parkin

Cause he is lovely I don't think Courtney really changed it, I've got Kurt's original and it sounds pretty much the same.

Credited collectively to Hole but only preformed by Hole written by Courtney Love and Eric Erlandson and apparently polished/finished by Kurt Cobain. It's about Billy Corgan, I don't know I can see the influence. http://www.youtube.com/watch?v=cH_rfGBwamc I think Kurt had a lot to do with that album Old Age is actually his song but he was never credited for it.

Violet is a Courtney Love song

Rule Fifteen: Special Rules for the Music Awards Original Song: An original song consists of words and music, both of which are original and written specifically for the motion picture. There must be a clearly audible, intelligible, substantive rendition (not necessarily visually presented) of both lyric and melody, used in the body of the motion picture or as the first music cue in the end credits. http://www.oscars.org/awards/academyawards/rules/86/rule15.html That is the reason for a lot of people wondering if it would qualify. It's weird that the demo lyrics were slightly different and didn't really fit with the GG though.

Yes sorry, wasn't directed at you at all don't know why I wrote that, I was quite drunk

The cat radio interview was June/July 2012 she gave and interview nov 25th that she was working on film score. Filming for TGG was finished 2011.

She said " mostly I can only write in the summer with the windows open. I put on a soundtrack or classical music and sit on the terrace. Humble pie tastes like shit I never fancy it

QOTSA songs for the deaf

FUGAZI repeater, TOOL opiate cause I'm deservedly wasted

Wow too many bad vibes it was just a discussion. It's a forum okay!

YOU WILL FIND ME IN THE GARDEN x

Thanks I'm so wasted right now you beat me to it x

When I was fourteen, my parents sent me to Kent, a private boarding school in the northwestern corner of Connecticut. It’s one of those schools where they send America’s pre-fame Paris Hiltons and JFKs; it was almost immediately clear that the place was a horrible fit. I wasn’t a super-rich kid or a super-bad girl. I never got picked up on the weekend in a private limo and the only time I had a sip of alcohol was when I thought a Long Island iced tea was some kind of regional Arnold Palmer. The mandatory Episcopalian services icked me out — I even pretended to faint during weekly chapel — and Christianity commingled into the education as well. One particular English class involved a hefty amount of biblical analysis, with religious interpretations permeating nearly every novel or poem on the syllabus. Somehow I made a couple of friends during my lone year at Kent (I thankfully switched to public school for the rest of high school); they were mostly other students involved in the GSA and performing arts. So it’s telling that in a school of less than four hundred kids, I remember almost nothing about Lizzy Grant, who, only a few years older than me, served as both arts and literary editor of two campus publications, and sang in several school choirs. I know her better as Lana Del Rey, the “gangsta Nancy Sinatra” by which she now self-identifies 10 years after graduating from Kent. Apart from a yearbook photo, I don’t remember her as she was then, but I can remember the amorphous hers she hung around at Kent School: slick kids in pleated skirts, silk blouses, and pressed blazers; prefects dethroned for their coke problems. And I can picture her sitting at the table in that same English class, finding the religious connotations in Salinger, mimicking Whitman’s poetry for a Blue Book exam. A lot of these pseudo-sacred lesson plans have permeated into Del Rey’s latest endeavor, the short film Tropico. A half-baked amalgam of '60s iconography, canonical poetry, and glamorization of America’s destitute, Tropico re-mythologizes the garden of Eden with an L.A. lens, interspersing strip club shimmies with heavenly aspirations. It’d be hard to inject much subtlety into a 27-minute biblical reinterpretation, so it’s a good thing Tropico doesn’t bother with subtlety. It’s an over-the-top, Tumblr-come-to-life presentation that flops somewhere between entry-level art house and student film. When first announced, Tropico was supposed to be Del Rey’s retirement from music and debut as a screen starlet. Now that she’s confirmed a new album, Ultraviolence, I’m not sure what I’m supposed to draw from her cinematic unveiling. Its plot, for starters, lacks cohesion, and that’s when Tropico even bothers to adhere to a plot. The first scene is an ornate, staticky afterlife, where a caricaturized gang of John Wayne, Marilyn Monroe, Elvis Presley and Jesus Christ dialogue nonsensically over each other, with phrases that seem transcribed from pull-string talking dolls. They cajole and console a wimpled Del Rey, costumed as the Virgin Mary with Gak-green nail polish. Simultaneously, in cut shots featuring that famed paradisiacal garden, Del Rey plays Eve, gyrating on Shaun Ross, the model and dancer who plays Adam (and her paramour throughout various character changes). The two dance and pose in floral skivvies; a little white snake gets all up on LDR’s bod; they chomp on an apple (spoiler); John Wayne seems to disapprove. Huh? I already need a nap. I’m not sure I’d desire a sensical narrative from the whole scene if Tropico was presented for what it really is: a series of music videos. That opening scene is Del Rey’s “Body Electric,” and it’s almost literally translated from the lyrics (the track name-checks Jesus, Mary, Elvis, Marilyn, the Grand Ole Opry, Whitman). The rest of the “film” consists of two other tunes, woven together into something far from seamless. “Gods & Monsters” features a face-tatted Del Rey killing time with her convenience store gangster boo (also played by Shaun Ross), the two of them playing out a grimey brand of lovey-dovey: snuggling, eating ice cream, shooting guns into the L.A. sky. Their respective posses, credited as “The Summertime Girls” and the “Tweekers,” help them kill time with stripping, smoking, drag racing, and — what else? — the armed robbery of a group of business men who’ve hired the aforementioned Summertime Girls for a private party. (I actually fell asleep during this part, which is not really a positive endorsement for a heist scene, or a film that is under half an hour.) Finally, Del Rey and Ross, now sporting brand-new all-black Nike gear (presumably gained through their sacrilegious theft?), pull up to a cornfield, in which they frolic like they’re modeling for an Anthropologie catalogue. They get totes naked. They find God, or something. While Del Rey’s “Bel Air” plays, they ascend up into the light of heaven. Aww. Director Anthony Mandler, who also helmed videos for “Ride” and “National Anthem,” at least made the whole thing look nice; the lighting and costumes are beautiful, and the vibrant colors ride a line between stained glass and Our Lady of Instagram. But why bother presenting a trinity of promo clips, which would stand fine alone, as a film? Why not schedule a half-hour MTV Takeover? It’s the connecting threads between these musical numbers that drag the entity down, and for these sections we have credited writer Lana Del Rey to blame. Between each scene, she reads excerpts of poems by Allen Ginsberg and John Mitchum. It’s a little discomfiting to hear “HOWL” in a breathy voice better suited for a perfume commercial. There are seldom moments of dialogue, but when they happen, they are cringe-worthy. One of the few spoken lines: “In honor of Jack’s birthday tonight, I thought I’d bring somebody here tonight that Jack could jack off to.” Followed by a crotch shot of Jack. Eesh. Perhaps the movie’s purpose is less to express art than to convey for the masses some kind of high school lit editor depth beneath Del Rey’s perma-pout. Certainly, she’s doing her job as a collagist; the references in the movie are so fleeting and hysterical, there’s at least memorability in their very juxtaposition. But rather than expressing any real message or artistry, Tropico is a promotional pastiche to verse us in Del Rey’s press release influences, all of which are culled from a pop-cultural consciousness too obvious and surface-level to be truly meaningful. I mean, really, in 2013 what does it say about a person to cite Marilyn Monroe as an influence? Nada, as far as I’m concerned. And so Tropico, if we take it as the film Del Rey wants us to take it as, winds up sub-sophomoric, a prettily packaged piece of moving picture sandwiched between two major label albums, a footnote of a PR stunt from a singer whose cinema chops are as wispy as her faux-retirement. Bummer, because the songs are good, and I might revisit their music videos if they weren’t all Frankensteined together into an unwatchable 27 minutes. But because they’re surgeried as they are, I fear Tropico will soon to be forgotten if, two weeks after its release, it hasn’t already. Just like my memories of Lizzy Grant. Found this via MTV I think, interesting insight on Lizzy's time at Kent if it's true. Seems like a full on religious institute rather than "you'll find me in the garden" I think I prefer "you'll find me in the garden". x

Apparently a song that wasn't written or originally intended for a film can not be nominated for the oscars and that is why there was media speculation (and still is) that the song might not be allowed. I'm not in a fight with anyone but you appear to want to make it that way I made a comment on the previous speculation of the songs validity for the oscars which ultra-violence reacted badly to and I just backed up my comment. You then decide to jump in and drag it out and make out like I'm doing something wrong if anyone is looking for a fight, or having the last word it's you and you're not doing either very successfully. You are clearly showing you suffer from double standards. Seeing as you both rate people's knowledge of Lana as a marker for their 'true fan' status I'd say I'm doing better than both of you. It's best to know what you are talking about before trying to start an argument with someone. What will be will be no need to get nasty it's not good for you and seeing as I don't give a shit kinda pointless really.

Were you talking to me? Has anybody heard it, well yes if you listened to the radio broadcast she actually sang it in the interview when she was talking about it being for her new album and it sounds then exactly as it sounds now. I get the feeling you have taken sides here and I'm not into that shit, like it's okay for someone to make fun of my comments but when I reply to them you call me very low. I don't think I have hammered any of my comments I was replying to them. Talk about double standards

I'm so flattered you consider my thoughts and opinions as fact like I'm godlike but I didn't ever claim they were facts notice I said "I thought" but actually they are facts that come directly from Baz Luhrmann and Lana herself. In an interview for cat radio Lana said she had 3 new song for her upcoming album; body electric, in the lands of gods and monsters and will you still love me when I'm no longer young and beautiful. That was early 2012. Baz Luhrmann actually said in a skype chat with Lana "we are very lucky that the song found a film" although apparently he did change some of the lyrics to fit with the film. Why they left in Rock n' Roll is beyond me as it's a total give away it wasn't written for the film. It clearly was always intended for Paradise and therefore not an original song for Great Gatsby and not really eligible for nomination. Either the oscar voters did not know about this or it has been allowed through their very strict preliminary entry requirements for other reasons!!!!* But it did get picked up in the media and spread about on blogs a few months ago. In fact there was a mention of it being previously thought as not being eligible even today in the Guardian. Surprised you can let simple things like this go over your head given you're such a drama queen stan you should be ashamed of yourself * Lana clearly has contacts in high places, don't forget the SNL backlash which most people think is about her awful singing but it was mostly about "HTF did she get on SNL just like that"

that was the plan

Chill bb it was published on several sites when it was releasedoh look here's one I googled for your lazy fat ass http://www.awardscircuit.com/2013/09/03/2014-oscar-predictions-gearing-up-for-the-original-song-race/ Personally I still think it was written before GG WTF is the term rock n' roll doing in a song for the 1920's :toofunny: :toofunny: :toofunny: Should you even be on this site are you like 12.If being a fan means I can't have or share an opinion or information in a fucking forum... then no in your eyes I guess I'm not LIGAS It's always a good laugh to find a simpleton on here

I though it was already published as not being eligible for a nomination, as she wrote Y&B before the film. Apparently it can't be considered as an original song if it was already penned. I mean the lyrics make it pretty obvious it wasn't written for the film, great Gatsby 1922 and rock and roll 1951! The incident sounds like inside publicity if anything.

where we sing Maha Maha Maha originates from Islam, Arabic for wild cow/deer which is a compliment "you have beautiful eyes like a cow" apparently. http://www.theguardi...l-physics-prize end of the article

The Muslims are taking over Maha Maha

What's with the ugly bitch comments! okay so she's not like LA plastic head but that's a good thing. Fuck generation barbie dolls who gives a shit beside shallow insecure people with nothing better to do then idolize plastics, what's up, can't you afford it

http://www.theguardian.com/science/2013/dec/13/michael-green-cambridge-fundamental-physics-prize

I like some of Woodkid's work, especially when he focuses more on micro detail and atmosphere. I think Tropico definitely could have been better, I know exactly what you are saying about feeling indifferent. Perhaps Woodkid could have made more of a connection, cause I think that's what is missing along with a decent script. I'm waiting to see Mandler's feature film, I'm really interested to find out if his work so far has been restricted by music and the people he's worked with.

Don't feel too sorry for Barrie he seems content dressing up as Kurt and currently making Nirvana covers