sparklrtrailrheaven

LFL trailer is better than all of LFL era music videos combined.

why do y’all uglies have an obsession with Lana’s weight..

FOUND IT @@evalionisameme is the real MVP
 
http://lanaboards.com/index.php?/topic/8635-lust-for-life-pre-release-thread/page-142&do=findComment&comment=435127
 
 
"When I was young, I had a tree house and in order to get to the top of it, me and my sister had to climb up a satin Christmas ribbon. One day, on my way up the ribbon snapped and I fell 15 feet on to a fire pit. I broke my ribs and never told anyone except my mother. Last year I stopped into a Unitarian church and and a man came up to me out of the blue and told me he was a clairvoyant and that the reason why I had a shallow, breathy voice was because I had fallen out of a tree house 15 years ago. I still can’t get over how strange it is that he knew that.” 

I just fucking remembered that w/ every record comes an album trailer.. . this is gonna be good. When it comes. soon 

Cool-toned. Rustic, bright. I think I get what ur saying

i want something like this for the album cover
 
same color scheme 
 

can we discuss how she was in echo park lake riding the swans at the same point in time i was driving in traffic past it and didnt know? because i hate it

She just tweeted this selfie -

wow and shit I just saw how she retweeted that billboard music video evolution tweet. Holy shit she sat there and watched the whole video she rewatched those videos for songs like kill kill, gramma and jump for probably the first time in who knows how long and wanted everyone to see them too     Significant

I agree wholeheartedly! <3 I think this album (and the people who worked on it, including David Nichtern!) have never received their due. So, I was so happy to be able to start this thread, so as you said, we could coherently gather information and spread the love for AKA! Also, kudos for finding that article! It's certainly one of the most informative out there about this period in Lana's history. You're too sweet
 
I agree too about AKA's artwork-- while I've grown to love it in association with the album, it was not executed well at all. Even Kill Kill's artwork, while not perfect, looks a lot more inviting and evocative of the music than AKA's. Honestly, despite only being released 6 yeas ago, I think AKA was a bit ahead of its time in some respects. Lana was definitely making music that was hard to define, but with more genre-hopping mainstream artists these days (think Marina & the Diamonds or Melanie Martinez, whom I often see grouped in the same circles as Lana),  AKA could be better marketed and received if it were released today, imo. 

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this 

Imagine the music she would've made if AKA had taken off, though... 

I want a booklet explicating the process of recording, pictures and lyrics, a dvd w a documentary à la Five Foot Two, a lot of picture disks, a cassette boxset, a sticker pack, pins, etc... I'm a design student so of course it's dead important to me so as long as it's a well thought of, high quality designed product with emphasis on well thought of, I'll be happy. I love the UV boxset, I just think there are some things missing from it. Colour LPs are always nice as well, no matter how bad or ugly the design is
 
But I 1000000% believe the colour of the era is green. I really don't believe that if there are some colour LPs they will be any other colour than green.
 
Here's a few boxsets designs I love and would want to be explored
 
 
 
 
The issue with these examples is the difficulty of mass producing them I think? 
 
Also say what you want about Miss Frangipane but the Hopeless Fountain Kingdom boxset was IMPECCABLE. 
 
 
 
 
And I always go back to Father John Misty for boxsets
 
 

She's always been like this

Her jewels look like it's made of plastic, like she got them in Kinder Surprise or something. Aaaaah what a legend.

I listened to Lana Del Ray again tonight, for the millionth time-- my feelings haven't changed. This album is genius, and it definitely saddens me that Lana will likely never return to this set of aesthetics and style of music.
 
However, the genius of AKA is not *just* Lana. I give a sizable part of my respect for the album to David Kahne, as well. While Lana created killer melodies, lyrics, and concepts that would work extremely well under the guidance of any producer, Kahne had the perfect touch to push the songs from "excellent" to "god-like", in my opinion. 
 
It definitely deserves repeat listens-- some subtle flourishes Kahne brought in are best noticed after you've been bowled over a few times by Lana's handiwork with the stories told and pictures painted here. To me, the perfect example of Kahne's "Midas touch" on AKA is "Pawn Shop Blues". As evidenced by a live performance and a demo, PSB was a staggeringly beautiful, tender, and poignant track when Lana was doing it on her own. However, Kahne took it to another level-- while PSB in its raw state is mournful and brimming with sadness, Kahne's instrumentation gives it depth-- it goes from being a "sad" song to something better described as "bittersweet". With the angelic echoes and trembling guitars, Kahne doesn't detract at all from Lana's lyrics-- instead, he gives them deeper meaning and manifold facets. Pawn Shop Blues becomes, all at once, a hopeful look at living for a purpose outside of yourself, a melancholy assertion on the nature of love and loss, and a somber reminder of how one can lose it all for nothing. With these extra dimensions, the track becomes infinitely interesting, as it's hard to tell where the hope begins and the desperation ends. 
 
I'm rambling-- my point being, AKA is an absolutely genius record that I'll love 'til the day I die, and both David Kahne and Lana are geniuses for putting just the right elements in just the right places to create an album that is cohesive yet kaleidoscopic, and that has so many facets and subtleties that it demands repeat listens. Fabulous. Please continue sharing info and thoughts on AKA here, because it means the world to me and I want to know all there is to know about it!
 
Thanks for reading all this 

I couldn't agree more.
 
As the world's premier Lizzy Grant stan, I think you summed it up so well

"I spent my property tax on Louis combats"
 
... did she refer to the Louis Vuitton boots she wore on the tour?
 
 
 

u can daance
 
u caan jiiHiive
 
havin the time of yur liyeieif
 
uwu
 
c that girl
 
watch that scene
 
diggin tha dancing queen
 
disco del rey for LDR7 like surkhaze dreamfolk for LDR6

Now you guys know what flavor
 
https://twitter.com/lanadelrey/status/1045133683051696130?s=21

Lana in a fucking bra, no makeup, vaping, smiling at the camera, and listening to a song whose lyrics are "God is a woman". 2012 submissive sugar baby has left the chat

i was hitting my juul when she posted this and i think that just drew me closer to her

pink bedazzled mini-vapes rise 550% in the market due to unknown reasons

I'm only on this website because I stan an Instagram baddie and I'm gay bye. She's living the fucking time of her life and me too

I'm confused by my emotions cuz for years I thought vaping was so lame but now that God, a woman, vapes, I rly want to buy a vape thinggie

I see Lana/Lizzy/Elizabeth (whoever she is) as a story writer using her life. I honestly see her more as the quiet, weird, quirky girl who kept to herself and kinda lived in her own fantasy world growing up. I think she grew interested in the themes we see during the Lizzy Grant period (crazy, wild, Lolita, white trash, etc.) and she created a persona out of that and tried to do her best to live that out of pure interest in those themes. Then, when that wasn't gaining enough popularity and after pressure from her label, she had to try to reinvent herself again, which led to the creation of the Lana that was formed in Born to Die. Some of the themes from the Lizzy era continued or evolved, but instead of being the wild, quirky, white trash Lolita, she became the dark, dramatic, desperate, high-class, vintage depressed girl in Born to Die. The LDR persona has evolved since then (less Lolita references, less high-class, less depressing), and now she seems to be bouncing around between jazz, rock, vintage, and hip hop-inspired, while dark, dramatic, and vintage remain the recurring themes. Since LDR was the persona she got famous for, she's stuck with it. Who knows how much of that persona is her true personality, but she herself has admitted to writing about things she never experienced and admitted BTD Lana was a persona if i recall correctly.