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Lana Del Rey
Lana Del Rey A.K.A. Elizabeth W. Grant
Lana Del Rey (born June 21, 1985) is a
American 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
, 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 "
" audience before branching into pop, a fate which has befallen singers such as
and many others.
After settling on her new name, Lana posted a few songs (with accompanying, DIY music videos made on her Mac) to
. 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
, "Blue Jeans") as a single on Stranger Records in October 2011, and it became a
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
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. More to come.
Discography As May Jailer: Young Like Me (2005) * From The End (2005) Sirens (2006) As Lizzy Grant: As Lana Del Ray: Lana Del Ray (recorded in 2008; released in 2010) As Lana Del Rey: Filmography As Lizzy Grant: As Lana Del Rey: The artist formerly known as Lizzy Grant provides examples of: 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 "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:
'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. 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". Arson, Murder, and Jaywalking: "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"
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"
"Fucked My Way Up To The Top" just loves this trope.
"Life is awesome, I confess / What I do, I do the best"
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. Boastful Rap: "Delicious". 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. 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. ◊ 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. Cannot Spit It Out: A subtext in "National Anthem". 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 and Nina Simone's "The Other Woman" for Maleficent Ultraviolence. Lana has also published covers of Leonard Cohen's "Chelsea Hotel No. 2" (as mentioned above) and Lee Hazlewood's "Summer Wine" on her personal YouTube channel. Cute and Psycho: "Kinda Outta Luck". Its overall sound? Tastes Like Diabetes. Lana herself exudes Spoiled Sweet in the video. It's not until the lyrics hit you... 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". Dear Negative Reader: Lana has been known to... respond to her detractors on social media sites. Dedication: Based on their titles: "Dear Elliot", "For K" and "For You". "Jimmy Gnecco" might also count, even as that's more of an Obsession Song. "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. 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"
Destructive Romance: Implied many times, but most heavily in "Diet Mountain Dew". The demo is most blatant:
"Hit me my darling tonight / I don't know why but I like it"
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..."
Driven to Suicide: "Born To Die", "Summertime Sadness", and "Dark Paradise". 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
"Guns & Roses" on Ultraviolence seems to suggest that things didn't quite work out, though:
"We should've left Las Vegas / And then began again"
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. Fangirl: 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. She said that Britney was the only female artist she enjoyed. Diet Mountain Dew, Gods and Monsters, National Anthem, Ride and Burning Desire 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 told from the point of view of one. 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, if still sedated sound of Born To Die and Paradise. Ultraviolence (2014) focuses on instrumentation over vocals, and is louder than her previous work overall, with a lot of wailing guitars and the like. 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. 2009 seemed an eventful year in general, as far as her escapades in the studio went. Just compare Maha Maha, Golden Grill and Catch and Release. For reference, these are all from one session with Princess Superstar. 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": 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" Gratuitous Panning: "Betty Boop Boop" and the second demo of "Put Me In A Movie" are really fond of the left channel, though the latter might be due to a recording issue. 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. 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 Is Pronounced Tro PAY: Emphasis on the "A", not the "N". 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. Very much the subject of both "Push Me Down" and "Behind Closed Doors". Kind of a subtext in "Dance Man":
"You've got me dancing up the stairs now, man..."
* Lady in Red: Red dresses appear here and there in Lana's music, and are a staple of hers on stage. Lolicon: "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. 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. 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"
"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". 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 E Ps 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". "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:
"One day I'll drive in a gold Mercedes Benz / Singing opera on Bel Air Road"
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. 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. Ode to Intoxication: Lana has a few, but "Florida Kilos" gets 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?"
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"
"Tired of Singing the Blues":
"I keep running 'round the same town / Knocking you down / I'm fucked"
"I pray your life is sweet / You fucker / Damn you"
"Now my life is sweet like cinnamon / Like a fuckin' dream I'm livin' in"
"Fucked My Way Up To The Top":
"Mimicking me is a fucking bore to me."
"You're dancing circles around me / You're fucking crazy"
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 knew. "Jimmy" is Jimmy Gnecco, according to observations made by fans. Revealing Coverup: 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. "Go Go Dancer" and "Midnite Dancer Girlfriend" share this line:
"They call me 'Firecracker'..."
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"
"Ultraviolence" reuses this line, and goes even further:
"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"
Rule of Symbolism: Of the religious kind, in "Fordham Road":
"The stone Mary in the garden / She let me know she watching"
Sampling: Goes on a lot. Notable examples: Most of the songs from Born To Die — and some from Paradise — sample Rick James performing "Mary Jane" live. "Born To Die" itself samples Mountain performing "Long Red" live, for that matter. One of the "Lolita" demos is De Kift's "Blind" with extra instrumentation and Lana's vocals. Scatting: Lana is fond of doing this live, with mixed results. 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. "Fucked My Way Up To The Top" mixes this and Badass Boasting:
"I fucked my way up to the top / This is my show"
Self Empowerment Anthem: "For You" has shades of this trope, somewhat unexpectedly. 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). 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: The song "Lolita". As heard in the pre-chorus of "Off to the Races":
"Light of my life, fire of my loins."
"I like your ultraviolent swing / I like it when you treat me mean"
"Summer of Sam". "Carmen" and "Kinda Outta Luck" both seem to reference , talking about "the kindness of strangers" — which is a paraphrase of a quote, and a major theme of the play. A Streetcar Named Desire 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 One has to wonder how much she might know about Pretty Guardian Sailor Moon. ... 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. 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!"
Also in '"Every Man Gets His Wish":
"Lana Del Rey, how you get that way?"
And again in "Trash Magic":
"He said: Lana-Rey, will you serve me lemonade?"
"Criminals Run The World":
"I'm Lana Del Rey from the U.S. of A.."
"Do you miss hearing me sing; calling me Lana?"
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". In "Tired Of Singing The Blues":
"I'm not who you think I am / Smiling but I ain't happy"
Lana sings about her lover being one of these in "Birds of a Feather":
"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"
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. Suspiciously Similar Song: "Methamphetamines" sounds identical to Nino Rota's theme for the 1968 cinematic adaptation of Romeo and Juliet, in terms of chord progression. Rota is credited in part, however, with the production of "Old Money" — the successor to "Methamphetamines" that was put on Ultraviolence. Lana was supposedly unaware of the instrumental's origin before wanting to put the song out, which is what prevents this example from being a good ol' case of Sampling. Title Track: Born To Die and Ultraviolence both have them. Take That: "So Legit", being a decidedly unsubtle "The Reason You Suck" Speech towards Lady Gaga: Take That: 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. 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.
"All dressed up with nowhere to go / That's the story of the girl you know — me"
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. "Methamphetamines". Good grief. "Dayglo Reflection":
"If everything said everything, is everything?"
World of Symbolism: Tropico pretty much runs on this, being "a tale of redemption" — i.e. a retelling of the 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"
Yandere: "She's Not Me". 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. Lana's topic of choice in "True Love On The Side" and "Get Drunk":
"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?"
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" and "Damn You" 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.