DUKE

U perv.

What else am I supposed to fill that void within me with?

Not gonna lie, that ice cream at McDonald's is to die for. In fact, I just had one yesterday.

It's not that bad, actually. Due to the cream, it's the only Maggi product that does not taste like... Maggi. A real sauce takes about 30 minutes to cook for me, and I sometimes I just can't be bothered to wait for so long when I'm hungry.

I can, very well, actually. But today I had to decide if I wanted to spend time cooking a proper sauce or if I wanted to devote my time to reading an important text for uni. I chose the latter.

I usually prefer to stay out of those kind of things, but I cannot but express my total disgust and cluelessness as to how someone can make such statements. Well-deserved ban.

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I prefer the orchestral version, this one is divine.

I have noticed this repetitive lyrical drought, too, but I don't think it's due to a sudden lack of creativity. I see her early material as the result of many years in which ideas evolved and thrived that later found their output on AKA. Same thing can be said about Born to Die: there are dozens of expressions and phrases found on Born to Die that originate from post-AKA unreleased songs. An important factor in the creation and development of both, AKA and Born to Die, is time, I think. Back then, when she wrote both albums there was little pressure and she had enough time to think and experiment. With the re-release of Born to Die last November, which I think was terribly rushed, it almost feels like they took unfinished new material which eventually became Paradise. She uses the same words all over again on Paradise which, admittedly, has its charm in terms of 'her lyrical architecture' but at the same time it testifies a certain rashness. Universal clearly wanted to boost the success of Born to Die and Paradise became the incomplete manifestation of it. Which is very sad as I think of her as a talented writer in the first place, someone who appreciates words on another level than other people. Basically, what I'm trying to say is that it takes time and independency for her to fully develop her ideas and mold them into songs. She didn't have this time with Paradise and I think it shows with most songs on that album. That being said, I don't quite see how this lyrical drought continues with "Young and Beautiful." When I heard it yesterday, it did by far sound not as monotonous and similar like all the other Paradise tracks. At this point, I'd like a confirmation on wether the song has been written for the film, or if it's indeed a left-over from Paradise. In case of the latter, I can see why it got omitted on the album as it is pretty much in "spiritual" vein of her upcoming album. Spiritual not because of the mentioning of God and heaven, but I think there is a more subtle and profound side to the song.

http://www.zalando.de/lacoste-bernelle-keilstiefelette-ecru-white-la211a04x-002.html

Could it be that this was a way for her celebrating the first anniversary of the "Carmen" video? I mean, she was one day early but it could be possible, no?

I have a hard time thinking my way into this. I can't imagine how Lana Del Rey would record AKA, an album that was released at a time when she already had different things in mind. At the same time, I can't imagine how Lizzy Grant would record Born to Die, which pretty much is the effort of a different person. Really, this is giving me a headache. I get to a point in my head... and then there's nothing. I just can't imagine this, it's impossible.

This digipack version is exclusive to the box-set of The Paradise Edition.

I think this song is pretty much in the vein of her upcoming "spiritual" album, at least according to what she said about it. I can see why this didn't fit Paradise after all, in case the song was originally intended for it. Oh God [no pun intended], me, too.

A while ago, I googled this phrase from "Lolita" and stumbled over its Wikipedia page. What she means by that is that she wants to have more and more. Now in "Young and Beautiful" she's had enough. I'm just assuming...

In "Lolita" she wanted her cake, now she got it. I love how she plays with that proverb.

There's something that kind of gives me a hard time about "Summer Wine." First of all, it's that some of the footage's original sound can be heard throughout the song. The beginning can easily be edited as there is a clear cut between the studio track and the footage sound track, but at the end of the song I have to add a horrible fade and still hear the wind...

I bet you had this prepared in advance!

Well, actually it is.