queen of the gas station
By Drew Filipski June 22, 2024 at 8:00am
In an era where image, aesthetic, and persona rule all, Lana Del Rey is an emblem of pop iconography, withstanding scrutiny over the years for her desire for both anonymity and notoriety in the public eye.
She first came to mainstream fame with her infamous Saturday Night Live performance in 2012, where many criticized her for her performance abilities and confusing musical background, mocking her for completely rebranding herself and making her public identity a “character.”
But what exactly does that mean? How is “Lana Del Rey” a character? Is it a character, or was it a vehicle to create a new life for herself?
Lana’s career has been a fascinating journey marked by a carefully curated blend of nostalgia, melancholy, and glamor. Long before the flower crowns, pouty lips, and Americana anthems about daddy issues and “hot summer nights,” she was known simply as Lizzy Grant, a humble songwriter from Lake Placid, New York, who sang in bars and lived in a trailer park.
Her long-lost first album, Lana Del Ray A.K.A. Lizzy Grant, is a masterclass in understanding how this enigmatic pop artist became the modern icon she is known for today, and that transition is something queer listeners have flocked to, finding resonance in the public’s misunderstanding of her pursuit in making her life a work of art.
Before she became the cinematic pop icon and queer icon we know today, Lana Del Rey was Elizabeth “Lizzy” Grant, an emerging artist with a vision that was as distinctive then as it is now. Her debut album, Lana Del Ray A.K.A. Lizzy Grant, originally released digitally in 2010, offers a glimpse into the nascent stages of her musical evolution.
Lana Del Ray A.K.A. Lizzy Grant wasn’t the singer’s first foray into music—Sirens, an album under the May Jailer moniker, preceded it. However, A.K.A. marked her debut on a record label and was her first commercially available album.
The origins of A.K.A. can be traced back to 2006 when Lizzy wrote “Pawn Shop Blues.” Her performance of the song in a songwriting competition caught the attention of Van Wilson, a talent scout for 5 Points Records. By 2007, Lizzy had signed a multi-record contract with the label.
Initially working with her then-boyfriend Steven Mertens, the album underwent significant changes before its final form. Early recordings, under the working title God Bless America, were largely scrapped. Lizzy’s collaboration with producer David Kahne eventually defined the album’s sound, which she described as “surf noir.”
The final masters were completed by February 2008, with a provisional release set for February 14, 2009. However, delays and financial issues at 5 Points Records postponed the release, which finally happened digitally on January 4, 2010.
Despite initial enthusiasm, the album’s buzz dwindled due to the delayed release, and it was pulled from purchase within three months and has since only existed online through old files.
Lana bought the rights to the album before her major-label debut in 2012 with Born To Die, further adding to its mystique that matches the album’s eerie sensibilities. While rumors of a re-release have persisted for the better part of a decade now, the album remains a rare “collector’s item” that is cherished by die-hard fans (like most of Lana’s unreleased music that has since leaked online).
The album sonically sets the stage for elements Lana would eventually become known for. It’s a cinematic experience, reflecting her affection for nostalgic elements like Coney Island, trailer parks, America and black-and-white movies. This nostalgia, often with an eerie tinge, is central to her style, and reflected in her homemade music videos, which were crafted by blending videos of herself taken on her laptop and spliced with B-roll film from decades past.
Promotional photographs highlight her platinum-blonde hair and mod-style makeup, featuring washed-out colors reminiscent of earlier decades. Heavy on Americana themes, including images of surfing, carnivals, and Lizzy dressed as Marilyn Monroe or wearing an American flag.
A.K.A. showcases Lana’s heady, jazzy voice reminiscent of a 1950s nightclub singer, with music highlighted by burlesque-style drumming and cascading Wurlitzers. It also incorporates modern elements, with some tracks featuring electronic beats and vocals that slide into whispers and minor chords, evoking artists like Courtney Love and Fiona Apple.
Described as glam/surf/Hawaiian on Grant’s MySpace page, the album evokes a cinematic and nostalgic atmosphere, transporting listeners to a dreamy, mysterious, and sometimes sultry world filled with streamers, neon lights, and kitschy motels.
