- "He says to 'be cool', but I don't know how yet."— "National Anthem"
Influences:Lana Del Rey (born June 21, 1985) is a highly divisive American Indie Pop singer and model. Originally recording under her real name, Lizzy Grant, to little success, she later created her current Lana Del Rey persona after being inspired by her frequent visits to Miami, and wanting a name she could "shape the music towards". Also, she just liked the way it sounded.Essentially, Del Rey made the error of cultivating an "indie" audience before branching into pop, a fate which has befallen singers such as Liz Phair and many others.After settling on her new name, Lana posted a few songs (with accompanying, DIY music videos made on her Mac) to YouTube. One song in particular, "Video Games", caught the attention of many music blogs and critics alike. To capitalize on the sudden interest of the track, Lana released "Video Games" (with a b-side, "Blue Jeans") as a single on Stranger Records in October 2011, and it became a Sleeper Hit all across Europe. Not long afterwards, Lana was signed to Interscope Records, and her (major label) debut Born to Die was released worldwide in January 2012. For a relative unknown like Lana, it actually sold pretty well in its first week; she even managed to knock Adele's 21 off the top spot in many countries, including the UK, and eventually went platinum. Defines her music as Sadcore pop. Opened the door for Lorde to do her good work.Lana is known for her very constructed persona, the character of Lana Del Rey whom she plays in the public eye and explores through her music. She incorporates into her performance a number of influences ranging from dreamily sad hipster aesthetics and romantic hip hop in Born to Die to seventies sex appeal in Ultraviolence and old Hollywood glamour in High by the Beach. The common strains running through her music are themes of deep sadness and melancholy, ennui, disenchantment and romanticised self-destructiveness or depression. She is also known for paying homage to icons in order to associate herself with their brands of mystique or to set moods, including Marilyn Monroe, Lolita, Elvis and Billie Holiday.
- As May Jailer:
- Young Like Me (2005) *
- From The End (2005)
- Sirens (2006)
- As Lizzy Grant:
Singles: "Kill Kill"
- Kill Kill (2008)
- As Lana Del Ray:
- Lana Del Ray (recorded in 2008; released in 2010)
- As Lana Del Rey:
Singles: "Video Games", "Born to Die", "Off To The Races", "Carmen", "Blue Jeans", "National Anthem", "Summertime Sadness", "Dark Paradise"
- Born to Die (2012)
- Paradise (2012)
- Ultraviolence (2014)
- Honeymoon (2015)
- Lust For Life (TBA)
The artist formerly known as Lizzy Grant provides examples of:
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Tropes A to M
- A Wild Rapper Appears: In the second verse of "Delicious".
- Subverted in "Every Man Gets His Wish", in that the rapper is Lana herself.
- Album Title Drop: In "Honeymoon", "Ultraviolence" and "Born To Die", obviously.
- Acronym and Abbreviation Overload: "C U L8r Alligator". Just the title itself, though.
- Affably Evil: Most, if not all of the men she ever brings up. Their being "affable" might be a case of Unreliable Narrator, though:"K's a friend of mine / I think about him as he does time [...] Double homicide, sent him on to death row / Not to hang around, though"
- The Alcoholic: In her youth, when she was just 14. "Bad Disease" is especially frank about her subsequent time of recovery.
- Author Appeal: An awful lot of songs about the Electra complex, coupled with All Girls Want Bad Boys, diamonds ... and soda. New York is also a common theme. Oh, and red dresses.
- Auto Erotica: In "Diet Mountain Dew":"Let's take Jesus off the dashboard / Got enough on his mind""Baby stoppin' at 7-Eleven / There in his white Pontiac heaven"
- All Girls Want Bad Boys: "Born To Die", "Blue Jeans" and "Diet Mountain Dew" on Born To Die. Most of her work is centered around this trope, all the same.
- Anti-Love Song: "Lolita", being named after Lolita."I want my cake and I want to eat it too / I want to have fun and be in love with you"
- "Serial Killer" as well.
- "Live or Die".
- Appeal to Pity: In the context of the song, "Honeymoon" is guilty of this:"We both know that it's not fashionable to love me..."
- Artistic License – Linguistics: "Because Of You" doesn't even break the rules for the sake of a rhyme:"Call me before I get stupid / Make me uncrazy like you did"
- Ax-Crazy: "Kinda Outta Luck" feels rather unhinged in retrospect, as do a few other songs.
- Badass Boast: "Noir" opens with this line:"Walking is an art / So is my body"
"Life is awesome, I confess / What I do, I do the best"
- "Fucked My Way Up To The Top" just loves this trope.
- Better by a Different Name: Literally, because Lana originally had a contract under her birthname Lizzy Grant, and many fans were skeptical when she later became Lana Del Rey.
- Big Applesauce: Several of Lana's songs make local references to New York City, but "Greenwich" is notable for being named in tribute to Greenwich Village, where Lana used to live at one point.
- Boastful Rap: "Delicious".
- Bread, Eggs, Milk, Squick: "Boarding School" has Lana telling us the following:"If you wanna get high with me / I'm in the back, doing crack, drinking P-P-Pepsi"
- Break Up Song: "Video Games", "Blue Jeans", "Dark Paradise", and "Summertime Sadness" from Born To Die.
- "Pawn Shop Blues" and "Brite Lites" from Lana Del Ray.
- "Afraid", "Break My Fall", "Butterflies (Part 1)", "Damn You", and "Dum Dum" from her unreleased catalogue.
- Broken Bird: Think of one genuinely positive song with no darkness whatsoever in her whole discography.
- Call Back: A lot of her songs reference each other. Most notable are the quartet of "1949", "Every Man Gets His Wish", "Hawaiian Tropic" and "Daytona Meth" — all four songs borrow elements from each other, but manage to not feel like a succession of demos.
- "Young & Beautiful" has the lyric "I've seen the world, done it all, had my cake now", referring back to "I want my cake and I want to eat it too" from "Lolita".
- "He used to call me Poison, 'cuz I was Poison Ivy", as heard in "Ultraviolence" — referring back to "Call me Poison Ivy 'cuz I'm far from good" from "Driving In Cars With Boys".
- Camp: Tropico.
- Cannot Spit It Out: A subtext in "National Anthem".
- Casting Couch: "Hit & Run" is centered around this trope. "Put Your Lips Together", too — in a much less spritely manner.
- "Fucked My Way Up To The Top", obviously.
- Lana is a self-professed example of this herself — but according to her, none of those liaisons ever led to a deal.
- Celebrity Endorsement: H&M and Jaguar have utilized her music and her looks for promotional purposes.
- Celebrity Resemblance: With Amy Adams.◊
- Censored Title: In the original album trailer for Paradise, "Cola" was referred to as "Pussy" in the track listing.
- The back cover to Ultraviolence lists "Fucked My Way To The Top" as "*** My Way To The Top", with the full title only appearing in the inside liner notes.
- The Chanteuse: Lana's shtick all throughout the Born To Die era.
- Also her role in the "Blue Velvet" video, due to the song being a vintage cover.
- Cluster F-Bomb: "Scarface", wherein Lana drops the F-bomb about 8 times in the chorus alone — not counting the backing vocals. It amounts to something like 20 times over the course of 2 minutes and 30 seconds.
- "Fucked My Way Up To The Top" stands out, due to her cursing often being more low-key, and in it, she seems to revel in the whole concept.
- Coming-of-Age Story: "Ride" — or more specifically its music video, thanks to Lana's narration throughout.
- "This Is What Makes Us Girls" and "Aviation", too.
- Continuity Nod: Lots and lots, everywhere.
- Cool Shades: None mentioned in "Shades Of Cool", believe it or not — but heartshaped sunglasses appear often elsewhere.
- Corpsing: She lets a giggle slip during the last chorus of "Elvis", quite appropriately:*imitating Elvis' accent* "Thank you very much, and I'm laughing!"
- "Moi Je Joue", "Meet Me in the Pale Moonlight" and "Maha Maha" all see Lana chuckling as each track fades out.
- Cosmic Plaything: "Starry Eyed" and "Tired Of Singing The Blues" both touch on this concept.
- The Cover Changes the Gender: Averted with "Blue Velvet", where Lana kept all the original lyrics, including "she wore blue velvet".
- Also averted with "Chelsea Hotel No. 2".
- The Cover Changes the Meaning: Her version of "Once Upon a Dream" is definitely not the wistful love song it was first written as.
- "The Other Woman" on Ultraviolence seems a little more sinister than Nina Simone's original, with Lana's vocals coming across as jealous, rather than resigned.
- Cover Version: Of Bobby Vinton's "Blue Velvet" for Paradise, "Once Upon a Dream" for Maleficent and Nina Simone's "The Other Woman" for Ultraviolence.
- Cute and Psycho: "Kinda Outta Luck". Its overall sound? Tastes Like Diabetes. Lana herself exudes sweetness in the video. It's not until the lyrics hit you with horror...
- Damn, It Feels Good to Be a Gangster: So very good."It was worth it, paid the price / Life is death when blow is life"
- Dark and Troubled Past: Lana has mentioned having had alcohol problems when she was only 14 years old. She was sent to boarding school, which she loathed even more than her addiction, for it.
- A lot of her songs vaguely reference this and imply certain things that she may have experienced. Whether or not it's based on actual events or is just part of her stage persona isn't certain but it's certainly invoked.
- Dark Reprise: "Flipside" serves as one, thematically, for "Cruel World" on Ultraviolence.
- Darker and Edgier: Ultraviolence is moodier than Born To Die, for sure — but then, so is Born To Die compared to Lana Del Ray.
- A Date with Rosie Palms: "Burning Desire" mentions this."I drive fast, radio blast / Have to touch myself to pretend you're there"
- Dating What Momma Hates: Very much so in "My Momma"."My momma, she would say your hair was too long / But your hair exactly is what I like the best"
- Dedication: Based on their titles: "Dear Elliot", "For K (Part 1)", "For K (Part 2)" and "For You". "Jimmy Gnecco" might also count, even as that's more of an Obsession Song.
"Jim, I'mma dedicate this whole album to you..."
- "You're Gonna Love Me" has an outright declaration, on the other hand:
- Deep South: The setting of "Raise Me Up (Mississippi South)", obviously.
- Deliberately Monochrome: The music video for "Blue Jeans", as well as clips from her own, homemade videos.
- Delinquents: "Boarding School" is about Lana's teenage shenanigans in Connecticut."I'm a fan of the pro-ana nation / I do them drugs to stop the fo-food cravings"
- Department of Redundancy Department: "Delicious" goes ham:"They're disgusting, I'm delicious / They disgust me, I'm delicious / Let's discuss this, I'm delicious"
- Despair Event Horizon: Born To Die may have been a sad record overall, but "Dark Paradise" crushes any hope for happiness, with the narrator becoming suicidal and questioning if she will even find peace in death. Could also be seen as a case of Sanity Slippage.
- Destructive Romance: One of Lana's most common themes — to the point where a love song without destructive tendencies is a rarity coming from her.
- Dissonant Laughter: Of the most unsettling kind, in "Bentley".
- Doom Magnet: "Hangin' Around" finds Lana painting herself as one of these. "Fine China" spares no expense in further lamenting on the same idea.
- Doomed Protagonist: You'd be a fool to expect anythin' else from Lana, but that all works out in her favor, anyway."I'm pretty when I cry..."
- Dream Team: With The Weeknd, whose lyrical style is similarly bleak. She appears on his albums Beauty Behind the Madness and Starboy, and he returned the favor by appearing on Lust for Life's title track.
- Driven to Suicide: "Born To Die", "Summertime Sadness", and "Dark Paradise".
- Drowning My Sorrows: A relapse is implied in "Tired Of Singing The Blues":"A double life, a sordid past, and I am drinking now..."
- Drugs Are Bad: Played With in "Florida Kilos", sorta. Lana seems to think that making cocaine and going to Florida to sell it will do wonders for her love life.
- Electra Complex: Expect to hear the word "daddy" from Lana many, many a time... but not even once in "Daddy Issues".
- Lana's withering attitude towards her mother in "My Momma" reeks of this trope, as well.
- Elopement: Hinted towards in "Yayo":"Put me onto your black motorcycle / Fitted babydoll dress for my "I do" / It'll only take two hours to Nevada / I wear your sparkle, you call me your mama
"We should've left Las Vegas / And then began again"
- "Guns & Roses" on Ultraviolence seems to suggest that things didn't quite work out, though:
- Epic Rocking: Ultraviolence has a lot of this going on, being a mélange of 60s and 70s rock for the most part. "Cruel World", its opening track, is just under 7 minutes long.
- Even the Girls Want Her: The mysterious young starlet from "Carmen".
- Ethereal Choir: "National Anthem", "Young & Beautiful".
- Fading into the Next Song: Lana Del Ray is gapless in parts.
- She has claimed to love "the greats of every genre", citing Kurt Cobain of Nirvana and Elvis Presley (about whom she even wrote a song!) as inspirations.
- Britney Spears, too — Lana has said that Britney is one of the only female artist she enjoys. "Diet Mountain Dew", "Gods & Monsters", "National Anthem", "Ride" and "Burning Desire" all speak to Britney's experiences and music.
- Jimmy Gnecco was an infatuation of hers at some point, leading to the creation of "Jimmy Gnecco".
- Femme Fatale: A common "role" attributed to Lana, but taken and ran with in "Playing Dangerous", where she sings from the perspective of a woman being held for questioning.
- "Kinda Outta Luck" is also told from the point of view of one.
- Flower Motifs: Hydrangeas, thought to symbolize both gratitude and heartlessness — even vanity — appear now and then in Lana's lyrics, the earliest known example of this being "Greenwich" from 2009. Notably, they're always specified to be blue.
- Funetik Aksent: Evident in "Wayamaya" — whose title refers to Waimea, as in Waimea Bay, Hawaii.
- Genre Roulette: Having begun her musical career for real sometime in 2005, Lana has managed to go through a whole lot of genres in search of "her" sound.
- Sirens (2006) is all-acoustic — as are most of the webcam demos she made in the interrim between this album and Lana Del Ray.
- Lana Del Ray (recorded in 2008, released in 2010) is "surf noir" according to Lana herself. A lot (if not all) of her unreleased 2009 tracks fall into this genre, too.
- 2010 saw Lana taking a quick detour into pop music, before she settled for some kind of medium between the "surf noir" of Lana Del Ray and the sadcore of Born To Die in 2011.
- Born To Die and Paradise (both 2012) are both considered sadcore, or rather, "Hollywood sadcore".
- All of her unreleased tracks from 2012 onward are recognized as sadcore too, although her 2013 work is a lot calmer than the orchestral swells that make up large parts of Born To Die and Paradise, and lacks the trip-hop stylings of those offerings.
- Ultraviolence (2014) focuses on instrumentation over vocals, and is louder than her previous work overall, with a lot of wailing guitars and the like.
- Honeymoon (2015) takes a hard turn towards the cinematic end of the musical spectrum, and is by far Lana's most sedated album to date.
- Genre Shift: As detailed above, Lana had to go through a lot of genres before finding her niche and demographic with Born To Die's sadcore.
- Good Bad Girl: Subverted in "Kinda Outta Luck". The first 1:20 are spent building a "Good Bad Girl with bad self esteem getting rescued by Prince Charming" kind of narrative... and then... oops.
- Otherwise played straight with most of her work — "St. Tropez" and "Backfire" are good examples.
- "This Is What Makes Us Girls", too.
- Gratuitous French: Featured in "Carmen", and more prominently in "Moi Je Joue":"You know what they say / Voulez vous coucher avec moi? / Can't you see yourself with me, hey?"
- Translation of the verse in "Carmen": "My love, I know that you love me too / You need me / You need me in your life / You can't live without me / And I would die without you / I would kill for you"
- Grief Song: Heavily implied in "Dark Paradise":"I'm scared that you won't be waiting on the other side""Your soul is haunting me and telling me / That everything is fine / But I wish I was dead"
- "Kill Kill"
- "TV in Black & White"
- Growing Up Sucks: The moral of "This Is What Makes Us Girls".
- Hipster: Most of the barbs levied towards Lana accuse her of being one, but she wallows in it."And my jazz collection's rare / I can play most anything / I'm a Brooklyn baby"
- Hooker with a Heart of Gold: Quite a common theme of hers, but especially prevalent in "Hundred Dollar Bill".
- "Carmen" is all about one.
- If I Can't Have You...: A line repeated verbatim in "Jealous Girl".
- I Have Many Names: Hoo, boy. In rough, chronological order (besides Lana Del Rey):"You my little sparkle jump rope queen / You my little sparkle"
- It's Pronounced "Tro-PAY": Emphasis on the "A", not the "N".
- Intentionally Awkward Title: "Fucked My Way Up To The Top".
- Intercourse with You: "Burning Desire" is pretty heavily sexual, as is "Gods & Monsters" on her Paradise EP. Born To Die has "Diet Mountain Dew" talking about showing her what fast is.
"Sittin' on your lap, singing you my song / Ooh-ooh-ooh / Got a lollipop, I'll give you some / I'll fuck you"
- Very much the subject of both "Push Me Down" and "Behind Closed Doors", but the prize goes to "Be My Daddy" for frankness:
"You've got me dancing up the stairs now, man..."
- Kind of a subtext in "Let My Hair Down":
- Lady in Red: Red dresses appear here and there in Lana's music, and are a staple of hers on stage.
- "Put Me In A Movie".
- A few of her various Teacher/Student Romance songs, as well.
- Despite its title, "Lolita" doesn't really touch on matters of age — but the implications are definitely there if you squint.
- Laugh of Love: In the video for "Love", the featured couples tend to laugh when they're together.
- Lonely at the Top:
"You did it all for fame / Tell me how it treats you now / You did it all for fame / How does that taste coming out?"
- "Best American Record":
- "Dear Elliot" is less blatant, dealing instead with Lana's longing for this person rather than calling them out.
- Love Nostalgia Song: "Blue Jeans", "Dark Paradise", and "Summertime Sadness".
- "Young & Beautiful" and "Back To Tha Basics" too, although the latter isn't as bittersweet as the others.
- "My Best Days" and "You & Me", as well.
- "TV in Black & White", which also doubles as a Grief Song.
- Love Is A Drug: Pretty explicitly stated all throughout Lana's discography.
- Lyrical Dissonance: "Lucky Ones" has an extremely dark instrumental for one of her happiest love songs lyrically.
- In "Off to the Races", one of her more upbeat songs, she sings "I'm your little harlot, starlet, queen of Coney Island" in a high-pitched girly voice.
- Lighter and Softer:
- Honeymoon compared to Ultraviolence.
- "Love" and its music video are much gentler than her previous singles. She's also happily smiling in the video, a rarity for her.
- Madness Mantra: In "Raise Me Up (Mississippi South)":"Ray, Ray, Ray — raise me up!"
"Give it to me, give it to me, everything / You know how I like my world on a string"
- Indeed, the song was first titled "Rayse".
- "Catch and Release" has this line, which gets worse in the Nightmare Fuel-doused bridge:
- "Maha Maha" gets pretty intense in the chorus, thanks to one of these. Loha loha, mahi mahi, yoha yoha...
- May–December Romance: "Off to the Races". Alluded to, in "Jump". "Dance For Money" is the most upfront about Lana's preferences:"I like them over fifty / I like to play for money"
- Lampshaded in "Cola".
- Melismatic Vocals: Lana uses plenty of flourishes in her voice.
- Notable examples of this are "Off To The Races" and "Million Dollar Man".
- Midword Rhyme: Sirens is particularly full of these, as are the preceding EPs Young Like Me and From The End.
- Miniscule Rocking: A few of her (invariably acapella) concept demos. "Crooked Cop" is the shortest one known of, having a runtime of exactly 50 seconds.
- Money Song: "National Anthem", "Radio" and "Money Power Glory".
"One day I'll drive in a gold Mercedes Benz / Singing opera on Bel Air Road"
- "Hundred Dollar Bill" and "Money Hunny" as well, less facetiously in both cases.
- "Hollywood" combines this with Call Backs to Paradise and preemptive Badass Boasting:
- The Mourning After: "Summertime Sadness" seems to deal with a lover's death, and the emptiness of such a thing's wake. Much of Lana's music can be interpreted similarly." I think I'll miss you forever / Like the stars miss the sun in the morning sky"
- Move Along, Nothing to See Here: Lana wonders if you've ever "seen a dead man lyin' in the road" in "Money Hunny", and invokes the trope within seconds:"Have you ever heard his best friend say you'd better go? / Before you get fined, or else you'll do time..."
- Mundane Made Awesome: Lana's shopping trip in "Blizzard", somewhat hilariously. She found a really cool belt in a lame department store.
Tropes N to Z
- Neoclassical Punk Zydeco Rockabilly: Born to Die is a mixture of rock, pop, orchestral, R&B, alternative, and hip-hop.
- Most people just consider it sadcore though, in accordance with Lana's own words.
- New Sound Album: Compare Lana Del Ray to Born To Die and Paradise — or Born To Die and Paradise to Ultraviolence.
- Non-Appearing Title: She has a lot of these, such as "Cruel World" on Ultraviolence.
- Obsession Song: "Born To Die", "National Anthem", "Without You", "Dark Paradise", and the vast majority of the Paradise EP.
- In truth, a lot of her songs have an obsessive edge to them. Born To Die and Paradise are tame when compared to unreleased songs like "You're Gonna Love Me", "C U L8r Alligator" or "Midnite Dancer Girlfriend".
- Ode to Intoxication: Lana has a few, but "Florida Kilos" and "High By The Beach" both get a special mention for not being about alcohol.
- Ode To Sobriety: "Bad Disease" is one, and rather chilling given the circumstances of its creation."Will no one help me, please?"
- The Ophelia: Like flowers especially crown of it, sing in a ethereal way about being heartbroken and other dark subjects and used to have long hair.
- Outlaw Couple: "Off To The Races"."My old man is a thief, and I'm gonna stay and pray with him till the end..."
- Pep Talk Song: "For You" and "Wait" on From The End.
- Power of Friendship: "This Is What Makes Us Girls".
- Precision F-Strike: A couple.
"In the land of gods and monsters, I was an angel / Looking to get fucked hard"
- "Gods & Monsters":
"I keep running 'round the same town / Knocking you down / I'm fucked"
- "Tired of Singing the Blues":
"I pray your life is sweet / You fucker / Damn you"
- "Damn You":
"Now my life is sweet like cinnamon / Like a fuckin' dream I'm livin' in"
"Mimicking me is a fucking bore to me."
- "Fucked My Way Up To The Top":
"You're dancing circles around me / You're fucking crazy"
- "Cruel World":
- Pretty in Mink: She's worn some fur wraps and coats in various photoshoots and magazines."In my white mink, pink cigarettes from the store / We're making robberies from Tijuana to the shore"
- Rearrange the Song: The live version of "National Anthem" combines elements of one of the unreleased demos with the final album version.
- Recycled Lyrics: Happens a lot, but for the most part with a little variation to mix things up.
- Recurring Character: "K", "Jimmy" and "Bill" are mentioned in quite a few of her songs. However, it's unclear whether they're fictitious or actual people Lana once knew.
- "Jimmy" is Jimmy Gnecco, according to observations made by fans.
- Revealing Cover-Up: Once, in a 2010 interview, Lana mentioned a certain Mr. Campbell — who apparently introduced her to Nirvana. After fans inferred that Mr. Campbell was the subject of Lana's various Teacher/Student Romance songs, he turned into Mrs. Campbell when brought up in another interview, a year later. Quoth "Prom Song (Gone Wrong)":"You played me Biggie Smalls / And then my first Nirvana song"
- Rock Star Song: She mostly mocks this trope in "Carmen", "Lolita", "Gods & Monsters", "Ride" and "Radio".
- Rapunzel Hair: Her hair used to be rather long.
- Red Baron: Lana refers to herself as the "queen" of various things, in various songs. It becomes something of a Running Gag at length.
"They call me 'Firecracker'..."
- "Go Go Dancer" and "Midnite Dancer Girlfriend" share this line:
- Rerelease the Song: Happened to "Yayo", which is on Lana Del Ray as well as Paradise.
- Rhyming with Itself: "Yayo" rhymes "now" with "now".
- The chorus of "Video Games" rhymes "you" with "you" and "do" with "do". Three times each.
- Road Trip Romance: "On Our Way" and "1949". Lana sings about her cheating partner embarking on one of these with a new catch in "In The Sun", as well.
- To a lesser degree in "Driving In Cars With Boys", despite the title.
- Romanticized Abuse: This line from "Beautiful Player", which doubles as a Shout-Out to the 1962 song "He Hit Me (And It Felt Like A Kiss)" by The Crystals:"Hit me and it felt like a kiss / You know it hurts so good when you do me like this"
"I can hear sirens, sirens / He hit me and it felt like a kiss / I can hear violins, violins / Give me all of that ultraviolence"
- "Ultraviolence" reuses this line, and goes even further:
"Hit me my darling tonight / I don't know why but I like it"
- "Diet Mountain Dew" has this line in one of its demo recordings:
"Spotlight, bad baby — you've got a flair / For the violentest kind of love anywhere out there"
- "Bel Air" plays with this, painting the subject of Lana's attention as somewhat meek to start, but then:
- Rule of Symbolism: Of the religious kind, in "Fordham Road":"The stone Mary in the garden / She let me know she watching"
- Runaway Fiancé: "Fine China" is about one, and is easily one of Lana's most heartrending songs for that alone."I wore diamonds for the birth of your baby, for the birth of your son / On the same day my husband-to-be said he wouldn't come"
- Sampling: Goes on a lot. Notable examples include:
- Scatting: Lana is fond of doing this live, with mixed results.
- Done to great effect, however, in "Wait For Life", and to a lesser extent in "Honeymoon".
- Self-Backing Vocalist: Lana harmonizes with herself in near-enough all of her webcam demos.
- In-studio, "National Anthem" is a good example of her making a choir of her own voice behind her. Also, on The Other Wiki, she is the only credited vocalist on Born To Die.
- Self-Deprecation: "Sad Girl" from Ultraviolence.
"I fucked my way up to the top / This is my show"
- "Fucked My Way Up To The Top" mixes this and Badass Boasting:
"Sometimes I rap too / I'm a white girl / But the world is my oyster / I'm a little pearl, yup"
- For a change of pace, Lana raps in "Playground". Quoth the last verse:
- Self Empowerment Anthem: "For You" has shades of this trope, somewhat unexpectedly given Lana's usual range of subject matters.
- Self-Titled Album: Her first album, titled Lana Del Ray (she had come up with the Lana Del Ray moniker around the time of the album's conception).
- Sequel Song: "For K" is split in two, as is "Butterflies".
- "For K (Part 1)" may not even have leaked yet, but it is commonly considered to be one of the songs on Sirens, which first leaked without labels.
- Serial Killer: "Kinda Outta Luck" is about one. "Serial Killer" isn't.
- Short Title: Long, Elaborate Subtitle: "Gramma (Blue Ribbon Sparkler Trailer Heaven)".
- Shout-Out: A whole bunch of 'em to Lolita, not even including her numerous references to heartshaped sunglasses:
"Light of my life, fire of my loins."
- The song "Lolita".
- As heard in the pre-chorus of "Off to the Races":
"Flame-colored paradise for you, darling / But death doesn't come with a warning""Paradise is a hell-colored flame sky / Is it nice to feel free and wild?""I like your ultraviolent swing / I like it when you treat me mean"
- "Put Me in a Movie" is what Quilty's Image Song would have sounded like, if he'd had one.
- "1949" is laced with 1950s nostalgia, and is a tale of Road Trip Romance, as stated above. It also has Lana calling her lover "daddy" more than in all of her other songs combined.
- There's an a capella demo for "Carmen" titled "Little Carmen", just like Dolores' favorite record in the book.
- A quote from Humbert in Lolita is "[...] I still dwelled deep in my elected paradise - a paradise whose skies were the color of hell-flames - but still a paradise.” Both the songs "Velvet Crowbar" and "Angels Forever, Forever Angels" refer to this:
- "Summer of Sam".
- "Carmen" and "Kinda Outta Luck" both seem to reference A Streetcar Named Desire, talking about "the kindness of strangers" — which is a paraphrase of a quote, and a major theme of the play.
- The music video for "Young & Beautiful" features an orchestra that is shot exactly like the one in Fantasia, right down to the silhouettes, the shadows, and the colored lighting.
- It could be considered a Call Back to the (cartoon) orchestra featured in Lana's homemade video for "Video Games", too.
- The original video for one of the demo versions of "Lolita" also features scenes from Pretty Guardian Sailor Moon. One has to wonder how much she might know about Sailor Moon...
- Shrouded in Myth: Not much is known about Lana's life pre-fame, and the content in her songs results in tons of speculation from fans.
- It almost becomes a point of controversy since Lana claims many of her songs are about her own life and many have no way of debunking or verifying these claims.
- Sigh of Love: She does this a few times when around her primary love interest in the video for "West Coast".
- Silly Love Songs: "Lucky Ones".
- Singer Name Drop: "This Is What Makes Us Girls", through singing another "character's" dialogue."Lana, how I hate those guys!"
"Lana Del Rey, how you get that way?"
- Also in '"Every Man Gets His Wish":
"He said: Lana-Ray, will you serve me lemonade?"
- And again in "Trash Magic":
"I'm Lana Del Rey from the U.S. of A.."
- "Criminals Run The World":
"Do you miss hearing me sing; calling me Lana?"
"I remember we came in May, and we changed our names to Lana and Ray."
- "Wayamaya" hints at the origin of her Pen Name in a similar fashion to "Trash Magic":
- Slap-Slap-Kiss: "Roses".
- Smarter Than You Look: She invented the Lana Del Rey (then spelled Lana Del Ray) persona by herself back in 2008, and writes both the words and the melodies for most (if not all) of her material.
- Smoking Is Glamorous: Often invoked as part of her "Old Hollywood starlet" image."I hope you remember me like this / Smoking cigarettes in my sundress"
- Something Blues: "Pawn Shop Blues" on Lana Del Ray.
- Spell My Name with an "S": It's spelled Lana Del Ray when referring to her debut album, and Lana Del Rey otherwise.
- She discarded the "a" in favor of an "e" sometime after the release of Lana Del Ray in 2010. That album was promoted with the correct spelling for a while, but the older variation stuck all the same.
- Stepford Smiler: "Carmen", "All Smiles".
"I'm not who you think I am / Smiling but I ain't happy"
- In "Tired Of Singing The Blues":
"So many people think that you have it together / But they don't see you crying in the shower, but I can make you better"
- Lana sings about her lover being one of these in "Birds of a Feather":
- Studio Chatter: Between the chorus and the second verse of "West Coast":"Mic check — one two, one two... get it, girl!"
- Subdued Section: "Diet Mountain Dew" — being one of the most upbeat songs on Born To Die — has one, with the beat dropping out for a few measures and the singing being softer.
- Title Track: Born To Die, Ultraviolence and Honeymoon each have them.
- Take That!: "So Legit", being a decidedly unsubtle "The Reason You Suck" Speech towards Lady Gaga:"Stefani, you suck."
- Take That!:
"All dressed up with nowhere to go / That's the story of the girl you know — me..."
- Take That, Critics!: "Radio" can be interpreted this way, as can more than a few of the songs on Ultraviolence. "I'm a dragon, you're a whore" is one example. This trope might've reached its apex, however, in the video for "High By The Beach", which shows Lana blowing up a paparazzi helicopter at her beachside estate using a decidedly Heavy Metal-esque assault rifle.
- Take That Me: According to Word of God, "This Is What Makes Us Girls" — a song about a young woman falling in and out of the wrong side of the track — is autobiographical.
- Take That, Audience!: In a recent interview: "I just don't want them to hear it. I'm very selfish; I make everything for me... It's just for me. I don't want them to hear it or think about it; it's none of their business."
- Talks Like a Simile: A lot in "JFK".
- Also in "Hot Hot Hot", if more subtly.
- Teacher/Student Romance: The focus of the songs "Baby Blue Love", "Boarding School", "Marilyn Monroe", "Ridin'", "Take Me To Paris", and "Prom Song (Gone Wrong)". Alluded to in "Lolita".
- Three Chords and the Truth: Sirens is made up of 15 acoustic songs, all written using the same four chords.
- A lot of Lana's earlier tracks (or at least those made in the interrim between Sirens and Lana Del Ray) are stripped-back in comparison to those found on Born To Die and Paradise.
- Trademark Favorite Food: Spaghetti and chocolate cake, according to an interview with Vogue Australia.
- All kinds of soda, for that matter. This might seem inferred from song titles like "Cola" or "Diet Mountain Dew", but she mentions a lot of different sodas in a lot of other songs.
- Unusual Euphemism: "Fly body, dope in the face."
- Used to Be a Sweet Kid: You'd think so, what with Sirens focusing on love (and loss) in a much Lighter and Softer way than Born To Die.
- That being said, tracks like "My Momma" are proof that May Jailer already had shades of the Darker and Edgier Lana Del Rey in her.
- The Vamp: Far too often to list.
- Vocal Tag Team: With her (ex-)boyfriend Barrie-James O'Neill in their cover of Lee Hazlewood's "Summer Wine".
- Walking Shirtless Scene: Lana's love interest in the videos for "Born to Die" and "Blue Jeans".
- We Used to Be Friends: With Lady Gaga, if "So Legit" is any indication.
- Wham Line: "My pussy tastes like Pepsi-Cola."
- Word Salad Lyrics / Phrase Salad Lyrics: "Come When You Call Me A.M.E.R.I.C.A." — both versions, at that.
"If heaven thinks that everything is everything..."
- "Methamphetamines". Good grief.
- "Dayglo Reflection":
- World of Symbolism: Tropico pretty much runs on this, being "a tale of redemption" — i.e. a retelling of the beginning of Genesis according to Lana.
- Wrong Side of the Tracks: "Cola" references LA's skid row.
"Thirty blocks to Fordham Road / That's a bad neighborhood / Crackhouse on the corner / I know I shouldn't do what it is I could"
- Lana paints us a picture of Fordham Road in "Fordham Road":
- Yandere: "She's Not Me".
- "Jealous Girl".
- You Gotta Have Blue Hair: Lana's brooding sweetheart in "Birds Of A Feather":"Met you in front of a diner and you had blue hair..."
- Your Cheating Heart: A recurring theme in her music. So much so that she did a cover of Nina Simone's "The Other Woman" on Ultraviolence.
"I'm everything you want, but it's hard to decide / 'Cause everybody wants true love on the side""I am sleeping with your best friend / How do you like me now?"
- Lana's topic of choice in "True Love On The Side" and "Get Drunk":
"Your problem with commitments / The bane of my existence"
- In the video for "Ride", Lana goes so far as to state she was "born to be the other woman" — and that is indeed a recurring theme of hers — but in contrast, the songs "In The Sun", "She's Not Me", "Damn You" and "Other Woman" (unrelated to the above mentioned cover) all put her on the victim end of an affair.
- "Sad Girl" on Ultraviolence is about two women competing for a man's attention. It's unclear which one of them is the other woman.
- Cheating is alluded to in "Resistance", by way of the following line:
- "He said to 'be cool', but I'm already coolest."