By Hannah Elliott, Robinson High

Lana Del Rey sashayed onto the music scene in 2011 with her debut single Video Games and was met with a wave of critique both positive and cruel. Whether “Lana Del Rey” was a product of 10 men in a boardroom at a record company or a persona of Lana’s (a.k.a. Lizzie Grant’s) past, all I know is that Lana Del Rey is one of the most cinematic and fascinating characters in the music business right now.

Her stoic features and drowsy mannerisms are haunting, along with her deep willowy voice, which slithers stealthily through the speakers.

After a good couple of days’ contemplation, I found the perfect way to describe her: corrupt glamor.

Her lyrics are dark and disturbing, speaking of broken homes, love and freedom. She can make the most vulgar ideas and words seem simply debonair.

Paradise is somewhat a continuation of Born to Die, adding eight new songs.

Ride, the newest single on Paradise, sounds like the climax of a sad movie, with a melancholic message that there will be no happy ending but we can go on through the dark and hope for the best. The 10-minute short music video, which is being compared to Marry the Night, is disturbing but grossly entertaining and, in my opinion, far superior to Gaga’s video. Ride develops a character I would want to watch an entire film about. It begins with a poetic narration by Del Rey that perfectly epitomizes her noir vibe. Ride is a molasses pop ballad that is a perfect fit for modern music, yet it feels like it belongs in the 1950s.

The rest of the album follows the same model, reformed and elegant with occasional glimmers of personality and risible lyrics such as, “Elvis is my daddy, Marilyn is my mother, Jesus is my bestest friend” in Body Electric. That lyric also made me wonder: Is Lana Del Rey this generation’s version of Marilyn Monroe? When she was alive she was neglected and written off as sleazy; only in death did people realize her unusual elegance. I know it’s a stretch, but just a thought.

Bel Air is a clean and graceful finish. The airy piano and sounds of a distant playground is my favorite aspect of the entire album. It’s simple and tasteful, a wistful end to the album.

Lana Del Rey is controversial but her image of troubled elegance is legitimate in my eyes. Though sometimes dull and snobbish, she is a performer of many interesting faces; it just takes an effort to look deeper.