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Last night I just started scribbling because I was sad and this is the result
 

 

 
And this is todays result;
 
Lana ft. Fiona Apple 'Valentine'
 

Velvet Crowbar 
 
What is your favorite game?

Blue Jeans - You're a stubborn and loving person, often driven by what you desire most. This sometimes leads to obsession - whether it's about love or hate. When you're able to let that go, you're a very capable and healthy person. You often fall for someone you know will break your heart, but it doesn't keep you from loving them unconditionally. Make sure they love you back though, you’re totally worth it. You're a passionate lover and your loyal and giving personality is a treat to others!
 
Holy fuck. That's true.

Velvet Crowbar 
 
What is your favorite game?

Fucking exactly! It actually was one of the first songs on BTD I got into. Justice for Diet Mountain Dew 

Fucking exactly! It actually was one of the first songs on BTD I got into. Justice for Diet Mountain Dew 

Velvet Crowbar 
 
What is your favorite game?

Velvet Crowbar 
 
What is your favorite game?

Velvet Crowbar 
 
What is your favorite game?

Beyoncé is certainly no stranger to accusations of plagiarism in her videos. Considering the large number of videos comprising her eponymous visual album, it would not be surprising if some of them were less than original. Did she copy Lana Del Rey?
 
Compare the album cover design and font to a Paradise box set booklet:

With Tropico, the "Ride" video, the "Blue Velvet" promo for H&M, and the "Song of Myself" promo for L'Officiel set to the intro to "Cola", Lana released some sort of video for almost every song on Paradise. One could argue that even the idea of releasing videos for the entire album is derivative. Now let's look at those videos.
 
 
PRETTY HURTS
Much like the opening bars of "Ride", the opening bars begin with the image of Beyoncé singing into a slender microphone, wearing a mostly white dress against sparkly blue stage curtains:

 
The song's themes—eating disorders and the dark side of being a beauty queen—are straight out of "Boarding School", "Brite Lites", and "Pin-Up Galore". Indeed, here we see Mrs. Carter in Ms. Grant's short-cut meth-haired beauty queen style complete with sash accessory:

 
Beyoncé also replicates Lana's arched back & cupped hand underwater poses from the "Blue Jeans" video:

 
She not only borrows Tropico co-star Shaun Ross, but doubles down on the African albinism by casting Diandra Forrest. To top it off, Beyoncé even has the audacity to lift Lizzy's iconic trademark sequined bra:

 
 
GHOST
In "Ghost", Sasha Fierce is not herself, assuming the identity of Lana's Rosalita alter ego from her "Song of Myself" video for L'Officiel:

 
 
HAUNTED
The "Countdown" singer's video for "Haunted" begins with a hauntingly familiar countdown straight outta one of Lizzy's DIY "Gramma" videos:

 
Then in true diva style, Beyoncé makes her male servant light her cigarette for her like a little bitch like Barrie at a Lana show:

 
The whole video imitates the imitated Lynchian style of Lana's "Blue Velvet" promo for H&M complete with the requisite Doppelgangers:

 
Yet it borrows scenes from "National Anthem" & Tropico. Black guys gambling? Check.

 
Strippers giving lapdances to white businessmen? Check.

 
People in whiteface? Check.

 
Bubbles? Check.

 
Originality? ...Anyone? Bueller?
 
 
DRUNK IN LOVE
In addition to lyrics that sound like a first draft of "Brite Lites" ("Flashing lights, flashing lights, you got me faded, faded, faded"), this intoxicating concoction's potency is poured from "National Anthem", where Lana grinds on another snifter-wielding rapper, A$AP Rocky:

 
 
BLOW
The cotton candy confection of the music masks Lana-like lyrics ("Every time I close my eyes", "I'ma let you be the boss of me", "Give me that daddy long stroke" and an interlude in French) in a video easily summarized as "pin-up girls at the roller derby". We also see a close-up of a disco ball a la her DIY "Yayo" video:

 
And Beyoncé perched on the hood of a car in a fuck-me pose like Lana in the "Born to Die" video:

 
In this case, we're lucky that "Blow" doesn't Soileau. Bradley sucks.
 
 
NO ANGEL
In an inversion of Lana's "angels forever" refrain, the "Halo" songstress proclaims, "You're no angel either, baby." She asks, "Tell me do you want to ride?" Like Lana in "Ride", Beyoncé is Queen of the Gas Station, knocking off Lana's hot long curly hair and cut-off jeans look. Unlike Lana, at least she's responsible enough to only be figuratively smokin' at the pump.

 
We see chicks on the back of motorcycles:

 
Tacky word bling:

 
And pole dancers making it rain:

 
 
YONCÉ
In "Yoncé", she continues the ghetto theme, banging around with her gang of ghetto girls like Lana in Tropico:

 
Who does Beyoncé think she is to appropriate all these signifiers of ghetto culture from gangsta Nancy Sinatra? Rather uppity if you ask me.
 
 
CONTINUED...

Brite Lites (!!)
Come When You Call Me (!!)
Goodbye Kiss
Gramma (!!)
My Best Days
Noir (I wish Lana would re-record it in higher quality ugh)
Pawn Shop Blues
Raise Me Up
and
OFF TO THE RACES & SUMMER OF SAM! 
 
edit: I forgot Dayglo Reflection and Methamphetamines (I don't know, there's something dark and scary and sad about the song that I really adore)

142. She's the queen of a lot of things (Coney Island, Saigon, alchemy, disaster, gas station, ..)

142. She's the queen of a lot of things (Coney Island, Saigon, alchemy, disaster, gas station, ..)

He used to call me D.N., that stood for Dick Nose.

That really doesn't make any sense

He used to call me D.N., that stood for Dick Nose.

Synesthesia is a funny thing. When I was younger I always wondered why the hell I relate almost random colors to things like songs, letters or weekdays and thought everyone would do that. Sometimes there's not even only colors I see in my head (I'm an associator) but complete settings and feelings, an example for that is Bel Air. It paints pictures in my head and I love songs that do that. Some songs also mix up the color and setting thing. Sadly the whole thing used to be even stronger when I was a child but well.
Let's pick ten random Lana songs. Most of Lana's songs are really dark to me so I try to also think of some brighter ones.
 
American - golden, sunset-ish
Yayo - very dark, almost black
Brooklyn Baby - bright blue/green
Cola - a very dark blue
Gods and Monsters - a mix between golden and black
Body Electric - dark blue
Diet Mountain Dew - gray
Fucked My Way Up To The Top - dark green
Burning Desire - dark red
Video Games - blue
Ultraviolence - dark gray/black

This is really interesting! Now I've got that cute picture in my mind where she just sits in the car and starts singing. 
And that she wants to occupy herself with movies makes me really curious but now I'm also a bit worried she might concentrate on that more than on music.. but well, let's see. I really hope she's able to manage both. And I hope she'll be alright, the depression and gastric ulcer thing worries me.. I really want the UV tour but I hope she will have a good rest before she starts touring again, I don't want something worse to happen to her.
Anyway, good one! 

This is really interesting! Now I've got that cute picture in my mind where she just sits in the car and starts singing. 
And that she wants to occupy herself with movies makes me really curious but now I'm also a bit worried she might concentrate on that more than on music.. but well, let's see. I really hope she's able to manage both. And I hope she'll be alright, the depression and gastric ulcer thing worries me.. I really want the UV tour but I hope she will have a good rest before she starts touring again, I don't want something worse to happen to her.
Anyway, good one! 

I pray to god that she dosens start making movies instead of singing!

I just found this and thought I was a very interesting interview. http://lanadelreycrew.com/2014/08/lana-del-reys-interview-with-bhmagazino/
 
” Ultraviolence ” gives you the vibe that it could have been written back in the 60′s in Laurel Canyon, this neighbour hood in Los Angeles where an informal community of artists like Frank Zappa and Jim Morrison had been created.
 
Yes, I really love that era, especially Johnny Mitchell, which was my mothers favorite. When I was living in New York, that’s what I was going for, the feeling of community, something like what Jeff Buckley did back in the 90′s, or Bob Dylan in the 60′s. However, I never found my ” gang “, my family.
When I arrived in Los Angeles, I met people who I could play with, people who I could talk to. All those had somehow rebuilt, Laurel Canyon, like Father John Misty and Jonathan Wilson, who I started writing the album with. Whatever I was seeking in New York, I found it on the West Coast. I used to drive in my old Mercedes from one house to another, I felt like I was back in high school. Every seven years the centre of gravity in the music industry moves from one coast to another. Now everything’s in the ” West Coast “.
 
Your songs seem to put melancholy in an environment of opulence. Is this your intention or does this happen accidentally?
 
I feel like I make happy songs, but when others listen to them, they think they’re sad. I can’t escape from my life, which has been wavy. Three years after my debut album, I’m still suffering from self-doubt and depression. Ahead of me there’s uncertainty and a feeling of emptiness. I don’t like it when I don’t know where I’m going. My love life, my family – are so fragile. I’m not sure of anything.
 
What do your fans maybe not imagine about your life?
 
Nobody knows it but I really love to dance, While we were recording in Nashville, when we were finished with the tracks, we would listen to everything we had made and dance along like crazy. We invited people we had met in a shop near the area of the studio and our friends like Juliette Lewis or Harmony Korine. I never worked like that before. It was the first time I was with such creative people in the studio. I learned a lot, now I can isolate myself, I can experiment without trying, even if there are many people in the studio. There’s a huge universe in my mind I usually go to find shelter in. I may not be that lucky in my everyday life, but as far as my work is concerned – I’m blessed. In the studio I’m always surrounded by good people. My mood is always good there.
 
You’ve been through a lot until you released Born To Die, when did you realize that you have to insist on working?
 
While recording Born To Die, I will never forget when my father visited me. He was so surprised when he saw me so sure, so determined, asking for a beat or a deal with my producer. He had no idea what I had been doing for 6 years, the fact that I was building my own little world with passion. My parents didn’t even know I was singing. However when my father saw me in the studio, he told me it was one of the most beautiful days of his life. He was so shocked, he realized that music was my passion. My family insisted on telling me to not drop out of school for music. I finished my studies in Philosophy because I knew it would help me “nourish” my songs.
 
Do you believe in talent?
 
I feel like I have a charisma to make music. However, these last years there were times when I hadn’t written a word I liked and I prayed for my muse to come back to me. And suddenly, last winter, a song like ” Old Money ” came to my mind. What happened with an older song called ” Carmen “, is that I got inspired while walking and wrote it afterwards. That time of my life I used to walk a lot, it was my ritual. Now, I drive and go swimming on the Pacific Ocean. And inspiration comes to me from these everyday actions. I record myself in my car, singing loudly.
 
Which part of your work is pleasure and which part of your work is torture?
 
Pleasure starts and ends with recording the album. Then the pain starts, touring, promotion, difficult stuff. Because even if I try to convince myself it’s okay, misunderstandings and twisted ideas regarding who I am, are constantly being spread around, and I feel like I have to stand up for myself, like I have to excuse everything I do and I don’t need that. My music is quite good for me to not need to excuse myself. Deep inside, I’d rather keep silent.
 
How concentrated are you when you work?
 
I can make my producer go crazy, because I have a very clear vision for my songs and in the end I want the speakers to play exactly what I had in my head. Same goes for the videos. I have the storyboards ready in my mind. I might have made Auerbach so insane this year, but at the end of the day there will be one name on the cover of the album and that’s my name. I have to protect it.
 
There’s this track on Ultraviolence called ” Brooklyn Baby ” where you mentioned Lou Reed.
 
I was dreaming to share it with him, I thought that he would find the lyrics very fun. I wrote them thinking about him. The day I flew to New York in order to meet him, he died.
 
A lot of your idols have died at such a young age, Elliot Smith, Amy Winehouse, Marilyn Monroe, Jeff Buckley..
 
I do not love them because they died young, but this seems to be the fate of almost everyone I admire. Luckily, this didn’t happen with Leonard Cohen. I do not romanticize death at a young age, artists are far more useful alive than dead.
 
You give the impression you don’t enjoy huge concerts, is that true?
 
I’m on tour in America since the first days of April, it’s the first time I play so many shows and everything goes exceptionally well. These past two years I don’t feel very well physically, I suffer from gastric ulcer, but I can make it through concerts who’s capacity can be over 9,000 people. I smoke, I drink a lot of coffee. I eat chocolate and pizza. My way of living when I’m not on tour isn’t that right. The fact I played Coachella and Glastonbury in the same year is a great honour. When I’m done with my tour, I’d like to occupy myself with cinema and movies. I have received some interesting suggestions and I’m really tempted to say ” Yes! “. When I was little I used to dream about Cannes, the festival, the prestige and the red carpet. I sang there last May for the third year in a row. As a teenager, I dreamt about living in France, an exile poetess. I really loved French culture, especially Serge Gainsbourg.

It's really good, played it myself a few times. These are chords, not tabs, but it's really easy to pick them in a way it sounds more like the original. 

Crooked Cop, Big Bad Wolf V1 and Delicious

Nicole Sia at Wondering Sound is yet another journalist that has come to the conclusion that our girl is not an act, but rather a real person telling her story through her music, and sometimes painfully honest interviews.
 
http://www.wonderingsound.com/feature/lana-del-rey-ultraviolence-review/
 
 
On Ultraviolence, her second album since her Norma Jeane-style transformation from bottle-blond folk singer to pin-curled indie lightning rod, Lana Del Rey tells us a secret: She was once the Other Woman.
 
Self-identifying as a mistress may feel like a minor revelation, but it gives context for the self-destructive Lolita persona that’s become Del Rey’s trademark. On one hand, the role can be read as a metaphor — the artist fully embracing her identity as the music industry’s beautiful, dirty shame, derided and cast off by critics while her debut album quietly moved 7 million copies worldwide. Or we can read it as autobiography, the experiences of the woman born Elizabeth Grant bleeding into the Lana Del Rey mythology like a red bra through a translucent collared shirt. Each of her aesthetic choices — the girlish pout, the baby-doll register, the “It’s you, it’s you, it’s all for you” pathology — are the lamentations of a woman forced to define herself through stolen moments and dark corners. It’s a dangerous line to take, to cop to being a home wrecker. No one pities the mistress, and Del Rey knows this. But the singer isn’t concerned with forgiveness. Half confession, half redemption and written from a safe remove, Ultraviolence is, instead, a medallion of recovery.
 
“I’m finally happy now that you’re gone,” she sings on opener “Cruel World,” flexing her muscular lower register over steady tom-tom rhythm. “I did what I had to do, I found another anyhow.” Album closer “The Other Woman” is even more on-the-nose: “The other woman will always cry herself to sleep/ The other woman will never have his love to keep.”
 
For a singer repeatedly taken to task for her lack of authenticity, on Ultraviolence Del Rey comes across both honest and unguarded. Produced by the Black Keys’ Dan Auerbach (that’s his indelible wah-wah on “West Coast”) the album strips out the sonic Webdings that plagued Born to Die (the incessant “Blue Jeans” “Shyah!” sample; the self-conscious boom-bap of “Diet Mtn Dew.”) Instead, the album evolves the full-band sound of her Rick Rubin-led 2012 Paradise EP into something raw and unadorned. It’s also steeped in pop history: The symphonic guitar work on “Cruel World” summons visions of Magical Mystery-era Beatles. The fuzzy saxophone drawl on “The Other Woman” recalls Gene Pitney’s “Town Without Pity.” And a more oblique reference to the classics appears on the title track, which cribs lyrics from the Crystals’ “He Hit Me (It Felt Like a Kiss)” — the ’60s pop-progenitor of negative feedback loops in dysfunctional relationships.
 
And there are subtle nods to her own past: The strings on Ultraviolence‘s title track reuse the chord progression that opened “Born to Die.” The synth glide in the last minute of “West Coast” scans as a cute wink at Born to Die‘s hip-hop non-sequiturs. “Brooklyn Baby,” with its arch references to rare jazz records and hydroponic weed, and “Fucked My Way Up to the Top,” with its tongue-in-cheek title, come off like fuck-yous to the canon of think pieces written in her wake. Del Rey, as this writer was once assured, “reads everything.”
 
So, she’s most likely caught wind of the backlash to her recent open-for-interpretation sound bite about feminism. “For me, the issue of feminism is just not an interesting concept,” she told The Fader. “Whenever people bring up feminism, I’m like, god. I’m just not really that interested.”
 
Indelicately put and poorly timed, the quote got her in hot water, critics’ hands already full with young Hollywood star Shailene Woodley distancing herself from the F-word. But let’s be fair: Del Rey’s personal indifference and Woodley’s feminist dodge — “I think the idea of ‘raise women to power, take the men away from the power’ is never going to work out because you need balance,” she told Time — are two different opinions. Perhaps Del Rey, who’s been held over the fire for perpetuating anti-feminist ideas is done with being forced into a conversation she never sought in the first place, just as she’s over her Million Dollar Man.
 
Or perhaps she’d prefer to let her music speak for her. Because taken as a whole, Ultraviolence is her most feminist work to date. It presents, without judgment, the ecstasy and agony of one woman’s choices — a bird’s-eye view of a woman suffocating, then escaping from under the weight of her man. She treats her former self tenderly: “The Other Woman is perfect where her rival fails,” she sings. But that was then. Now she’s got a cool boyfriend in her band, “but he’s not as cool as me.” And she’s out for money, power and glory. Hallelujah

142. She's the queen of a lot of things (Coney Island, Saigon, alchemy, disaster, gas station, ..)