GirlAfraid

this color / texture would have been perfect. burgundy / brown / blood ~ with the same camera that filmed national anthem (in slight grain and high definition). but no, bitch goes and uses a fucking iPhone application 
 
i realize that these are all minor details i'm nit-picking but her visual work has always been equally important as the music from my perspective. lana is a VISUAL artist. this is the woman that searched the depths of youtube for some of the most beautiful (personal) footage i've ever seen; art house compositions inadvertently or haphazardly shot by someone's grandparents in their prime? i'm not sure of all her sources, but the point is -- she has a fantastic eye for detail. she played with palette and lighting effects on iMovie to get the proper 'look' for each and every homemade video she pieced together; i'm talking multiple split-second intervals within a 4 to 5 minute song. i don't see why she's suddenly being lazy (or at least putting out work that visually manifests as such) when she has so many resources at her disposal now. she said herself that she's running out of ideas for videos, and i can see it. since ride, i've been disappointed -- it feels like something's been missing
 
i actually like the concept of this video; but to me, it isn't beautiful. i feel like she's writing her ideas down on paper instead of making her mood boards or something 

Looks like summertime sadness 

Did she ever mention a little escape to the great sunshine with a
 
 
 
 
... and that his wife wouldn't mind?

I think you're exaggerating a little... It's not like she has a bad disease
 
And she didn't say she fucked people that worked at her label, she said she has been with guys from the music industry and that could mean anything, from producers to musicians, like Barrie.
 
I think you're taking this a little too far, and I know that wasn't the brightest statement to make but people won't stop working with her or liking her just because she said it...

@@bloodredjam, I do find a lot of what you posted intriguing and thought-provoking, but I don't feel any differently towards Lana/Lizzy regarding the things she has stated this time around. 
 
A lot of people have sex just for fun, to try and feel something besides numbness, to assuage loneliness etc.  It doesn't mean they are using others or that they don't have good home lives.  As you said prior, these types of actions can arise from mental illness- or they cannot.  Doesn't really matter.  It's no reason to dislike Lana, unless you adhere to a strict morality.
 
I personally don't understand people who can do this, but I don't judge them.  I think they must be missing something and they're looking for it.  That's all.
 
I do enjoy armchair diagnosing people and, especially in the cases of celebrities, they make it too easy sometimes.  I dont find it disrespectful to do this as long as it's not judgment of their characters and instead genuine curiousity.

I saw from the comments that many of you liked this interview. For me this overall boring interview is changing something important regarding my perception of her. I’m not sure about anything regarding Lana but I have certain inclinations regarding what I believe about her.
 
After this interview I’m definitely inclined to believe that she has some real psychological issues and she has no understanding of the consequences of her public persona on her private live and her psychological well-being.
 
I reacted in the past rather forcefully to opinions that she is a pathological liar because I believed that she’s a dreamer exaggerating things a little bit and she just don’t remember certain things accurately from her past especially regarding the time frames.
 
Now I believe that she is making up a lot of things because of her psychological problems.
 
She has some behavior that suggests towards psychological problems. I think that she suffers from low self-esteem in general but it is very interesting to analyze this regarding to two main aspects: her profession (her singing abilities especially) and her sexuality.
 
1. Her stage presence was always something that baffled me. I’m not fond of Gaga or Beyonce type of stage theatrics but Lana behavior on stage was (and it is) simply strange. She’s obviously shy, she creeps on stage, she is incredible nervous, holding desperately the mic, adjusting the position of the mic-cord, she turns her back to the audience to often to talk with her band, she made a habit out of that smoking shtick, she’s taking selfies for 10 min. with the front row, she never does encores etc. Everything is suggesting that she’s uncomfortable on stage. Her mental state it’s so obvious that when I see one of her live videos I always have an uneasy feeling like something not so good will happen. I observed that her live singing it’s uneven: there is some moments when her voice is pure and pitch perfect and some when she’s clearly messing the things up. I think that as soon as she’s on the stage she has to distinct threads running in her head simultaneously: one that is concentrating on her delivery and one that makes her exaggeratedly self-aware for a performer that is making her to feel that something bad will happen. When this latter thread takes over her voice starts to tremble, she looks miserable and she starts to improvise in a defiant and exaggerated manner which is more often bad than good.
 
I think that, because she started to sing so late and without proper training, she doubts her own singing abilities. He stated often that she wanted to be mainly a studio singer and she’s uncomfortable on stage.
 
2. She exaggerates her sexuality mainly through awkward statements in interviews that are contradicted by some of her observed behaviors: the promiscuous girl fantasy. She had a 3 year long relationship with Barrie and I never heard something serious regarding that she cheated on him. She created me the image of a good girl that fantasizes about being bad. Driving at night on the metro and writing, going to the beach, roller-coasters, and the pictures with her sister and her father hanging out: for a bad baby she’s too much involved with her family, she hangs out too much with her sister which is a very benign being btw. She was involved with WoW players, I know some things about WoW players and they are “bad” online and generally pretty regular people offline.
 
“I had a long-term relationship for seven years with someone who was the head of a label”. From what I know she had two labels in her life “5 Point Records” and “Interscope-Polydor”. She was signed in 2007 to 5 Point Records. David Nichtern was the head of the label and David Kahne was the producer and I’m pretty certain that she didn't fucked with these guys and certainly she didn't have a 7 year long relationship with any of them. Maybe she was involved with guys from another label or with lesser guys from 5 Point? Not likely, because we would found something about that online. She fucked around random guys on the open mic circuit for record deals? No. It’s more likely that she invented this “adventures” to match the inner expectations towards the character Lana Del Rey that she fantasized about.
 
“I have slept with a lot of guys in the industry”. There are two things that are suggesting that she’s not a in full control of her behaviour: first, is the obvious exaggerated-overtness of the statement which is about admitting publicly to promiscuous behavior. Sexuality it’s a private thing and people in the GP reacts strongly towards these type of statements. And of course the “annoyed that the whoring didn't resulted in record deals” will not be perceived as sarcasm by a large proportion of the GP. Second, is her problem understanding the consequence of this statement on her future inner wellbeing. I remember the student from Duke University who wanted to pay for her tuition with porn money which is a reminder that there is no fresh start after you do or say certain things in public.
 
Her alleged promiscuity is just contradicting with her statements about being a good person, helping the community and being with her family.
 
I don't know if any of you observed her stiffness when she dances. I don't want to read to much in to it, but this can be a small suggestion that she is not so easy going. Watch her dancing with Mahoney in the SOC video it's totally awkward. Her physicality is more posturing to me than something that would suggest nymphomaniac tendencies.
 
I think that Lizzy Grant is in the midst of the psychological chaos created by the adoption of the Lana Del Rey character when she took the decision that Lizzy and Lana are the same person. Lana is a fantasy and Lizzy is just morphing strangely under this façade. There are two outcomes possible: She will become Lana Del Rey or she will melt psychologically at some point and we'll all know it.

Do you think a “guilty pleasure” is a real thing?
Yes, but I don’t have many of them musically. I have tons of them in life.
  Do tell.
Well, smoking is one of them. Sugar, coffee. I must have 13 cups a day. It’s a shame about the health consequences because a lot of great things happen over coffee and a cigarette. A lot of great songs were written.
 
When she says her pussy tastes like Pepsi cola... I have a hard time believing her

Wait, why does it say she's 27? How long ago was this interview... I mean usually when magazines fuck up her age it's at 28, but 27?

love this interview! 
and praise elvis, marilyn and jesus that there were no 'i wish i was dead' questions 

So is this confirmation for her and Dan having rough sex?

The German and European critics/journalists are generally more positive and open-minded of Lana and her music, though. The US media in contrast is less forgiving as we all know by now, at least when it comes to Lana.

I'll say this, as an extreme introvert, a sensitive person, and a creative type, and frankly kind of a selfish asshole: All that tortured artist shit goes out the window in the real world. Save it for the studio, save it for your journal, save it for your canvas, because nobody gives a fuck about your emotional needs outside of those places. It hurts, and it's hard, and you won't make friends with everybody, but you won't win. Lana should know this by now, and honestly, if she doesn't, she needs better handlers who do. It's nice to say "she's not cut out for this" but she wanted this kind of fame, did she not?
 
You can't be on Kimye wedding levels of fame and screw up half of your press. Even Kanye can get through an interview unscathed once in a while. I really feel for her, but how many times can we blame the journalists for doing their job too throughly?

All I have to say about the end of the interview:
 
 
 

OK, then explain to me how my characterizations of what you said are inaccurate. 

Really? Where do you think this view of her came from? Am I just imagining her Twitter tantrum over the Guardian interview or the numerous other frosty interviews and interviews she's cut short over the years? 

No, I'm not sympathetic to the fact that she can't seem to handle being asked expected interview questions or have the grace to just politely say "no comment". If you can't stand the heat get out of the kitchen. 

Sorry, but this is just excuse-making for shitty behavior. There's also a complete double standard being applied here to Lana and her interviewers. 

And he/she has the right to print how it went down. 
 
My main objection here is I don't think most of you defending her behavior are being objective. If this was an artist you disliked or had never heard of acting this way I don't think most of you would respond the same way. Except perhaps those of you who celebrate any and all confrontational drama even when unjustified because it's "sticking up yourself", a trend in our culture I find really disturbing. Or perhaps those like @@PrettyBaby who think those mean ol' journalists should have to dumb down their interviews to the level of their subject's emotional intelligence no matter how low it is.
 
On another note that pic in the Rob-style Hawaiian shirt is so fucking hot.

All I have to say about the end of the interview:
 
 
 

All I have to say about the end of the interview:
 
 
 

My favorite thread

this is a really good interview! some interesting questions for once, and i like the direct references to her different songs. this journalist has actually done some research  

"It's not all cowboys" 

Best interview this era. All about the music and from an interviewer who gets it too, fantastic.

Found this facinating article from Salon website that talks about how Lana's music and fascination with death suits today's scociety. Here is the link...
 
http://www.salon.com/2014/07/08/why_lana_del_ray_is_the_perfect_artist_for_an_a
merica_in_decline_partner/
 
And here is transcript...
In case you have been under a rock, Lana Del Rey is pop music’s It Girl right now, sauntering past Queen Beyoncé and Miley Cyrus with her languid sex appeal and self-professed death wish. With a sound described as “narco-swing,” Del Rey floats through ghostly videos in various poses of drowning and despair, blowing a pouty kiss to the Grim Reaper in the guise of a Gothic pinup.
 
The kids can’t get enough. Her album “Ultraviolence” has just topped her hit debut “Born to Die” to land at No. 1 on the Billboard 200.
 
“I wish I was dead already,” she confides to the Guardian in a kittenish voice (interview clip here). Asked if she thinks an early demise a la Kurt Cobain is glamorous, she murmurs, “Um, yeah,” setting off a twitterstorm in which Frances Bean Cobain, daughter of the singer who shot himself at 27, slammed her for romanticizing youthful death. “People like you think it’s ‘cool,’” blasted Cobain. “Well, it’s f–king not.”
 
But ask a Goth kid or a vampire fan, or for that matter a Pre-Raphaelite or an aficionado of European Romanticism, and you will quickly find that the pose of eroticized death has been a perennial favorite of youth culture — and it tends to crop up in seasons where young people see an epic fail in society.
 
Enter Lana Del Rey.
 
Love Story for the New Age
 
Del Rey has more than her share of detractors. Some feminists are irked by what they perceive to be the singer’s victim stance (not to mention her professed boredom with feminism), comparing her style unfavorably to Beyoncé’s brand of bootylicious empowerment. Indie music writers complain of her gimmicky transformation from under-the-radar Brooklyn songstress Lizzy Grant to pop phenom Lana Del Rey. (Do they feel similarly peeved with Bob Dylan, once known as Bob Zimmerman?)
On Del Rey’s much-panned 2012 Saturday Night Live performance, where she stood looking like she’d just popped a Xanax in pale gown, news anchor Brian Williams dubbed it “one of the worst outings in SNL history.” True, it was weird: Del Rey seemed, if anything, painfully bored with the SNL proceedings. No hopping around the stage shaking her bon-bon. No painfully earnest emotional appeals. What was this blasé siren up to?
 
Becoming the hottest ticket in town, is what. While the critics panned her, fans swooned. Angelina Jolie, remembered for her own youthful Goth phase, handpicked Del Rey to record the theme song for the summer’s hit Disney film “Maleficent.” Kanye and Kim asked her to sing at their A-list wedding. Del Rey is en fuego.
 
Too awkward for the medium of live television, too ethereal for the stage, Lana Del Rey seems to know her bread is buttered on the Internet (she is literally a child of that medium, the daughter of a web entrepreneur who made his dough hawking Internet domains). There, fans embrace her eclectic video mashups and twisted takes on pop culture clichés. There, she can be as detached, noncommittal and as rapturously bored with it all as her audience.
 
With her well-honed weltschmerz and mesmerizing monotony, Del Rey expresses the winter of America’s discontent through the eyes of the youthful bourgeoisie.
 
In “Shades of Cool,” Del Rey transforms the sunny myth of California dreamin’ into a nihilistic ride to oblivion in a Chevy Malibu. Her most recent insta-contraversial hit “Ultraviolence” throws a stink bomb into ’60s dreams of peace and harmony with a fantasy of being roughed up by a cult leader/lover. “We could go back to Woodstock,” she sings. “But they don’t know who we are.” In “National Anthem” she gives a ghoulish rendition of Marilyn Monroe’s breathy birthday address to President Kennedy, followed by assassination clips that segue to a cynical anthem about America real obsession, money, which kills every other youthful aspiration.
 
“It’s a love story for the new age
For the six page
We’re on a quick sick rampage
Wining and dining
Drinking and driving
Excessive buying
Overdose and dyin’
On our drugs and our love
And our dreams and our rage”
 
Lana Del Rey is pushing the envelope, and here’s her message, delivered with a languid pout: 21st-century America is a rotting corpse, deadlocked culturally, economically, and politically, and since there’s nothing we can do about it, let’s enjoy ourselves as the body-politic disintegrates, perhaps by savoring some toothsome bites of the past: candy-colored Super 8 films, juicy jazz tunes and clips of sultry screen sirens. The future is a retrospective.
 
All of this echoes the ancient danse macabre, the dance of death, the motif that sprang out of the medieval horrors of war and the plague. It’s a plea for fevered amusement while you’ve still got time.
 
Queen of the Damned
 
You might call Del Rey a musical Queen of the Damned: the expression of a generational sense that America has lost its way, and there’s little hope for redemption. Del Rey’s haunting sense of exhausted sadness is perfect pitch for an era when climate change threatens the planet, bloodsucking financial predators steal the future of our youth and consumer culture deadens everyone. The kingdom of wealth is sterile and limiting; perhaps the kingdom of death is preferable. Del Rey’s pose of expectant pleasure at the coming apocalypse strikes a resonant chord — a cool bravado that eases the pain. In her romantic fantasies, you can almost hear strains of Wagner’s Tristan and Isolde, a love story in which young lovers seek peace through annihilation.
 
Del Rey and fellow avatars of the death-and-the-maiden trope —one of the oldest in art — have been creeping onto the cultural scene since the global financial meltdown of 2007-’08, and not just in America. In Lars Von Trier’s 2011 film “Melancholia,” Kirsten Dunst’s character Justine welcomes the end of the world by offering her sprawling naked body to a rogue planet hurtling toward earth. “Life on earth is evil,” murmurs Justine. “No one will miss it.”
 
All of this is no surprise to students of psychoanalysis. It was a woman, Sabina Spielrein, who gave Sigmund Freud the inspiration for his theory of the death drive, writing of young women who dream of lying in a coffin, yearning to return to the womb through the tomb. It is women who are most acutely aware of the limitations of society’s institutions and its life-denying strictures: scripts for marriage, motherhood, and career still don’t accommodate women’s desires and creative potential. Why not just imagine sinking into a blissful abyss with your lover?
 
For millennials, the desire to reject an inhumane future in favor of a sensual plunge into undifferentiated nature is mirrored in Del Rey’s videos, where she is often submerged in water, as if suspended in Earth’s amniotic fluid. The world can be saved only when life returns to its primal source.
 
This potent combination of women, sex and death is going to be one of the calling cards of late-stage capitalism. We are experiencing fearsome global dislocations and distorted social and economic systems that are killing our life-affirming instincts. The death drive is perennial, but when a society seems to hover on the eve of destruction, these Eves of the Apocalypse — suicidal brides, young women fixated on pain and death — emerge to speak our well-founded anxieties. They signal that just now, the death drive is very strong.
 
The sociologist Emile Durkheim wrote of “anomic suicide,” a desire for death that comes from confusion and lack of social direction in the face of hard economic times and societal upheaval. When young people can’t find legitimate aspirations, they feel lost and disoriented. They begin to lose any sense of the limits of desires and become mired in a sense of chronic disappointment. A bankruptcy of expectations leads to a nostalgic fixation on the past and inability to actively meet the future.
 
What Lana Del Rey is selling is what a big chunk of America’s youth is feeling: contemporary capitalist society is a deathly bore.

http://www.thestar.com.my/Lifestyle/Entertainment/Music/News/2014/07/10/Lana-Del-ReyBorn-to-make-music/
 
I don't know if this is a rehash from another interview
 
Lana Del Rey’s new album and musical career are the results of battling snide remarks and winning her parents’ approval.
 
Not long after the release of Born To Die, Lana Del Rey told Vogue that the major label release will be her last one. “I feel like everything I wanted to say, I said already,” the American songstress was quoted as saying.
 
That was back in 2012, a year that also saw the New York native facing allegations of record label constructed artistry and fakery after a disastrous live performance on Saturday Night Live and her less-than-stellar musical endeavours in the past surfaced – a far cry from the sultry singer who captivated the Internet with the haunting Video Games.
 
With the barrage of negative criticisms, it would appear that the former Elizabeth Grant has indeed depleted the Lana Del Rey character. But somewhere along the line, Born To Die shipped over seven million copies worldwide and went on to become the fifth global best-selling album of 2012.
 
Maybe it was the realisation that bad press doesn’t necessarily impede record sales because two years after that Vogue interview, we’re greeted with Ultraviolence.
Del Rey took some time to talk about the follow-up to her commercially successful debut in an interview transcript provided by Universal Music.
 
After your last album, Born To Die, you announced your retirement from music. Yet, here you are again with Ultraviolence.
 
I can’t start an album if I have no idea of the narrative, the concept. If the songs aren’t perfect for me, what’s the point of forcing myself?
 
That’s why I answered that I had no album planned. But everything opened up after a chance meeting at a party with Dan Auerbach of The Black Keys. Some kind of chemistry happened.
 
What gave this slightly hippie, 1970s tone to Ultraviolence?
 
The first song of the album, Cruel World, decided everything. It places the album geographically. In the beginning of the text there’s something minimalist, a simplicity that repeats over and over, very low profile.
 
And then the chorus comes with its big drums, its electric mess. This mixture, this cohabitation between normality and chaos is very symbolic of what I’d just been through in my life.
 
Your songs offer a strange mix of luxury, opulence and sadness. A bit like Roy Orbison ...
 
I feel like I’m making happy songs but when I have people listen to them, they tell me how sad they are.
 
I can’t run away from my life, which was pretty tumultuous. Three years after my real debut, I’m still plagued by both doubt and sadness. I just have uncertainty, emptiness in front of me.
 
And I don’t like not knowing where I’m going. My love life, my family life ... I’m not sure of anything. That’s why I hate when I can’t write because for ten years, writing was the only stable, reassuring thing in my life.
 
You grew up in the countryside. Was it lonely?
 
No, I had a real group of friends, inseparable, we were very similar. It was the first time in my life – and the last – that I felt such friendship.
 
But at 14, I was sent to boarding school, because we did a lot of bulls**t together – like going out with older boys, running away to parties.
 
In this school, I became friends with one of the teachers – he was 22, I was 15 – who helped me discover Jeff Buckley as well as Tupac and Allen Ginsberg.
 
When I arrived in New York at the age of 19, I tried to find this lost friendship again with people my own age. But it was too late, they all seemed obsessed with their careers, their social success ... so I wondered where the musicians were, (people who were) willing to sacrifice everything for their songs, ready to die for them.
 
So you had the feeling of burning bridges with this idea of social success?
 
I read a book by Napoleon Hill that talked exactly about the need for an artist to burn bridges with any career opportunity. For years, my life took place in my head, no one knew anything.
 
It was almost like a double life. I felt so lucky to be receiving these songs which I never told anyone about because for a long time, except for my roommate, nobody heard my songs.
 
But there was a real enchantment. The music came over me, literally. Entire songs, already composed and arranged rushing out of my pen, onto my notebook. I knew it was in me.
 
When I was 20, since nothing was happening, I decided to continue responding to this call, whatever it took. It sounds strange, but I was a fan of my music. I was terrified by how others saw me. It’s so personal, music, that we’re inevitably frightened by rejection.
 
At what point did you feel you were right to hold on?
 
During the recording of Born To Die, I’ll never forget my father’s visit. He was amazed to see me so sure, so in charge, so fulfilled, asking the producer to give me a beat or a symphony. He had no idea what I’d done for the last six years, that I’d patiently built my little world. My parents didn’t even know I sang.
 
But when he saw me in the studio, my father told me it was one of the happiest days of his life. My parents had insisted that I didn’t leave school for music – and I finished my studies in philosophy, because I knew they could feed my songs.
 
I told them early on that I wanted to become a singer, but they didn’t get how passionate, how serious I was. But suddenly when my father saw me, he understood, it validated six years of work.
 
What part of your work is pleasure, inspiration, hard work, pain ... ?
 
pleasure begins and ends with the recording of the album. Then comes the pain. I’m extremely involved in every phase of the album until mixing, mastering. I don’t leave the mixing board until the moment we hand over the tapes, a moment of sadness.
 
Then touring begins, painful, or the promotion, difficult. I feel I have to justify myself, to defend myself, when I don’t even feel the need to because my music is good enough not to have to do that. Deep down, I’d prefer to remain silent.

Somehow, the thought of Lana on Ellen makes me laugh in an uneasy way, I can't picture them together

I want Money Power Glory to beee a siiiiiinggggllleeeee. 

YAWN. this better have a cool video, at least. something to give us insight into her supposed cult years? i just really wish she wasn't releasing this song cos of "he hit me and it felt like a kiss." i'm anticipating some backlash. 
 
but really, it should have been brooklyn baby, sad girl, or money power glory. ugh.