Last year, Elizabeth Grant (Lana Del Rey’s given name) defended herself against a slew of critics that now adored her – in a puzzling, potentially career-finishing statement. That trauma was the early 2010s, and the way social media viciously tore into the decade’s first musical star – Lana Del Rey. Many found Cooper’s article to be strangely venomous towards a certain Taylor Swift, but Lana’s admirers’ aggressive defensiveness may come from a place of near-trauma. Wasn’t this self-assured narrator just singing about how he hit me and it felt like a kiss ?Īround the time ‘NFR’, as it’s known, came out, Duncan Cooper of Vice boldly claimed that if it wasn’t for Lana Del Rey, there would be no Billie Eilish or Lorde. You fucked me so good that I almost said, I love you. God-damn man child, the Manhattan singer croons. When I first heard the opening lines of Lana Del Rey’s 2019 record ‘Norman Fucking Rockwell!’, I was perplexed. A full decade after she blew up with her viral hit Video Games, it’s worth asking can an artistic persona pull through the social media age, or is it meant to be destroyed by parasocial relationships (and rivalries) we form with the people behind them? Lana Del Rey is back with her seventh studio release, ‘Blue Banisters’, tomorrow – and off social media indefinitely.
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