Evergreen

Did you know that there's a tunnel under Ocean Blvd on year-end lists so far: #1 — Time Out #1 — The Sunday Times #4 — The New York Times #5 — The New Yorker #5 — OOR #6 — Uncut #6 — MOJO #6 — Les InRocks #8 — RIFF #11 — Pitchfork #11 — MondoSonoro #16 — Exclaim! #18 — Gorilla vs. Bear #20 — Esquire #21 — Rolling Stone #24 — Paste Magazine #25 — Consequence of Sound #36 — Crack Magazine #4 overall with 87 points from 41 lists

Both NME and The Guardian named A&W the song of the year.

Good lists so far! My top 10 is: 10. Sufjan Stevens - Javelin 9. Olivia Rodrigo - GUTS 8. Yves Tumor - Praise A Lord Who... 7. Eartheater - Powders 6. Julie Byrne - The Greater Wings 5. Caroline Polachek - Desire, I Want To Turn Into You 4. Paramore - This Is Why 3. Kelela - Raven 2. Lana Del Rey - Did You Know That There's A Tunnel Under Ocean Blvd? 1. Amaarae - Fountain Baby

She did the interview because The Sunday Times named Ocean Blvd as the best album of 2023. I appreciate when she does interviews not just for promo, but because of how much her work is respected

Is she acoustic? Why did she decide to delete her Instagram account in the middle of her Grammy campaign?

#2 now!

I need this, she sings Candy Necklace perfectly. Imagine just her in a black dress, with John on the piano and the dark visuals behind them

A great result for this album and Lana! In comparison, it took 2 years (!) for Lust For Life to reach the same milestone, and it's a much more accessible album with big collabs.

I don't think so, she's still doing her Ocean Blvd tour. Even the promo pic is the same.

They actually asked her good questions and made their research, we need more videos like this, it reminded me why I absolutely adore her.

She's everywhere and nowhere at the same time

Omg, this sounds like a song from Midnights I don't remember which one exactly.

Shut up, you were justifying Russia's invasion of Ukraine where a lot more civilians died. "Disappointed" my ass.

I'm not surprised, Lana reads American news, they are very pro-Israel and don't tell the full story. It's hard to educate yourself on such complex topics when the media paints everything in black and white (quite literally). There's a chance that someone will reach out to her privately and tell her more about the history of Palestine and all the nuances... But before that, I want her to stay silent.

The next song is called White Trash Forever and it's the slowest piano ballad you've ever heard

I'm surprised they submitted Ocean Blvd (song) for pop. Lana Del Rey Did You Know That There’s A Tunner Under Ocean Blvd (album) – AOTY, Alt Album A&W – ROTY, SOTY, Alt Perf Did You Know That There’s A Tunner Under Ocean Blvd (song) – Pop Solo Perf Candy Necklace – Pop Duo/Group Perf, BMV

Finally they submitted her album for Best Alternative Album instead of Best Pop Vocal Album.

And it's still charting in the US. More weeks than any of her albums except for Born To Die, Ultraviolence and NFR! Ocean Blvd definitely feels like a proper era.

I think so too: an album similar to Chemtrails, but with a few new producers who know more about Americana music than Jack.

Great article about Ultraviolence in celebration of the album returning to the 10 in the UK. UK Official Charts: Why Lana Del Rey's Ultraviolence feels more relevant than ever Lana's masterful second album is a bold and bruised magnum opus that redefined the trajectory of her career. Now does seem a fitting time to pay tribute to Ultraviolence and everything it's done for Lana's career. Namely, that it helped redefine her public image and, for the most part, her sonic identity as an artist, paving a road that ultimately lead to Did you know that there's a tunnel under Ocean Blvd. 1. Ultraviolence was a necessary pivot away from the well-defined aesthetic of Born To Die To put it quite simply, Lana Del Rey's debut album Born To Die is probably the most influential LP in pop music over the last 10 years. One of the best things about Born To Die was that it made Lana Del Rey an instantly recognisable star with very easy to spot references both visually and musically. One of the most difficult things to rectify post the album release, however, was that Born To Die made Lana Del Rey an instantly recognisable star with very easy-to-spot references both visually and musically. Lana quickly tapped into the secret of stepping out of Born To Die's shadow...she pivoted away from everything that had made it so great in the first place. While Born To Die is a mostly chamber-pop record, Ultraviolence veers into psychedelic rock and at points even grunge territory. It's a much harder record, both sonically and lyrically. It's a record full of contradictions that rub up against each other and spark as a result; doe-eyed love songs that carry a heavy undercurrent of violence and trauma (Ultraviolence), dedication that turn so easily into obsession and control (Brooklyn Baby, Shades of Cool). 2. Born To Die set Lana up as a pop star - Ultraviolence burns that possibility to the ground and salts the earth Lana Del Rey never seemed content to act as a stereotypical pop star. Even thought that was never her MO (even her biggest hit in the UK, the Cedric Gervais remix of Summertime Sadness, was created without her permission), it was perhaps easier for critics and fans at the time to call Lana a pop star. But that came with its downfalls too, as it was then much easier to try and fit Lana into the pop star mould, and begin to pick her apart when she inevitably failed to fit into these defined boundaries. So much chatter around Born To Die came to Lana's own autonomy in her work. Ultraviolence, both in content and context, is a direct response to those critics. It's a Lana Del Rey album where the construct and persona of Lana Del Rey is slowly stripped away. It was a change so shocking and so needed, it could have only happened on an artist's second album, when all bets should be off and caution thrown to the wind. 3. Everything that made critics sit up and take notice of Lana on Norman F*cking Rockwell! was already present on Ultraviolence It's now more or less agreed that Lana is one of the most talented songwriters of her generation. This title, never in doubt by fans, was initially bestowed upon her by the critics and press during the cycle for her breezy and authoritative sixth album Norman F*cking Rockwell! (another UK Number 1), which in many ways acts as a sister record to Ultraviolence. But everything that critics found so enticing about NFR! - its California-centric production, its lyrics that both decried the world and sought for a way to find harmony and peace amidst the chaos - were actually already present in Ultraviolence, but maybe people weren't ready to hear it yet. But that has, really, been the MO of Lana's entire career. She has always been a generation-defining talent, just look at Video Games, or National Anthem. The material has always been there, the material has always been good (she hasn't claimed six UK Number 1 albums for nothing!) but circumstances outside of Lana's control always seemed to hinder her getting the respect she rightfully, truly deserved. Read the full article here: https://www.officialcharts.com/chart-news/why-lana-del-reys-ultraviolence-feels-more-relevant-than-ever/

She saw Peppers losing 20k streams in a week and said stream it ****

Someone edited out a layer of plastic under the mesh mask and now everyone uses it

No one is here to watch and discuss the North Carolina show

The slayage...

Fingertips outstreamed Grandfather... yesterday.