trashangel

Put Me In A Movie finally getting a music video.

I've been pondering something...
 
Despite a lack of information surrounding the "No Kung Fu" EP, it's been said that it was a "demo tape" of sorts, that ended up catching the attention of David Kahne, yes? So, if this is true, this would obviously mean that the No Kung Fu tracks are *not* Kahne productions. So, it could be speculated that the producer of No Kung Fu could be Steven Mertens, as he was a producer working with Lana at the time, and produced an early version of the album that became AKA-- we know that the No Kung Fu tracks are likely not from his finished version of the album, however, since there are snippets of a Mertens-produced "Brite Lites" floating around. 
 
The wrench in this theory is this: "Ruby", the demo of "Put Me in a Movie" featured on NKF (which is also notably more produced/polished than the other NKF tracks), also appears on a CD burned by Lana c. 2008, after she'd begun working with David Kahne. So, this brings to mind several theories:
 
1. No Kung Fu was not a "demo tape", and was produced with David Kahne after Mertens' AKA was scrapped. 
2. "Ruby" was a holdover from the Mertens sessions, and Lana (being Lana), still enjoyed it, including it on a CD with Kahne-produced tracks.
3. No Kung Fu is a fanmade EP, with mostly Mertens tracks and one Kahne track slipped in, from a different session.
4. No Kung Fu is Mertens production, and "Ruby" is noticeably more produced because it comes from his finished version of the album. 
 
It would help to know what we know about NKF... When did it leak? Who leaked it? What information was with it when it leaked? Do we have any definite, concrete info on it?
 
So many questions I'd love to hear any insight/ideas y'all have on this! 
 
Leave it to Lana to leave her past "stranger than a stranger" for us to decipher 

i actually climaxed when I heard this song

Smarty is one of the best on AKA don't quote me     
 
Do I make you feel like Christmas time? 
Beat me and tell me that no one will love me better than you do...
Dance me all around the room.. say you'll never leave me 
 
 

Okay, I've held on to this info for a while to make sure when I shared it I had info from various sources and had opinions from a few people to see if this all adds up instead of it being massive reaching on my end. After a few months of digging, I think it's safe to say the identity of K has been cracked.
 
First, Josh's last name begins with K.
In 2008 him and Lizzy were posting things to each other (relationship wise) and he changed his relationship status to married around Dec. 11th, 2008 (based on someone commenting on a post asking when he got married - this could also explain why she wore a wedding around that time)
Josh plays World Of Warcraft (the game referenced in Video Games that Lana has mentioend before)
He said Video Games was about him
They lived together at one point based on statuses and pictures
He has a lot of tattoos which could represent the Born To Die / Blue Jeans guy (which could fit into the 'K Triology')
There's a pic of him sitting on the couch playing bass (lyrics - You play the bass)
There's a pic of them doing dishes where he said "dishes with dolly" (lyrics - I'm his little dolly.. yaaaaas @ Noir being about Josh!!!)
He also had Lolita lyrics in his 'about me' on Facebook until recently - which could mean a lot of the daddy songs are about him even though they're around the same age (ageplaying / roleplaying?)
Josh's tattoo development aligns almost perfectly with the Born To Die and Blue Jeans releases if he's the inspiration behind them

iconic queen of sleuthing... i'm amazed that the K Code may have finally been cracked!!!! although it loses some of the poetic appeal of him being on death row/dying, it's still incredible

am i the only one who still suspects there's a pin up galore session out there, where the "final" version must have come from?

Guys, we should appreciate Lana's charity work, teaching other artists how to write songs. God bless her

For my English 111 class, we had to do a film review-- for a variety of reasons (partially because I love Lana, partially because I felt it would be a creative choice, partially because I was almost out of time), I chose to review Lana's iconic 2013 music video/short film TROPICO. Below is my review! I don't believe it's my best work, especially since it was rather last-minute, and I may have been a bit harsh on the film, but here it is, regardless! Please tell me what you think of the review, and I'd love to hear your thoughts on the film as well!: 
 
Film Review: Tropico        “And the spirit of John moved upon the face of the waters. And John said, Let there be light: and there was light. And John saw that it was good.” This quotation, a reconfiguration of a familiar verse from the Holy Bible, begins Lana Del Rey’s short film, Tropico. From this point on, the film is positively rife with symbolism, metaphor, and similar appropriation of visuals, quotations, and iconography, all feeding into a biblically-inspired tale of “sin and redemption,” as Del Rey called it at the film’s theatrical premiere. Scored by selections from Del Rey’s 2012 extended play Paradise, and interspersed with scenes of dialogue and spoken-word poetry, the film is a sonic and visual feast. However, in spite of Del Rey’s use of stunning visuals, music, and such high-arching allegory and philosophy, viewers are left wondering if the film means anything at all, or if the twenty-seven minute short is anything more than an extended music video.         Tropico opens with  scenes of beginnings and creation: primordial, kaleidoscopic waters rush and fold into one another, stars flash brilliantly and are born in space, a sun rises, a rose opens, and clouds roll through a glowing sky, all against the aforementioned Bible verse. A figure representing John Wayne seems to preside over the affair, and Del Rey, dressed as the Mother Mary, prays feverently that he shall forgive her of her sins. Moving to a neon-colored Garden of Eden, Wayne is joined by Elvis Presley, Marilyn Monroe, and Jesus, along with Del Rey and her consort, Shaun Ross, garbed as Adam and Eve.  Here begins a strange meld of Del Rey’s own passions: familiar images from the bible-- creation, the holy mother, Eden, Jesus-- are mixed and assimilated with images decidedly familiar to American culture: the cowboy, the rockstar, and the bombshell, all icons and superstars in the USA’s media-heavy society. Their voices fade in and out, spouting out catchphrases (Monroe quips: “Sex is a part of nature… and I go along with nature!”) amidst heavy radio frequency, heightening the surrealistic nature of Del Rey’s land of pop culture and spirituality.         Tropico’s story continues as one would expect: Adam and Eve, entranced by a serpent in the garden, eat the forbidden fruit and are cast out-- however, this new-age Adam and Eve land in Los Angeles, and their downfall is depicted as Del Rey reads excerpts of Walt Whitman’s poem I Sing the Body Electric. Del Rey and Ross’ Eden quickly dissolves into various scenes of squalor and ennui-- a seedy strip joint, a dingy supermarket, a tacky mobile home. Before long, the low-income, low-class lovers tire of and abandon this drudgery, clashing with their more affluent neighbors as Adam and a gang of thugs break into a penthouse hosting a party of wealthy men (and their female entertainment), sealing their place in history as God’s wayward children, well-meaning man and woman who took the path most clearly presented to them, even when it was the wrong choice. Here is one of the few times it feels Tropico really hits its mark: perhaps, it makes one consider, the sensationalized gangsters and “thugs” that run rampant in modern media are nothing more than confused children, the “good kids” driven bad by desperation, or a lack of options. Del Rey’s music, described by one interviewer as “dreamy and dramatic, soaked in Americana and nostalgia, spiked with glamorous violence and loopy nonsensicality,” fits right in with this vision of the American Dream gone dark.         After Tropico’s Adam and Eve hit this point, the lowest of low,  the only choice left seems to be absolution. Del Rey croons her song “Bel Air”, with its refrain of “I don’t wanna be bad, I won’t cheat you no more,” as Adam and Eve are baptized and reborn, watched over by omnipresent John Wayne and Del Rey’s ceaselessly praying Mary. They are forgiven, they embrace, and they ascend into the clouds, ending the film-- however, questions remain long after the credits have rolled.        Del Rey’s film is visually and audibly stunning, that’s for certain. Colors are used to awe-inspiring effect throughout the film: Eden is full of vibrant pinks, greens and reds, Adam and Eve’s Earth after the fall is drab, full of muted tans and off-whites, both the penthouse party and the strip club are coated in icy blues and silvers, and the rolling paradise-esque fields at the end are sun-drenched, with Adam and Eve changing out of solid black into pure white garments. The use of color and strong visuals is complemented perfectly by Del Rey’s music, which exists as some hybrid of jazz, pop, and orchestral music-- a perfect match for Tropico’s mixing and matching of times, places, and symbols.             Despite the brilliant aesthetics, Tropico lacks substance. It presents itself as an epic, but never really delivers. While all of Tropico’s references, allusions, and appropriations seem to be used to make it legitimate art, and not just a music video in long-form, they instead make it feel plagiaristic and borrowed. Real, raw emotion is replaced with flashy visuals and heavy-handed symbolism, stripping Tropico of anything really human, which is disappointing. It’s as if Del Rey’s pretentiousness is her downfall-- if Tropico, which presents itself as a story of the human condition on a grand scale, were to be more human, perhaps it would meet its potential. Instead, it never really lifts off and feels as if it were only the trailer or preview for something much bigger.         In spite of these shortcomings, Tropico remains a stunning example of music videos as an art form. To call it a short film is misadvertisement, but to call it only a music video is selling it short. Tropico pushes boundaries, unafraid to mix the sacred and the squalid, and blurs the line between what’s art and what’s commercial. All in all, it may not meet the lofty goals it sets for itself, but entirely succeeds as a film that is entertaining, entrancing, and exciting to view.

It really is an amazing song!
 
"Do you have a girl? I don't see a ring on your finger.
Well that's interesting, have you ever thought of dating a singer?"
   

My favorite lyrics include:
 
Radio
Now my life is sweet like cinnamon,
like a fucking dream I'm living in
 
Is This Happiness
Witch Hazel, Witch Hazel
Betrayal, Betrayal,
One gun on the table
headshot if you're able
 
Gods & Monsters
When you talk it's like a movie and you're making me crazy
'cause life imitates art
if I get a little prettier can I be your baby?
You tell me life isn't that hard
 
Honeymoon
There are violets in your eyes
There are guns that blaze around you
There are roses inbetween my thighs
Fire that surrounds you
 
Pretty When You Cry
Don't say you need me when
you leave and you leave again
I'm stronger than all my men
Except for you
Don't say you need me if
you leave last, you're leaving
I can't do it, I can't do it, 
but you do it best
 
Fine China
Fine China and fresh linen
all my dresses with them tags still on them
Fine China and dull silver
My white horses and ivory almonds
I guess they really got the best uf us, didn't they?
They said that love was enough but it wasn't
The earth shattered, the sky opened
The rain was fire but we were wooden
 
Butterflies Pt. 2
My baby has an eye for pretty things, pretty things
He thinks that little girls are butterflies and cuts their wings
Sicko, psycho, sicko, but he's my beau
Puts them on a roller coaster, lures them in with Coca Cola!

I sincerely thought I was the only one appreciating Pawn Shop Blues lyrically to this crazy point
It's so different yet so truthful

A few of my favorites...
 
 
He knows that I be looking to die, 
He says "Baby pay respect to the high"
-Hundred Dollar Bill
 
I love this lyric, I relate to it 
 
also...
 
Late at night, lady on the side
Call me late if you wanna get high
You and I, laying in Versailles
You and I get to know one another
-Your Girl 
(But we don't have the full leak yet   .....soooooo)

I love the lines in OW.
 
"He says he loves me, I don't believe him. If I'm so angry why don't leave him?", I also really love the way she says "I Don't Want Him" while repeating "Other Woman", pointed out by @
 

asap's verses in ridin' are super weak :'^)

i dunno what it is, there's just that lizzy innocence vibe i get from her with blonde hair. maybe it's just a personal fascination i have with that specific part of her life. she just seems... eager. happier? i dunno. 
 

 
she almost seems like a different person with blonde hair.
like, all the other hair colors are lana del rey but she was blonde for all the lizzy era.

Why isn't this a hit thread?
 
-Daytona Meth
-Making Out (Demo)
-Strange Love (v2)
-Kinda Outta Luck
-YCBTB

leak Be My Daddy on December 25 and we will leave you #alone 

i mean i see how people may dislike sirens.. the instrumentals are super simple.. but some iconic lyrics and melodies came from it.. for k, bad disease.. my momma, out with a bang.. all you need, aviation.. 
 @SarcasticBeauty how can u ignore all this? 
t was a drive-by Sunday night
Most of us were in bed all right
I turned down the light
Then I heard the sirens
Interrupt the silence
 
Is this what you wished
To commit a crime?
Is this what you wished
To commit a crime?
Is this what you wished
To commit a crime, commit a crime, commit a crime?
-----------------------------------------------
There's something about seeing him die
That puts it all into perspective and I
Want to stay home, be left alone
Someone make my mind up so I don't have to decide
 
I got a bad disease
I got a bad disease
To fall into
Yeah, I do

---------------------------------
little bits and pieces, falling to the corners
Box of broken leases, lined up in an order
I'll do what you tell me, we can have it your way
I'll tell you the future, you tell me your story

 
----------------------------------
I had a dream
When I was youngI dreamt our lives were
Going to be found
When we were always
Waiting to live
 
All you need
Is some peace
While you are here
Just let go
I'll be it all, dear
 
You have the choice
To hear the noise
Or hear the sweet sound
Of your sweet voice
I know I've heard it
I heard it in my sleep
 
All you need
Is some peace
While you are here
Just let go
Don't say no, dear
 
Wake up each night
At the same time
Pull up the blind
And look outside
And in the orange light
The fog is rising
 
This is life
The still night
Peace in the quiet
Happiness
Is the sky
----------------------------------- Do you think I'm crazy For considering aviation?
I'm the fan of flying
Want to do it for the nation
'Cause I have nothing else to do
 
This summer but committed to you
Have a big degree in philosophy
But I don't know what I want to be
 
-------------------------
 
ALL ICONIC

I feel like Lana is a persona she's just constricting herself with the same lyrical themes let Lizzy take over

#BriteLites2K16

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. 

let's not

Lana was under the impression that she gave y'all btd pt 2 with honeymoon so you're shit outta luck u already got it LMAO