Just a note of thanks to Dancing_Doll for putting me onto this lady.
Truly extraordinary voice. Recommend members take a listen to her profile page.1G4WCWc0tqTNcSne
Quote by AlexaFox
I have been a fan of Lana for quite some time now, I only have her songs on my iPod and even tho I've listened to all her songs over 100x i don't get tired of hearing them. Shes such an under rated artist just like Florence and the Machine, I'm glad more and more people are discovering her beautiful voice and unique lyrics. My favorite songs from her (even tho its a hard decision cause i love them all!) are This is What Makes Us Girl, God&Monsters, and Young and Beautiful. Although Blue Jeans is amazing too! .. and Ride... and Dark Paradise.. Damn it, i cant pick! Shes just too amazing, plus shes beautiful.
Total girl crush... maybe a bit of a lesbian crush lol xxx
Quote by AlexaFox
.. and Ride...

Quote by Quote
Pop music fans are always quick to go to bat for their favorite artists, whether or not it’s justified — but the outrage was well-earned when Lana Del Rey’s “Young and Beautiful” was passed over for an Oscar nomination this year.
And yet, the aching, wistful ballad, used as the theme song for Baz Luhrmann’s 2013 film adaptation of The Great Gatsby, wasn’t just snubbed for a Best Original Song nod at the 86th Academy Awards — it may have been legitimately sabotaged. So what happened?
According to a Deadline report from December, an anonymous envelope was “mailed to various members of the Academy’s music selection committee,” which included a print-out of a fake Variety web article alleging that Lana’s song was somehow ineligible for the Best Song nomination due to “a technicality involving The Great Gatsby‘s changed release date.” Upon further investigation, Academy members realized that the article was in fact doctored. (Stop me if you’ve already seen this plot play out in a Hitchcock flick — or maybe Clue.)
From Deadline:
Insiders said attempts to figure out the sender were unavailing, so the studio and Interscope focused on setting the record straight with the Oscar committee member who reported receiving the missive and others who might have. Warner Bros, which has several songs from the Baz Luhrmann-directed film on the just-release long list of 75 eligible tunes, is now recutting a music featurette to emphasize the collaboration between Luhrmann and Del Rey on the song, which plays in the scene where Gatsby (Leonardo DiCaprio) regales Daisy (Carey Mulligan) with the grandeur of his mansion. And yes, the song is Oscar-eligible.
By the time nominations were announced, the damage may already have been done: The song was left off of the final list of nominees — even after a second controversy swept the category. (Yes, really.)
Upon the announcement of the official nominees in mid-January, one song in particular stuck out as a fairly unusual entry: Composer Bruce Broughton’s “Alone Yet Not Alone,” the title track of a small, independent Christian film, which brought in less than $150,000 at the box office.
By the end of the month, the curiously below-the-radar selection had been pulled from the category — which has happened a mere handful of times in the history of the Academy Awards. So why was it removed? Because of an e-mail reportedly sent from Broughton to 70 members of the Academy, politely encouraging them to consider his song for the nomination. But the message alone wasn’t enough to cost the song the nomination: It was the fact that Broughton is an executive committee member of the music branch of the Academy, and previously acted as an Academy governor up until 2012. As a result, his influence on voters was called into question.
Regardless of whether or not the Academy was right in pulling Broughton’s nomination, the fact remains that “Young and Beautiful” sat there in silence, shedding a lone, glamorous tear while a battle of technicalities raged on in front of her innocent eyes.
Quote by Dancing_Doll
Have you heard this acoustic performance of Ride? It's kind of random - on some talk show on the Netherlands - but I've listened to it so many times. I love the quiet vulnerability of this piece.
I like the original album version as well obviously, but it's quite a melancholy song at heart, and it's really beautiful when it's stripped down.


