It All Comes Full Circle

[sparklrtrailrheaven 9,063]

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  

[expandableclitoris 9,091]

A reworked version of Kill Kill and For K. pt 2... 

 

we already have Doin Time and Cinnamon girl luv

[sparklrtrailrheaven 9,063]

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

[ivy 1,693]

It's a tale that could be referred to as "a tale of sin and redemption"  

 

[AnarKissed 278]

I think it would be awesome if L.D.R. re-released A.K.A. With a bunch of unreleased bonus tracks, and with a 30 page booklet containing information about when and where each song was recorded, and anecdotes about what each song is based on [autobiographical] or inspired by.

[Paris Hilton 9,873]

I wish she could re-release AKA next year. However I doubt she is going to recognize AKA's anniversary.

 

I think it would be awesome if L.D.R. re-released A.K.A. With a bunch of unreleased bonus tracks, and with a 30 page booklet containing information about when and where each song was recorded, and anecdotes about what each song is based on [autobiographical] or inspired by.

This concept would be so cute!

[AnarKissed 278]

I wish she could re-release AKA next year. However I doubt she is going to recognize AKA's anniversary.

 

This concept would be so cute!

Cute? Well, this is the kind of thing that usually isn't released until after an artist has been around for many decades; or posthumously...

[Serene Queen 4,786]

Cute? Well, this is the kind of thing that usually isn't released until after an artist has been around for many decades; or posthumously...

Yeah, I love the concept but it seems more like something someone would do for the 25th or so anniversary of a record (Tori Amos’s first three albums for example)

[Paris Hilton 9,873]

Cute? Well, this is the kind of thing that usually isn't released until after an artist has been around for many decades; or posthumously...

    Yes. Cute. 

[TRENCH 15,450]

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

 

 

the intelligence of this post

that's on #period