Greaser Prince

Didn't another interviewer just debunk this?
 
Say what?
 

 
Put The Radio On.mp3
 
Oh, I bet you took the D train a lot.
BTW InfoSec Taylor Swift would tell you sharing even former addresses is bad opsec.
 
TO BE CONTINUED... (fucking quote limits)

Are you working on anything new?
Yeah, I just wrote two songs for Tim Burton and Harvey Weinstein’s film called Big Eyes and I’m working on a new record. I’m also always writing small pieces for independent films etc. Dan Heath and Rick Nowels are two of my dearest friends and producers and we are always up to something.
Where do you live and how many cars do you have?
I live in Koreatown, in east LA and I have two Jags.
Who do you listen to?
I stream KJazz wherever I am on my phone. That is the only thing I listen to.
Who do you fuck with in the music business?
I fuck with Azealia Banks because I have the same artistic inclinations as her and the same taste in men.
Who do you feel you are connected to in music on a psychic and psychological level?
Cat Power and Father John Misty.
Who do you most relate to in terms of your career right now?
Lil Kim
What do you love?
I love the beach. I love when I have those rare moments where I just turn off and don’t worry about anything- maybe put the radio on, drive from LA to Santa Barbara. Maybe take a boat along the coast. I also like to write, late at night near Wilshire Boulevard.
I know when you lived in New York for 8 years you said you’d never leave, What happened?
I loved New York. When I was there it was almost my sole source of inspiration, more than any other man, writer or rapper, but it’s harder for me to get around now. I used to take late night walks over the Williamsburg Bridge, go to all the 24 hour diners with $5 and beg the waiters to let me stay all night in exchange for the purchase of one giant slice of chocolate cake. I would sit for hours and read about interesting people like Karl Lagerfeld and listen to books on tape by Tony Robins to keep me company. I would take the D train to Coney Island, take the D train back to the Bronx where I lived on Hughes Avenue.
I wonder how many notebooks you filled on those subway rides…
So many.
I remember for the short time we lived together in NYC, I used to come home from work and see the entire wall of our studio apartment covered in weird tropical backdrops from the Party City store. There would be tinsel everywhere and streamers taped to the walls and I was furious because it looked like the most bizarre amateur movie set, plus I was worried for your sanity because I couldn’t see where you were going with all of it. Looking back though, your obsession with strange nick knacks and Hawaiian embellishments were like little hints of colors to come for future sounds and videos.
Yeah, of course I remember those days. You hated my electric fishtank which gave me endless amusement. (She winks!)
For the record, I loved that fish tank, you gave it to me for my 19th birthday. I believe the inadvertant theme was ‘Chinatown.’ Now, I know you don’t love to talk about this because journalists have sort of mythologized your past but let’s talk about the trailer park you lived in for a few years- I shot you there when you were 22 and continued to shoot you there for a couple years while you were writing and entertaining and wrapping up your album with David Kahne. You were so sweet and happy that you had your very own place to write and reside in, and extra money from that $10,000 indie contract. It was also a sad time for you because you separated from Steven Mertens who had originally produced that record and who was your boyfriend at the time. I don’t really have to ask you this because as your sister, I think I already know, but would you say this was your most enriching time as an artist and happiest time in New York (despite the split from Steven.)
[smile] Yes.
Do you remember decorating David Kahne’s studio? I remember sitting next to a decorative Urn during one of your recording sessions. Even now, you’ll bring ribbons or bows or specific iconography to recording sessions. How important is it that your space reflects your personal style or headspace?
I honestly haven’t thought about that in so long. I used to have to have some sort of talisman with me if I was writing. Something connected to the lyrics like a sparkle jumprope or a golden compact mirror- at the time it was really important. Now I have internalized so much of what I’ve come to love that I don’t think about it as much any more.
Why do some people give you a hard time in general?
I choose to write about what I know. I choose not to discuss those stories any further than my music. It doesn’t make things easy for me publicly or in interviews and I do interviews because I believe the music is good enough for me to support it as best I can. Sometimes when the things you say and the way you look don’t add up- people are quick to label you as an impersonator or feel like you’re not entitled to the life experiences you’ve really lived. They’re not deep enough to intuit.
I know you told me in person that you were grateful for your time spent with Jon Parales from the New York Times, what made that experience better than the rest?
For one, he had manners. He was articulate and insightful and aware that I hadn’t done interviews for a year. He did what so many people can’t do which is gauge who a person is through intuition and feeling. Also known as reading between the lines. He has his own internal moral compass and had nothing to gain by telling lies.
Despite the difficulties you’ve had and the tumultuous relationship with the media, it seems like the people who really listened to your record unanimously agree that Ultraviolence is rich with beautiful melodies and uncompromisingly true to your innate aesthetic, describe your process writing this last album…was it significantly different from writing your first?
Not really. When you have a true natural aesthetic, everything comes from the same place and feels the same way as it bubbles up. For me it’s the timing of when I will be inspired that’s unpredictable. The muse I guess you would call it. I could have a lucky run of a flawless string of melancholic melodies that come to me. Or I could wait for years and hear nothing. Of course I always write regardless- but that’s different from being in the flow and effortlessly channeling rhymes and rhythms etc.
What do you do when inspiration is hard to come by? 
Talking about inspiration only makes sense when you’re talking to someone whose truly been inspired and created from that place. It’s difficult when I don’t feel inspired and it’s usually a sign that I’m not living right.
We’ve talked a lot this year about our personal connections to a higher power, what kind of role does prayer or meditation have in your artistic process?
I guess I would say that the beautiful thing about feeling connected to something greater is that even at my lowest point I always have a feeling that I’m being taken care of.
I came with you to Nashville this year along with our longtime friend and Electric Lady owner, Lee Foster. Did you enjoy your time there? I know for me it was a dream, us three living in those little cabins in Mount Juliette, that hot tub in the bedroom, trying to get the truck out of the mud, lots of flannel, driving into Nashville each day.. Did you feel like it gave you what you needed environmentally?
Yes, first of all it was away from home so that was influential in its own way. Having you and Lee there and of course the excitement of working with Dan created a good environment. He gave me that fuzz and that buzz. I also met some girls I loved, namely Nikki Lane, who you shot for Rolling Stone I think? She was an amazing girl. I loved her spirit and her voice and all of us going to a couple of house parties together during my time there gave me a good warm feeling.
Dope, so to wrap up, any plans for the future?
Not really.
[Laughs] Ok, well we should probably focus on the road now, our 250 miles on I-97 is almost up. What episode of Snapped do you want to watch? I’m looking now, it’s between an ex-stripper with three fiancees and a life insurance policy, OR a mother daughter duo whose murder case is probably in the works for a lifetime movie.
We’ve got time for both.
(Car Audio) **It started as an unusual romance between one young woman and three older men…**
 
--
 
this is iconic

ready for Lana to become a b-horror actress/ hardcore porno star

Thank gawd.  
Not that it will matter with that song.

Just realized that this will compete against Lorde's Hunger Games songs at the Oscars and Grammys. I hate that bitch.

article on Pitchfork
 
The title track appears halfway through the movie, while "I Can Fly" is used over the credits. "Lana’s song expresses what Margaret is feeling so perfectly, it’s like a soliloquy of her inner thoughts," producer and co-screenwriter Larry Karaszewski said of the title track. Del Rey co-wrote "Big Eyes" with Daniel Heath and "I Can Fly" with Rick Nowels. The former contains the refrain "big eyes / big lies," while the latter contains the line, "I had a dream that I was fine / I wasn’t crazy, I was divine."
 
The Hollywood Reporter reports that it seems likely that one of the songs will be pushed for an Oscar nomination. That should make up for last year's "Young and Beautiful" from The Great Gatsby, which was literally the target of a propaganda campaign meant to keep it from the nominations. #JusticeForLana
 
This better come through at the Oscars, unless the same damn people claim the Rick Nowels track was intended for UV

Im fuken REDAY
 

I don't care what anyone thinks, all I have to say about this is YASS!!! YAAAAAAAAAAAAASSSS!!!!         :angie:
 
 
 
 
 
 

 
 
 
 
 
 

you have literally the worst taste

you are so annoying

I've received a couple messages about the song/movie also from someone who attended the premiere. What they've said:
it plays once during the movie (lyrical) and definitely one other time (instrumental), possibly two.  "the song is about her innocence and not being able to stand up to her husband." "it reflects the somber mood of the paintings as well as how Amy Adam’s character feels as a housewife being forced into near slavery to crank out these paintings while her husband takes all the credit." They added that the song is very fitting for the movie. It has the same tempo and tone as Ultraviolence (the song) The chorus is “biii-g eyes, …. biii-g eyes" and there is a mention of loving daddy  And finally I asked if it was as orchestral as Y&B and they said no.  I was already pumped to see the movie but now i'm over the top with excitement since Lana + Tim Burton is going to, I assure you, be magical

Sad Girl (Cedric Gervais Remax) 
 
(Lana Del Rey just gave me a Warning Point for this) 

I’m torn between:
 
Florida Kilos: I picture her playing the character of this vintage king pin, drug lord, pin-up princess, running a huge line along the Florida coast, and wearing this bright, blinding, glistening red lipstick, sometime in the early 70’s) sipping cherry cola limes of course  for the story-line/feel; think the movie “Blow” with Johny Depp.  But Lana as Ray in this Character I described.
 
Money, Power, Glory: This could be her most powerful video yet!!! Imagery and visuals could be out of this world…  Common' Lans. 
 
Brooklyn Baby – Don’t mess this one up gurrrrrl.  Not sure what I expect for this one, visually, but it has amazing potential as well.

I WANT Cruel World, but it SHOULD be Brooklyn Baby.

I want a Florida Kilos video where she's actually cooking up a dream, turning diamonds into snow. 
I basically want to see Lana do coke with FK playing in the background.
There'd be scenes of her at The Keys and then a beach in Miami and a trailer park with some golden-skin daddy type. It'd be perfect.
 
This will sadly never happen. Probably. I'll hope.

I don't even know what this thread is about anymore. 

here's a partial translation...
 
In her right forearm she has Nabokov's and Whitman's names tattooed, an homage to the writers who, together with Allen Ginsberg and other Beat Generation poets, are her source of inspiration, not to mention the reason why she decided to become a singer.

"Poets like Ginsberg tell stories using words as if they were paint, combining them to create extraordinary paintings. That's why, when I sensed the possibility of obtaining a similar result through this career, I devoted my body and soul to music, using words and poetry to tell my story and create my own personal painting."

From the terrace of Château Marmont, Lana Del Rey - artistic name of Elizabeth Woolridge Grant, class of 1985, auburn hair, fiery red plump lips, elegant LA-Mexican ‘vintage beauty pageant’- style features - talks about herself in an unexpected mix of hilarity and depth."
 
“If there’s a center of Hollywood, then it has to be Château Marmont. It’s an important place to me, and it has influenced the aesthetic of so many of my videos. Destruction, hope, dreams, elegance, opulence: it has everything.”
 
She continues by talking about her last album, Ultraviolence, a title borrowed from Anthony Burgess, the author of the famous book ‘A Clockwork Orange’ from which spun Kubrick’s cult film. “I always knew I’d write an album called Ultraviolence, because I was interested in the concept of ultraviolence, a far too current theme. My encounter with Dan Auerbach (who produced the album) was yet another incitement. The mere fact that he was interested in my work motivated me to start composing. At that point I called my friend Lee Foster – owner of the Electric Lady Studios in New York – and booked 4 weeks of recording time. I started producing alone, with my band’s drummer and guitarist. Then I randomly met Dan in a club and he convinced me to go with him to Nashville, where we recorded with a 7-instrument band from Brooklyn.”

last half of the translation :
 
“It was a truly incredible experience; the band’s energy was fundamental to my creative process. For the first time I was singing live, backed up by the band; it was a very spontaneous and natural process, different from all my previous experiences”.
 
Ultraviolence is a collection of autobiographical songs in which Lana explores the theme of ‘toxic’ relationships in which the woman is often too sentimentally involved to fully grasp the physical and emotional abuse she endures from her partner.
 
“To me every album is a different experience with a unique narrative. Sometimes the songs come across through the melody, sometimes through a certain atmosphere. All my albums have a unique genesis and process. To find inspiration I often put myself behind the wheel of my car and speed towards Los Angeles, preferably in the evening when there’s no more traffic. One of my favorite roads is Sunset Boulevard, an asphalt serpentine that follows the exact same pathway of the livestock in the late 1700’s, from Downtown’s Pueblo to the Pacific Ocean. A unique, fascinating road rendered magical and surreal by the scent of pine, oleander, hibiscus and eucalyptus. In Ultraviolence I wanted to focus more on the technical aspect of music and explore my interest in composition.”
 
The album starts with a song titled ‘Cruel World’, which has a 25 second guitar interlude that immediately sets the tone of the album. It’s the beginning of the journey, a trip down memory lane that brings us from West to East coast. Track 4 is indeed ‘Brooklyn Baby’, while the last one is a Nina Simone jazz cover, a separate story.
 
“In this album the order of the songs is very important, and the fact that I chose to close it with ‘The Other Woman’ gives me the possibility to tell my story the way I want to, creating connections between each track and combining them with different images and feelings.”
 
Amongst her musical passions, two are the most important: film soundtracks and Nirvana. “I’m a fan of Nino Rota, Samuel Barber, Thomas Newman and Giorgio Moroder, who became a dear friend of mine and with whom I hope to collaborate in my next record. The first time I listened to Kurt Cobain I was 11. He was the most beautiful man I’d ever seen and even though I was a kid I physically ‘felt’ his extreme sadness. As the metaphysical philosopher Josiah Royce used to say, “without the roots you can’t have any fruit”, and Kurt has truly planted a seed in my heart.”
 
With her songs Lana wants to be a source of reflection for new generations. “I want to be able to convey a positive message. In these last few years, through following my dreams and trying to accomplish my passions, I learned two things: that one should never surrender and that when we face hardship doing the things we love we become happier and surer of ourselves.”

HER NEXT RECORD?!?!!??

The last sentence is like the complete opposite of what she has been saying throughout this whole album campaign. YAS Lana, finally.

I'm excited for the prospect of Lana completely changing direction sonically *again*. She really gives variety and it'd be interesting to hear an album produced heavily by Moroder.

OMG I missed this.
 
This is vERY important.
 
Go Go Dancer Lana is coming!! .

So now AHS is the new GLEE, cute I guess 

inb4 it's an AKA song

American Horror Story creator Ryan Murphy dropped some pretty exciting news - one of Lana‘s songs is going to be featured in the new Freak Show season.
One of the show’s fans tweeted at him and said she thinks she is going to be too scared to watch the show this year.
“Tina, don’t be afraid!” Ryan tweeted back. “The clown is scary, true. But don’t you wanna see Jessica Lange sing a Lana Del Rey song?”
 
So guesses anyone? I'd have to say Once Upon a Dream is spooky enough...but that's already a cover and I think this is going to be an original song!
 
Source: http://www.justjared.com/2014/09/30/lana-del-rey-will-be-covered-by-jessica-lange-on-american-horror-story-freak-show/