sparklrtrailrheaven

Ew I think @ is having a mental breakdown or something, I saw her outside and snapped a quick photo 

i hope it's ok that i brought a +1
 

I'll catch you at the Big Eyes nominated presentations Miss That 

Beautiful souls @@bunoner, @@lmdr, @@Eclipse, @ and @ will be presenting awards tonight!

 

I got drunk waiting for red carpet to begin and decided to do a last minute wardrobe rectification! Paz de La Huerta got nothing on me ladies, let the party begin 
 
 
I'm irl drunk tho sorry

I'm ready! 
 

 

gettin ready
 

As the ceremony and red carpet are from midnight to 4am in France and I have a lot of work, here's my look already 
 

 
I wish the best of luck to everyone nominated  And may the best drama win!

Hey Guys, since today is the 5th anniversary of Born to Die. I thought would be fun to do a megamix of the album. It might not be perfect but I hope you give it a listen and enjoy it
if I have the time I'll do a video for a shorter version of it. 
 

 
Download
 
https://soundcloud.com/annoyingflirt/born-to-die-megamix
 

I didn't have time yesterday, sorry

 

“Born to Die”

 



 

Those strings, man. That beat. Those lyrics. That melody. “Born to Die” is perhaps Lana Del Rey’s most immaculate masterpiece; an apocalyptic, jaw-dropping “homage to true love and a tribute to living life on the wild side”. The song was composed by Del Rey and Justin Parker, and despite its dramatic, dark atmosphere, its message is rather positive – forget about your fears and insecurities and live life to the fullest.

 

The legendary “Born to Die” video was written by Lana and directed by Yoann Lemoine and it was her first high-budget film ever. “Tigers don't come cheap. It's a controversial video. […] I got a generous budget,” she said to The Sun. It features Bradley Soileau as her lover; “You can see the two sides of the relationship where I'm kissing her, then pointing a gun at her head,” he told MTV. “That's what it is. It’s a relationship that is so terrible but neither of them want to leave. That's why when she is in the car, and she wipes the glass, she's looking mad sad, distant, thoughtful. But I’m still trying to get her attention. That's kinda the story for it.” “Born to Die” won Best Pop Video at the UK Music Video Awards.

 

Absolutely game and life-changing. The reason we all had an almost religious experience listening to this for the first time is because it was completely innovative, fresh, never-done-before.

 

Congratulations Lana; Happy 5th birthday Born to Die!

 

The 80 page Lana Del Rey inspired comic with be produced by Mario Candelaria. and released by Red Stylo Press. As posted on bleedingcool.com:
 
 
 
Singer/Songwriter Lana Del Rey is getting a comic book, and no it’s not made by StormFront Comics. Instead, Red Stylo Press is publishing an anthology of stories inspired by Del Rey’s music, according to a press release discovered in a solicit on comiXology. Mario Candelaria pitched the idea after Red Stylo had success with Angel With a Bullet, a four issue series of stories inspired by Tom Waits.
Contributing to the project, which will be called Baroque Pop, will be the following creative teams:

Chuck Harrison & Luke Marrone
Daniel Charles & Ashley St. Lawrence (with Scott Ewen)
Jennie Wood & Chris Goodwin
Enrica Jang & Jan Velazquez
Mario Candelaria & Katarzyna Witerscheim
Michael Lynch & Mira Mortal
Eric Palicki & Daniel Earls
Additionally, the book will feature portraits by these artists:

Jim Towe
Adam Ferris (feat. Lesley Atlansky)
John Keaveney
Hoyt Silva
Fabian Lelay (feat Lesley Atlansky)
Set to debut in April at C2E2, Baroque Pop is seeking funding on Kickstarter, where a description reads:

BAROQUE POP is an eighty-page comic anthology produced by Mario Candelaria and is being released by Red Stylo Press. Inspired by the music of Lana Del Rey, Baroque Pop is a carefully curated selection of short form comics and illustrations celebrating love, loss, success, and change by comic creators who came together after finding mutual solace and inspiration in her music.
Baroque Pop is both an homage to Lana as well as a testament to the imagery and symbolism this modern day muse draws out of artists and writers. Her melodies invoke a sense of longing and wonder and endless hope. Mixed with instrumental tracks that feel cinematic in scope, her tunes practically invite the imagination to run wild painting tiny pictures with the emotions released in every bar, in every hook, until each album resembles a mosaic reflecting our deepest desires and secrets with each subsequent listening
In keeping with the music theme, the book itself will be printed at 7×7 inches to physically resemble a 45 RPM record cover.
 
The project has already raised over $1000 of its $4000 funding goal. It mentions no official association with Lana Del Rey beyond inspiration.
https://www.bleedingcool.com/2017/01/26/latest-superhero-get-comic-book-lana-del-rey/

You know, I don't think it would be that difficult! Drive By is the earliest of her 'death row' songs, no? (and certainly the most literal of them)-- so, that was recorded in 2005... that means K, or whoever was on death row, if anyone was, was already there by 2005. Presuming this took place in New York, NY didn't completely repeal the death penalty until 2007, so the timeframe fits. If there were a list of death row inmates in NY around 2003/5, I'm sure one of the great sleuths here could dig up some possible candidates. 

Don't know if this was already brought up, but during her festival tour this year, in her little speeches before playing yayo, she mentioned several things about the guy that the song is about (the Moscow show and another one, I can't remember which) :
 
-She met him when she was nineteen
-She was living in New Jersey
-He made a "big impact on her"
 
Now if I learned my lanalysis well, this is consistent with what we know : that she was living at her uncle's place in NJ at that point, probably dabbling with substances (ergo the yayo metaphor) and it's most likely when the bad boi came into her life. She's already mentioned these informations countless times, but I don't recall her linking them all like that (the guy, the place, when) ; except maybe in some Lizzy era interview. Unfortunately I'm still A Level in Lanalysis, therefore, what does this "new" information tell us ? I mean the bad guy thing is kind of settled down now, but about her life in NJ, etc. I'm quite confused.

If it weren't for OTTR, I probably would not be a Lana fan right now.
 
I don't recall if it was the *first* Lana song I ever heard-- I think that honor may belong to "Video Games"-- but it was certainly one of the first, and it's the song I fell in love with. It rocked my world, and for a long time, I was very afraid to approach the rest of Lana's catalogue, because I was assured that I'd be let down-- what in God's name could be better than such a dynamic, unique track as OTTR? It made me love her, and still exemplifies why I love her. It's at turns fast, punchy and sassy, and just as quickly, full of longing, devotion and wistfulness. It's a rollercoaster ride in five minutes, and is the quintessential Lana Del Rey track, saturated in the mythos that's now viewed as inseparable from Lana; as you listen, you get completely immersed in her unique universe, brimming with crime, good girls gone bad and the bad men who enable them, drinks and party dresses, Chateau Marmonts and glimmering darlings, all meeting in one wild show, a three-ring circus with nearly everything but good family values. By the end, you're starstruck. It's true magic in music, and I challenge Lana, or any other artist for that matter, to even *attempt* to create a track this incredible again.
 
I wish I could ramble endlessly about it, but all I'll say now  is that I believe it's Lana's best, nearly uncontested. It ranks among my very, very favorite Lana songs, and it's definitely a shining example of Lana at her absolute best.
 
I love OTTR in a way that I don't love any other Lana song. It's magic. It really is. 
 

Although you all know my soft spot is Lana's AKA era, I have to say that BtD is an absolute powerhouse and masterpiece in ways that nothing Lana has created before or since has been. Between the genre-breaking sound, the lyrics, the visuals, the persona, and the overarching themes that weave their way through everything produced in the BtD era, Lana totally rewrote what could be done with pop music. She is a trailblazer, and I think the world still hasn't realized her full impact.
 
No other artist, so far as I know, has created concepts and such a cohesive world with their music as Lana has, save for the legendary David Bowie-- some would consider it sacrilege to compare the two, but as a fan of his as well, I see many parallels-- much like him, Lana attempted genres/sounds that didn't stick or weren't successful in her early career (although they should have been: refer to Sirens in the lesser and AKA in the major), before finally settling into something entirely unique that finally caught critical attention (both positive and negative, but scrutiny and attention en masse, nonetheless). "Born to Die" was much like Bowie's "The Rise and Fall of Ziggy Stardust and the Spiders from Mars", imo-- she seemed to appear fully formed, a mysterious anachronism in modern pop, an almost cartoonish femme fatale/siren in the best way possible-- the same way that Bowie's Ziggy was an exaggerated caricature of a rock star, and didn't seem to be remotely the same person that had been putting out psychedelic pop and folk music just a few years earlier.
 
Mind you, I'm not making this comparison for nothing-- my point is, Lana's contribution to pop music, and music in general, has yet to be realized by the general public, especially with Born to Die. Will she ever top it? I don't know. However, I think much as David Bowie is lauded as a trailblazer and innovator today, Lana will one day be hailed as the same, if for nothing else than this album.
 
Outstanding, all in all. My weave never came back after my first time with OTTR. 

beautiful!! you should do a psychedelic edit of lana as brigitte and make it a 'moi je joue' cover

Lana's face on Brigitte Bardot because I've recently been obsessed w/ Brigitte
 
 

 
 
 
 
 
 
OG PHOTO:
 
 

“Million Dollar Man”

 

The “jazzy” track on Born to Die; you either love it or hate it. The truth is this sick love song, composed by Del Rey and Chris Braide, is one the most passionate moments in Lana’s career – and it’s even much more powerful live.

 

https://www.youtube.com/watch?v=Vj4Ays1Cmew

Radio is a very cute track, I don't get the hate it gets, to be quite honest. It's so hopeful and you can almost feel the hurt she's been through and the sense of accomplishment she must have gotten with the way things were going for her, now that that her talent was being recognized. 
As for the chorus, it's infectuous. Granted, the song drags a bit towards the end because of the same chorus getting repeated time after time after time but I can distinctly remember warm spring days when I would lay in a garden or a field and listen to this song on loop. It just feels so warm and summery... 
 
Lucky Ones is another one of these songs that gets a lot of hate, for some reason. Haha just kidding, everybody has their taste but as far as I'm concerned, I love both versions we have. The demo is a more upbeat and intrepedid interpretation of the song whereas the official one is more luscious. To be honest, I think the latter instrumentation also gives it more depth because there's a certain melancholy that is expressed by the strings, I find, as if Lana has found her one true love but is it meant to last ? "Love grows, but wilts away"... I also find that the strings at the end are a beautiful way to close such a great album. It really feels like the end of a book, a book that you've read chapter by chapter and is now closed, the kind that makes you think about its content long after you've put it down. 

“Lucky Ones”

 

This romantic ballad is the last bonus track on Born to Die and one of Lana's earliest collaborations with Honeymoon co-producer Kieron Menzies. Lana has never performed this song live nor even acknowledged its existence.

 

Oh my, I didn't catch OTTR !!!
 
Well what can I say about this song... In a nutshell, this is a record that still makes me vibrate to this day. There's just something about it, it's so unique.
 
In terms of vocal textures, Lana display a full palette of colours, tones and range. Slow and almost monocordious at first, then picking up in pace, in a hectic race (pun intended) before resting a bit... She reaches a climax after the final chorus, where she just ad libs and soars.
 
Regarding the lyrics, I must say (and I said that a few times already on this thread, but it's true) I had never heard an artist singing about a similar relationship in such a decor. It feels so ominous, (Riker Island, Cocaïne, Bad and Tough man...), glamourous (swimming pool, cognac, cigar, races) and yet romantic (I love you forever not maybe, you are my one true love, light of his life...). You know what, I just noticed last year that the Rhymes aren't always the best since she sometimes simply repeat a word ("has me by my heart/with every beat of his cocaine heart". Also "he's got a soul as sweet as blood red jam/ he knows me every inch if my tar black soul"). But that just didn't catch my attention because you're immerges into a moving picture, a love story, a dangerous one, full of suspense and it's got ups and downs and such an ending that it leaves you wanting more !
 
As for the instrumental... If you think it's overproduced, I won't say "I get it" this time. I LOVE IT as it is. (I still like the BTD Sampler version we got though). But this fusion of luscious strings and hard knocking hip hop beats is just out of this world ! The samples give it that edge, too, ugh it's just too much for words. The ending gets me every time, it's just so poignant, full of hope in a way but also of luring doom and sorrow.
 
It's a shame we never got a high end music video for this song but it's alright, it's so vivid that I can picture it in my mind without problem.
 
In conclusion, this is one of the BTD songs that makes me roll my eyes when somebody wants to degrade the album, without constructive arguments because it's a masterpiece.

Caught stealing 

Lana Del Ray is my vote, and not just because it's my favorite. 
 
The fact that Lana created a mix of such diverse-sounding tracks (all of which can stand alone as incredible pieces), and still united them into a cohesive album with strong themes and aesthetics is genius, to me. The lyrics are incredibly strong and fresh, and both the production and Lana's vocals compliment each other (and whichever song they're featured on) perfectly. 
 
To me, she hasn't created an album since that was SO cohesive and had such strong tracks across the board. Her meeting David Kahne at that period in her artistic development was divine intervention, because I feel that he really coaxed something out of her already-mindblowing songs that elevated them even further. 
 
As for UV, I think it's an absolutely incredible album, undoubtedly, and I also think it deserves every bit of the praise it gets. Its lyrics are more powerful than AKA's, the theme of the album is stronger, and it shows a lot more maturity on Lana's part.  However, I believe some tracks on UV are much weaker than others, which I don't see as the case with AKA, and the production also isn't quite as harmonious with the other aspects of the album as it is with AKA. Either way, they're both fantastic albums and really represent some of Lana's best work, imo. 

She hides the promo copies of YAIL under the waterproof trenchcoat to keep them save from leaking ...