timinmass101

I had intended to start this discussion elsewhere, but after reading the Fader interview I thought I'd comment here briefly.  I joined the Lanaboards because I have a deep emotional connection to the music of Lana Del Rey. I feel like she is talking for me.  I am also a student of them Myers-Briggs Temperament Indicator.  I am an INFP.  Based on what I've read on this site, I believe there are quite a few members that are also INFPs (see http://lanaboards.com/index.php?/topic/2833-myers-briggs-type-indicator/  hat tip to Colacunt.)
 
INFPs are relatively rare personality types representing 2-5% of the population.  I speculate that Lizzy Grant is an INFP as well, which perhaps explains why so many INFPs are attracted to her.  After reading the Fader article I am more convinced that she is.  I will follow up in the conversations area as to exactly why I think this.
 
But to understand the INFP, you need to understand the following traits commoin to an INFPs: (see http://similarminds.com/jung/infp.html)
 
creative
smart
idealist
loner
attracted to sad things
disorganized
avoidant
can be overwhelmed by unpleasant feelings
prone to quitting
prone to feelings of loneliness
ambivalent of the rules
solitary
daydreams about people to maintain a sense of closeness
focus on fantasies
acts without planning
low self confidence
emotionally moody
can feel defective
prone to lateness
likes esoteric things
wounded at the core
feels shame
frequently losing things
prone to sadness
prone to dreaming about a rescuer
disorderly
observer
easily distracted
does not like crowds
can act without thinking
private
can feel uncomfortable around others
familiar with the darkside
hermit
more likely to support marijuana legalization
can sabotage self
likes the rain
sometimes can't control fearful thoughts
prone to crying
prone to regret
attracted to the counter culture
can be submissive
prone to feeling discouraged
frequently second guesses self
not punctual
not always prepared
can feel victimized
prone to confusion
prone to irresponsibility
can be pessimistic
 
These traits are core to who we are.  It is difficult to live in a world that has expectations of normalcy since we are anything but.  The Fader article seems to highlight much of this.
 
Anyway, rather than hijack this thread I will continue this discussion elsewhere.
 
Oh, and as an aside ... we take criticism as a personal attack.  There are many INFP blogs that discuss this issue ad nauseum.  Imagine what she must have gone through 2012-2013.  I would have been having suicidal thoughts on a daily basis as well.
 
Peace.

I LOVE Liz Phair!!!! I discovered her when White Hot Chocolate Space Egg came out. Awesome album and then went on to discover the brilliance of Exile in Guyville. I love love love her. In a lot of ways, I see a lot of similarities between Lana and Liz (and not just a shared first name).
 
At the peak of the Lana hate, she turned down a sound bite with Rolling Stone to post a full page opinion piece in the Wall Street Journal on the subject of Ms. Del Rey.
 
http://blogs.wsj.com/speakeasy/2012/02/04/liz-phair-on-why-lana-del-rey-scares-rocks-boys-club/

Diss songs are as old as Rock 'n Roll.  Lana generally keeps her mouth shut in her interviews about other performers, but clearly likes to write songs that are deeply personal and emotional to her.
 
Lesson here ... don't piss off Lana, or get a song written about you!  You go girl!

Yeah, it finally grew on me!!! At first I hit rock bottom with disappointment, because I was gorging it separately with stellar expectations, but when listening it together with her other songs from different eras, mixed in mish-mash of every genre of hers, focused on my work today, I just felt how it pours in my cells like divine, heavenly nectar. I don't give a fuck if she repeats herself (bridge), she grew so mature, complex and oceanic deep. That orchestral background, although latent and subtle, is so layered, complex and spacious as cosmos, and her meandering voice is dope. This piece is timeless and she is metamorphosing in jazz goddess. It is so extraterrestrial and exotic and angelic and celestial that I am melting in a pool of honey and ectoplasm. It is boring in irresistable, most intriguing way. I am not afraid about the album anymore. Yeah. Every fucking song of hers seduces me at the end, sooner or later. She's a bloody sorceress.

Diss songs are as old as Rock 'n Roll.  Lana generally keeps her mouth shut in her interviews about other performers, but clearly likes to write songs that are deeply personal and emotional to her.
 
Lesson here ... don't piss off Lana, or get a song written about you!  You go girl!

FADER - June/July 2014

Her portrayal of those relationships, though, has prompted mixed reviews among feminists. Some criticize the way she seems to idealize powerlessness and servitude, while others appreciate her fluid embodiment of different identities, as well as her candor about both her desire and her weakness. In any case, her comments on the subject will be disappointing for both camps:

“For me, the issue of feminism is just not an interesting concept,” she says.  “I’m more interested in, you know, SpaceX and Tesla, what’s going to happen with our intergalactic possibilities. Whenever people bring up feminism, I’m like, god. I’m just not really that interested.”

Fortunately, her ambivalence about politics doesn’t undo any subversiveness that may be embedded in her work (though, nor does it excuse any ill it may cause). When pressed, she adds, more illuminatingly,

“My idea of a true feminist is a woman who feels free enough to do whatever she wants.”

***

THE NEW YORK TIMES - June 12, 2014

A recurring criticism was that her songs about being swept away by love were anti-feminist in their passivity; she contends that she was writing about private, immediate feelings, not setting out doctrine.

“For me, a true feminist is someone who is a woman who does exactly what she wants,” she said. “If my choice is to, I don’t know, be with a lot of men, or if I enjoy a really physical relationship, I don’t think that’s necessarily being anti-feminist. For me the argument of feminism never really should have come into the picture. Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation. Everything I was writing was so autobiographical, it could really only be a personal analysis.”

***

During her Ultraviolence promotional interviews, Lana Del Rey was attacked by the media for not being a feminist, which relied heavily on the soundbite “Whenever people bring up feminism, I’m like, god. I’m just not really that interested.”

How is this an admission of not being a feminist?  Is the lack of interest in discussing feminism tantamount to not being a feminist?  Further when you add in both the statements from Fader and New York Times, it is clear that Lana does have a sense of what feminism is to her:  “My idea of a true feminist is a woman who feels free enough to do whatever she wants.”  &  “For me, a true feminist is someone who is a woman who does exactly what she wants,”
 
Aren’t these sentiments that Lana describes the basis of feminism?

She further clarifies that “Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation.”

Furthermore, multiple statements from people who have worked with Lana (Dan Auerbach, Emile Haynie, Rick Nowels,  Dan Heath) all talk about how much control she exerts over her creative and production process.

While Lana may be a reluctant figure of feminism, where does all this hate from the feminist community come from?  (Jezebel, Ms., Kim Gordon, etc.)

As a long time fan of Sonic Youth and Kim Gordon I just find this pathetic. Either 1) Kim was ignorant, misinformed and misspoke or 2) is trying to sell books. I've never believed Kim to be ignorant.
 
How is this any different than Marshall Mathers wanting to "punch Lana Del Rey right in the face twice, like Ray Rice ..."
 
Ironic that two former greats, a misogynistic rapper and a feminist rock hero both resort to verbally assaulting Lana Del Rey to further their own no longer relevant careers. Pathetic.
 
Lana ... You go girl! Clearly, what you do, you do best.

Only recently was Lana Del Rey at the BRIT Awards nominated in the category "International Female Solo Artist". With another they can now look forward at this year's ECHO. It is "next Kiesza, Shakira, Taylor Swift and Zaz in category international artist rock / pop nominated ".
Artist Rock / Pop internationally After today, February 26, 2015 the nominations for the 2015 ECHO were announced, go prepare for the most important German music prize finally in the hot phase. If you want to witness the ceremony of the 24th ECHO, you should definitely now the March 26, 2015 in their calendars. ARD will broadcast the show live from the Messe Berlin from 20.15 clock. The evening will be Barbara Schöneberg . For more information about ECHO 2015, we tell you shortly.
(Translated by Google)
 
http://www.universal-music.de/lanadelrey/news/detail/article:232437/echo-2015-lana-del-rey-ist-in-der-kategorie-kuenstlerin-rockpop-international-nominiert

Ha! Jokes on her, Lana is a fan of Chris Isaak  
 
     

I think she's trying to say that Lana is a reductive version of Chris Isaak and borrows from his aesthetic. Still ridiculous, but whatever.

I do believe the French have already compared LDR to Chris Isaak with some admiration. What I find amazing about this newer comment is this: If Chris Isaak was heavily criticized as an anti-feminist menace, then Kim Gordon's comment could make sense. However, if Chris Isaak was never so criticized, then her remark is amazingly anti-feminist in the sense that it suggests males can do anti-feminist things with impunity that females can't. BTW, what I think she's referring to is CI's tendency to obsess or submit to a lover in some of his songs (e.g. songs like "Livin for you Lover", "Wicked Game"). Finally, I get the impression Kim is digging herself into a deeper hole (and that LDR shouldn't reply for that reason). 

If Lana is obliged to take responsibility for her actions (not sure what she's actually referring to tbh) maybe Kim should take responsibility and apologise to Lana for those vile and cruel words. She may have toned it down for the book but the original comment is still out there, we all read it so she can't just ignore it.

She saw how much attention she got from mentioning Lana in the memoire, saw it fade some when it was taken out of the final version of the book, and is refueling the fire now to get attention again. This is literally pathetic.

Ah for fuck's sake, still?! I know people probably keep asking her about Lana but if she really hates catfights (maybe don't start then?) she should refuse to answer and move on. She is loving this. I knew there's a reason why I never liked Sonic youth. And her comments about Courtney are way out of line as well, Courtney had a fucked up childhood and a fucked up father, it's a miracle she's not completely crazy. Also, "I don't like the whole self-destructive thing..." YOU ADORE KURT! FORGOT HOW HE DIED? I love him but she's being completely irrational and stupid. And god forbid people being weird, we can't have that!
 
And Chris Isaak is wonderful wtf.

lana might appreciate the "female chris issak" remark -- is that even supposed to be an insult? maybe i'm not privy to whatever cultural reference she's alluding to 
 
"weird" isn't bad either but "affected" -- obviously based on superficial reasons (i.e plastic surgery) compounded with lana's NATURAL awkwardness. ugh, you'd think kim gordon would be above these stupid fucking games 

She's protective of Frances Cobain, ergo she completely trashes Courtney Love, the girl's fucking mother, and implies she's mentally ill?
The bigger question should be why is this repugnant woman still talking?
She got the attention she wanted for her book, idiots everywhere are applauding her for her "wit" in suggesting a young woman kill herself, and she did all of it without getting half the public backlash Lana gets for showing up to an interview without a forced pearly smile.
Love how just a few days ago she was smugly retweeting Lana fans like their expressions of disgust were the height of hilarity now she's awkwardly trying to dig herself out of a hole. Also this was NOT a cat fight, Lana took no part in this. This was one feeble older woman viciously slandering a harmless 29 year old younger woman (whom she'd never even met) and disguising it as feminist commentary.

FADER - June/July 2014

Her portrayal of those relationships, though, has prompted mixed reviews among feminists. Some criticize the way she seems to idealize powerlessness and servitude, while others appreciate her fluid embodiment of different identities, as well as her candor about both her desire and her weakness. In any case, her comments on the subject will be disappointing for both camps:

“For me, the issue of feminism is just not an interesting concept,” she says.  “I’m more interested in, you know, SpaceX and Tesla, what’s going to happen with our intergalactic possibilities. Whenever people bring up feminism, I’m like, god. I’m just not really that interested.”

Fortunately, her ambivalence about politics doesn’t undo any subversiveness that may be embedded in her work (though, nor does it excuse any ill it may cause). When pressed, she adds, more illuminatingly,

“My idea of a true feminist is a woman who feels free enough to do whatever she wants.”

***

THE NEW YORK TIMES - June 12, 2014

A recurring criticism was that her songs about being swept away by love were anti-feminist in their passivity; she contends that she was writing about private, immediate feelings, not setting out doctrine.

“For me, a true feminist is someone who is a woman who does exactly what she wants,” she said. “If my choice is to, I don’t know, be with a lot of men, or if I enjoy a really physical relationship, I don’t think that’s necessarily being anti-feminist. For me the argument of feminism never really should have come into the picture. Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation. Everything I was writing was so autobiographical, it could really only be a personal analysis.”

***

During her Ultraviolence promotional interviews, Lana Del Rey was attacked by the media for not being a feminist, which relied heavily on the soundbite “Whenever people bring up feminism, I’m like, god. I’m just not really that interested.”

How is this an admission of not being a feminist?  Is the lack of interest in discussing feminism tantamount to not being a feminist?  Further when you add in both the statements from Fader and New York Times, it is clear that Lana does have a sense of what feminism is to her:  “My idea of a true feminist is a woman who feels free enough to do whatever she wants.”  &  “For me, a true feminist is someone who is a woman who does exactly what she wants,”
 
Aren’t these sentiments that Lana describes the basis of feminism?

She further clarifies that “Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation.”

Furthermore, multiple statements from people who have worked with Lana (Dan Auerbach, Emile Haynie, Rick Nowels,  Dan Heath) all talk about how much control she exerts over her creative and production process.

While Lana may be a reluctant figure of feminism, where does all this hate from the feminist community come from?  (Jezebel, Ms., Kim Gordon, etc.)

As a long time fan of Sonic Youth and Kim Gordon I just find this pathetic. Either 1) Kim was ignorant, misinformed and misspoke or 2) is trying to sell books. I've never believed Kim to be ignorant.
 
How is this any different than Marshall Mathers wanting to "punch Lana Del Rey right in the face twice, like Ray Rice ..."
 
Ironic that two former greats, a misogynistic rapper and a feminist rock hero both resort to verbally assaulting Lana Del Rey to further their own no longer relevant careers. Pathetic.
 
Lana ... You go girl! Clearly, what you do, you do best.

As a long time fan of Sonic Youth and Kim Gordon I just find this pathetic. Either 1) Kim was ignorant, misinformed and misspoke or 2) is trying to sell books. I've never believed Kim to be ignorant.
 
How is this any different than Marshall Mathers wanting to "punch Lana Del Rey right in the face twice, like Ray Rice ..."
 
Ironic that two former greats, a misogynistic rapper and a feminist rock hero both resort to verbally assaulting Lana Del Rey to further their own no longer relevant careers. Pathetic.
 
Lana ... You go girl! Clearly, what you do, you do best.

As a long time fan of Sonic Youth and Kim Gordon I just find this pathetic. Either 1) Kim was ignorant, misinformed and misspoke or 2) is trying to sell books. I've never believed Kim to be ignorant.
 
How is this any different than Marshall Mathers wanting to "punch Lana Del Rey right in the face twice, like Ray Rice ..."
 
Ironic that two former greats, a misogynistic rapper and a feminist rock hero both resort to verbally assaulting Lana Del Rey to further their own no longer relevant careers. Pathetic.
 
Lana ... You go girl! Clearly, what you do, you do best.

FADER - June/July 2014

Her portrayal of those relationships, though, has prompted mixed reviews among feminists. Some criticize the way she seems to idealize powerlessness and servitude, while others appreciate her fluid embodiment of different identities, as well as her candor about both her desire and her weakness. In any case, her comments on the subject will be disappointing for both camps:

“For me, the issue of feminism is just not an interesting concept,” she says.  “I’m more interested in, you know, SpaceX and Tesla, what’s going to happen with our intergalactic possibilities. Whenever people bring up feminism, I’m like, god. I’m just not really that interested.”

Fortunately, her ambivalence about politics doesn’t undo any subversiveness that may be embedded in her work (though, nor does it excuse any ill it may cause). When pressed, she adds, more illuminatingly,

“My idea of a true feminist is a woman who feels free enough to do whatever she wants.”

***

THE NEW YORK TIMES - June 12, 2014

A recurring criticism was that her songs about being swept away by love were anti-feminist in their passivity; she contends that she was writing about private, immediate feelings, not setting out doctrine.

“For me, a true feminist is someone who is a woman who does exactly what she wants,” she said. “If my choice is to, I don’t know, be with a lot of men, or if I enjoy a really physical relationship, I don’t think that’s necessarily being anti-feminist. For me the argument of feminism never really should have come into the picture. Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation. Everything I was writing was so autobiographical, it could really only be a personal analysis.”

***

During her Ultraviolence promotional interviews, Lana Del Rey was attacked by the media for not being a feminist, which relied heavily on the soundbite “Whenever people bring up feminism, I’m like, god. I’m just not really that interested.”

How is this an admission of not being a feminist?  Is the lack of interest in discussing feminism tantamount to not being a feminist?  Further when you add in both the statements from Fader and New York Times, it is clear that Lana does have a sense of what feminism is to her:  “My idea of a true feminist is a woman who feels free enough to do whatever she wants.”  &  “For me, a true feminist is someone who is a woman who does exactly what she wants,”
 
Aren’t these sentiments that Lana describes the basis of feminism?

She further clarifies that “Because I don’t know too much about the history of feminism, and so I’m not really a relevant person to bring into the conversation.”

Furthermore, multiple statements from people who have worked with Lana (Dan Auerbach, Emile Haynie, Rick Nowels,  Dan Heath) all talk about how much control she exerts over her creative and production process.

While Lana may be a reluctant figure of feminism, where does all this hate from the feminist community come from?  (Jezebel, Ms., Kim Gordon, etc.)

Emile Haynie says a lot of nice things about our girl.
 
From Grantland - February 24, 2015
 
http://grantland.com/hollywood-prospectus/from-ghostface-to-lana-del-rey-to-heartbreak-super-producer-emile-haynie-goes-solo/
 
When you started working with Lana Del Rey, were you looking for a change away from hip-hop? Or did that just kind of happen?
 
I had been tinkering around a little. There was a few singers I had worked with here and there, but nothing that was really connecting. Lana, that first time we ever worked together, we made the song “Blue Jeans.”
 
 
There was so much debate around her when she first came out — a lot of arguments about her authenticity and all that. It hasn’t affected her in the long run: She’s extremely popular these days. But did you pay attention to that stuff back then? Did it bother you?
 
I paid attention, and I shouldn’t have, because it pissed me off. She would get accused of not writing her own songs and I’m like, “I’m in the studio with her!” Then there’s the funny one where it’s like, “Her dad financed her whole career.” That came out before she had a record deal. I’m like, “Wait, I’m producing her album, we’re in my studio, and there ain’t no budget, so what is this imaginary funding from her quote-unquote rich dad?” I also know plenty of artists with rich dads who try to buy their kid a record deal. It ain’t happenin’.
 
Now that’s all kind of gone away. It was weird, though. It was this weird sexist energy of, like, “How could this pretty woman possibly write all her own songs, style herself, direct her own videos?” People wouldn’t believe it.
 
I’ve seen it all in the studio. I’ve seen the very indie “Sit in a corner and write everything,” and I’ve seen, unfortunately, the more manufactured pop shit. She’s not that. I’ve witnessed her voice, I’ve witnessed her writing, I’ve witnessed her creating this stuff. So I was like, if it becomes successful, it’s a matter of time before people get over the conspiracy theories and just kind of decide whether they like her. I always said give it some time and the truth will come out. She’s pretty badass.
 
 
Some people seemed to take umbrage with her stage persona, which was surprising.
 
I mean, what’s Bob Dylan’s real name? I don’t think Master P was born Master P. I’m pretty sure! It’s insane. It’s completely insane.
 
 
From Complex - February 23, 2015
 
http://www.complex.com/music/2015/02/emile-haynie-profile-we-fall
 
When did you decide to leave NYC and go to L.A.?
 
I was in the middle of starting Lana’s second album and I introduced her to Dan Auerbach [of The Black Keys], who ended up producing it. All of us were supposed go to Nashville to work together and I couldn’t do it. I was miserable at the time. I was like, “I need to go to L.A. I want to stay with my family. I’m writing songs, and it’s insane because she’s my favorite artist, but I’m just going to go to L.A.”
 
 
Did you turn down a lot of projects?
 
Yeah, everything.
 
 
Really? Any big ones?
 
I don’t wanna diss anyone. Not working on Lana’s second album, that’s like my sister, and we love each other. That was a massive move. I felt terrible. Before she got with Dan and it worked itself out, there were some tense moments. She got quite upset sometimes. It was painful for me to feel like I might be leaving her hanging. The beauty of the relationship that we have is she understood, and she knew what I was dealing with, she knew I had to do what I had to do, and she was so supportive the entire time.
 
We met years ago just to make tunes, and now it’s become so much more than that. This is her album, this is her baby. She just knew on a friendship level what I was doing and she didn’t get bummed. She sang a song on my album. She would come in and listen to my album and give me all this great advice.
 
Thank God for her. That was trying. It was right at the beginning, I didn’t know what I was doing at that point. She had her songs written. She wrote her entire album. It was a production. That’s Lana, she does that. Lana doesn’t do the generic co-write thing, Lana sat and wrote her songs. I just knew I had to write, and it wasn’t a writing gig with her—it would be a producing gig. I had to write, I had to write. It didn’t matter if the songs got produced and never came back, I had to write. I would’ve went crazy if I didn’t.

lana's mere existence gives me hope in humanity. but her prominence in society has also made me really cynical about the way many (if not most) people think 
 
like honestly it went from 'soulless whore with a rich daddy' (2012) ---> 'calculating she-demon lacking in any true personality' (2015) 
 
people will always find some kind of false justification just to make themselves feel more whole 
 
and kim gordon is undeniably talented, which makes this particularly depressing 

Emile Haynie says a lot of nice things about our girl.
 
From Grantland - February 24, 2015
 
http://grantland.com/hollywood-prospectus/from-ghostface-to-lana-del-rey-to-heartbreak-super-producer-emile-haynie-goes-solo/
 
When you started working with Lana Del Rey, were you looking for a change away from hip-hop? Or did that just kind of happen?
 
I had been tinkering around a little. There was a few singers I had worked with here and there, but nothing that was really connecting. Lana, that first time we ever worked together, we made the song “Blue Jeans.”
 
 
There was so much debate around her when she first came out — a lot of arguments about her authenticity and all that. It hasn’t affected her in the long run: She’s extremely popular these days. But did you pay attention to that stuff back then? Did it bother you?
 
I paid attention, and I shouldn’t have, because it pissed me off. She would get accused of not writing her own songs and I’m like, “I’m in the studio with her!” Then there’s the funny one where it’s like, “Her dad financed her whole career.” That came out before she had a record deal. I’m like, “Wait, I’m producing her album, we’re in my studio, and there ain’t no budget, so what is this imaginary funding from her quote-unquote rich dad?” I also know plenty of artists with rich dads who try to buy their kid a record deal. It ain’t happenin’.
 
Now that’s all kind of gone away. It was weird, though. It was this weird sexist energy of, like, “How could this pretty woman possibly write all her own songs, style herself, direct her own videos?” People wouldn’t believe it.
 
I’ve seen it all in the studio. I’ve seen the very indie “Sit in a corner and write everything,” and I’ve seen, unfortunately, the more manufactured pop shit. She’s not that. I’ve witnessed her voice, I’ve witnessed her writing, I’ve witnessed her creating this stuff. So I was like, if it becomes successful, it’s a matter of time before people get over the conspiracy theories and just kind of decide whether they like her. I always said give it some time and the truth will come out. She’s pretty badass.
 
 
Some people seemed to take umbrage with her stage persona, which was surprising.
 
I mean, what’s Bob Dylan’s real name? I don’t think Master P was born Master P. I’m pretty sure! It’s insane. It’s completely insane.
 
 
From Complex - February 23, 2015
 
http://www.complex.com/music/2015/02/emile-haynie-profile-we-fall
 
When did you decide to leave NYC and go to L.A.?
 
I was in the middle of starting Lana’s second album and I introduced her to Dan Auerbach [of The Black Keys], who ended up producing it. All of us were supposed go to Nashville to work together and I couldn’t do it. I was miserable at the time. I was like, “I need to go to L.A. I want to stay with my family. I’m writing songs, and it’s insane because she’s my favorite artist, but I’m just going to go to L.A.”
 
 
Did you turn down a lot of projects?
 
Yeah, everything.
 
 
Really? Any big ones?
 
I don’t wanna diss anyone. Not working on Lana’s second album, that’s like my sister, and we love each other. That was a massive move. I felt terrible. Before she got with Dan and it worked itself out, there were some tense moments. She got quite upset sometimes. It was painful for me to feel like I might be leaving her hanging. The beauty of the relationship that we have is she understood, and she knew what I was dealing with, she knew I had to do what I had to do, and she was so supportive the entire time.
 
We met years ago just to make tunes, and now it’s become so much more than that. This is her album, this is her baby. She just knew on a friendship level what I was doing and she didn’t get bummed. She sang a song on my album. She would come in and listen to my album and give me all this great advice.
 
Thank God for her. That was trying. It was right at the beginning, I didn’t know what I was doing at that point. She had her songs written. She wrote her entire album. It was a production. That’s Lana, she does that. Lana doesn’t do the generic co-write thing, Lana sat and wrote her songs. I just knew I had to write, and it wasn’t a writing gig with her—it would be a producing gig. I had to write, I had to write. It didn’t matter if the songs got produced and never came back, I had to write. I would’ve went crazy if I didn’t.

Emile Haynie says a lot of nice things about our girl.
 
From Grantland - February 24, 2015
 
http://grantland.com/hollywood-prospectus/from-ghostface-to-lana-del-rey-to-heartbreak-super-producer-emile-haynie-goes-solo/
 
When you started working with Lana Del Rey, were you looking for a change away from hip-hop? Or did that just kind of happen?
 
I had been tinkering around a little. There was a few singers I had worked with here and there, but nothing that was really connecting. Lana, that first time we ever worked together, we made the song “Blue Jeans.”
 
 
There was so much debate around her when she first came out — a lot of arguments about her authenticity and all that. It hasn’t affected her in the long run: She’s extremely popular these days. But did you pay attention to that stuff back then? Did it bother you?
 
I paid attention, and I shouldn’t have, because it pissed me off. She would get accused of not writing her own songs and I’m like, “I’m in the studio with her!” Then there’s the funny one where it’s like, “Her dad financed her whole career.” That came out before she had a record deal. I’m like, “Wait, I’m producing her album, we’re in my studio, and there ain’t no budget, so what is this imaginary funding from her quote-unquote rich dad?” I also know plenty of artists with rich dads who try to buy their kid a record deal. It ain’t happenin’.
 
Now that’s all kind of gone away. It was weird, though. It was this weird sexist energy of, like, “How could this pretty woman possibly write all her own songs, style herself, direct her own videos?” People wouldn’t believe it.
 
I’ve seen it all in the studio. I’ve seen the very indie “Sit in a corner and write everything,” and I’ve seen, unfortunately, the more manufactured pop shit. She’s not that. I’ve witnessed her voice, I’ve witnessed her writing, I’ve witnessed her creating this stuff. So I was like, if it becomes successful, it’s a matter of time before people get over the conspiracy theories and just kind of decide whether they like her. I always said give it some time and the truth will come out. She’s pretty badass.
 
 
Some people seemed to take umbrage with her stage persona, which was surprising.
 
I mean, what’s Bob Dylan’s real name? I don’t think Master P was born Master P. I’m pretty sure! It’s insane. It’s completely insane.
 
 
From Complex - February 23, 2015
 
http://www.complex.com/music/2015/02/emile-haynie-profile-we-fall
 
When did you decide to leave NYC and go to L.A.?
 
I was in the middle of starting Lana’s second album and I introduced her to Dan Auerbach [of The Black Keys], who ended up producing it. All of us were supposed go to Nashville to work together and I couldn’t do it. I was miserable at the time. I was like, “I need to go to L.A. I want to stay with my family. I’m writing songs, and it’s insane because she’s my favorite artist, but I’m just going to go to L.A.”
 
 
Did you turn down a lot of projects?
 
Yeah, everything.
 
 
Really? Any big ones?
 
I don’t wanna diss anyone. Not working on Lana’s second album, that’s like my sister, and we love each other. That was a massive move. I felt terrible. Before she got with Dan and it worked itself out, there were some tense moments. She got quite upset sometimes. It was painful for me to feel like I might be leaving her hanging. The beauty of the relationship that we have is she understood, and she knew what I was dealing with, she knew I had to do what I had to do, and she was so supportive the entire time.
 
We met years ago just to make tunes, and now it’s become so much more than that. This is her album, this is her baby. She just knew on a friendship level what I was doing and she didn’t get bummed. She sang a song on my album. She would come in and listen to my album and give me all this great advice.
 
Thank God for her. That was trying. It was right at the beginning, I didn’t know what I was doing at that point. She had her songs written. She wrote her entire album. It was a production. That’s Lana, she does that. Lana doesn’t do the generic co-write thing, Lana sat and wrote her songs. I just knew I had to write, and it wasn’t a writing gig with her—it would be a producing gig. I had to write, I had to write. It didn’t matter if the songs got produced and never came back, I had to write. I would’ve went crazy if I didn’t.