Raised in upstate New York, Del Rey moved to New York City in 2005 to pursue a music career. After numerous projects, including her self-titled debut studio album, Del Rey's breakthrough came in 2011 with the viral success of her single "Video Games"; she subsequently signed a recording contract with Polydor and Interscope. She achieved critical and commercial success with her second album, Born to Die (2012), which contained the sleeper hit "Summertime Sadness". Del Rey's third album, Ultraviolence (2014), featured greater use of guitar-driven instrumentation and debuted atop the U.S. Billboard 200. Her fourth and fifth albums, Honeymoon (2015) and Lust for Life (2017), saw a return to the stylistic traditions of her earlier releases, while her critically acclaimed sixth album, Norman Fucking Rockwell! (2019), explored soft rock. Her next studio albums, Chemtrails Over the Country Club and Blue Banisters, followed in 2021. Her ninth studio album, “Did you know that there's a tunnel under Ocean Blvd” was released on all platforms March 24th 2023. It includes singles like the title track - "Did you know that there's a tunnel under Ocean Blvd", "A&W", and "The Grants".
Del Rey has collaborated on soundtracks for visual media; in 2013, she wrote and starred in the critically acclaimed musical short Tropico and released "Young and Beautiful" for the romantic drama The Great Gatsby. In 2014, she recorded "Once Upon a Dream" for the dark fantasy adventure film Maleficent and the self-titled theme song for the biopic Big Eyes. Del Rey collaborated with Ariana Grande and Miley Cyrus on "Don't Call Me Angel" for the action comedy Charlie's Angels (2019), which peaked at number 13 on the U.S. Billboard Hot 100. Additionally, Del Rey published the poetry and photography collection Violet Bent Backwards Over the Grass (2020).
She is the recipient of various accolades, including two Brit Awards, two MTV Europe Music Awards, and a Satellite Award, in addition to nominations for six Grammy Awards and a Golden Globe Award. Variety honored her at their Hitmakers Awards for being "one of the most influential singer-songwriters of the 21st century".
AW
Lana Del Rey Lyrics
Jump to: Overall Meaning ↴
I haven't seen my mother in a long, long time
I mean, look at me, look at the length of my hair
My face, the shape of my body
Do you really think I give a damn what I do
After years of just hearing them talking?
I say I live in Rosemead
It doesn't really matter
Doesn't really, really matter
Call him up, come into my bedroom
Ended up, we fuck on the hotel floor
It's not about havin' someone to love me anymore
This is the experience of bein' an American whore
Called up one drunk, called up another
Forensic Files wasn't on
Watching Teenage Diary of a Girl
Wondering what went wrong
I'm a princess, I'm divisive
Ask me why, why, why I'm like this
Maybe I'm just kinda like this
I don't know, maybe I'm just like this
I say I live in Rosemead
Really, I'm at the Ramada
It doesn't really matter
Doesn't really, really matter
Call him up, he comes over again
Yeah, I know I'm over my head, but, oh
It's not about havin' someone to love me anymore
No, this is the experience of bein' an American whore
I mean, look at my hair
Look at the length of it and the shape of my body
If I told you that I was raped
Do you really think that anybody would think I didn't ask for it?
I didn't ask for it
I won't testify, I already fucked up my story
On top of this, so many other things you can't believe
Did you know a singer can still be
Lookin' like a side piece at thirty-three?
God's a charlatan, don't look back, babe
Puts the shower on while he calls me
Slips out the back door to talk to me
I'm invisible, look how you hold me
I'm invisible, I'm invisible
I'm a ghost now, look how you hold me now
It's not about havin' someone to love me anymore (oh, okay)
No, this is the experience of bein' an American whore
It's not about havin' someone to love me anymore
No, this is the experience of bein' an American whore
This is the experience of bein' an American whore
This is the experience of bein' an American whore
Jimmy, Jimmy, cocoa puff, Jimmy, Jimmy ride
Jimmy, Jimmy, cocoa puff, Jimmy, get me high (oh, my God)
Love me, if you love enough, you can be my light
Jimmy only love me when he wanna get high
Jimmy only love me when he wanna get high
Jimmy only love me when he wanna get high
Jimmy only love me when he wanna get high
Your mom called, I told her you're fucking up big time
Your mom called, I told her you're fucking up big time
Jimmy, Jimmy, cocoa puff, Jimmy, Jimmy ride
Jimmy, Jimmy, cocoa puff, Jimmy, get me high
Love me, if you love enough, you can be my light
Jimmy only love me when he wanna get high
Jimmy only love me when he wanna get high
Jimmy only love me when he wanna get high
Jimmy only love me when he wanna get high
Your mom called, I told her, you're fucking up big time
Jimmy, you should switch it up, maybe light it up (yeah)
Jimmy, if you leave the house, find me in the club (like)
Jimmy, if you switch it up, you should light it up
Jimmy, if you leave the house, find me in the club (surf's up)
Your mom called, I told her you're fucking up big time
But I don't care, baby, I already lost my mind
If you light it up, find me in the club
Your mom called, I told her you're fucking up big time
Jimmy, Jimmy, cocoa puff, Jimmy, Jimmy ride
Jimmy, Jimmy, cocoa puff, Jimmy, get me high
Love me if you love enough, you can be my light
Jimmy only love me when he wanna get high
Jimmy only love me when he wanna get high
Jimmy only love me when he wanna get high
Jimmy only love me when he wanna get high
Your mom called, I told her you're fucking up big time
In the lyrics of "AW" by Lana Del Rey, the singer reflects on her identity and experiences as a woman, particularly in the context of relationships and societal expectations. The song opens with a nostalgic tone, as the singer reminisces about her childhood innocence and simpler times, symbolized by not having done a cartwheel since childhood and not seeing her mother in a long time. This sets the stage for a deeper exploration of her current sense of self, as she questions societal standards of beauty and femininity. She challenges the notion that her appearance or actions should conform to others' expectations, defiantly stating that she doesn't care about others' judgments after years of being scrutinized and talked about.
The singer contrasts her outward appearance with her hidden reality, symbolized by living in Rosemead but really being at the Ramada hotel. This duality reflects a sense of displacement and disconnection between her public persona and private experiences. She further delves into her romantic encounters, describing a casual sexual relationship devoid of emotional attachment. She expresses a sense of detachment and disillusionment, rejecting the idea that she needs someone to love her, and instead, embracing her identity as an "American whore," a provocative term that challenges traditional notions of female purity and sexuality.
As the song progresses, the singer shares her inner turmoil and trauma, hinting at past experiences of sexual assault and the societal blame and disbelief survivors often face. She questions whether speaking out about her trauma would be met with understanding or further victim-blaming, highlighting the complexities and challenges survivors navigate. The lyrics also touch on themes of invisibility and vulnerability, with references to feeling like a ghost and being held in a way that emphasizes her perceived insignificance.
In the final verses, the singer continues to grapple with her relationship with a man named Jimmy, portraying a tumultuous dynamic marked by drug use and emotional volatility. The repetition of Jimmy's name and the imagery of getting high symbolize a cycle of dependence and dysfunction in their relationship. Despite warning signs and concerns raised by Jimmy's mother, the singer remains defiant and seemingly resigned to her circumstances, suggesting a sense of lost control and acceptance of her fate. The song concludes with a mix of defiance and resignation, encapsulating the complex emotions and conflicts inherent in the singer's experiences as she navigates relationships, trauma, and societal expectations.
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: Elizabeth Grant, Jack Antonoff, Samuel Dew
Lyrics Licensed & Provided by LyricFind
@Jordyesscoto
Lanita nunca decepciona ❤
@HeyImhere15
Jordy es fan de Lana😳💋
@Roussxd
🤑soy tu fan uwu
@estebanmarcelodelcid
En donde vine a encontrarte 😑🤨🤣
@paulinadiaz1378
No sabía que te gustaba lana pero tienes
Razón 🤍
@dscnocid.
Jordy fan de Lana 😻💋
@EnjiMaaroufi
The minute the tracklist dropped I immediately claimed this song.. i just knew it was going to be a masterpiece ❤️❤️❤️❤️❤️❤️❤️❤️
@satanpower6512
Me tooo
@CarlosAlberto-qm1iu
Anitta ft Lana
@mikechivy
Weird flex, but okay.