parkin

Yeah I thought I made it clear that the short time recording sessions were mainly relevant to bands. What you are saying is true, if you aren't a band looking for a raw sound but it is possible to record an album in a day if you want and many bands do which is what I was saying in reply to the someone I replied to. I think dan has been used as the overall producer given the photo and bad grammar comment and he will probably work with the master mixer if he doesn't mix himself although a lot of producers do as that is how it works now. I remember a lot of the feedback about Lana's albums commented on how there wasn't an overall sound, there wasn't a consistent feel to it and it didn't feel like an album which is why I think this album will be different.
 
If I remember rightly nevermind was originally produced by Butch Vig and Nirvana nor Butch Vig liked the way it was sounding so they brought in Andy Wallace to produce it. They all turned up to late for the master mix session and the mixer Howie Weinberg did it without them. 
 
I personally hate over produced albums but it seems to be the 'current trend' Although Lorde seems to be making quite an impression with her album which has one producer rather than 6+ producers working on every different song. Too many cooks and all that don't always make for a fucking amazing album nor do pro tools and logic but that's just personal

Lana wants to sell, make no mistake about it. She loves getting awards etc. So she needs to follow Interscope's wishes. They have allowed her some artistic freedom. Remember how Artpop was delayed several times and that Gaga now will be leaving them. I think they are very shrewd. They know the market.

I just assumed that Dan Auberbach was like... the supervising or main producer? Like that he kind of directed the production and made sure that it had a uniformed and consistent sound so the album isn't a collection of 12 songs that don't belong together (like how you wouldn't put There's Nothing To Be Sorry About together with Go Go Dancer because it would give the album an unbalanced finish). Sort of like the role I assumed Haynie had on Born To Die to make it sound like one cohesive piece of work rather than 12 pieces combined. I mean idk I'm really just talking out of my ass right now 

Yeah Dan seems like a perfect match for Lana he's a Gemini, wife beating, soccer jock!

Cola - bland production, dull vocals except for that oh ohh
American - another bland song, cliche lyrics

Probably gonna get hung, drawn and quartered for this but Lana looks a bit like Amanda Knox here.

What's the whole thing with her eyes being too far apart? I don't think they are. But to be honest I find people with really close set eyes creepy so I guess it's just a weird personal opinion. And I don't think she has said anything really nasty about anyone either, she is allowed to have opinions just like everybody else does.
 

Never Trust a man whose eyes are close together
 

To be fair you could also apply this to Lana or anyone else in the industry they all copy each other, I see a lot of similarities in Lana's videos to other artists but then they have used the same director.
 
To be honest, I'm still waiting for someone to break the mould and be you know just a bit different

Maybe we are just wrong. "Paradise Lost" is the name of  Raqib Shaw´s (the painter of the pic) exhibition in NY. Emile just was amazed and posted it. He deleted Moy´s comment because he didnt want to mislead people. 

It's a piss take clearly
American Flag
Chain Smoker
Just a Fool
One Last Drink
Daddy

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

I'd love to So nice to meet a kindred soul on a Lanaboard.
 
Another unpopular opinion: I prefer Lana's old homemade videos to Tropico.

I just realized how shallow Lana is. I mean, you can see she definitely writes about her men all the time.. Definitely seems to be inspired about their looks. And we are looking at the sometimes bad relationships portrayed in her songs and I honestly think that she thinks that they're too beautiful, it doesn't matter if they are fuck ups. Then with her stage name. It sounded beautiful. All her icons she honestly doesn't seem to know too much about but she's inspired by their face, a quick listen of a song.
 
Her video clips, she said she was inspired about how they looked, while most people would choose them for the significance, I think Lana's videos really appeal because they're different and beautiful because she chose clips for their beauty. Also, her clothing choices. I think she thinks each clothing item looks great on their own and puts them together (example blue maxi dress with loafers) and doesn't think about if they look good together, because those are her favorite clothing pieces, they're pretty, Etc.
 
And then definitely all her talk about being electric, alive and shit - her adjectives and adverbs and verbs are so grandiose I would feel ridiculous using them. But she doesn't because she has a little bit of a shallow mind. That's why we see such weird imagery and such vivid imagery in her songs.
 
And then the smoking. I don't think she thinks about the health cons, but rather how it looks..kinda maybe the reason she started smoking? Her weird ass technicolor tropico and dialogue and shit all that shit appeals to her BECAUSE SHE IS SHALLOW. Yes, I think she is a smart person in some aspects, but her shallowness overwhelms me sometimes.
 
And then all that trailer trash stuff, I think those flamingoes and flowers were just so pretty to her maybe a reason she fixated in them. Definitely her weird descriptions of herself on her myspace and Facebook were because those things just looked and sounded beautiful.

Prob one of the domains he hoarded for himself.

Honestly Rob's Twitter account is getting out of hand, just like his Instagramm account. Plenty of young girls commenting his pics. This just gives me some kind of bad taste teas.
 
I mean it was okay for a couple of days, but he is really getting life from his daughter having a devoted fanbase. He is a lovely man, but it is just so....idk....weird? 

To be fair you could also apply this to Lana or anyone else in the industry they all copy each other, I see a lot of similarities in Lana's videos to other artists but then they have used the same director.
 
To be honest, I'm still waiting for someone to break the mould and be you know just a bit different

I was disgusted at some of the violent comments here as well as people poking fun at Lorde's face. That is not cool. Yes, her eyes are far apart; you don't have to compare her to a cartoon character or repeatedly call her ugly. Beauty is in the eye of the beholder and all that. You don't have to find her pretty (I don't) but some of the sentiments here kind of shocked me.
 
 
I don't understand what's wrong with the Lorde & feminism thread? Nothing she's said indicates that she has more than a shallow understanding of feminism. That's normal. Yes, there are teenagers who are familiar with the tenets of modern feminism and have an understanding of it that's more intricate than what she's shown. As intricate as an adult's? Of course not, they don't have the life experience to have that nuanced understanding. But they have some "book knowledge" at least. Lorde's mother has said she was reading Kurt Vonnegut at age 12 and Lorde is often praised for her intelligence, so I don't see anything wrong with pointing out that what she's said so far about feminism isn't novel or shows an unusual understanding for her age. It's one thing that's at odds with her image of child "prodigy" (once again, I disagree with that phrasing, but that's another topic for another time), not an attack on her character or intelligence.
 
I will say that that topic contained a lot of hostility towards Lorde, including on my part, and I don't think she deserved it. It's clear that she's one of those people that inspires great love or great hatred and since she's been pitted against Lana and has said a couple of unfavorable things about her, it seems that great hatred has blossomed here. When discussing her, it's important to honestly look at one's position and think "how much is my conclusion influenced by my feelings about Lorde? Is my conclusion at odds with the evidence available?" It's definitely difficult to do (some sources would say it's impossible, even when one is aware of one's own biases). But I think it is possible to discuss Lorde's statements and her music without devolving into blind praise or blind hatred. Unfortunately, it's too easy to ruin the balance and inspire feelings of fanaticism on all sides.
 
 
 
Also Lana please win a grammy 

NNNNNnnnnnOoooooooooo
It's not only crazy it's so wrong he's a complete idiot
'Wanting to be someone else is a waste of who you are' Kurt Cobain

this as well: http://audioboo.fm/boos/838087-on-a-plane-nirvana

Wow I really like it but it's crazy how much he imitates Kurt.   

He wrote the song originally but he didn't want to use it so he gave it to Courtney and she rewrote all the lyrics and changed some stuff.

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

The pushed back release date of Gatsby means it could have been written long before, for the film, and then dumped by Baz and re-instated into the film. I haven't heard the demo but Gatsby was supposed to come out in December 2012 for the awards season so who knows when he asked Lana to be included in the soundtrack. She could have then re-written it, took it for herself, put it on Paradise, then re-written it again for the film, who knows? We have no idea of the journey of the songs but I'm glad that it is eligible because it does deserve to be there. "Please Mr. Kennedy" is not on the longlist for Oscars so Y&B is definitely eligible. I don't know how the Oscars would even prove whether it was written for the film or not.

this is internet conversation, dont make it WW III 

Why are you acting asocial ? God bless people who withstand your company.