Trash Magic

EAT SHIT

anything wit the title "lolyta" is fake af

that single cover is tragic, like I know you can do tacky shit to be cool, but that isn't even in the proximity of being cool or hipster smh song sounds good tho i'll buy it

One of her best songs ever, Dear Elliot (Westbound, is such a better title )

umm, i just googled her. i think she's trying too hard to sound like lana

THIS NEW VERSION OF CRAZY IN LOVE SOUNDS SOS OSOSOS GOOD

Not a chance

did u not see that litter she wrote a fan? She like capitalises letters halfway through words https://www.dropbox.com/s/v6s1qj3p77r5i39/Photo%2016-07-2014%2017%2055%2031.jpg

LMAO... This is why people shouldn't make you tubers/viners famous. it's really really pitiful. Like get talent or get out

Britney is releasing a lingerie line? Ironic, has she ever worn a bra?

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.

so Dan Auerbach effectively murdered the second coming of Lizzi Grant

Penne alla vodka? Sober? this bitch has been getting her fix in a bowl of pasta...

an extension > not a re-release. This is so promising, since Barrie has gone the floodgates have opened

She said her laptop was remotely accessed while she was staying at a hotel Maybe if she wasn't so busy playing Wicked Games so loudly and dancing around she would've noticed smh

If I went to a Lana show I would take a taser to put those fucking wailing fans to bed This is perfect, her voice is incredible, she looks so exotic and beautiful

i'm amazing

http://lanaboards.com/index.php?/topic/3814-ultraviolence-pre-release-thread/?p=168589 WE SHOULD HAVE LEFT LAS VEGAS, AND THEN BEGAN AGAIN TOOK YOU BACK TO DETROIT, BACK TO THE PROMISE LAND I am my only god

It's her artistic license, I don't have a problem with it, I can see how others could get annoyed with it but for me the imagery of stars and stripes is more tiring than dying in her videos at least she's switched it up Death by fire - Born To Die Death by performance - SNL Death by drowning - Blue Jeans Death by jumping - Summertime Sadness Death by assassination - National Anthem

just because the video is recreations of true events, it's not like Lana wrote the treatment. I think the one thing that Lana says which is actually pretty accurate is how she is always talking about honouring love lost, and I just think she more often than not chooses to bring that to life in the form of death

I've, personally, never understood the whole idea that it's a fact that Lana always sings about death, the striked ones, imo, are stretches. I think in her official releases there is no over-stauration of death whatsoever, I think that misconception really stems from stupid ass responses in interviews like the Guardian, in which she only has herself to blame. And I think it's mainly the media creating a caricature of herself, she appears in magazines and the headings are almost always laced with synonyms of death and sadness, just check Rolling Stone too. I don't really think she's to blame entirely for that, minus the chorus of Sad Girl I think there's more instances of it in unreleased songs, and maybe they're unreleased for a reason. And to finish, I don't think there's anything wrong with singing about it, but there is to say "I wish I was dead" so candidly in an interview.

Get a haircut

imagine if it isn't called Broke With Expensive Taste

I can't help but feel this is about this guru guy

Shooting album cover with Rankin next week