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One of the most telling lines from was on the song “Off to the Races”: I’m not afraid to say that I’d die without him.
Within the self-contained world of that album, this was both a low-point and a high-point, with Lana copping to utter reliance on men but also having the self-awareness to say so. I ask her about the line, and she says, “That wasn’t even supposed to be there, and I kind of sang it with a smile, and Dan was looking at me and laughing.
Some criticize the way she seems to idealize powerlessness and servitude, while others appreciate her fluid embodiment of different identities, as well as her candor about both her desire and her weakness.
In any case, her comments on the subject will be disappointing for both camps: “For me, the issue of feminism is just not an interesting concept,” she says.
I’m just kind of fucking around.” She’s already convinced everyone else of her worth, but here she seems to have finally convinced herself.
In that Lizzy Grant interview with Huffington Post, she spoke of her love of American icons: “All the good stuff is real but isn’t, myself included…
Then the big budgets arrived: she sat on a throne backed by two tigers in the video for “Born to Die,” embodied both Jackie O and Marilyn in a span of minutes for “National Anthem” and, for "Tropico" lounged with Elvis and John Wayne in CGI heaven.
Lana Del Rey’s filmography is a master class on how to build an icon, and yet, no footage feels like proof of her iconicity as much as the shaky clip of a teary 2013 performance, shot on a phone by a fan in Dublin. “I’d been sick on tour for about two years with this medical anomaly that doctors couldn’t figure out,” she says, to my surprise.
Lana Del Rey is surrounded by ghosts and completely alone, the last lines of her verses reverbed out and leading nowhere forever. Certainly the rock ballad suits her retro preoccupation; the lead single “West Coast” evokes the opening riff of The Beatles’ “And I Love Her” and the chord progression from The Stooges’ proto-punk “Dirt.” She seems to have found confidence in psych-rock and narcotized swing.
Compared to , the new album sounds far more like straight-up rock music, recorded in live takes with a Nashville band assembled by producer Dan Auerbach.
She’s withdrawing from contemporary pop, a space in which she says she never felt comfortable; gone are the genre-blurring samples that gave her debut the impression of trying too hard to be trendy.
I didn’t really have one fixed way that I could envision myself living.
Going from a good relationship to a good relationship—I thought that was healthy.”Her portrayal of those relationships, though, has prompted mixed reviews among feminists.