tiffanydale

no radio release, no promo, just the MV and she said that she did it because she wanted to give us a video before the UV one. 

Nah, our Jim is someone who has Lana met personally and this one died years before Lana was born 

"Ultraviolence" is the title track of Lana Del Rey's second full-length LP.
 
Lana Del Rey said in a Kulturnews interview that the song was about her time in New York when she joined an underground group. It was run by an extremely charismatic guru.
 
From her Grazia interview:
 
"I used to be a member of an underground sect which was reigned by a guru. He surrounded himself with young girls. He thought that he had to break people first to build them up again. At the end I quit the sect."
 
Then, people was saying that either Jimmy Gnecco was the leader of a sect, was participating or it's a different Jim. 
 
Well, I went a little deeper...
 
It is speculated that she is talking about Atlantic Group, a part of Alcoholics Anonymous, which she joined in the past. They were notorious for their cult behaviour and treatment of older men and young women. The Pacific Group (which AG is a branch of) is partly run by a man named Jim.
 
In Google you can find a list of The Cult within AA, where they show "The Wall of Shame" and the names.
There you go:
 
Pacific Group Members:
 
Clancy Imislund
Michael Quinones
Jim Boch
 
Searching a little more you can find an article with an audio of Jim Boch en 2010 where he speaks at Atlantic Group about being sober and the cult.
If you google the name "Jim Boch" you will find a few of small pictures of the guy, and, he looks so much like that man:
 

Edit: Easyriders is a brand so I'll try and find the exact shirt, but the one I posted is still extremely similar
You can find a very similar shirt here: https://www.denniskirk.com/3421581S.sku?utm_source=google&utm_medium=cse&gclid=CIq8ifSZpL4CFXIF7Aod2U8Ahg

Tbh I hope Lana doesn't get a stylist. I like that wears whatever the hell she wants and things that SHE obviously likes. 

From their website, "The New Inquiry is a space for discussion that aspires to enrich cultural and public life by putting all available resources—both digital and material—toward the promotion and exploration of ideas." They dedicated a whole, 24-page issue to Lana, and it's actually very interesting! Different essays discuss the appropriateness of Lana's inclusion on the Maleficent soundtrack, her glamorization of Americana as a lie, femininity, whiteness, and especially Ultraviolence. On the whole, it's pretty positive, though--my favorite is "The Fake as More," which focuses on her image. It's free!

 



 

Source: http://thenewinquiry.com/features/ms-america/

What a great interview. Finally not some shitty "Oh, so you want to commit suicide" kind of interview. You can tell the guy interviewing her was actually interested in her music. I'm also very surprised but at the same time not surprised to hear that MPG was written 1 and a half years ago. That song is clearly the most BTD-sounding song of the album.

World tour is coming, I can smell it.

The Austrian newspaper "Kronen Zeitung" (called "Krone") just published an, in my opinion, quite good interview with Lana.
Source
 
I did a quick translation again. I hope there aren't too many mistakes in it.
 
TRANSLATION:
 
 
 

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.

Who did this it was not me
 
https://soundcloud.com/bbcradio1/zane-lowe-feature-interview-lana-del-rey

Oh well I'm fucking stupid

Its a telephone chat

Lana called into Australia's Triple J radio station to discuss Ultraviolence.

 

Isn't there some obscure rap song titled "I wanna fuck Lana Del Rey"

Their separation just made this song from Barrie so much sadder to me.




Excuse me while I have a moment to grieve.

@@Monicker sent me a link to this fantastic episode of "Popcast", a podcast produced by The New York Times' ArtsBeat culture blog. A discussion between Jon Pareles, the author of that great NYT review, and Ben Ratliff, the skeptical yet open-minded host, this is the most intelligent conversation I've heard about LDR in the media ever. Truly a must listen. Apart from being just a great podcast, another reason @@Monicker sent it to me is because I'd told him he'd probably think I was crazy, but the guitar intro of "Cruel World" reminds me in small ways of the intros to several different Beach Boys songs. He did think think I was crazy at first, so we were both incredibly amused when Jon Pareles backed me up! Anyway, @@Monicker says it better than I can so I'll let him introduce it:
 

You can go to the episode page, download the MP3, subscribe on iTunes, or click the player below:
http://podcasts.nytimes.com/podcasts/2014/06/27/arts/music/27popcast_pod/27popcast-rev.mp3
 
Edit: If anyone wants to transcribe this podcast for quoting convenience I'd be more than happy to add it here.

Ha, I knew it. In my draft of my track-by-track UV review I'm working on I'd written this:
"Many reviewers have interpreted this as being sarcastic like MPG & FMWUTTT, as a satire of Brooklyn hipsters... I'm not so sure. It seems a little too on the nose. I think she takes herself a little too seriously as an artist and is a little too much of a beatnik wannabe for this to be satire. I think she means it earnestly. And I think she's a little too thin-skinned for that kind of humorous self-deprecation. Besides, it's not the first time she's declared herself a 'Brooklyn baby'."
 
Yeah, there's an entire thread discussing this question because her statements pertaining to this have been so all over the map. Despite that, I think there's little reason to doubt she probably did write a song called "China Palace" when she was very young.
 
Probably next to some lame department store and a Thai food place she wasn't in the mood for.

so it goes, from surf noir to hollywood sadcore to narco swing and now music to watch boys to
 
lana ha innovation

Round 8 has started! (I know...it's been a while)

 

My votes:

She's Not Me

St. Tropez

 

To everyone who's new to this game:

Remember to vote for your TWO LEAST FAVOURITE tracks!

Oh man, I need a screenshot for this. Neeeeed it.

if you look under shades of cool comments in a couple of the negative yt responses she gives them a link to pre order Ultraviolence on Itunes I can't find it now but I saw it and I cracked the fuck up this queen of ours.

I wish there was a video to this. I would love to see this Lana basically rolling over laughing out loud.

http://www.aftonbladet.se/nojesbladet/musik/rockbjornen/article19123254.ab
 
She puts her cigarette out, just little bit too hard.
– Yes, sometimes I fucking wish I was dead, but I don't glamorize death or people killing themselves.
        Markus Larsson and Lana Del Rey. Lana Del Ray excuses herself, gets up and starts fiddling with the espresso machine in her hotel suite.
– Sorry, I can't do interviews without my coffee. Keep talking. I'm listening.
I've always wondered, why did you create the persona Lana Del Ray?
– Well, it's not a persona. It's a different name. I've always thought that the way you're kind of born into a name, a geographic location, a family makes it hard to choose for yourself who you want to be. By having a different name I felt more free to be exactly who I am. People seem to think sometimes that I am somebody on stage and then you get off and you're another person, but I have a more alternative way of thinking.
I thought it was some kind of art project, like a Ziggy Stardust character?
– Yeah, people think that but actually for me it was just a different name. It has made it easier for me to express a very clear aesthetic that I love.
So what was the inspiration for your aesthetic?
– All things dark and beautiful. Everything I love, everything I've been through, everything I've wanted to do. My history and my songs.
You seem rather interested in the beauty of darkness and despair.
– I've had despair and grief in my life. In the past four years journalists have always asked me about death, icons and my persona. My own depressions and experiences has gotten miscommunicated as this need to be dark. Actually it's not my preferred way of being. I love when things go really well. Anyone who knows me knows this.
But what about the interview in The Guardian…
– I'm not fucking happy about the interview, to start with.
Well, I know that, and you've made that clear on Twitter. But what did you mean when you said ”I wish I was dead already”?
– Well, first of all… the questions… Sometimes I do feel like I wish I was dead. I've been through a lot. And yes, sometimes I feel like I fucking wish I was dead. But The Guardian made it sound like I was obsessed with dying because it's glamourous. Me being depressed sometimes has nothing to do with other people wanting to kill themselves.
It must have been surreal when the daughter of your idol Kurt Cobain, Frances Bean Cobain, critcised you on Twitter?
– She was saying to me ”don't glamorize death” and I wrote back, and I never write to anyone, but I wrote back and said I didn't glamorize death. I don't even sing about death, except on the title track on ”Born to die”. I sing about relationships. The fact that the headline in The Guardian affected people that way feels unfair. That's the problem with the article.
You're computer got hacked a couple of years ago and 211 songs got stolen among other things.
– Yeah, someone remotely accessed my hard drive when I was staying in a hotel. The songs are one of a thousand things that was stolen.
I would have been devastated.
– Yeah, the fact that someone is watching you. Knowing that you never gonna have the luxury of discretion. These type of crimes won't ever stop.
Isn't there some legal action you can take, sue someone?
– Even if he people that started it got caught, they gave it to 40 other people, so the information is still out there.
Your life is always turned into headlines Like the recent rumours about your recent relationship. It was said you had broken up, but now I heard that your boyfriend Barrien-James O'Neill told TMZ that it's complete bullshit.
– I mean… I… I didn't use to talk publicly about my relationships. Because things change all the time. But after not seeing him for several months and people still asking me about him I just said no we're not together right now. And when he got to Los Angeles today and he ran into TMZ I don't think he knew what to say. Sometimes it's not real until you're faced with a camera and somebody asking you.
Ok, it all seems a bit confused. Well, about the music…
– It's ok. I get it.
Back to the music. So… are you together?
– Ha ha ha ha ha ha ha. (Lana basically rolls over laughing out loud)
– Oh my god, that's so funny.
I'm sorry, I'm just joking. Why do you mention The Crystal's controversial song ”He hit me (and it felt like a kiss)” in the title track on your new album?
– I know that people have different opinions about that song. And they're entitled to. I always use autobiographical elements. Mixed with anything I can use as an innuendo instead of saying something super directly. For me the writing comes first. I never felt the need to edit myself.
Hmm. What are you actually saying? That you have been in abusive relationships?
– It's a good question. I have trouble talking about that song, I didn't think I would. I don't know what to say.
Why did you choose to cover ”The other woman”?
– Firstly it's a jazz song, covered by Nina Simone, she's my favourite. I feel like ”Ultraviolence” has a jazzy feel to it, shades of blue, shades of cool. I'm a huge jazz fan. Billie Holiday, Nina Simone, the singers, you know.
What have you stolen from them, as a song writer?
To start with I was just a fan. But I realized early on that I had an inclination to sing songs in a minor key with a touch of a blue note. They are my influences. Alongside The Eagles and The Beach Boys.
Beautiful music with a dark heart.
Yeah, ”Dark heart”. That's the follow up album. (Laughs).
 

New interview and I already translated it for you.
Source
 
TRANSLATION:
 
 
 
 
 
I found two other short "interviews" with dpa. I'm not sure if they belong to the one I already posted but as all of them took place in Berlin and were made by dpa I guess that it's actually one interview and those questions that I've found now are just outtakes or idk.
I translated them for you too but I did it very quickly so there might be some tiny mistakes in it.  (Translation in spoilers)
 
Here's the first one where she talkes about past eras. Source
 
 
 
And the other one (about soccer/ football and a bullfight). Source