Neon Palmmm

to think that Maggie did backing vocals for Lizzy at a show in 2009: and now she’s at a Lana show in 2019

I checked out the same thing! By May 23 2008, it looks like the tattoo is there! https://vignette.wikia.nocookie.net/lanadelrey/images/1/10/May_23_2008-3.jpg/revision/latest?cb=20141229180320

That’s our girl Just look at 2007-9, where she somehow juggled Josh, Arthur, Steven, Mike, Reeve, and probably more, all with various degrees of involvement and overlap. When she said prolific, she wasn’t kidding

I recognize the movie ref but Lana also tweeted this vid in ‘09 and.....

Just saw her open for Kacey Musgraves — she’s the whole reason I came, so I was disappointed that her set was super short — but my God, she sounds PHENOMENAL live!!!!!!!!!!!! I knew her voice was gorgeous, but this totally wiped me out I’m emotional Truly felt like I was at a concert in ‘75

your-experiences-are-not-universal.gif

For the longest, I thought that line was “Javi’s in the sky with diamonds” so I just kept singing it that way once H*rvey got cancelled skdkdkfk

she probably just enjoys jammin to this song, i doubt there's some deep connection we all know lana loves her thottie anthems, even if she doesn't write them anymore

Tea omg!! Who also resembles Vincent Gallo a lot, who Lana was fond of at one time Sis has got a #type for sure

I wouldn't doubt if this has been brought up before, but does anyone else think Chase resembles J*sh a lot????

love this! hard choices, though -- and limiting myself to one per artist 1. Lana Del Ray - Lana Del Rey 2. The Kick Inside - Kate Bush 3. The Man Who Sold the World - David Bowie 4. Por Vida - Kali Uchis 5. Dirty Computer - Janelle Monae 6. Dreamboat Annie - Heart 7. Divers - Joanna Newsom 8. Join Hands - Siouxsie and the Banshees 9. 1982 4-Piece Demo - Strawberry Switchblade 10. Love to Love You Baby - Donna Summer and yes i included a couple EPs, fight me

Does anyone have the original version of Drunken Babble that's NOT 'mastered for iTunes'? I don't know if there's really any difference in that version, but either way, I want it unedited lmao

and her albums better, apparently

I'm gonna adhere to my classic philosophy of not trusting a word she says and hope it works in my favor this time I have such a hard time believing she and Jack wrote this and then didn't make any sort of recording of it -- just rawdogged it live

deadass one of my favorite songs she's done... dying for a release and a country EP

banned for thom yorke in ur avatar after the Get Free fiasco

she literally recorded the next best american record

i didn't wanna have to do it, but i broke down and bought the surf tee it's FR so much cuter than anything on the official site i could not help myself

Absolute toot. Completely crazy and we stan

STILL thinking about this theory And now, I have a bunch of crazy-ass connections and ideas to go with it: So, I'm convinced that, whether intentional or not, the LDR album series -- beginning with Born to Die and ending with Lust for Life -- tell a story, especially with those two bookending albums. This isn't anything I really came up with -- I know it's been said before, but: BtD tells the story of LDR as a debauched, wasted young woman with a penchant for giving herself up to any man who'll take her, and for who death seems like the only release. While the concept of LfL isn't nearly as tight as BtD's, it's still clear that her headspace and way of life has changed in the interim: she's approaching peace, and committing herself to living. Of course, this is especially obvious in the inversion of the titles -- death/life, and the fact that the LfL cover bears so many similarities to the BtD cover, with LDR in a similar pose in front of a similar truck, except now she's smiling. It's a tale that could be referred to as "a story of sin and redemption" Anyway, I think that Get Free appearing at the end of LfL was the exorcism of Lana Del Rey, so to speak: it's her washing away all the darkness and pain of the LDR persona ("out of the black") as she transitions back into Lizzy Grant ("into the blue") -- the Lizzy-esque sound, especially on those "out of the black/into the blue" backing vocals, was no mistake! It even ends with those beachy sounds bespeaking the new record (and the classic ~surf noir~ sound). So, I think Norman Fucking Rockwell! picks up where AKA left off -- in fact, it's almost as if the title track is directly addressing that album. We end AKA with Yayo, Lizzy Grant desperately imploring her lover to throw her on his motorcycle and whisk her away -- then, we begin NFR! with Lana realizing that her lover may be "fun" and "wild", but he's not worth "half of the shit that [he] put [her] through". Similarly, he's not the rockstar god that she got starry-eyed for in For K, Pt. 2 -- he's just a spoiled "man child" who overestimates the legitness of his work. I love that thought -- of NFR! presenting us with Lizzy's return, except now she's a little more grown-up, a little more sure of herself, and a lot less reliant on bad-sad-boy types to make her feel fulfilled. She's the full-fledged artist the lost girl in Ride was seeking to be -- an accomplished singer, poet, and artist, who knows where she's headed -- even if it took some soul searching and exorcising a whole lot of her demons to get there

Cinnamon Girl is just kind of... okay. The end instrumental is more interesting than the body of the song, and it's still the weakest track on NFR

okay,,,,,, thoroughly enjoyed my second listen and now, a few more thoughts -lana repeating "blue" at the end of the title track melts me; she sounds like a dove cooing -Love song is one of the sweetest, most genuine love songs I've ever heard!!!!! the "oh, thanks for the high life" and the "you know that i just die to make you proud" parts ALSO melt me -Cinnamon Girl stays underwhelming me, which is totally frustrating, bc the snippets were my faves + it's getting so much appreciation here!!! i want to like it but it remains the only track on the album i feel kind of 'whatever' abt -- although i do love the ending instrumental and you could've easily convinced me that was some BTD demo before i heard it on the album -i love the How to disappear production more and more every time i hear it!!!!!!!!!!!! it's not what i expected for HtD at ALL and i'm still not sure it matches that song in particular, but i love it so much nonetheless and left-field nature of it gives me big AKA/David Kahne vibes -California,,,,, what a gorgeous song -i can deal with the lyrical changes on The Next Best American Record a lot better than I could at first, and i'm even approaching enjoying them, even tho the original lyrics blow those out of the water and flow a million times better. especially weird that she kept the "i see you for what you really are" line bc altho that *could* be seen in a positive context, that's kind of a stretch and besides the melody sounds so dark right there it just doesn't work -Bartender/Happiness is a butterfly/hope is like,,,,, my favorite sequence of songs on any LDR release -BARTENDER,,,,,,,, this is THAT song i really cannot get over it......... entering my top 5 LDR songs immediately. no words for it yet -Happiness ----- also what a SONG so much emotion packed into it i can't rank the songs on the album but my top 5 are, for sure: 1. Bartender 2. Mariners Apartment Complex 3. Happiness is a butterfly 4. The greatest 5. California also, my album ranking looks like this ATM: Lana Del Ray Norman Fucking Rockwell! Born to Die Lust for Life Paradise Ultraviolence Honeymoon

I love Bartender with ALL my heart but this also irked me!!!!! When mixing issues were brought up, this is what popped into my head!

Okay, after hearing the album, this theory is IT this makes so much sense NFR! literally picks up Lizzy Grant sound/songwriting where AKA left off. Like I said in the post-release thread, it's a matured Lizzy Grant relocated to Cali, and you can't tell me otherwise