Heaux

http://www.rollingstone.com/music/news/18-things-you-learn-after-two-long-days-with-lana-del-rey-20140724#ixzz38OV2KTi7
 
 
 

Then your teacher is the one who should be talking, you are still a student who is full of himself. 

dare i say it...... "i love casinos, and neon reservations"

more is better
more Lana
more money for her
more music for us
win-win

http://www.complex.com/style/2014/07/neil-krug-interview
 
How did you and Lana get in touch to do the artwork for Ultraviolence?
It's something that has been in the air for the long time. Since 2012, Lana's fans have sent messages to me asking the two of us to collaborate.  (this literally being a shoutout to me)
I generally don't get mail from other musicians' fans, but her audience is dedicated and had me on blast even before we met. Strangely, Lana had picked up a copy of Pulp Art Book years ago but was told that I was dead from a friend of hers, so it came as a surprise when someone at her label suggested that we work together on Ultraviolence. This was the right one for us to do together, as well. It has all of the right elements, and I'm in a good phase to jump on her moving train.
The album cover is a striking, almost haunting image. How did you decide on this shot in the end? 
The cover photograph of her getting out of the car was always one of our top selects. The image was taken in her driveway on our first day of shooting and stood out from the beginning. When we met, we discussed the idea of the cover being the reverse of what you would expect from such a bold album name. When you hear the title Ultraviolence, you almost expect some sort of explosion happening or her shirt covered in blood.
We both agreed that the artwork should have all the undertones present without having to blast it in your face. Stylistically, I was going for something that felt like a lobby card from a bygone midnight movie. In my mind, the cover needed to feel like the last frame of a '60s Polanski film, where the audience has been properly traumatized, and this is the last thing they see before the credits roll.

How does the cover represent the album concept or the title, Ultraviolence?
For me, it says it all without saying anything. It's an easy read when you look at it from a marketing perspective, because it perfectly communicates Lana's vision and is a clear image of her to absorb. For the fans who sit and listen, I think the image will reveal itself like a magic eye pattern. The image is like a window into the narrative.
What do the other photos in the box set represent? The ripped jeans, Lana in the car, the flowers, the city, etc. Where did you shoot them?
All the images she chose are pieces of a bigger picture that work as devices to put you in the right mood or frame of mind—the same way an author can lead you down the rabbit hole with the situation in which he or she places you. We called the selections "in-between moments" when we did the edits in my studio. Everything you see is the moment or action before and after, but not "the moment," if that makes sense. The ripped jeans Polaroid was taken in my living room, and the car shots were taken in her driveway. The allegorical smoking in the hydrangea image is a favorite of mine and was taken at Frank Sinatra's house outside of Los Angeles.

You also shot Lana for our Complex cover. What was that experience like, and what were you going for having done her album photography?
For me, the magazine shoot and the album packaging are two completely separate ideas, so the creative shift is how she is styled and the location choice.  The overall vibe is similar, probably because it's the same guy behind the camera. All of my shoots with her were done so quickly that's it difficult for me to be objective right now, simply because there are so many photographs over such a short period of time.
How did your style as a photographer develop? Have you always been into colorful images, warm hues, Americana, psychedelia, and graininess?
Since the early days I've always tried to keep the work in this space between illustration and photography. Whether the unnatural vividness of the colors is the narrative device or whatever else might be going on, the style is a hodgepodge of many ingredients.
"Window Water Baby Moving" versus "Gantz Graf" if you like. I love making images but never thought I would make photography a career in any capacity. In fact, photography is the only class I ever completely failed in high school. I remember my teacher passing along advice in the vein of "find another outlet for creative ideas." 

Do you have any plans to make a third Pulp Art Book? Why or why not?
Right now I don't have any plans to make another Pulp Book. It's a slightly complicated story, but Joni and I parted ways in 2013, so I don't see any new work from that project happening anytime soon. That being said, we have a giant archive of unreleased work that may come out in some form, but it's hard to say. I could see us releasing a collection of unseen prints, but sitting down to make a new book together again would be difficult. I will forever be proud of that imagery, but it does feel like the old me in a lot of ways. I want the next monograph I do to be completely different.
Is the present ever as intriguing as the past?
The present is far more intriguing and unknown.
If you had unlimited money or resources, what types of projects would you do?
I don't think I would change much to be honest. I love what I do and feel blessed to be in a position to shoot the type of projects that interest me. With unlimited resources I would probably spend a little more time getting the look and narrative just right, or going to more exotic locations, but at the end of the day, you can make magic anywhere. For me, limiting yourself forces the creative side to find a solution which keeps the work more focused.

when i saw she only had 24 followers i cried. I dunno.. its just seems so heartbreaking and unfair how Lana gets so much recognition nd shes just forgotten about

"I'll never say g'bye to the Princess of Oi"

OMG you sound like a baby prostitute (and I love it) #britneywatchout

I hope it's not anymore tbh. I almost have a bad connotation associated with that title now haha

Omg, the reason I never liked Ultraviolence the song is because it seems to so forced. And it's true! I said it sounds like an after thought, where as Born To die (song) was conceived long before that was the album title, here she had an album title and then moulded it into a song.

This is her iconic Rollingstone cover, I can see it comming a Sadcore, indie version of this tbh
 

It was Ahmed all along

New born christian and heterosexual chanteuse Jessie J is about to release her third album which is still nameless 
 

 
Her first single will be Bang Bang featuring Ariana and Nicki. 
 

 
 
 
- Are you excited?
- Do you think will be a mess or a smash?
- Do you think Jessie tweeted a pic of her own single with Ariana in the middle because no one likes her?
- Do you wonder WTF happened to Onika's career like I do?
- How funny will be a live performance of this with Jessie trying to over sing Ariana?

If you check the way the songs from Ultraviolence were registered, you'll notice this:
 
46233687 Cruel World (Stranathan)
46233688 Pretty When You Cry (Stranathan)
 
46233689 Fucked My Way Up To The Top (Heath)
46233690 Ultraviolence (Heath)
 
46233691 Brooklyn Baby (O'Neill)
 
46233692 Money Power Glory (Kurstin)
 
46233693 Florida Kilos (Auerbach / Corrine)
 
46233694 Guns & Roses (Nowels)
46233695 Sad Girl (Nowels)
46233696 Shades Of Cool (Nowels)

46389724 Fine China (Nowels)
46389275 Yes To Heaven (Nowels)
 
If you look at the order it could be quite possible that they were ordered by writer/recording session
 
Session 1: Cruel World / Pretty When You Cry (recorded with Blake during the Paradise Tour?)
- > "You set the tone for the whole record with 'Cruel World' and 'Pretty When You Cry' "
 
Session 2: Fucked My Way Up to the Top / Ultraviolence (The "Trans Am" session with Dan Heath)
->
(late January 2013)
 
Session 3: Brooklyn Baby (& maybe Summer Wine) (with Barrie)
-> April 2013
 
Session 4: Money Power Glory (probably recorded during the time when Emile started to post pictures of his session with Lana. Maybe he did a demo version of MPG as well, because it sounds a lot like BTD)
->
(December 2013)
"Violet Princess" -  Lana said that the title, "Ultraviolence" was conceived because of it's similarity to the world "ultra-violet"
 
Session 5: Florida Kilos (written with Auerbach, while re-recording tracks written with Nowels)
Session 6: Guns & Roses (new Nowels song for Ultraviolence?)
Session 7: Sad Girl / Shades of Cool / West Coast (re-recording sessions of old Nowels tracks with Dan A.?)
-> February 2014

I'm sure she knows the original quote and its meaning but just wants to reference it. (It's another discussion, but John was very adamant that it was a coincidence, crediting Sean with the quote based on a drawing he made.)
 
___________
 
Gosh, there are so many 

she did mess it up because its meant to be Lucy in the Sky with Diamonds, the drug LSD

also "Lucys in the sky with ice tonight" from Television Heaven
 
its funny cause she fucks up the reference both times

smh at me reading this intersexuality

@@Ben Mawson

Couldn't find a cover for any of her released pre Opulence EP so I decided to make my own. 
also i made one for lana oops