liberating, and we knows she loves images and concepts of freedom and liberty, like the wind in the Ride video and her lyrics in general. "Cruising down the coast, going 'bout 99" suggest she doesn't really care what happens to her; she's just living life to the fullest like it's her last day now that she has nothing else to live for. I think the song is just about making do with what you have, moving on from a failed relationship (or the earliest process of doing so, anyway). Still, she will always be there for him ("Think I'll miss you forever") and even when he's gone, she will "drive" or continue living with him in mind. Devoted? Yes. Insane? Probably ;D
 
THIS IS WHAT MAKES US GIRLS
This is a strange, but very appropriate album closer (which is funny, because I feel the same way about The Other Woman on Ultraviolence). It's a little jokey and fun, but it stays true to the rest of the album: stereotypically, everything Lana has gone through on the album (obsessing over and loving men is what makes girls the way they are). She's joking, of course, but the song itself is very autobiographical and true to her life and past. Good closer, in my opinion!

BORN TO DIE
This has always been and will always be my favorite on the album. It sets the pace and tone of the record, it has the most poetic lyrics, it's the most ambiguous, and it really describes the album as a whole in terms of the theme of dangerous love (hence it being the title track). I like it because while it used as a metaphor for the relationship (from the very beginning, she knew the relationship would end. They were never going to work out; they were always doomed to fail/end/"die"), it is also a broader metaphor for life in general: from the very moment we are born, we beginning to die. Life and death are obviously interesting concepts, and as you grow up and learn to live and you are emotionally growing, biologically speaking you are always deteriorating and dying. Anyway, the first verse is about fate. It's very spiritual ("the gates"), and she relies on fate alone to get her through this hard time, and even though the relationship is over, she still hopes that at those gates, she will be with him again. "Is it by mistake or design?" is my favorite quote--well, one of them--because it is really poetic and further plays into the idea of fate, destiny. Maybe you don't always have to be in total control of the decisions of your life; instead, you just go with the flow, or what feels right, and leave it to destiny? She has felt lost before and blind, but he made her feel "found" and she was able to "see"/live/strive with him; however, without him, she feels alone. She asks if she would devote herself entirely to him, would he be there for her? The chorus tells us how happy he made, and there are allusions to the "road" of love ("the road is long, we carry on, try to have fun in the meantime."), which is accurate, since that is what love is: a path towards the end.
 
OFF TO THE RACES
I think she uses "the races" as a symbol for risk and luck. People go to the races and place bets on horses; of course, any gambling or betting induces risk or chance of loss. This relates to her relationship, in which she knows there is risk of losing everything, yet she bets everything on it to "win" or get the "prize" of a successful relationship. The lyrics suggest he is a "bad man," with his dark soul and tough nature and all the other one-liners that insinuate danger and an evil nature. She lists everything bad about him, and yet se still loves him clearly, which is a common theme in all of her music--loving someone completely, regardless of his obvious flaws. I LOVE the flow of this song--the rhythm, how she sings the words, how they all flow so well and rhyme and everything. Casino, races, Las Vegas etc. are all references to betting/gambling, or things that may harm her in the end. She goes for it anyway, she "trusts in the decision of the lord." The song is also rather sexual, as he obviously has a very firm "hold" and "grab" on her, and the "light of my life, fire of my loins." This isn't the only reference to Lolita on the album, which also describes an older, dangerous man. but as Lana has said, danger = interest. A safe love would be boring. The chorus shows a duality to her character: the innocent outward appearance ("singing in the garden") matched with the inward, actual dangerous/crazy/naughty personality. There are lots of references and objects so as to give the listener a clear picture in his/her mind. Throughout the song, she is never unsure of her feelings for him, and the end sums up her positivity: "Love you forever, not maybe--you are my one true love." Her chances of a happy relationship may be risky and slim, but her love for him--for better or worse--is absolutely definite.
 
BLUE JEANS
This song is basically about the guy who left her, as told in the second verse entirely ("caught up in the game"), and the jeans are a symbol: probably a notable feature of his that left an impact on her, but also meant to represent the literal movement of "walking into and then out of her life" that he did (this probably sounds stupid, but jeans are worn on legs, and legs are what carry you, so he walked out of her life. That's obvious xD). Disease and evil/bad things are always references she uses in her music when describing her men, and she has an interesting play of words in the verse: "fresh" and "sick" are words that generally mean "cool" in colloquial English, and she uses them here paired with "death" and "cancer," respectively, which is common in her music to refer to death. It was just interesting to me. Like the song before, I think she acknowledges that he is bad for her, but she devotes herself to him "until the end of time" or "a thousand years"--whichever will come first. I think the chorus and bridge of this song are straightforward, more just repeating what I already said, so I won't be repetitive in analyzing them as well.
 
VIDEO GAMES
This song sounds sad, but as she has said it really isn't. This is the first part of the "trilogy": this one telling the beginning, BJ telling the result, and BTD the aftermath. I think the title is a symbol for an imaginary life. People play video games to escape reality. Lana, in believing this relationship that is doomed, or that is "born to die", could ever work, she is escaping reality. That, plus she has said she enjoyed watching him play video games. Everything she does is to please him, and while it sounds sad and a little disappointing to us, she is very, very content obviously. She sings about forever again, like in BJ. There are lots of specifics references that I imagine are about there relationship; like most of her songs, it seems highly personal. Heaven as a place on Earth too is another escape of reality. The song is about leaving reality and allowing yourself to make believe in a fantasy world where you have everything you want. Here, again, she sings about a crazy, turbulent love that she admires so much. The song gives a very nostalgic vibe and sounds classic.
 
DIET MOUNTAIN DEW
First of all, people always say that diet sodas are "healthy" or better for them, when in reality they are just as bad with added artificial sugars and such. I think this relates with the unhealthy relationship we have established--the one in which Lana ignores the bad, maybe even embraces it, because she loves him so much. She knows he is no good for her, but she wants him anyway. "Turn me to ashes" also shows she knows he's bad for her. She doesn't care what people think/say of her or "what the past says". They will take Jesus off the dashboard, even, so that truly no one can judge them. She loves him because he gives her a rush--the roller coaster, the speed, the high--and he will teach her "just what fast is," which is the feeling we know she craves: feeling alive, young, wild, and free. That's why she loves the men that we most likely find terrible! She keeps asking "Do you think we'll be in love forever?", which to me is the first time on the album she shares the same doubts we as the listeners may have for their relationship (though, she surely is positive of her feelings/love for him).
 
NATIONAL ANTHEM
This song is a little different, because it's the first one that doesn't seem very, very personal to her. A national anthem is a song of devotion to one's country, and I think she uses it as a metaphor to show her devotion to and love for this twisted man. But in general, as we all know, the song is about the rich, superficial lives of the upper class. Constantly through the song she refers to various places, objects, and concepts associated with the rich. Lana loves talking about the privileged, upper class in her music, but again we know that, so I will focus on a couple different, smaller things. I think the song is very sexual for a number of reasons: (1) Chanting "Red, White, Blue, is in the sky. Summer's in the air, and, baby, heaven's in your eyes. I'm your national anthem" seems very sexual, like an orgasm to me (think about it!); (2) "Can't keep your pants on" or "Put your hands up" or "Give me a standing ovation" (erection); (3) "Standing over your body, hold you like a python", which sounds like a penis to me, but also snakes are obviously very dangerous. She shows more confidence in this song than any other (sans Radio) on the album.
 
DARK PARADISE
I love the title and concept. She talked in an interview about this song--the pairing of "death" with "paradise." She says death must be calm and relaxing, which is strange, because most people wouldn't associate the two words together. The song, as we know based on the line "Dead like you," is about her lover who died (or maybe she's just being crazy and using death as a metaphor for leaving her life). When she closes her eyes, she still feels and sees him, and so in the darkness, she finds a peaceful paradise. He's gone, and she should move on, but she can't and won't. The rhyming scheme and flow of words in this song is beautiful, too. She feels haunted by him, but in a good way. The pairing of normally bad things (haunted, dark) with good things (a "good ghost" that she invites into her life, paradise) is interesting as well. Whatever this romance was, it obviously left strong enough an impact to be able to touch her in her sleep!
 
RADIO
This one, like NA, doesn't necessarily relate to her life directly and personally in terms of the relationship in the rest of the album, but it is still personal and about her career. The first word you think of when you hear "Lana Del Rey" is criticism. This song was a hint to the future of the backlash she would experience. There's really nothing much to say since this song is very straightforward and obvious, but I will add that again she compares good and bad things with "sweet" and "venom." Also, is cinnamon even sweet? Not really. I don't know if that was a mistake or an incidental comparison. Who knows.
 
CARMEN
I don't know who she uses the name "Carmen," but we know she likes to adopt other personalities/names, so I think "Carmen" is just a representation for both the worst parts of Lana, as well as the exaggerated personality traits she thinks or even wishes she has. This one I think is just a slightly over-the-top representation of her past as a troubled teenager. She had a drinking problem, a boy problem, etc. Everyone appears to love her, yet she feels entirely alone ("You don't wanna see all the things I've seen"), which she has said on numerous accounts that she's always felt that way. Basically, I think everyone sees Carmen's outward appearance as beautiful, flawless, perfect, yet Carmen herself knows how troubled and messed up she actually is. Or does she even know she has a problem? As suggested by the last line, everyone thinks she is fine: "Carmen, Carmen, doesn't have a problem. Lying to herself..." I think the song is about denial of one's darkest traits.
 
MILLION DOLLAR MAN
This song is about her bad boy. It's a song of admiration for his life, career, art, and skill. He has a power over people, her specifically, that she can't understand. She knows he's bad and wrong, yet she's absolutely captivated. I thinks he definitely knows she needs to escape, but again can't. Then, she uses one of the most clever puns she has ever used: "You look like a million dollar man, so why is my heart broke?" At first I was like, "Ugh, Lana, your grammar is awful!" but then I realized it is intentional. Meaning, all the money in the world can't buy happiness; she still feels empty and meaningless. I love that! The same idea is in the second verse: "You got the whole world, but, baby, at what price?" She will follow him anywhere, regardless of what it costs her.
 
SUMMERTIME SADNESS
At this point in the story, Lana knows he's leaving and I don't think she's fighting for him back, because she knows it is over. All she is asking for is a kiss goodbye. During summer, people are supposed to be happy and having fun, yet she is experience immense sadness, which just shows what a toll the breakup had on her. The verses suggest she is happy (putting on her dress, heals, makeup), but the chorus and title say otherwise. the pre-choruses all seem to be very liberating, and we knows she loves images and concepts of freedom and liberty, like the wind in the Ride video and her lyrics in general. "Cruising down the coast, going 'bout 99" suggest she doesn't really care what happens to her; she's just living life to the fullest like it's her last day now that she has nothing else to live for. I think the song is just about making do with what you have, moving on from a failed relationship (or the earliest process of doing so, anyway). Still, she will always be there for him ("Think I'll miss you forever") and even when he's gone, she will "drive" or continue living with him in mind. Devoted? Yes. Insane? Probably ;D
 
THIS IS WHAT MAKES US GIRLS
This is a strange, but very appropriate album closer (which is funny, because I feel the same way about The Other Woman on Ultraviolence). It's a little jokey and fun, but it stays true to the rest of the album: stereotypically, everything Lana has gone through on the album (obsessing over and loving men is what makes girls the way they are). She's joking, of course, but the song itself is very autobiographical and true to her life and past. Good closer, in my opinion!

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

BORN TO DIE
This has always been and will always be my favorite on the album. It sets the pace and tone of the record, it has the most poetic lyrics, it's the most ambiguous, and it really describes the album as a whole in terms of the theme of dangerous love (hence it being the title track). I like it because while it used as a metaphor for the relationship (from the very beginning, she knew the relationship would end. They were never going to work out; they were always doomed to fail/end/"die"), it is also a broader metaphor for life in general: from the very moment we are born, we beginning to die. Life and death are obviously interesting concepts, and as you grow up and learn to live and you are emotionally growing, biologically speaking you are always deteriorating and dying. Anyway, the first verse is about fate. It's very spiritual ("the gates"), and she relies on fate alone to get her through this hard time, and even though the relationship is over, she still hopes that at those gates, she will be with him again. "Is it by mistake or design?" is my favorite quote--well, one of them--because it is really poetic and further plays into the idea of fate, destiny. Maybe you don't always have to be in total control of the decisions of your life; instead, you just go with the flow, or what feels right, and leave it to destiny? She has felt lost before and blind, but he made her feel "found" and she was able to "see"/live/strive with him; however, without him, she feels alone. She asks if she would devote herself entirely to him, would he be there for her? The chorus tells us how happy he made, and there are allusions to the "road" of love ("the road is long, we carry on, try to have fun in the meantime."), which is accurate, since that is what love is: a path towards the end.
 
OFF TO THE RACES
I think she uses "the races" as a symbol for risk and luck. People go to the races and place bets on horses; of course, any gambling or betting induces risk or chance of loss. This relates to her relationship, in which she knows there is risk of losing everything, yet she bets everything on it to "win" or get the "prize" of a successful relationship. The lyrics suggest he is a "bad man," with his dark soul and tough nature and all the other one-liners that insinuate danger and an evil nature. She lists everything bad about him, and yet se still loves him clearly, which is a common theme in all of her music--loving someone completely, regardless of his obvious flaws. I LOVE the flow of this song--the rhythm, how she sings the words, how they all flow so well and rhyme and everything. Casino, races, Las Vegas etc. are all references to betting/gambling, or things that may harm her in the end. She goes for it anyway, she "trusts in the decision of the lord." The song is also rather sexual, as he obviously has a very firm "hold" and "grab" on her, and the "light of my life, fire of my loins." This isn't the only reference to Lolita on the album, which also describes an older, dangerous man. but as Lana has said, danger = interest. A safe love would be boring. The chorus shows a duality to her character: the innocent outward appearance ("singing in the garden") matched with the inward, actual dangerous/crazy/naughty personality. There are lots of references and objects so as to give the listener a clear picture in his/her mind. Throughout the song, she is never unsure of her feelings for him, and the end sums up her positivity: "Love you forever, not maybe--you are my one true love." Her chances of a happy relationship may be risky and slim, but her love for him--for better or worse--is absolutely definite.
 
BLUE JEANS
This song is basically about the guy who left her, as told in the second verse entirely ("caught up in the game"), and the jeans are a symbol: probably a notable feature of his that left an impact on her, but also meant to represent the literal movement of "walking into and then out of her life" that he did (this probably sounds stupid, but jeans are worn on legs, and legs are what carry you, so he walked out of her life. That's obvious xD). Disease and evil/bad things are always references she uses in her music when describing her men, and she has an interesting play of words in the verse: "fresh" and "sick" are words that generally mean "cool" in colloquial English, and she uses them here paired with "death" and "cancer," respectively, which is common in her music to refer to death. It was just interesting to me. Like the song before, I think she acknowledges that he is bad for her, but she devotes herself to him "until the end of time" or "a thousand years"--whichever will come first. I think the chorus and bridge of this song are straightforward, more just repeating what I already said, so I won't be repetitive in analyzing them as well.
 
VIDEO GAMES
This song sounds sad, but as she has said it really isn't. This is the first part of the "trilogy": this one telling the beginning, BJ telling the result, and BTD the aftermath. I think the title is a symbol for an imaginary life. People play video games to escape reality. Lana, in believing this relationship that is doomed, or that is "born to die", could ever work, she is escaping reality. That, plus she has said she enjoyed watching him play video games. Everything she does is to please him, and while it sounds sad and a little disappointing to us, she is very, very content obviously. She sings about forever again, like in BJ. There are lots of specifics references that I imagine are about there relationship; like most of her songs, it seems highly personal. Heaven as a place on Earth too is another escape of reality. The song is about leaving reality and allowing yourself to make believe in a fantasy world where you have everything you want. Here, again, she sings about a crazy, turbulent love that she admires so much. The song gives a very nostalgic vibe and sounds classic.
 
DIET MOUNTAIN DEW
First of all, people always say that diet sodas are "healthy" or better for them, when in reality they are just as bad with added artificial sugars and such. I think this relates with the unhealthy relationship we have established--the one in which Lana ignores the bad, maybe even embraces it, because she loves him so much. She knows he is no good for her, but she wants him anyway. "Turn me to ashes" also shows she knows he's bad for her. She doesn't care what people think/say of her or "what the past says". They will take Jesus off the dashboard, even, so that truly no one can judge them. She loves him because he gives her a rush--the roller coaster, the speed, the high--and he will teach her "just what fast is," which is the feeling we know she craves: feeling alive, young, wild, and free. That's why she loves the men that we most likely find terrible! She keeps asking "Do you think we'll be in love forever?", which to me is the first time on the album she shares the same doubts we as the listeners may have for their relationship (though, she surely is positive of her feelings/love for him).
 
NATIONAL ANTHEM
This song is a little different, because it's the first one that doesn't seem very, very personal to her. A national anthem is a song of devotion to one's country, and I think she uses it as a metaphor to show her devotion to and love for this twisted man. But in general, as we all know, the song is about the rich, superficial lives of the upper class. Constantly through the song she refers to various places, objects, and concepts associated with the rich. Lana loves talking about the privileged, upper class in her music, but again we know that, so I will focus on a couple different, smaller things. I think the song is very sexual for a number of reasons: (1) Chanting "Red, White, Blue, is in the sky. Summer's in the air, and, baby, heaven's in your eyes. I'm your national anthem" seems very sexual, like an orgasm to me (think about it!); (2) "Can't keep your pants on" or "Put your hands up" or "Give me a standing ovation" (erection); (3) "Standing over your body, hold you like a python", which sounds like a penis to me, but also snakes are obviously very dangerous. She shows more confidence in this song than any other (sans Radio) on the album.
 
DARK PARADISE
I love the title and concept. She talked in an interview about this song--the pairing of "death" with "paradise." She says death must be calm and relaxing, which is strange, because most people wouldn't associate the two words together. The song, as we know based on the line "Dead like you," is about her lover who died (or maybe she's just being crazy and using death as a metaphor for leaving her life). When she closes her eyes, she still feels and sees him, and so in the darkness, she finds a peaceful paradise. He's gone, and she should move on, but she can't and won't. The rhyming scheme and flow of words in this song is beautiful, too. She feels haunted by him, but in a good way. The pairing of normally bad things (haunted, dark) with good things (a "good ghost" that she invites into her life, paradise) is interesting as well. Whatever this romance was, it obviously left strong enough an impact to be able to touch her in her sleep!
 
RADIO
This one, like NA, doesn't necessarily relate to her life directly and personally in terms of the relationship in the rest of the album, but it is still personal and about her career. The first word you think of when you hear "Lana Del Rey" is criticism. This song was a hint to the future of the backlash she would experience. There's really nothing much to say since this song is very straightforward and obvious, but I will add that again she compares good and bad things with "sweet" and "venom." Also, is cinnamon even sweet? Not really. I don't know if that was a mistake or an incidental comparison. Who knows.
 
CARMEN
I don't know who she uses the name "Carmen," but we know she likes to adopt other personalities/names, so I think "Carmen" is just a representation for both the worst parts of Lana, as well as the exaggerated personality traits she thinks or even wishes she has. This one I think is just a slightly over-the-top representation of her past as a troubled teenager. She had a drinking problem, a boy problem, etc. Everyone appears to love her, yet she feels entirely alone ("You don't wanna see all the things I've seen"), which she has said on numerous accounts that she's always felt that way. Basically, I think everyone sees Carmen's outward appearance as beautiful, flawless, perfect, yet Carmen herself knows how troubled and messed up she actually is. Or does she even know she has a problem? As suggested by the last line, everyone thinks she is fine: "Carmen, Carmen, doesn't have a problem. Lying to herself..." I think the song is about denial of one's darkest traits.
 
MILLION DOLLAR MAN
This song is about her bad boy. It's a song of admiration for his life, career, art, and skill. He has a power over people, her specifically, that she can't understand. She knows he's bad and wrong, yet she's absolutely captivated. I thinks he definitely knows she needs to escape, but again can't. Then, she uses one of the most clever puns she has ever used: "You look like a million dollar man, so why is my heart broke?" At first I was like, "Ugh, Lana, your grammar is awful!" but then I realized it is intentional. Meaning, all the money in the world can't buy happiness; she still feels empty and meaningless. I love that! The same idea is in the second verse: "You got the whole world, but, baby, at what price?" She will follow him anywhere, regardless of what it costs her.
 
SUMMERTIME SADNESS
At this point in the story, Lana knows he's leaving and I don't think she's fighting for him back, because she knows it is over. All she is asking for is a kiss goodbye. During summer, people are supposed to be happy and having fun, yet she is experience immense sadness, which just shows what a toll the breakup had on her. The verses suggest she is happy (putting on her dress, heals, makeup), but the chorus and title say otherwise. the pre-choruses all seem to be very liberating, and we knows she loves images and concepts of freedom and liberty, like the wind in the Ride video and her lyrics in general. "Cruising down the coast, going 'bout 99" suggest she doesn't really care what happens to her; she's just living life to the fullest like it's her last day now that she has nothing else to live for. I think the song is just about making do with what you have, moving on from a failed relationship (or the earliest process of doing so, anyway). Still, she will always be there for him ("Think I'll miss you forever") and even when he's gone, she will "drive" or continue living with him in mind. Devoted? Yes. Insane? Probably ;D
 
THIS IS WHAT MAKES US GIRLS
This is a strange, but very appropriate album closer (which is funny, because I feel the same way about The Other Woman on Ultraviolence). It's a little jokey and fun, but it stays true to the rest of the album: stereotypically, everything Lana has gone through on the album (obsessing over and loving men is what makes girls the way they are). She's joking, of course, but the song itself is very autobiographical and true to her life and past. Good closer, in my opinion!

BORN TO DIE
This has always been and will always be my favorite on the album. It sets the pace and tone of the record, it has the most poetic lyrics, it's the most ambiguous, and it really describes the album as a whole in terms of the theme of dangerous love (hence it being the title track). I like it because while it used as a metaphor for the relationship (from the very beginning, she knew the relationship would end. They were never going to work out; they were always doomed to fail/end/"die"), it is also a broader metaphor for life in general: from the very moment we are born, we beginning to die. Life and death are obviously interesting concepts, and as you grow up and learn to live and you are emotionally growing, biologically speaking you are always deteriorating and dying. Anyway, the first verse is about fate. It's very spiritual ("the gates"), and she relies on fate alone to get her through this hard time, and even though the relationship is over, she still hopes that at those gates, she will be with him again. "Is it by mistake or design?" is my favorite quote--well, one of them--because it is really poetic and further plays into the idea of fate, destiny. Maybe you don't always have to be in total control of the decisions of your life; instead, you just go with the flow, or what feels right, and leave it to destiny? She has felt lost before and blind, but he made her feel "found" and she was able to "see"/live/strive with him; however, without him, she feels alone. She asks if she would devote herself entirely to him, would he be there for her? The chorus tells us how happy he made, and there are allusions to the "road" of love ("the road is long, we carry on, try to have fun in the meantime."), which is accurate, since that is what love is: a path towards the end.
 
OFF TO THE RACES
I think she uses "the races" as a symbol for risk and luck. People go to the races and place bets on horses; of course, any gambling or betting induces risk or chance of loss. This relates to her relationship, in which she knows there is risk of losing everything, yet she bets everything on it to "win" or get the "prize" of a successful relationship. The lyrics suggest he is a "bad man," with his dark soul and tough nature and all the other one-liners that insinuate danger and an evil nature. She lists everything bad about him, and yet se still loves him clearly, which is a common theme in all of her music--loving someone completely, regardless of his obvious flaws. I LOVE the flow of this song--the rhythm, how she sings the words, how they all flow so well and rhyme and everything. Casino, races, Las Vegas etc. are all references to betting/gambling, or things that may harm her in the end. She goes for it anyway, she "trusts in the decision of the lord." The song is also rather sexual, as he obviously has a very firm "hold" and "grab" on her, and the "light of my life, fire of my loins." This isn't the only reference to Lolita on the album, which also describes an older, dangerous man. but as Lana has said, danger = interest. A safe love would be boring. The chorus shows a duality to her character: the innocent outward appearance ("singing in the garden") matched with the inward, actual dangerous/crazy/naughty personality. There are lots of references and objects so as to give the listener a clear picture in his/her mind. Throughout the song, she is never unsure of her feelings for him, and the end sums up her positivity: "Love you forever, not maybe--you are my one true love." Her chances of a happy relationship may be risky and slim, but her love for him--for better or worse--is absolutely definite.
 
BLUE JEANS
This song is basically about the guy who left her, as told in the second verse entirely ("caught up in the game"), and the jeans are a symbol: probably a notable feature of his that left an impact on her, but also meant to represent the literal movement of "walking into and then out of her life" that he did (this probably sounds stupid, but jeans are worn on legs, and legs are what carry you, so he walked out of her life. That's obvious xD). Disease and evil/bad things are always references she uses in her music when describing her men, and she has an interesting play of words in the verse: "fresh" and "sick" are words that generally mean "cool" in colloquial English, and she uses them here paired with "death" and "cancer," respectively, which is common in her music to refer to death. It was just interesting to me. Like the song before, I think she acknowledges that he is bad for her, but she devotes herself to him "until the end of time" or "a thousand years"--whichever will come first. I think the chorus and bridge of this song are straightforward, more just repeating what I already said, so I won't be repetitive in analyzing them as well.
 
VIDEO GAMES
This song sounds sad, but as she has said it really isn't. This is the first part of the "trilogy": this one telling the beginning, BJ telling the result, and BTD the aftermath. I think the title is a symbol for an imaginary life. People play video games to escape reality. Lana, in believing this relationship that is doomed, or that is "born to die", could ever work, she is escaping reality. That, plus she has said she enjoyed watching him play video games. Everything she does is to please him, and while it sounds sad and a little disappointing to us, she is very, very content obviously. She sings about forever again, like in BJ. There are lots of specifics references that I imagine are about there relationship; like most of her songs, it seems highly personal. Heaven as a place on Earth too is another escape of reality. The song is about leaving reality and allowing yourself to make believe in a fantasy world where you have everything you want. Here, again, she sings about a crazy, turbulent love that she admires so much. The song gives a very nostalgic vibe and sounds classic.
 
DIET MOUNTAIN DEW
First of all, people always say that diet sodas are "healthy" or better for them, when in reality they are just as bad with added artificial sugars and such. I think this relates with the unhealthy relationship we have established--the one in which Lana ignores the bad, maybe even embraces it, because she loves him so much. She knows he is no good for her, but she wants him anyway. "Turn me to ashes" also shows she knows he's bad for her. She doesn't care what people think/say of her or "what the past says". They will take Jesus off the dashboard, even, so that truly no one can judge them. She loves him because he gives her a rush--the roller coaster, the speed, the high--and he will teach her "just what fast is," which is the feeling we know she craves: feeling alive, young, wild, and free. That's why she loves the men that we most likely find terrible! She keeps asking "Do you think we'll be in love forever?", which to me is the first time on the album she shares the same doubts we as the listeners may have for their relationship (though, she surely is positive of her feelings/love for him).
 
NATIONAL ANTHEM
This song is a little different, because it's the first one that doesn't seem very, very personal to her. A national anthem is a song of devotion to one's country, and I think she uses it as a metaphor to show her devotion to and love for this twisted man. But in general, as we all know, the song is about the rich, superficial lives of the upper class. Constantly through the song she refers to various places, objects, and concepts associated with the rich. Lana loves talking about the privileged, upper class in her music, but again we know that, so I will focus on a couple different, smaller things. I think the song is very sexual for a number of reasons: (1) Chanting "Red, White, Blue, is in the sky. Summer's in the air, and, baby, heaven's in your eyes. I'm your national anthem" seems very sexual, like an orgasm to me (think about it!); (2) "Can't keep your pants on" or "Put your hands up" or "Give me a standing ovation" (erection); (3) "Standing over your body, hold you like a python", which sounds like a penis to me, but also snakes are obviously very dangerous. She shows more confidence in this song than any other (sans Radio) on the album.
 
DARK PARADISE
I love the title and concept. She talked in an interview about this song--the pairing of "death" with "paradise." She says death must be calm and relaxing, which is strange, because most people wouldn't associate the two words together. The song, as we know based on the line "Dead like you," is about her lover who died (or maybe she's just being crazy and using death as a metaphor for leaving her life). When she closes her eyes, she still feels and sees him, and so in the darkness, she finds a peaceful paradise. He's gone, and she should move on, but she can't and won't. The rhyming scheme and flow of words in this song is beautiful, too. She feels haunted by him, but in a good way. The pairing of normally bad things (haunted, dark) with good things (a "good ghost" that she invites into her life, paradise) is interesting as well. Whatever this romance was, it obviously left strong enough an impact to be able to touch her in her sleep!
 
RADIO
This one, like NA, doesn't necessarily relate to her life directly and personally in terms of the relationship in the rest of the album, but it is still personal and about her career. The first word you think of when you hear "Lana Del Rey" is criticism. This song was a hint to the future of the backlash she would experience. There's really nothing much to say since this song is very straightforward and obvious, but I will add that again she compares good and bad things with "sweet" and "venom." Also, is cinnamon even sweet? Not really. I don't know if that was a mistake or an incidental comparison. Who knows.
 
CARMEN
I don't know who she uses the name "Carmen," but we know she likes to adopt other personalities/names, so I think "Carmen" is just a representation for both the worst parts of Lana, as well as the exaggerated personality traits she thinks or even wishes she has. This one I think is just a slightly over-the-top representation of her past as a troubled teenager. She had a drinking problem, a boy problem, etc. Everyone appears to love her, yet she feels entirely alone ("You don't wanna see all the things I've seen"), which she has said on numerous accounts that she's always felt that way. Basically, I think everyone sees Carmen's outward appearance as beautiful, flawless, perfect, yet Carmen herself knows how troubled and messed up she actually is. Or does she even know she has a problem? As suggested by the last line, everyone thinks she is fine: "Carmen, Carmen, doesn't have a problem. Lying to herself..." I think the song is about denial of one's darkest traits.
 
MILLION DOLLAR MAN
This song is about her bad boy. It's a song of admiration for his life, career, art, and skill. He has a power over people, her specifically, that she can't understand. She knows he's bad and wrong, yet she's absolutely captivated. I thinks he definitely knows she needs to escape, but again can't. Then, she uses one of the most clever puns she has ever used: "You look like a million dollar man, so why is my heart broke?" At first I was like, "Ugh, Lana, your grammar is awful!" but then I realized it is intentional. Meaning, all the money in the world can't buy happiness; she still feels empty and meaningless. I love that! The same idea is in the second verse: "You got the whole world, but, baby, at what price?" She will follow him anywhere, regardless of what it costs her.
 
SUMMERTIME SADNESS
At this point in the story, Lana knows he's leaving and I don't think she's fighting for him back, because she knows it is over. All she is asking for is a kiss goodbye. During summer, people are supposed to be happy and having fun, yet she is experience immense sadness, which just shows what a toll the breakup had on her. The verses suggest she is happy (putting on her dress, heals, makeup), but the chorus and title say otherwise. the pre-choruses all seem to be very liberating, and we knows she loves images and concepts of freedom and liberty, like the wind in the Ride video and her lyrics in general. "Cruising down the coast, going 'bout 99" suggest she doesn't really care what happens to her; she's just living life to the fullest like it's her last day now that she has nothing else to live for. I think the song is just about making do with what you have, moving on from a failed relationship (or the earliest process of doing so, anyway). Still, she will always be there for him ("Think I'll miss you forever") and even when he's gone, she will "drive" or continue living with him in mind. Devoted? Yes. Insane? Probably ;D
 
THIS IS WHAT MAKES US GIRLS
This is a strange, but very appropriate album closer (which is funny, because I feel the same way about The Other Woman on Ultraviolence). It's a little jokey and fun, but it stays true to the rest of the album: stereotypically, everything Lana has gone through on the album (obsessing over and loving men is what makes girls the way they are). She's joking, of course, but the song itself is very autobiographical and true to her life and past. Good closer, in my opinion!

BORN TO DIE
This has always been and will always be my favorite on the album. It sets the pace and tone of the record, it has the most poetic lyrics, it's the most ambiguous, and it really describes the album as a whole in terms of the theme of dangerous love (hence it being the title track). I like it because while it used as a metaphor for the relationship (from the very beginning, she knew the relationship would end. They were never going to work out; they were always doomed to fail/end/"die"), it is also a broader metaphor for life in general: from the very moment we are born, we beginning to die. Life and death are obviously interesting concepts, and as you grow up and learn to live and you are emotionally growing, biologically speaking you are always deteriorating and dying. Anyway, the first verse is about fate. It's very spiritual ("the gates"), and she relies on fate alone to get her through this hard time, and even though the relationship is over, she still hopes that at those gates, she will be with him again. "Is it by mistake or design?" is my favorite quote--well, one of them--because it is really poetic and further plays into the idea of fate, destiny. Maybe you don't always have to be in total control of the decisions of your life; instead, you just go with the flow, or what feels right, and leave it to destiny? She has felt lost before and blind, but he made her feel "found" and she was able to "see"/live/strive with him; however, without him, she feels alone. She asks if she would devote herself entirely to him, would he be there for her? The chorus tells us how happy he made, and there are allusions to the "road" of love ("the road is long, we carry on, try to have fun in the meantime."), which is accurate, since that is what love is: a path towards the end.
 
OFF TO THE RACES
I think she uses "the races" as a symbol for risk and luck. People go to the races and place bets on horses; of course, any gambling or betting induces risk or chance of loss. This relates to her relationship, in which she knows there is risk of losing everything, yet she bets everything on it to "win" or get the "prize" of a successful relationship. The lyrics suggest he is a "bad man," with his dark soul and tough nature and all the other one-liners that insinuate danger and an evil nature. She lists everything bad about him, and yet se still loves him clearly, which is a common theme in all of her music--loving someone completely, regardless of his obvious flaws. I LOVE the flow of this song--the rhythm, how she sings the words, how they all flow so well and rhyme and everything. Casino, races, Las Vegas etc. are all references to betting/gambling, or things that may harm her in the end. She goes for it anyway, she "trusts in the decision of the lord." The song is also rather sexual, as he obviously has a very firm "hold" and "grab" on her, and the "light of my life, fire of my loins." This isn't the only reference to Lolita on the album, which also describes an older, dangerous man. but as Lana has said, danger = interest. A safe love would be boring. The chorus shows a duality to her character: the innocent outward appearance ("singing in the garden") matched with the inward, actual dangerous/crazy/naughty personality. There are lots of references and objects so as to give the listener a clear picture in his/her mind. Throughout the song, she is never unsure of her feelings for him, and the end sums up her positivity: "Love you forever, not maybe--you are my one true love." Her chances of a happy relationship may be risky and slim, but her love for him--for better or worse--is absolutely definite.
 
BLUE JEANS
This song is basically about the guy who left her, as told in the second verse entirely ("caught up in the game"), and the jeans are a symbol: probably a notable feature of his that left an impact on her, but also meant to represent the literal movement of "walking into and then out of her life" that he did (this probably sounds stupid, but jeans are worn on legs, and legs are what carry you, so he walked out of her life. That's obvious xD). Disease and evil/bad things are always references she uses in her music when describing her men, and she has an interesting play of words in the verse: "fresh" and "sick" are words that generally mean "cool" in colloquial English, and she uses them here paired with "death" and "cancer," respectively, which is common in her music to refer to death. It was just interesting to me. Like the song before, I think she acknowledges that he is bad for her, but she devotes herself to him "until the end of time" or "a thousand years"--whichever will come first. I think the chorus and bridge of this song are straightforward, more just repeating what I already said, so I won't be repetitive in analyzing them as well.
 
VIDEO GAMES
This song sounds sad, but as she has said it really isn't. This is the first part of the "trilogy": this one telling the beginning, BJ telling the result, and BTD the aftermath. I think the title is a symbol for an imaginary life. People play video games to escape reality. Lana, in believing this relationship that is doomed, or that is "born to die", could ever work, she is escaping reality. That, plus she has said she enjoyed watching him play video games. Everything she does is to please him, and while it sounds sad and a little disappointing to us, she is very, very content obviously. She sings about forever again, like in BJ. There are lots of specifics references that I imagine are about there relationship; like most of her songs, it seems highly personal. Heaven as a place on Earth too is another escape of reality. The song is about leaving reality and allowing yourself to make believe in a fantasy world where you have everything you want. Here, again, she sings about a crazy, turbulent love that she admires so much. The song gives a very nostalgic vibe and sounds classic.
 
DIET MOUNTAIN DEW
First of all, people always say that diet sodas are "healthy" or better for them, when in reality they are just as bad with added artificial sugars and such. I think this relates with the unhealthy relationship we have established--the one in which Lana ignores the bad, maybe even embraces it, because she loves him so much. She knows he is no good for her, but she wants him anyway. "Turn me to ashes" also shows she knows he's bad for her. She doesn't care what people think/say of her or "what the past says". They will take Jesus off the dashboard, even, so that truly no one can judge them. She loves him because he gives her a rush--the roller coaster, the speed, the high--and he will teach her "just what fast is," which is the feeling we know she craves: feeling alive, young, wild, and free. That's why she loves the men that we most likely find terrible! She keeps asking "Do you think we'll be in love forever?", which to me is the first time on the album she shares the same doubts we as the listeners may have for their relationship (though, she surely is positive of her feelings/love for him).
 
NATIONAL ANTHEM
This song is a little different, because it's the first one that doesn't seem very, very personal to her. A national anthem is a song of devotion to one's country, and I think she uses it as a metaphor to show her devotion to and love for this twisted man. But in general, as we all know, the song is about the rich, superficial lives of the upper class. Constantly through the song she refers to various places, objects, and concepts associated with the rich. Lana loves talking about the privileged, upper class in her music, but again we know that, so I will focus on a couple different, smaller things. I think the song is very sexual for a number of reasons: (1) Chanting "Red, White, Blue, is in the sky. Summer's in the air, and, baby, heaven's in your eyes. I'm your national anthem" seems very sexual, like an orgasm to me (think about it!); (2) "Can't keep your pants on" or "Put your hands up" or "Give me a standing ovation" (erection); (3) "Standing over your body, hold you like a python", which sounds like a penis to me, but also snakes are obviously very dangerous. She shows more confidence in this song than any other (sans Radio) on the album.
 
DARK PARADISE
I love the title and concept. She talked in an interview about this song--the pairing of "death" with "paradise." She says death must be calm and relaxing, which is strange, because most people wouldn't associate the two words together. The song, as we know based on the line "Dead like you," is about her lover who died (or maybe she's just being crazy and using death as a metaphor for leaving her life). When she closes her eyes, she still feels and sees him, and so in the darkness, she finds a peaceful paradise. He's gone, and she should move on, but she can't and won't. The rhyming scheme and flow of words in this song is beautiful, too. She feels haunted by him, but in a good way. The pairing of normally bad things (haunted, dark) with good things (a "good ghost" that she invites into her life, paradise) is interesting as well. Whatever this romance was, it obviously left strong enough an impact to be able to touch her in her sleep!
 
RADIO
This one, like NA, doesn't necessarily relate to her life directly and personally in terms of the relationship in the rest of the album, but it is still personal and about her career. The first word you think of when you hear "Lana Del Rey" is criticism. This song was a hint to the future of the backlash she would experience. There's really nothing much to say since this song is very straightforward and obvious, but I will add that again she compares good and bad things with "sweet" and "venom." Also, is cinnamon even sweet? Not really. I don't know if that was a mistake or an incidental comparison. Who knows.
 
CARMEN
I don't know who she uses the name "Carmen," but we know she likes to adopt other personalities/names, so I think "Carmen" is just a representation for both the worst parts of Lana, as well as the exaggerated personality traits she thinks or even wishes she has. This one I think is just a slightly over-the-top representation of her past as a troubled teenager. She had a drinking problem, a boy problem, etc. Everyone appears to love her, yet she feels entirely alone ("You don't wanna see all the things I've seen"), which she has said on numerous accounts that she's always felt that way. Basically, I think everyone sees Carmen's outward appearance as beautiful, flawless, perfect, yet Carmen herself knows how troubled and messed up she actually is. Or does she even know she has a problem? As suggested by the last line, everyone thinks she is fine: "Carmen, Carmen, doesn't have a problem. Lying to herself..." I think the song is about denial of one's darkest traits.
 
MILLION DOLLAR MAN
This song is about her bad boy. It's a song of admiration for his life, career, art, and skill. He has a power over people, her specifically, that she can't understand. She knows he's bad and wrong, yet she's absolutely captivated. I thinks he definitely knows she needs to escape, but again can't. Then, she uses one of the most clever puns she has ever used: "You look like a million dollar man, so why is my heart broke?" At first I was like, "Ugh, Lana, your grammar is awful!" but then I realized it is intentional. Meaning, all the money in the world can't buy happiness; she still feels empty and meaningless. I love that! The same idea is in the second verse: "You got the whole world, but, baby, at what price?" She will follow him anywhere, regardless of what it costs her.
 
SUMMERTIME SADNESS
At this point in the story, Lana knows he's leaving and I don't think she's fighting for him back, because she knows it is over. All she is asking for is a kiss goodbye. During summer, people are supposed to be happy and having fun, yet she is experience immense sadness, which just shows what a toll the breakup had on her. The verses suggest she is happy (putting on her dress, heals, makeup), but the chorus and title say otherwise. the pre-choruses all seem to be very liberating, and we knows she loves images and concepts of freedom and liberty, like the wind in the Ride video and her lyrics in general. "Cruising down the coast, going 'bout 99" suggest she doesn't really care what happens to her; she's just living life to the fullest like it's her last day now that she has nothing else to live for. I think the song is just about making do with what you have, moving on from a failed relationship (or the earliest process of doing so, anyway). Still, she will always be there for him ("Think I'll miss you forever") and even when he's gone, she will "drive" or continue living with him in mind. Devoted? Yes. Insane? Probably ;D
 
THIS IS WHAT MAKES US GIRLS
This is a strange, but very appropriate album closer (which is funny, because I feel the same way about The Other Woman on Ultraviolence). It's a little jokey and fun, but it stays true to the rest of the album: stereotypically, everything Lana has gone through on the album (obsessing over and loving men is what makes girls the way they are). She's joking, of course, but the song itself is very autobiographical and true to her life and past. Good closer, in my opinion!

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

BORN TO DIE
This has always been and will always be my favorite on the album. It sets the pace and tone of the record, it has the most poetic lyrics, it's the most ambiguous, and it really describes the album as a whole in terms of the theme of dangerous love (hence it being the title track). I like it because while it used as a metaphor for the relationship (from the very beginning, she knew the relationship would end. They were never going to work out; they were always doomed to fail/end/"die"), it is also a broader metaphor for life in general: from the very moment we are born, we beginning to die. Life and death are obviously interesting concepts, and as you grow up and learn to live and you are emotionally growing, biologically speaking you are always deteriorating and dying. Anyway, the first verse is about fate. It's very spiritual ("the gates"), and she relies on fate alone to get her through this hard time, and even though the relationship is over, she still hopes that at those gates, she will be with him again. "Is it by mistake or design?" is my favorite quote--well, one of them--because it is really poetic and further plays into the idea of fate, destiny. Maybe you don't always have to be in total control of the decisions of your life; instead, you just go with the flow, or what feels right, and leave it to destiny? She has felt lost before and blind, but he made her feel "found" and she was able to "see"/live/strive with him; however, without him, she feels alone. She asks if she would devote herself entirely to him, would he be there for her? The chorus tells us how happy he made, and there are allusions to the "road" of love ("the road is long, we carry on, try to have fun in the meantime."), which is accurate, since that is what love is: a path towards the end.
 
OFF TO THE RACES
I think she uses "the races" as a symbol for risk and luck. People go to the races and place bets on horses; of course, any gambling or betting induces risk or chance of loss. This relates to her relationship, in which she knows there is risk of losing everything, yet she bets everything on it to "win" or get the "prize" of a successful relationship. The lyrics suggest he is a "bad man," with his dark soul and tough nature and all the other one-liners that insinuate danger and an evil nature. She lists everything bad about him, and yet se still loves him clearly, which is a common theme in all of her music--loving someone completely, regardless of his obvious flaws. I LOVE the flow of this song--the rhythm, how she sings the words, how they all flow so well and rhyme and everything. Casino, races, Las Vegas etc. are all references to betting/gambling, or things that may harm her in the end. She goes for it anyway, she "trusts in the decision of the lord." The song is also rather sexual, as he obviously has a very firm "hold" and "grab" on her, and the "light of my life, fire of my loins." This isn't the only reference to Lolita on the album, which also describes an older, dangerous man. but as Lana has said, danger = interest. A safe love would be boring. The chorus shows a duality to her character: the innocent outward appearance ("singing in the garden") matched with the inward, actual dangerous/crazy/naughty personality. There are lots of references and objects so as to give the listener a clear picture in his/her mind. Throughout the song, she is never unsure of her feelings for him, and the end sums up her positivity: "Love you forever, not maybe--you are my one true love." Her chances of a happy relationship may be risky and slim, but her love for him--for better or worse--is absolutely definite.
 
BLUE JEANS
This song is basically about the guy who left her, as told in the second verse entirely ("caught up in the game"), and the jeans are a symbol: probably a notable feature of his that left an impact on her, but also meant to represent the literal movement of "walking into and then out of her life" that he did (this probably sounds stupid, but jeans are worn on legs, and legs are what carry you, so he walked out of her life. That's obvious xD). Disease and evil/bad things are always references she uses in her music when describing her men, and she has an interesting play of words in the verse: "fresh" and "sick" are words that generally mean "cool" in colloquial English, and she uses them here paired with "death" and "cancer," respectively, which is common in her music to refer to death. It was just interesting to me. Like the song before, I think she acknowledges that he is bad for her, but she devotes herself to him "until the end of time" or "a thousand years"--whichever will come first. I think the chorus and bridge of this song are straightforward, more just repeating what I already said, so I won't be repetitive in analyzing them as well.
 
VIDEO GAMES
This song sounds sad, but as she has said it really isn't. This is the first part of the "trilogy": this one telling the beginning, BJ telling the result, and BTD the aftermath. I think the title is a symbol for an imaginary life. People play video games to escape reality. Lana, in believing this relationship that is doomed, or that is "born to die", could ever work, she is escaping reality. That, plus she has said she enjoyed watching him play video games. Everything she does is to please him, and while it sounds sad and a little disappointing to us, she is very, very content obviously. She sings about forever again, like in BJ. There are lots of specifics references that I imagine are about there relationship; like most of her songs, it seems highly personal. Heaven as a place on Earth too is another escape of reality. The song is about leaving reality and allowing yourself to make believe in a fantasy world where you have everything you want. Here, again, she sings about a crazy, turbulent love that she admires so much. The song gives a very nostalgic vibe and sounds classic.
 
DIET MOUNTAIN DEW
First of all, people always say that diet sodas are "healthy" or better for them, when in reality they are just as bad with added artificial sugars and such. I think this relates with the unhealthy relationship we have established--the one in which Lana ignores the bad, maybe even embraces it, because she loves him so much. She knows he is no good for her, but she wants him anyway. "Turn me to ashes" also shows she knows he's bad for her. She doesn't care what people think/say of her or "what the past says". They will take Jesus off the dashboard, even, so that truly no one can judge them. She loves him because he gives her a rush--the roller coaster, the speed, the high--and he will teach her "just what fast is," which is the feeling we know she craves: feeling alive, young, wild, and free. That's why she loves the men that we most likely find terrible! She keeps asking "Do you think we'll be in love forever?", which to me is the first time on the album she shares the same doubts we as the listeners may have for their relationship (though, she surely is positive of her feelings/love for him).
 
NATIONAL ANTHEM
This song is a little different, because it's the first one that doesn't seem very, very personal to her. A national anthem is a song of devotion to one's country, and I think she uses it as a metaphor to show her devotion to and love for this twisted man. But in general, as we all know, the song is about the rich, superficial lives of the upper class. Constantly through the song she refers to various places, objects, and concepts associated with the rich. Lana loves talking about the privileged, upper class in her music, but again we know that, so I will focus on a couple different, smaller things. I think the song is very sexual for a number of reasons: (1) Chanting "Red, White, Blue, is in the sky. Summer's in the air, and, baby, heaven's in your eyes. I'm your national anthem" seems very sexual, like an orgasm to me (think about it!); (2) "Can't keep your pants on" or "Put your hands up" or "Give me a standing ovation" (erection); (3) "Standing over your body, hold you like a python", which sounds like a penis to me, but also snakes are obviously very dangerous. She shows more confidence in this song than any other (sans Radio) on the album.
 
DARK PARADISE
I love the title and concept. She talked in an interview about this song--the pairing of "death" with "paradise." She says death must be calm and relaxing, which is strange, because most people wouldn't associate the two words together. The song, as we know based on the line "Dead like you," is about her lover who died (or maybe she's just being crazy and using death as a metaphor for leaving her life). When she closes her eyes, she still feels and sees him, and so in the darkness, she finds a peaceful paradise. He's gone, and she should move on, but she can't and won't. The rhyming scheme and flow of words in this song is beautiful, too. She feels haunted by him, but in a good way. The pairing of normally bad things (haunted, dark) with good things (a "good ghost" that she invites into her life, paradise) is interesting as well. Whatever this romance was, it obviously left strong enough an impact to be able to touch her in her sleep!
 
RADIO
This one, like NA, doesn't necessarily relate to her life directly and personally in terms of the relationship in the rest of the album, but it is still personal and about her career. The first word you think of when you hear "Lana Del Rey" is criticism. This song was a hint to the future of the backlash she would experience. There's really nothing much to say since this song is very straightforward and obvious, but I will add that again she compares good and bad things with "sweet" and "venom." Also, is cinnamon even sweet? Not really. I don't know if that was a mistake or an incidental comparison. Who knows.
 
CARMEN
I don't know who she uses the name "Carmen," but we know she likes to adopt other personalities/names, so I think "Carmen" is just a representation for both the worst parts of Lana, as well as the exaggerated personality traits she thinks or even wishes she has. This one I think is just a slightly over-the-top representation of her past as a troubled teenager. She had a drinking problem, a boy problem, etc. Everyone appears to love her, yet she feels entirely alone ("You don't wanna see all the things I've seen"), which she has said on numerous accounts that she's always felt that way. Basically, I think everyone sees Carmen's outward appearance as beautiful, flawless, perfect, yet Carmen herself knows how troubled and messed up she actually is. Or does she even know she has a problem? As suggested by the last line, everyone thinks she is fine: "Carmen, Carmen, doesn't have a problem. Lying to herself..." I think the song is about denial of one's darkest traits.
 
MILLION DOLLAR MAN
This song is about her bad boy. It's a song of admiration for his life, career, art, and skill. He has a power over people, her specifically, that she can't understand. She knows he's bad and wrong, yet she's absolutely captivated. I thinks he definitely knows she needs to escape, but again can't. Then, she uses one of the most clever puns she has ever used: "You look like a million dollar man, so why is my heart broke?" At first I was like, "Ugh, Lana, your grammar is awful!" but then I realized it is intentional. Meaning, all the money in the world can't buy happiness; she still feels empty and meaningless. I love that! The same idea is in the second verse: "You got the whole world, but, baby, at what price?" She will follow him anywhere, regardless of what it costs her.
 
SUMMERTIME SADNESS
At this point in the story, Lana knows he's leaving and I don't think she's fighting for him back, because she knows it is over. All she is asking for is a kiss goodbye. During summer, people are supposed to be happy and having fun, yet she is experience immense sadness, which just shows what a toll the breakup had on her. The verses suggest she is happy (putting on her dress, heals, makeup), but the chorus and title say otherwise. the pre-choruses all seem to be very liberating, and we knows she loves images and concepts of freedom and liberty, like the wind in the Ride video and her lyrics in general. "Cruising down the coast, going 'bout 99" suggest she doesn't really care what happens to her; she's just living life to the fullest like it's her last day now that she has nothing else to live for. I think the song is just about making do with what you have, moving on from a failed relationship (or the earliest process of doing so, anyway). Still, she will always be there for him ("Think I'll miss you forever") and even when he's gone, she will "drive" or continue living with him in mind. Devoted? Yes. Insane? Probably ;D
 
THIS IS WHAT MAKES US GIRLS
This is a strange, but very appropriate album closer (which is funny, because I feel the same way about The Other Woman on Ultraviolence). It's a little jokey and fun, but it stays true to the rest of the album: stereotypically, everything Lana has gone through on the album (obsessing over and loving men is what makes girls the way they are). She's joking, of course, but the song itself is very autobiographical and true to her life and past. Good closer, in my opinion!

OMG guys thank you so much! I was legitimately just bored and work and thought, "why not type up the things I'd been thinking since I listened to the album?" Lmfao!
 
I didn't do the bonus tracks because I think they're rather straightforward, minus ITH. I could if people wanted, but I am totally interested in doing one for BTD and P!!! I'll try to today (because i will definitely be bored again xD ).

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

No one probably cares, but I just wrote up a review/commentary/analysis of the 11 tracks of Ultraviolence that relate with some of the ideas she has talked about. It sort of just wraps up the album under one theme (even though she said there isn't necessarily one). Of you want to read it, here it is!
 
CRUEL WORLD
It talks about the "then" ("Shared my body and my mind/life with you") vs. the "now" ("That's all over now"). She acknowledges the wasted time, energy, passion, and devotion of a relationship, which is an interesting thought: where does all that love go when a relationship ends? And even though she has "found another, anyhow," it is clear that she is not fine at all. She puts on her "little red party dress" and talks about candy, fun, happiness, and such, yet "everybody knows that she's a mess," and "fucking crazy." She completely admires his lifestyle ("you're young, you're wild, you're free") and has adopted it as her own, but she knows he is still "dancing circles" around her. All in all, the song sonically and thematically introduces the conflicting emotions she says the album itself contains (ex: the quiet, almost lifeless verses followed by the hectic, bitter and loud chorus). A great way to introduce the theme/story and sound of the record.
 
ULTRAVIOLENCE
This track perhaps best exemplifies the contrast Lana has discussed: "Ultra" vs. "Violence" and the two pair up and come together somehow. I think, like many of the songs on the album, she is nostalgic and reminiscing of a past love that was turbulent, virulent, volatile, and crazy, matched with good times (Ultra) as well as bad ones (Violence). I don't think the relationship was actually violent, I just think that she is using a very bold and strong metaphor to show how impactful the relationship was--how much she really felt it. The song is very full of contrasts (deadly and beautiful, violence representing love, sirens and violins, etc.). That's about it--this song is pretty easy to interpret, but still it captures the ideas of the album--hence, it being the album title!
 
SHADES OF COOL
Another song with conflicting emotions, I think this is a good counter part to WC. In this song, she is the one trying to break through his wall of emotions. She fills the song with specific references which allows us to get a clear image in our heads. She knows she can't fix him or make him better or change him, and she accepts/embraces the fact that he is who he is--living in his "shades of cool." There are a lot of clever lyrics here. She most likely won't break him, but she is in love enough to stay with him, even if the lyrics suggest it isn't the healthiest relationship. Here, the "violence" of the relationship seems stronger than the good "ultra," but that doesn't seem to bother her.
 
BROOKLYN BABY
This is the first instance of sarcasm on the record. It's all about people's misconceptions about her and her career, music, and personality. People think they know her, but they don't. In the verses, we get what people think of her, and in the chorus I think she feeds into and makes fun of the stereotypes that exist around her: She jokes at the listener about her boyfriend, the feather crown, smoking, "getting down," but we also hear some truth, too, such as her love of jazz and Lou Reed. There are more contrasts (fire and water, wind and sea), but the main point of the song is that if you're a hater, you should fuck off, because not only will she ignore you, she will make fun of you with her own stereotypes.
 
WEST COAST
This one is very ambiguous to me, but it's about leaving a relationship for the music and her ignoring her own emotions. She loves him, but she can't let him know that or how much she misses him. She is rather introverted like he appears to me ("you've got the music in you"), so he keeps to himself. The boy tries very hard, but she just pulls away and can't express her real emotions for him, even though she wants to. She watches from afar, as shown in the chorus. She is madly in love with him, regardless of how flawed he is. No one has ever made her feel this way before. Lana has said also how the verse is fast-paced and then the tempo slows down in the chorus, supposedly representing how crazy her emotions are. In the verses she appears to be distant and in control, but in the choruses we see that that isn't the case, that even though she seems strong on the outside, she is weaker internally. One more point I want to make is that she has said the album is a fusion of rock and jazz, and this is also represented by the fusion of the West and East Coast. Geography, genre, emotions, themes, etc. are all concepts that are put together and compared/contrasted on this album.
 
SAD GIRL
Another sarcastic song, I think she is using the "cheating" metaphor both to make fun of her critics, as well as to symbolize the dynamic of the relationship she has. Again she seems like she is carefree in the verses (cheating, being a bad bitch), but in the chorus you see that she really loves her boy, who walks and talks with a fire. He is emotionally distant, which makes her a sad girl. But also, the critics call her too emotional, a mess, a "sad girl," and I don't think she didn't title the song SG so as to get at the critics. You call me a sad, overemotional girl? I am one!
 
PRETTY WHEN YOU CRY
I think this is the angriest, most bitter song on Ultraviolence. The verses are very straightforward. The relationship has ended, and all the promises he made left as well. He made her feel like his whole world. No matter how much he hurts or disappoints her, she will wait for him, even if it is all he does. She loves him, and whatever good there is is enough to hold her there. She goes back and forth from being strong in declaring "you're bad, we're over" to being weak in saying "but I still love you anyway, I'll wait for you". The title/chorus itself is a bit confusing, but I think she's saying that her guys likes her in a crazy, emotional state. HE is saying that she is pretty when she cries, and he hurts her to see her love him even more, to devote herself to him even more. Sort of twisted, to me!
 
MONEY POWER GLORY
More sarcasm and another contrast of truth vs. life. The verses are sort of about what she really wants and believes in. How are you supposed to get true happiness and freedom with "the way that we're living today"? She jokes and says she doesn't care about God or freedom or anything--instead, she wants the money, power, and glory of fame. Her biggest critics accuse her of this, and she claims that they are right--again, to poke fun at them. It's obviously a little bitter, but also very catchy. She is submissive--she will do whatever to takes to make others, as we know she does care a lot about what people think of her. But again, she shows sarcastic strength ("you better run, boy, run!"). She glamorizes the life of a celebrity ("dope and diamonds"), and I think she intentionally feeds into the critics, because she knows people will believe her words in this song and claim she's in it entirely for the fame, but she gets the last laugh, because she and her fans know that this is not the truth.
 
FUCKED MY WAY UP TO THE TOP
This song is very, very bitter, as she is attacking someone--my bet is Lorde. More sarcasm in saying "Life is awesome, I confess." There isn't room for another alternative queen, because what Lana does, she does best. She got tested (all the criticism and backlash she went through she used to turn her struggles into success), and she came out on top. She jokes about a glamorous life in the pre-chorus, and says, "I'm your favorite girl." She is the reigning queen. People say she slept her way up to the top, so here again she plays with people's false ideas about her and her career. She accuses Lorde(?) of mimicking her and her style, and insults her (whore!), but as much pain as she is probably secretly caused, she needs the criticism too (as shown in the bridge) and she asks for more, more, more. A strange song, probably one of the most confusing.
 
OLD MONEY
My favorite. The best lyrics. The most depth/meaning. In the beginning, she is just listing things that remind her of a past life/love, maybe, which are all images that paint a nostalgic, sad picture of happier times in our heads. The kids who were young and pretty, I believe, are Lana and her lover, as we later find out. She asks where he's been, since the happy times feel so long ago. I love this line: "So is the girl you used to call the Queen of New York City." It's a bittersweet song, and a great counterpart to Young & Beautiful. Y&B is told from the present looking at the future, and OM is told from the present (or, the future of Y&B) looking at the past. I love the connection there. Even though they are broken up and in the past, she obviously still loves him, because at any call in the blink of an eye, she would come running back to him. That's extreme devotion. The second verse is even stronger. "The power of youth is on my mind. Sunset, small town--I'm out of time." This is either a song about made up people who are older and have lived their lives, looking back at the past, or a song about her currently, growing older and feeling old, missing her youthful past. The next line alludes to Y&B. She wants to be known for her career and artistry, not her looks. That is more important to her. She references her love for her parents, and how even though she should feel loved and such, she still feels alone. She's always been a longer and unique, as she has said many times. She's never known why, but I think she is happy, since it has shaped her music and who she is in general. The song is so sad. I think Old Money is a metaphor with double meaning: her music often talks about the life of the rich and famous, but on another more personal level, maybe OM refers to a past love--the one from many of the other songs. A while ago she said "I will always love the same man. He will always inspire me." I don't think she was lying.
 
THE OTHER WOMAN
An interesting album closer. She recently talked about this, the reasoning for including it. There are a couple, but it's just another representation or metaphor for the life she feels she lives: she is, in a way, pop music's "other women."

I think it's "One of many Bonnies Blue"

What a completely messy opinion. G&M and BE are written very well--maybe you just don't understand the lyrics?
 
Paradise has some fine lyrics!

uh, CW obviously wasn't written yet? she didn't change her opinion; she just wrote a song that she thinks represents her life even moreso now...? lol
 
omg she explained it perfectly in the interview, did you even read? not an actual cult; go back and look for yourself.
 
so stupid. i hate when people go in on her making up all these lies and stuff, when it's just different language used to describe something--aka, not a leader of a CULT cult, but rather a group of musicians. it makes perfect sense, and it's obviusly not made up--wtf? 

uh, CW obviously wasn't written yet? she didn't change her opinion; she just wrote a song that she thinks represents her life even moreso now...? lol
 
omg she explained it perfectly in the interview, did you even read? not an actual cult; go back and look for yourself.
 
so stupid. i hate when people go in on her making up all these lies and stuff, when it's just different language used to describe something--aka, not a leader of a CULT cult, but rather a group of musicians. it makes perfect sense, and it's obviusly not made up--wtf?