Neon Palmmm

Cunty Lasso Around my Slutty Slim waist I Cant
 
is this anything??? 

Honestly I think Classic is cunt. She has cemented herself as such and calling her album that before its out is such a power move. Like "yes bitch I am the new american classic". I think it holds more weight that people give it credit for!

I made this little mix. This is what I think the final version could sound like
And since we're at it!
 
 
 

tried going for more of a Blue Banisters / Ocean Boulevard vibe with this one
 
there's no more hiding places left in LA now 
 
https://krakenfiles.com/view/bImq826m02/file.html

I'm hungry.   
 
so enjoy this low effort cutesy thing, nuff said. 
https://krakenfiles.com/view/52PYzVp770/file.html
 
 

Gonna listen to Smiley Smile today — one of the best albums of all time

This is so sad  He's left such an iconic legacy. The Beach Boys were my first concert I've ever been to (I think 2 or 3 years old) with my parents. I hope all of his family and friends are okay.
 
RIP Brian Wilson 
 
We're gonna listen to the Beach Boys
We're gonna ride in the rollercoaster
When we get high, Jimmy propose
Jimmy gon' buy me a Coca Cola

Earlier today, Brian Wilson of the Beach Boys passed away at age 82.
While a cause of death has not been shared by the family, it was revealed last year that he was suffering from dementia.
He also struggled with his mental health for the majority of his life, diagnosed with both schizoaffective disorder and bipolar disorder.
Brian Wilson and Lana Del Rey worked on a collaborative song together titled ‘The Last Song’ in 2014, but the song was released the following year without Lana’s contribution due to scheduling issues.
 

Hold on tight and everything will be alright
I've never really felt this way before
Don't let go
There's still time for us so let's take it slow
I wish that I could give you so much more
Far away
Maybe we'll be coming back someday
Together in the end
To sing with you again
I've never really felt this way before
Don't be sad
There was a time and place for what we had
If there was just another chance for me to sing to you
There's never enough time for the ones that you love
 
 
Sending lots of love to his family, friends, and fans x

couldnt get come up with a good instrumental tbh, but if someone wants to try, please feel free!

https://krakenfiles.com/view/vi7JzO6Ybz/file.html
 
ok im done bye again

Lana Del Rey was spotted having lunch with her husband Jeremy in New York

Sharon sketch I drew just now as part of a WIP collage. I miss her so much 

 

Ask and you shall receive 
Here's another drawing I did of Sharon Tate a few days ago. I'm seriously so proud of this one 
 

Hey yall! Here is where I'm gonna be sharing all my physical artwork and drawings!   To start off, here's my artwork of the one and only Lizzy Grant  Hope you enjoy!
 

Bartender always gives me Lizzy Grant vibes, and I wasn't sure why, for a while, but I think I've figured it out -- it's very much written in her Lizzy Grant mode. Excuse the following spill, but I'm an English major and I can't help myself
 
The fact that the Lizzy Grant era fell between the very different writing styles of the May Jailer/Lizzi era and the LDR era makes it an odd mix of both -- it's partially slice-of-life, confessional lyrics, akin to a track like Blizzard, but it's also got a heightened, unreal edge, which Lana would ~fully~ embrace by the time Born to Die rolled around, where her lyrics became less about telling straightforward stories and more about loftier sets of ideas, imagery, and emotion.
 
For example, take the trio of Drive By, Kill Kill, and Dark Paradise, all connected by the theme of the "dying man."
 
Drive By is Lizzi telling us a story, with few frills and few digressions, but plenty of details -- K is her friend, K killed someone, and K is serving time. It's sung basically as it would be told, save for her questions posed to K in the choruses, and the rhymes between lines -- and that's part of the charm of the May Jailer recordings; for the most part, they're simple and unadorned and seemingly pretty apt documents of what Lizzi Grant was feeling and thinking in 2005. 
 
Skip ahead to Dark Paradise, and you see what's almost a full 180: the story is mostly to be inferred -- all the listener knows (context about Lana's larger body of lyrics and her life put aside) is that Lana's lover is ostensibly dead, and she can't deal with his absence. It's not not a story, but it's far from the detailed account given in Drive By, spelled out down to the number of years K is going to serve. Another striking contrast is that Dark Paradise brims with artistic lyrical devices, as opposed to the plain quality of Drive By -- so much so that it reads as pretty melodramatic, what with all the grandiose death metaphors and ghostly images.
 
Then, you look at Kill Kill, written right in the middle of the two other tracks. There's still a defined sense of storytelling and a slice-of-life, confessional quality held over from the May Jailer era: Lizzy is "in love with a dying man," he "bounds up the stairs" while she's "in the shower," she asks her lover to "tell [her] about Ray and his girl," because "Ray is going to meet [him]." There's nothing inherently artistic about these lyrics; they could just as easily come from a conversation as they could from a song, just like in Drive By. However, Lizzy uses this grounded base to lay her more oblique and artful lyrics on, with lines like "stars fade from your eyes" or the cryptic bridge of "One, two/Make it fun/Don't trust anyone." There's definitely a story here -- the heroine is leaving her dying beau -- as there was in the May Jailer era, but it's as if we've only been privy to snippets of the story: who is Ray, and why is the dying man meeting him? Why is Lizzy leaving her lover? How does the bridge relate -- who mistrusts who, and who's playing the situation like a game?
 
Therefore, a song like Kill Kill -- and much else of the Lizzy Grant canon -- succeeds because of this blend: the listener is given pieces of a story, modified by occasional cryptic phrases and florid lines, that creates lyrics that feel real, but also decidedly off-kilter and unreal. I think the best comparison really is David Lynch, who presents realities that are recognizable, but just strange and off-beat enough that an unsettling, unusual atmosphere is created. 
 
So, for a long time, I think Lana had mostly moved out of this mode of writing -- Born to Die through Lust for Life feel to me like they're in the same vein, with the balance moving more towards the emotion and conceptuality present in her lyrics, with little definite story -- hence the rise of Lanalysis that sought to attach more definite stories to her songs by making connections to her personal life. 
 
However, NFR!, I think, represents something of a return to form -- it's not identical to the Lizzy Grant style of writing, because the songs certainly feel somewhat more grounded in reality than her LG works, but it's much closer to that style than anything she's released in a very long time. It sees her acting as a storyteller again, first and foremost, and using those stories as a base for the larger emotions and ideas she wants to express, rather than flipping that around and using vague stories to connect her emotions. (Of course, this isn't to say that that means of writing isn't great -- it's responsible for Lana's golden age, and without it, we wouldn't have the same quintessential LDR persona and era.) 
 
This is all lead-up to say that I think Bartender is a track that exemplifies this matured form of the Lizzy Grant writing style: the story is present, based in reality, and has a confessional air, with Lana intimating her quests to meet her lover and avoid the paparazzi, along with day-in-the-life descriptions of her exploits with her girlfriends. However, as she did then, she modifies this story with an edge of surreality and drama: the "ladies of the canyon" are "dressed in black" or "dressed in white" and play "games of levitation," her conquests to avoid being photographed are framed as "the little game that we play," and she, somewhat sinisterly, compares the poetry she thinks up to a warm gun, resting inside her. It's all based in her real life, but is told with just enough unreality to be incredibly intriguing.
 
In essence, she's once again balanced her songwriting bents: the straight storytelling she began with, and the grand melodrama she became famous with -- and what she's doing now is not at all unlike the transition period that was the Lizzy Grant era. 
 
And, did I mention how much I love that? 

my issue with her is not with her or the music itself but the feeling her music gives me. her music makes me feel deathly and i do not fuck w that personally. its sad though because i do adore some of her songs like In the Land, Cute Aggression, and the heavy version of Beautiful and Bad. but her music literally makes me feel dead
 
HOWEVERRRR i respect her as an artist for evoking such a feeling out of me!!! go queen go

I LEARNED HOW TO MAKE LOVE FROM THE MOVIES
MOVIE POSTER INSPIRED BY BRIGITTE BARDOT'S "UNE PARISIENNE"

1949 (DEMO)
COVER + 7" PINK 'FLOWER MOTEL NATION' VINYL

Not me being there three months ago under the same damn antler arch lmfao

not to be confused with Michael Cock, Idaho 

Jackson hole 

 

Earlier this month, Lana Del Rey and her friends Jen Stith & Annie Hellreich visited the Elk Antler Arch in Jackson Hole, Wyoming. 
 

I’m still thinking about her chilling performance of this song in Newport. The choreography and subtle conviction in her delivery of certain lines have added more dimension to the song’s meaning for me. I see it as a lyrical tapestry that, fundamentally, is about her sobriety—but also makes a nod to strained familial relations and a darker underbelly to fame. It feels like a grounding force in her discography, and as she gets more diaristic and divulging in her writing, it’s as though ‘Hope’ becomes less and less obscure. Brilliant. 

Hope-Arcadia-WFWF-Kintsugi-Fingertips
 
if you ever want to know Lana’s story. And nothing else matters after that. I love this woman