As a keen Lana Del Rey fan, I can categorically assure she has influenced a generation of young women through her music, fashion, and cinematic style. She has created an utterly unique and curated image, recognised by many. However, there is no getting around the question of whether this image is simply good branding, or if it has the potential to negatively influence listeners through the aestheticization of drug use and paedophilia.
Lana’s cult-like fanbase can be easily spotted on concert day. As masses flood the trains in white babydoll dresses, lace, bows, denim, and leather, Del Rey’s role in the romanticisation of western, coquette, and old Americana style (whether intentional or not) is clear. Something originally so unique has become the conformist uniform of fans all over the world. Along with her style, many fans also strive to take on the singer’s persona. Her use of melancholy and lyricism, paired with the hazy, light, feminine, and delicate style of her music videos and live performances, creates a sort of whimsical and mysterious image fascinating many.
However, when taking a deeper look into Del Rey’s inspiration, concerns regarding what ideologies are being promoted may arise. Del Rey discovered her love for writing and poetry during her period at boarding school, in which she was introduced to Vladimir Nabokov’s Lolita.Â
This disturbing tale can be spotted consistently through Del Rey’s lyricism in songs such as Lolita, Carmen, Off to the Races, Diet Mountain Dew, and more. The controversy surrounding these songs is not that they are inspired by or make reference to Nabokov’s story, but rather the implication that they are written from the point of view of “Lolita” (a 12-year-old girl) in a sexual manner. Although Lana has explained that these songs serve as a record of her personal experience rather than a life to aim for, the romanticised images of extreme age gaps and essentially paedophilia produced alongside them seem somewhat careless.
The glamourisation of drug use, although referenced less, is also a regular occurrence in the singer’s music. Hits such as Ultraviolence, Brooklyn Baby, High by the Beach, and St. Tropez Party Girl are just a few examples in which Del Rey references being high on cocaine, amphetamines, and hydroponic weed. To worsen criticism, Del Rey also released her “Coke Necklace” in 2017 on her official merchandise website, making the use of cocaine appear pretty and delicate.
As Del Rey has publicly addressed these issues multiple times, pleading with critics to allow her to write and produce songs inspired by her own life experience without the allegation that she is promoting dangerous behaviours, the question arises: is it the responsibility of the artist to foresee the potential naivety of their listeners? Whether you believe that criticism of Lana Del Rey’s work is unjust, or that she thoughtlessly produces harmful material, there is no denying that she has managed to create a particularly enticing image inspiring masses.