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  1. 10 years ago Lana del Rey released Summertime Sadness, the fourth single off her album ‘Born To Die’. In September 2021, the song was ranked #456 on Rolling Stone's 500 Greatest Songs of All Time.
  2. @Indigotohell on Instagram is insane for doing this 😲👑
  3. Lana photographed celebrating Pride Month at LGBTQ+ dedicated picnic, she quotes: “I’m just happy to be here with all my girls, we have the best girls in town right here.”
  4. This newly surfaced picture was taken in 2005 at a bar in Brooklyn, NY when Lady Gaga (right) and Lana (left) were starting out.
  5. Lana’s father John misty’s cover of ‘Buddy’s Rendezvous’ will be released digitally on June 16th. Misty confirms on Instagram
  6. ‘Put Your Lips Together’ is a rough unreleased Lana del rey demo from 2010 and it lyrically sounds like she’s making references to Britney from her party days and the song ‘breathe on me’ In the lyrics, Lana says “you can be a pop Princess” & “just put your lips together and blow” https://soundcloud.app.goo.gl/xyGJJX3uKBqRa6Gv6
  7. Born To Die was streamed 2,467,830 times on Spotify yesterday. A great album 🌹
  8. Lana del Rey is black and white on the new music issue of W magazine and here is how she describes her next album: “For this new music, it’s more just like, I’m angry. The songs are very conversational…It’s a very wordy album. It’s almost like I’m typing in my mind.” 🤩🙌
  9. She’s feeling it now than she did at the time 🤩
  10. Jack reveals in the New Yorker that he and Lana del Rey have been working on new music recently together “And then we had this one weird live take where she [Lana] was singing along to a voice memo on her phone … and I was playing piano … and we just both went, ‘Yep, there it is—our one magic moment.’ https://www.newyorker.com/magazine/2022/05/23/jack-antonoff-pop-music-collaboration-lorde-taylor-swift
  11. Lana performs her song ‘God Knows I Tried’ from her honeymoon album in a church in Italy.
  12. lana has an cute acoustic session with a lucky fan 🌹❤️
  13. Lana and diplo album anyone?
  14. How beautiful ❤️ Thankfully it’s not the Cedric remix that Lana herself doesn’t like.
  15. The Last Song is a song by Brian Wilson that was released on his 2015 album No Pier Pressure. A duet with Lana’s vocals was cut but a snippet of it has leaked.
  16. "Cult Leader" was recorded in 2014 for Lana's 2nd studio album Ultraviolence. It's a really good midtempo dreamy-rock ballad.
  17. "Cult Leader" was recorded in 2014 for Lana's 2nd studio album Ultraviolence. It's a really good midtempo dreamy-rock ballad.
  18. 10 years ago today, Lana Del Rey released ‘Blue Jeans’ as a single. The third official single off ‘Born To Die’ received widespread acclaim and was placed on several year-end and decade-end lists by critics. Rolling Stone named it one of the best songs of the 21st century.
  19. Both MASSIVE icons who are regarded as the most influential female artists of their respective eras. Both walked the line between virgin coquette and lolita-in-vixen, and the similarities between them can’t be ignored. In this respect, Spears and Del Rey have cultivated a sort of unique banality that has made them just special enough to seem avant-garde. As for lyrical connections, Del Rey delights in painting the image of the tragic girl, the sort who is run-down and destroyed—whether by Hollywood or by a man. Similarly, Spears embodies this same genre of a fatally flawed character. There are also striking similarities in the sound of Spears’ and Del Rey’s songs. Where Spears’ music is concerned, it has gone the moody Del Rey route numerous times in the past, expressing her fair share of agony through her artistry. Now Exhale, let’s discuss. Whose discography is better? Britney’s musical highlights: Baby One More Time, Oops I Did It Again, Lucky, Stronger, I’m a Slave 4 U, Overprotected, Breathe On Me, Toxic, Everytime, Gimme More, Circus Lana’s musical highlights: Lucky Ones, National Anthem, Ride, American, West Coast, Brooklyn Baby, Florida Kilos, Mariners Apartment Complex, Cinnamon Girl, the greatest
  20. If you are a Lana Del Rey fan, name your favourite song from each of her flawless albums! Mine are: 1. Lana Del Ray: Yayo 2. Born to Die: Born to Die 3. Paradise: American 4. Ultraviolence: Black Beauty (original ) 5. Honeymoon: The Blackest Day 6. Lust for Life: Cherry 7. NFR!: The Next Best American Record 8. Chemtrails: Yosemite (my least fav album ) 9. Blue Banisters: Cherry Blossom I'm curious what are your personal favourites?
  21. 10 years ago today, the world would never be the same. On January 27th of 2012, GODNA DEL LEGEND released her major-label debut album Born to Die becoming the blueprint for pop melancholia. Once upon a time, the early-2010s pop landscape was majorly defined by what could be described as brightness in sound and optimism in spirit. At the time of its release, Calvin Harris and Rihanna’s buoyant electronic collaboration “We Found Love” sat at the top of the Billboard Hot 100 chart. And bright, rollicking anthems like fun.’s “We Are Young”, Kelly Clarkson’s “Stronger”, Carly Rae Jepsen’s “Call Me Maybe”, and Taylor Swift’s “We Are Never Ever Getting Back Together” defined the year in popular music. The previous year’s Billboard chart was topped by songs like LMFAO’s “Party Rock Anthem,” Katy Perry’s “Firework,” and Maroon 5’s “Moves Like Jagger.” In 2011, SPIN Magazine cited the ubiquity of EDM acts in Las Vegas, DJ-pop artist collaborations, and four-on-the-floor beats on the radio as evidence of a “new rave generation.” With the commercial landscape of music dominated by the likes of Lady Gaga, Rihanna, Katy Perry, a young Justin Bieber, and a newly minted One Direction at the time — Del Rey was the next big rising star to create a blueprint for numerous artists throughout the duration of the 2010s and beyond. Sure, many of the pop artists then would sing of heartbreak and pain, but the pain was temporary, and usually backed by uptempo beats and bright, open synths. The stars and their music might have been sad for fleeting moments, but they were not necessarily sad at their core. Even with the blockbuster success of Adele’s moody 21, Del Rey’s bid for pop stardom appeared odd and disruptive to anyone not hip to the goings-on of Tumblr and the soundscapes of chillwave. Mainstream radio was urging us to either fist-pump or belt our hearts out. In comes the game-changing Born to Die. Rather than first-pumping or belting out, Del Rey invited you to lounge on a pool chair, preferably next to a lover, and watch the world pass by. Her naked sadness, backed throughout the album by symphonic strings, was different from the in-your-face boldness of an artist like Lady Gaga. With an orchestral production flair and a deep sense of melancholy in her lyrics, she planted the seeds not only for her own success, but for the sounds that would guide some of the decade’s biggest pop stars. She wasted no time shifting the perspective of pop music with the album’s lead single “Video Games.” The slow, sparse intro of chimes and harp — which opens into a symphonic flood — was unlike anything happening in pop at the time. And while Del Rey’s voice has undeniable power, she lets it shine through a controlled and steady march, never belting. Stitched together by Del Rey, the song’s music video featured black-and-white cartoons, skateboarders, old films, video recordings of herself, and paparazzi footage of actress Paz de la Huerta stumbling on the sidewalk while intoxicated reading like a mission statement for her particular brand of eclectic artistry, specifically her preoccupation with nostalgia, Hollywood, masculinity, and both the trashy and refined aspects of fame. It was a bonafide cultural reset. The rest of Born To Die sticks to this sound of prominent orchestral strings with an occasional brooding guitar twang — never straying from Del Rey’s vision of baroque pop. The record painted an immediate image of excess and old-fashioned glamour. She sings of loss, love, evil, goodness, money, fame, destruction and redemption. Her persona was drawn from old money glamor and Hollywood’s golden age; she channeled patriotism for a dying empire. At one of her first live shows after becoming a topic of conversation, she was billed as the Queen Of Coney Island. It was a bold and unexpected choice in the context of pop at the time. What’s more, it wasn’t just done in a single song: Here was a full album that could embrace the trends of where pop was headed, while still making it sound like a full orchestral suite. There was no veneer of melancholy layered amongst danceable beats; all 12 tracks radiate a deep, profound sorrow with vivid lyrics. More than just mourning superficial breakups, Del Rey’s anguish reaches farther, whether it’s a world designed to pit women against each other in the name of ‘love’; the commodification of beauty and womanhood; or a profound nihilism and loneliness. Likewise, Born to Die’s actual text was only a few degrees apart from the s**, drugs, and partying Ke$ha was sing-talking about on the airwaves—and the content of most popular dance tracks. Although, it wasn’t obvious that she was having fun. Invoking a collage of iconic images from white Pontiacs to The Hamptons to James Dean, the musician seemed equally fascinated and numbed by all the trappings of a comfortable, white-picket-fenced life, underscored by gloominess. This cut Del Rey out as something different. She was a pop star and yet, she was not. She was a mainstream commercial force and yet, she was not. Lana Del Rey's sad-to-the-core music clearly made an impact: Born To Die first went platinum in January of 2014 and has since been certified 3x platinum by the RIAA. In 2021, it became the second album by a female and the first debut album by a female to spend over a groundbreaking 400 weeks — more than 7 years’ worth — on the Billboard 200. The album has sold over 7 million copies worldwide. In 2019, The Washington Post named Del Rey one of the "five people who helped shape the culture of the past decade." INDIE Magazine described her as "the figurehead of an entire generation” and marked Born to Die as a “blueprint for a new sonic world" comparing its sound as the femenine equivalent to grunge music. Del Rey's success "convinced record labels to take a chance on emotionally vulnerable pop" and that "there's never been more space for melancholy in popular music." Many avid music critics have and continue to deem Born to Die as one of the most influential albums of the 2010s decade. In 2019, Del Rey herself stated in an interview with Pitchfork that "there's been a major sonic shift culturally. I think I had a lot to do with that." Billboard Magazine claimed Born To Die as "one of the main catalysts for pop's mid-2010s shift from brash EDM to a moodier, hip-hop-inflected palette.” The publication later included the album's title track as one of the 100 songs that defined the 2010s. The album was listed among several other publications' decade-end and best-of lists, most notably The Guardian which included the album at number 70 on its list of The 100 Best Albums of the 21st Century. Much has been said about how Del Rey’s arrival has changed the sound and appearance of pop music with newer female artists like Billie Eilish, Halsey, Lorde, Olivia Rodrigo, and even Taylor Swift and Miley Cyrus profiting from a brooding persona and a more dreary, hypnotic sound. The album’s lyricisms and baroque, chamber-pop percussions mixed with trip-hop beats can be heard in a lot of music throughout today. In fact, it’s hard to imagine something like Lorde's intimately vulnerable Melodrama or the divorce-inspired tales of Kacey Musgraves or Adele's 30 resonating quite as deeply without Born To Die coming first. Sonically, it hasn't been uncommon for some of the biggest pop stars on the planet, from Selena Gomez to Ariana Grande, to incorporate string arrangements and coquettish, whisper-like vocal stylings into their tracks. Taylor Swift herself, whose sister albums folklore and evermore share a similar somberness to the softer moments on Born To Die, has acknowledged Del Rey's monumental place in the world of pop. While accepting the Billboard "Woman Of The Decade" award in 2019, Swift called Del Rey "the most influential artist in pop," adding that her vocal stylings, lyrics and aesthetics have "been repurposed everywhere in music." But the impact that period continues to have on Del Rey feels more intriguing, as an artist who’s experienced a critical reappraisal and massive success but still chooses to assume the position of the industry’s “underdog.” It could simply be in line with Del Rey’s admiration for rock legends and pop culture tradition that she wants to prolong a largely expired battle with critics and the public. In the realm of music, being misunderstood or labeled ahead of your time is extremely valuable currency. As Tumblr sees a resurgence, so does the sad-girl persona that is "Tumblr Girl," largely a mirror of Lana Del Rey's aesthetic. In style — red lipstick, winged eyeliner, flowing dresses, high-waisted shorts, frilled jackets and flower crowns (which are now festival staples) can all be traced back to Born To Die's single art and music videos. Though turning West Coast Americana into an art form is not a new phenomena, Del Rey popularized it on an unprecedented scale while also utilizing it to further her lyrical message. She flipped symbols of the American Dream — flags flowing, muscle cars speeding down the highway — from images of triumph into portrayals of sadness, like the emaciated, heavily-tattooed male protagonist carrying Del Rey's bloody body from the wreckage in the "Born To Die" video. It all suggested opulence, melodrama and a rippling tragedy; it was high art with an intermittent lowbrow aesthetic: car s**, red Converse high-tops, a lit joint. It was America. Del Rey adds to those themes within her lyrics, smartly criticizing the rose-colored glasses that have tainted American history. Take Born To Die single "National Anthem," whose patriotic imagery builds up a dream relationship before revealing the pitfalls of a manifest-destiny mindset. The video culminates in the assassination of A$AP Rocky-as-JFK. Bereft, in a cream coloured fascinator and quasi-absurd bouffant, our First Lady’s flawless performance of femininity has proven obsolete, shattered by someone else’s boundless pursuit of power and glory. Del Rey whispers in the refrain, her lips sensual and provocative, daring her audience with a knowing gaze. In doing this, she mocks this vacuous promise alongside her own ambitions, too: Lana has indulged in this same performance, using her self and body as a conduit for the American Dream, the tragedy and hedonism of freedom, celebrity, and the unfettered ambition made possible by capitalism. 10 years since her polarizing major-label debut, Lana Del Rey has gone from boundary pusher to trendsetter within music and culture. She allowed pop to be sad, further pushed it towards its future of hip-hop and orchestral sensibilities, and crafted powerful imagery as poignant as it was memorable. Upon first release, it would be fair to say that some people just didn’t get Lana. However, as she charted a path for something different, she cemented herself as a critically and culturally adored pop star representing a new dawn of melancholy in pop. Born To Die didn't just introduce the world to Lana Del Rey — it allowed her to mold it for years to come. The album’s cultural impact shifted the trajectory of pop, alternative airwaves and indie playlists proving there was a place for nuanced theatrics and the need for escapism — offering a sense of dreamscape for an entire generation. Sources to some of the excerpts included: https://grammy.com/news/lana-del-rey-born-die-album-record-year-anniversary https://www.thedailybeast.com/10-years-of-lana-del-reys-****-confounding-born-to-die https://www.stereogum.com/2173945/lana-del-rey-born-to-die/reviews/the-anniversary/ https://consequence.net/2022/01/lana-del-rey-born-to-die-anniversary-essay/ https://i-d.vice.com/amp/en_uk/article/y3vnbb/lana-del-rey-born-to-die And with many excerpts by yours truly
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