ruined peaches

Isn't this interview from something else? Swear I've read it before

While we're living in a fantasy world, how about a DVD with the tour documentary that Chuck was shooting.

Kill Kill - revamped.

Trans Am 

Hope so , I love Paradise
 
 
I will never understand people who don't want more music 

Scans (by https://twitter.com/TROPICOCUNT):
 

 

 

 

 

Bitch just needs to perform most of UV + Video Games and Ride

ULTRAVIOLENCE: THE MUSIC TO WATCH BOYS TO EDITION

Nice! Now that all May Jailer albums have leaked this'll be the next fanbase thirst joke, I'm sure.

Its a telephone chat

1.) https://cisilvertone.files.wordpress.com/2014/07/4.jpg
 
2.) https://cisilvertone.files.wordpress.com/2014/07/5.jpg
 
3.) https://cisilvertone.files.wordpress.com/2014/07/61.jpg
 
4.) https://cisilvertone.files.wordpress.com/2014/07/7.jpg
 
 
 
 

 
 
 

 

"Zum Glück werden die guten Tage mehr und die schlechten Tage weniger."
 

Birth certificates of living persons are usually not publicly available... but some voter records and Copyright Office filings are. I think you'd be surprised how often publications simply reprint what artists say about themselves without fact-checking and how reluctant they are to correct the record. At least I was. I have a response from a BBC News planning editor that essentially admits that's what they do.
 
To believe Lana was born in 1986, one would have to believe that she looked unusually old at 18 months, that she began school a year early or skipped a grade, that she (intentionally or not) committed voter fraud in the state of NY, that her listing 1985 as her DOB on her Copyright Office filings and personal Facebook account were just accidents, that various public record searches are wrong as well as every article stating her age before her rise to fame, including a local paper and an article clearly stating that June 21, 2008 was "Lizzy's 23rd birthday" written by a Grant family friend who had done entire cover stories on two men present for the occasion, one of which was her father. One would also have to read nothing into a few early post-recognition articles implying she was yet another year younger (i.e. born in 1987) or her Complex magazine interviewer asking her about her age twice.
 
Or you can just believe that she and her current management team have been lying about her age.
 
I believe there's a feedback loop problem here: Several early articles parroted fictitious information given by Lana or her management, Wikipedia based it's DOB on them, tons of later articles repeated the information from Wikipedia, and now Wikipedia won't change their DOB because of the glut of erroneous sources out there. And on and on it goes.

I think what Lana meant was she would rather be dead than doing long interviews with someone asking her personal questions.

She has every right to be pissed at Alexis Petridis, Tim Jonze, whoever wrote the headline, and anyone else involved in taking a legitimate interview and spinning it to sensationalist effect.
 
Jonze should just say "I didn't mean the question to be leading; I was uncomfortable asking it" and leave it at that. But that wouldn't be "interesting" enough. Instead he has to resort to disingenuous excuses like well, um, she didn't specifically SAY we took her words "out of context" specifically... Really, Tim Jonze?
 

I don't want to accept the lemonade thing. Anyone who meets her next, ask her. I will myself, if I ever get to.

I don't want to accept the lemonade thing. Anyone who meets her next, ask her. I will myself, if I ever get to.

Finding Her Future Looking to the Past Lana Del Rey Still Stirs Things Up With ‘Ultraviolence’
The New York Times Interview: Lana Del Rey
 
LOS ANGELES — In October, before starting an international theater tour, the songwriter Lana Del Rey consulted a clairvoyant. She was instructed to write down four questions in advance and sleep on them. The first question on the list, Ms. Del Rey said in an interview in May at her house here, was “Am I meant for this world?”
It’s probably not the kind of question most multimillion-selling pop singers would ask themselves with their careers clearly ascendant. This year, Ms. Del Rey was called on to sing a spooky remake of “Once Upon a Dream” for the Disney film “Maleficent,” and she sang at Versailles for the pre-wedding party of Kanye West and Kim Kardashian.
But doubt, regrets, obsessive longing and self-destructive impulses are often at the core of Ms. Del Rey’s songs and videos. “I wait for you babe, that’s all I do/You don’t come through babe, you never do,” she sings in “Pretty When You Cry” on her new album “Ultraviolence” (Polydor/Interscope), due for release Tuesday.
Since her emergence on a major label with the single “Video Games” in 2011 and the album “Born to Die” in 2012, Ms. Del Rey has drawn passionately opposed responses. Her songs and video clips demurely step into cultural minefields, exploring eroticism, mortality, power, submission, glamour, faith, pop-culture iconography and the meaning(s) of the American dream. She has faced, in reviews and online discussions, shifting accusations of inauthenticity, amateurishness, anti-feminism and commercial calculation (although her only Top 10 single in the United States was unplanned: a dance remix by Cedric Gervais of her wistful ballad “Summertime Sadness”). But she has also, largely through YouTube, gathered an adoring worldwide audience that takes her every lyric to heart.
“Ultraviolence” will doubtless stir up more disputes. But one thing the album should immediately eliminate is the notion that Ms. Del Rey is only chasing hits. The album reaches deeper into her slow-motion sense of time, her blend of retro sophistication and seemingly guileless candor. It also moves gracefully between heartache and sly humor, sometimes within the same song.
The music on “Ultraviolence” sets her further outside whatever passes for current pop mainstream. While radio playlists are full of futuristic electronic dance beats and Auto-Tuned testimonials to self-esteem, Ms. Del Rey, 28, has taken a contrary path, melodic and melancholy. Much of her music has been lush and downtempo, invoking vintage movie scores and echoes of the 1950s and 1960s; it opens quiet spaces. Her voice sounds human and unguarded, offering sweetness and ache even when she sings four-letter words.
The tracks on “Born to Die” drew on hip-hop, with grunted samples and hefty beats, but now, she said, “I’m not crazy about some of that production.” The hip-hop influence was already receding on “Paradise,” the EP she released in 2012. And “Ultraviolence” is more languorous than ever. Its first single, “West Coast,” actually downshifts to a slower tempo for its chorus, where standard radio formula calls for a big buildup.
In a throwback to a less-computerized era, many of the tracks on “Ultraviolence” were built around Ms. Del Rey and a seven-piece band recording together and responding to one another. The songs often float in a psychedelic haze that she described as “narco-swing.” Dan Auerbach, the Black Keys’ guitarist, produced and performed on the album, and said, “She was watching us and swaying while we were playing.”
Mr. Auerbach was drawn to her songs because, he said, “They felt old and new at the same time.” Ms. Del Rey freely cites inspirations including Frank Sinatra, Bob Dylan, Cat Power, Nirvana and Eminem, but none of them emerged in this century. “Think of what’s going on now,” she said. “Where am I going to get my inspiration? I couldn’t think of a thing today that I would really genuinely want to be a part of.”
In conversation, Ms. Del Rey isn’t the low-voiced chanteuse of songs like “Video Games” or “Blue Jeans”; her voice has a girlish, soprano lilt, punctuated with giggles. Wearing a blue mini-dress and clear sandals that revealed toenails painted a pearly peach, she sat on her couch here, sipping coffee and smoking through a pack of cigarettes, under a painting of cherubic angels. She showed off a recent tattoo on her right arm: “Whitman Nabokov,” two authors she has quoted in songs. She had just returned to Los Angeles to finish her North American tour, with a show at the Shrine Auditorium and Expo Hall.
After living in London and touring the world, Ms. Del Rey bought her house here, an elegant English-style residence in need of repair, seven months ago. The walls are newly painted in the blues and greens that were also the palette of “Video Games,” the homemade video clip — she edited it on her laptop — that catapulted her career and has now been viewed more than 119 million times on her two YouTube sites alone. The paintings in her living room are of icons — the Virgin Mary, Elizabeth Taylor — and a book on the coffee table had Marilyn Monroe on the cover.
“I have strong relationships with icons,” she says. “They’re probably my most meaningful relationships. They feel personal to me, but maybe that’s what being an icon is. Maybe everyone feels like they have that special relationship that’s different from everybody else, like you love them and you think you understand them more than anyone else, or you get them for who they really are.”
It’s not a position she aspires to for herself. “I wouldn’t really know how to shape myself as an icon,” she said earnestly.
Many of the accusations that were leveled at her major-label debut were inaccurate. She wasn’t a pretty face serving someone else’s concept, or a dilettante. As Lizzy Grant — born Elizabeth Woolridge Grant — she had worked at being a songwriter since her teens, and playing in small clubs on the Lower East Side and in Williamsburg. She grew up in Lake Placid, N.Y., and came to New York City with, she said, “a Dylan-esque dream of a community of writers,” but never found it.
In 2007, she got her first recording contract when she was a senior at Fordham, studying metaphysics. She recorded a debut EP in 2008, and briefly released an album in 2010 — “Lizzy Grant a.k.a. Lana Del Ray” — before it was withdrawn while she renamed herself Lana Del Rey. The songs on that album were already exploring the tarnished innocence and dangerous compulsions that she would return to on “Born To Die.” The production would change with her collaborators, but her perspective did not.
As many songwriters do, she works with more trained musicians who supply foundations for her melodies and lyrics. Sometimes they offer chord progressions while she improvises; sometimes she brings finished words and tunes for them to harmonize. “She’s very clear about what she wants and doesn’t want,” said Rick Nowels, who wrote “Young and Beautiful” and “West Coast” with her, and who has collaborated with Madonna and Dido. “She is the captain of her own ship.”
Ms. Del Rey describes her songwriting simply. “I want one of two things,” she said. “I either want to tell it exactly like the way it was, or I want to envision the future the way I hope it will become. I’m either documenting something or I’m dreaming.”
On “Ultraviolence,” that means songs like “Cruel World,” in which she breaks away from a long failed relationship — “Shared my body and my mind with you/That’s all over now” — and “Sad Girl,” a bluesy reflection on “being a mistress on the side”; she also sings “The Other Woman,” a song recorded by Nina Simone.
Already braced for disapproval, she said: “If you really do want to analyze me, if that’s maybe something you’re interested in, let me tell you my story and you can look at that.”
The recording of “Pretty When You Cry” is built around the original writing session: chords from her band’s guitarist, Blake Stranathan, a fluctuating tempo and words she was making up on the spot. “I’m stronger than all my men,” she sings, “except for you.” A more conventional approach would be to redo its shaky, scratchy lead vocal with something prettier. “I didn’t even think to go back and fix it,” she said, “because if you know the story behind it, then you can tell why it was sung that way.”
The angry responses to “Born to Die” left scars. “Carl Jung said that inevitably what other people think of you becomes a small facet of your psyche, whether you want it to or not,” she said. Her new album includes a retort: “Money, Power, Glory,” which claims, with deep sarcasm, that those are what she’s after.
“I learned that whatever I did elicited an opposite response, so I’m sure ‘Money, Power, Glory’ will actually resonate with people as being what I really do want,” she said with a shrug. “I already know what’s coming, so it’s O.K. to explore irony and bitterness.”
A recurring criticism was that her songs about being swept away by love were anti-feminist in their passivity; she contends that she was writing about private, immediate feelings, not setting out doctrine. “For me, a true feminist is someone who is a woman who does exactly what she wants,” she said. “If my choice is to, I don’t know, be with a lot of men, or if I enjoy a really physical relationship, I don’t think that’s necessarily being anti-feminist. For me the argument of feminism never really should have come into the picture. Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation. Everything I was writing was so autobiographical, it could really only be a personal analysis.”
She has also been denounced for video clips that culminate in her death: by drowning, by falling, by choking. The video for “Born To Die” ends with her in a boyfriend’s arms, inert and covered in blood. She agrees that her videos have often been “exploring ways to die,” she said, adding: “I love the idea that it’ll all be over. It’s just a relief, really. I’m scared to die, but I want to die.” The title song of “Ultraviolence” ventures into precarious territory. In an arrangement that melds Baroque dirge and wah-wah guitar, the singer describes herself as “filled with poison but blessed with beauty and rage,” and goes on to quote a fraught 1962 song from the Crystals, “He Hit Me (And It Felt Like a Kiss).”
The lyrics also mention a “cult leader,” and Ms. Del Rey said the song looked back to a time soon after she moved to New York City, when she considered following a guru who “believed in breaking you down to build you back up again.” “It sounds kind of weird,” she added, “but that is what it’s about, and having romantic feelings entwined with the idea of being led and letting go and surrendering. That’s always a concept to me, like I’m wavering between independence and falling into lifestyles and being led.”
There’s an underlying pattern to the songs throughout “Ultraviolence”; Ms. Del Rey’s voice appears alone and often fragile in the verses, then is swarmed by instruments and multiple backup vocals. “Each tune fully represents the ebbs and flows, the periods of normality mixed with this uncontrolled chaos that comes in through circumstances in my life,” she said. “It’s your story. If you’re the one writing it, you want to tell your story right.”
The next night Ms. Del Rey was at the Shrine’s Expo Hall before a packed, standing audience. There were high-pitched screams when she strolled onstage, and from the front to the back of the hangarlike hall, voices were raised to sing along. It wasn’t, like some concerts, a social occasion; this audience was devotional, sharing every word, sometimes close to drowning her out. Onstage, Ms. Del Rey just stood there and sang, swaying occasionally; when she did her one planned bit of choreography, a single hip flip in “Body Electric,” the whole room roared.
“The energy is so much higher in the pit than it is onstage,” she noted afterward. She strolled twice down into the photo pit, trailed by a video camera, as fans reached for her with offerings and hugs; one fervent embrace looked like a half-nelson. “I’ve lost a lot of hair on this tour,” she said later, backstage. “The audience has been an unexpected well of comfort that I’ve dipped into recently. It was never something I even thought to go to for strength or affirmation.”
But the adoration hasn’t quite broken through the solitude of her songs. “Yes, I’m in a different place today than I was four years ago,” she said. “But I’m some ways I’m still in the exact same place. I’m still on the periphery.”
 

Paris Match (french magazine) just released an interview with Lana : http://www.parismatch.com/Culture/Musique/L-incomprise-568187
Usual kind of Lana interview, new informations about the recording of Ultraviolence, her relations with her father, etc. and a new line from MPG

Here's my attempt to translate it :

The Misunderstood

Ten days before the release of "Ultraviolence", her second album, the American singer received us to the point on the passions she unchains.

Paris Match-You often declared that you wanted to stop everything, that you do not wish to sing any more. And nevertheless, you bring out your second album …
Lana Del Rey-When I declare this kind of thing, I really mean it. But often, people asked me if I had a new album ready. And I didn't have any. I would not have enjoied crying out that I had a wonderful record if it had not been the case. It was often badly interpreted, transformed into " she will never sing again ".

What triggered the desire to sing new songs?
My meeting with Dan Auerbach. He really changed my life, simply by being what he is: a funny, nice guy. We met in a club the 21th December, we danced on the dancefloor. And he said to me with a grinning tone: " you should come with me to Nashville, and we will see what will happen there" I took the plane with him … I wanted to try, and thanks to him I understood that I had no fun any more with my team.

You did not have songs in stock at that point ?
I had an entire album ! I recorded twelve tracks, I had produced everything myself, but Dan opened my eyes. He told me that my songs sounded too much like classic rock, too seventies. And he took things in hand.

Did he dispossess you of your album?
Yes, but it was for my own good. Throwing myself in his arms was also a way to put me in danger. He brought a different way of playing, different instruments, he gave an organic aspect to this record, which I thus recorded twice. Every evening we partied with the musicians, we listened to the bands, it was a real pleasure during five weeks. And it made me infinitely less nervous.

In your texts you show yourselves becoming more and more sarcastic. " I want the money, the power and the glory ", you shout out. Need to let off steam ?
Obviously... If this record is called "Ultraviolence", it is because it describes well what I felt in my private life. I lived the joy of seeing that my songs pleased and, at the same time, I had to put up with the criticisms, often very virulent. And it leaves scars. But I reassure you, I do not want either the power or the money, or the glory, but it's been said so much about me that I eventually took them literaly … Some songs are a big " fuck you " to all those who think instead of me, all those who think that they know who I am, what I want. Every day I have to face people who think that I am a joke. And the worst, is that my career was launched on this misunderstanding !

Did you really suffer from it ?
Yes, it was hard, I was unhappy, I felt miserable. And I still did not overcame it, I do not know if I'll be able to do so one day. Carl Jung said that what people think of you always ends up becoming a part of your psyche. Whether you like it or not. So, yes, at a point, I eventually admitted that I was the one that people described on the Internet, in newspapers, the "manipulated doll". It changed my way of seeing my career, but did not affect at all the way I write. And this is what is the most important in the end.

Don't you think that sometimes you provoked these reactions ? We saw you in ads for H&M, for example, which has nothing to do with the music …
I made only one advertising campaign for H&M. The rest, I was recovered … H&M supported me in a period when I could not trust many people. It felt good.

Who turned their backs ?
The musical magazines. They praised me in July just to belittle me in January. I had to change my plans, find people apt to like what I do to relieve my music differently. Then why not H&M? In these moments, or you drown or you swim. I chose not to be taken away by the wave.

But still you wrote " My pussy taste like Pepsi Cola ". Do you understand that it does not please some people ?
[she laughs] Oh come on, honestly, that did not make you laugh ? People need to stop taking everything too seriously. It is the only provocative sentence I might have written and I find it particularly funny

Younger, did you dream about this life ?
I wanted to become a singer, but I did not know how to reach there. It is true that I dreamed to sing in Italy, to come to Paris, to sleep in Versailles. I imagined in no way that I would be singing for Harvey Weinstein, in Cannes, or writing for films. My road is really surprising, Each day still brings a lot of surprises, good or bad.


The rumour says that it is your father who financed your first album.
No, I had no relations with my father at that time. He's a very good person, but he doesn't know anything about music. And, frankly, do you really think that you can buy a contract from a label ? The truth is that when I was 18, I participated to a songwriting competition and I met the boss of a label which offered me a contract one month later. During two years nothing happened, my disc stayed in boxes. I thus continued to sing in clubs. The story of my father is a good story for the magazines, but it is false. My parents wanted me to find a "real" job, to become a lawyer. They did not believe in the music. I lived in New York with my fiancé, my parents in Lake Placed, which is like 7 hours aways from NY. They were far from my reality.

You lived ten hard and difficult years. What remains of them ?
I was often discouraged, I was already making my own videos which nobody noticed. So, yes, I thought that I would never have any success, but I always knew that I was a singer, that I had something different from to the others, a voice, especially. I also knew that the music pleased me more than people, it was a world where I felt at home. Before "Video Games" exploded, I thought about finding a job to sustain me… I was 24 years old, I sang for seven years, I had arrived at the end of a cycle.

Did moving to Los Angeles change your life ?
I moved in Los Angeles only last year. When things were carried away to me, I settled down in London where I lived three years. L.A. did good to me, I met a musical community. And I have the impression that I found a safe place, a loophole.

Is it important for you to be American ?
No, even if I love my country. I spent so much time in planes that I do not feel any more attached in the United States. Here, in Versailles, I feel at home. And I felt the same way the first time as I stepped in Los Angeles.

Do you have any friends in the industry ?
One or two, no more …

Friends from before your rehab ?
I didn't have any at that time. I was very lonely, alone, well,I had alcohol, but I was so high that it does not allow to create true relations. I met my best friends in New York, once I was clean. I regret a little bit this period because I am not really happy in my current life.


(Lana Del Lawyer : Born to Judge )

Whomever she's about to mop the floor with, I'll be here for it.

My translation:
 
She is back, in fact everywhere! She even sang at Kimye’s Wedding. Next week her new album “Ultraviolence” will be released with hit songs like “Shades Of Cool”. But we think it’s the coolest how openly Lana talked with us about her chaos flat share, bad gurus and her desires and addictions.
First Coachella, then Cannes, eventually Versailles: Recently Lana Del Rey is jetting from one show to the next but when we met her at a luxury hotel in Beverly Hills she seems completely relaxed, indeed she lives just around the corner. The beautiful songstress who redefined the meaning of “Retro-Coolness” when in 2011 she suddenly appeared and took over the charts, just moved from New York to the beach. So she comes to the interview like a real surfer girl – she wears short jeans, a pale shirt, sandals – and surprises us with her kind naturalness that we honestly didn’t expect from the unapproachable seeming siren of wide screen pop…
 
Did the life in New York become too hectic for you?
Well, my record label is located in L.A. I originate from Lake Placid a place in the mountains. So the Pacific feels like paradise. Now I walk  barefoot through the sand as often as possible.
And you think: You have come a long way?
Well yes, but not concerning my carrier. But in terms of lifestyle. I think that this cool beach life fits me better than New York. And I love the heat.
Your status as global star as well?
On some days I can do that but on others I’m struggling with my identity and I don’t know where I belong. Fortunately those good days get more and those bad ones less. And that risk that I lose the ground beneath my feet doesn’t exist anyway.
What makes you so sure?
I have a big family so I don’t really have to pay attention on staying down to earth, it happens automatically. At home it’s mostly about Charlie and Caroline and about what they want.
Who are…?
My brother and my sister. They are younger than me, 20 and 25. I kind of look after them. Wa all live in the same house. We three and Barrie my boyfriend.
Sounds like a lot of fun.
Well, we’re all living through some huge changes. Barrie left his band, my siblings are just becoming grown-ups.
And which change are you living through?
I’d really like to have a steady emotional stability. I’ve been looking for that my whole life. Naturally I’m a quiet, reserved observer.
For being a star you seem surprisingly introverted.
I come from a family in which we talked about our problems in a small circle. I grew up like that. Unlike those people who seem to live on Twitter and believe that they always have to provide information about anything.
How do you manage to be not as omnipresent as for example Lady Gaga?
You can control that. For example if you live at the edge of town like we do, in a normal area with completely normal neighbours.
When you got famous like overnight people doubted about the authenticity of your music.
Yeah, a huge topic. I’ve always felt confident about my music. Who doesn’t have to say anything cannot create pop music. I already know that later I’ll tell the whole story of my live to my children on the basis of my songs.
Like you do in “Fucked My Way UP To The Top” on your new album?
It’s about a singer who first sneered about my allegedly not authentic style but later she stole and copied it. And now she’s acting like I am the art project and she the true super artist. My God and people actually believe her, she’s successful! I shouldn’t continue ranting, it doesn’t get anywhere.
But now you have to tell us who you’re talking about.
Unfortunately I can’t, you know?
What else are you going to tell your children (and us)?
I used to be a member of an underground sect which was reigned by a guru. He surrounded himself with young girls and he had this insane charisma I couldn’t resist as well. So I was in this, I’ll call it sect, because I was longing for love and security. But then I found out that this guru wasn’t a good but a bad person. He thought that he had to break people first before he could build them up again. At the end I left the sect.
Crazy!
Yes, it looks like I would attract wild stories and extreme experiences. (laughs)
What else?
Our family has a long history concerning addictive behaviour. Even pure madness exists at our place. Like that I had a higher risk than other people for not being able to handle alcohol…
Had?
Yes, for ten years I haven't touched a drink - but I'd somehow really like to. After all it could be that now I’m able to handle alcohol better.
Why do you believe this?
Well, I threw anchors. But I have to find out how to harmonize the urge for – emotional and literal – solid ground beneath the feet with my ambition of moving on as an artist. Right now I have no plan how this should work out.
So no children for now?
I would be ready! (laughs) But Barrie is younger than me and he isn’t in the mood for children yet.
You worked as a model for H&M and Mulberry. Do you know what the fashion branch sees in you?
Phew, I don’t know! As an indie singer in New York I couldn’t afford any stylish or expensive clothes at all. Probably my face was just coincidentally at the right time at the right place. And how does the saying tell? Go there where it’s warm.
 
Hope there aren't too many mistakes in my translation. ^^

I'm still waiting for Cola music video 

I have such mixed feelings about her saying that she wants to quit music. Ever since someone accused her of copying the Cobain way of handling fame, I can't stop seeing things in that light...

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