In her latest album, Lana Del Rey is giving hope to disillusioned millennials reminiscing America’s utopian era.
The last person I would expect to become a beacon of light in the music world is Lana Del Rey.
No matter what side of the political or social spectrum you may be on, it isn’t hard to see the strain the past year has on the newer generations. The price of living is ever increasing and the country is in politically divide. Nowadays, it’s understandable to see why the majority of Americans are feeling the strain and stress of modern life.
This same depressing disillusionment is also be seen on this year’s music charts. The joyous summer tunes of Katy Perry and Bruno Mars are taking a backseat to more melodramatic tunes this season, such as Harry Style’s “Sign of the Times” and Halsey’s “Now or Never”. The last person I have been expecting to revitalize the pop charts is Lana Del Rey.
Yet here she is, with a halo of white roses, descending to us in a white lace dress as a bright beacon of angelic romanticism. When the California songstress releases the hit single “Love”. The beautifully psychadelic single comes as a dreamy reminder to stop and smell the roses, even in the most strenuous of times.
At first glance, I assumed that this was just another love ballad from the queen of sultry ballads. Then after hearing lyrics “It doesn’t matter if I’m not enough/ For the future or the things to come./’Cause I’m young and in love“, I’m beginning to realize that Del Rey’s version of being in love may not be with a person. Rather, this love is with the old school philosophies of the baby boomer teens from the 1960’s to live and let live, with the good times rolling on.
From her vibrant smile on the album’s cover to her reminiscing of better times in songs like “Coachella-Woodstock on My Mind” and “When The World was at War We Kept Dancing”, Lana Del Rey’s new album Lust for Life is a philosophy of life in a buoyant reality. Mainly through the reminiscing of the beloved times known to most as America’s most peaceful era. A time of free love persevering through political turmoil.
Of course the album still contains Del Rey’s famous artistic melancholy. The best example of this is her imagery of Peg Entwhistle’s Suicide in “Lust for Life”. Lana once again adds to this by perfectly describing the feelings depression of love lost in the ballad “13 Beaches”. Overall, the main upgrade that Lust for Life boasts that Del Rey’s previous LP Honeymoon has been lacking is a persona. One that can arguably become a personification in our reality.
The best example of this personification comes through the Del Rey’s recent fashion statements. Throughout 2017, Lana Del Rey has been showing off her album’s sunnier disposition with her festival looks. This year she has been lavishing herself in flowing pastel dresses and flowers in her hair. This statement has come through the most on her album cover for Lust for Life. Lana wows in a pure white lace dress and white sunflowers in her flowing locks for photographer Chuck Grant.
Lana Del Rey look is absolutely iconic in its influence on Lana’s latest endeavor. She perfectly illustrates the angelic flower power that brought peace to a harsh time in America. As I stated, the last person I would expect to bring positivity to music is Lana Del Rey. But it doesn’t mean I’m happy to be incorrect for once.