I wouldn't say everyone's a hater, just that we've gotten better at critical thinking. Praise and criticism are given when they're due. I've never liked the sycophantic behaviour that's prevalent in a lot of fan forums as it's disruptive to good analysis/conversation.
It's not about using the word in a good or bad way, it's using the word, with all its ties to political struggles that she's not a part of (that are still ongoing) to describe her personal feelings. It's like how Audre Lorde's concept of self care, which she coined and used as a radical act (because as a black woman who was ill she found the system was failing her), has now been co-opted by white and often wealthy people to use instead of "unwind" or relax. The concept of being colonised and how that can impact everyday life isn't for her, a white and wealthy woman born and raised (and who often glorifies) in a white settlet colony nation. I feel stupid typing all this on lanaboards about some Instagram video she put up but this segment of writing really rubbed me the wrong way, it has the same vibes as the whole "good intentions will shift the vibrational energies in Palestine" thing. It's a showcase of her privilege and I hope you get where I'm coming from lol.
If it is indeed related (there's no confirmation that this is anything to do w VBBOTG) I doubt many Natives would be happy with a white woman comparing the brutal treatment of Natives to her having boyfriend troubles or problems with mainstream fame that got her filthy rich
Fully no offence but I doubt she's read any criticism of her going to church on here or elsewhere, it's more likely to be a personal thing. Imo the use of the word "colonise" is an insensitive misuse of the word. Colonies still very much exist and given that she's trying to portray this look of being self and politically aware it's not a good look to use colonialism to refer to your own personal and individual feelings.
i mean her post was very vague we don't know what's stolen, family mementos could be anything and whatever chuck's "retrospective" is (like..? negatives? polaroids? FILES?) can mean that the items are all of very low value except for sentimental value for the stans who own it i guess?
it's all a mess and it's stupid that she still has to face these types of things even though she moved like 294 times and has multiple houses scattered around because her stans were literally queueing in front of her house.
This is so so upsetting they must feel awful. To have something that is of no commercial value stolen from you is just even worse. And Lana is such a kind and giving person she does not deserve the craziness that seems to follow her because of her job. And I think it's really immature and gross to make light of this crime with jokes.
Just got these clips from SpookyBoxClub bc they reminded me of Lanas hair pins from LA to the Moon tour, and now that they arrived im realising they are insanely similar. But the stars are not the same size so I'll have to figure out some other way to wear them, otherwise it looks awkward
https://www.spookyboxclub.com/product/celestial-moon-stars-witchy-hair-adornments/
https://www.instagram.com/p/BeCLe4-lx30/?igshid=1s32vx4q6cahc
Assuming that 'fan behavior' means constant positivity for the artist you're a fan of is unrealistic. We're not going to all appreciate what Lana does artistically or personally, especially when her choices -- such as dating Larkin -- are building up institutions that clash directly with a lot of people represented in this fanbase. It's not wrong to express feelings on that.
I love the questions but most of her answers make me want to go drown myself in a fountain, honestly.
She purposely went after the critic on social media thinking she was a ... small journalist? Knowing that 957435908730958079 fans would come for her? Yikes.
I ... uh ... Pamela?
Yes, you're only looking directly at the camera and you wear those shorts and shoes everywhere and get papped in them all the time, but 'k, Lanz.
This may be unpopular, but in my opinion, it shouldn't. People are paying money and she shouldn't be bringing her bad mood to a show. Last night, for example, it was painfully obvious that she was in a bad mood. I get that she's a human being, but she's only on stage for an hour and she needs to suck it up.
Meanwhile, today Lanz flew 30 minutes from Seattle to Portland on a private jet
The stuff she said about Ann Powers really put her reaction in perspective, I thought it was so random for her to have done that. But i get why she was upset at Ann for having basically equating her whole identity with childhood trauma. Her answer made me kind of sad bc it does seem to suggest she had a rough time growing up
i noticed (i’m sure we all did) lana just mouths the words and then when she actually sings she embellishes it, but do you think she thinks we can’t tell that she’s just mouthing the words?? like since the backing vocals are on do u think she thinks we think (lmao) that she’s just that good and sounds exactly like the studio track? or does she know she’s ripping us off. i wonder if she’s ever thought about the fact that people come to her shows to hear her SING and she’s not doing the one and only thing she’s supposed to, that people travel for huge distances and pay a lot of money for and are really looking forward to. we don’t want fancy shows with lights and props and choreography, lana we just want to hear you sing!! i really hope if she tours for nfr that it’ll be different. i really didn’t enjoy how commercialized latm was and that whole era. i wouldn’t care if she brought out a couch and sat on it the entire time if she just SANG. and smaller venues please miss del rey, i fucking hate going to concerts in stadiums/arenas it’s like...... awful. it feels fake almost? idk but i wish she would go back to theaters and maybe just do two nights or festivals as well as a theater date in places where she might have more fans or something. and please get win and his crew BANNED like genuinely what more do they need. start doing all expenses paid come travel with me and get barricade giveaways or smth so other people can finally get a chance like jesus lmfao why doesn’t he just work for her so he can travel everywhere and be close etc and then maybe the GA crowd will actually be fun again lmao
i wouldn’t mind if she took time off from touring if it meant she gets herself in a really good mental space and can give us an exceptional tour later on, with a setlist for the FANS not the gp and performances where she’s clearly passionate about what she’s playing. not disinterested no effort performances of a persona she’s clearly over. i feel for her, that does sound rough being forced to sing things from your past that you really want to/have moved on from. WHoooooo is in charge of her setlist tho like i thought she’d get the final say but why would she keep choosing songs she clearly has no interest or investment in??
I thought this was a fantastic, insightful interview.
It’s fascinating to learn more about her self-concept and how that shapes her reactions to criticism. It’s like she interpreted Ann’s article as showcasing something personal and hurtful that she’s never discussed publicly.
Loved her mention of Greta...and mentioning her realization of what toxic masculinity actually manifested as.
How Lana Del Rey reinvented herself ... and modern-day rock stardom
“She’s a little weird,” said Rock Hall of Famer Stevie Nicks of pal Lana Del Rey, above in Los Angeles, “and she likes being a little weird. She’s a real artist.”
(Jay L. Clendenin / Los Angeles Times)
By MOLLY LAMBERT
OCT. 3, 2019 3 AM
Just off Laurel Canyon, up a long, rickety flight of outdoor stairs, Lana Del Rey is puttering around the kitchenette of a rented luxe cabin, while a couple of her musician friends hang out on the porch. It’s exactly the kind of idyllic spot in the cradle of L.A.’s ‘60s and ‘70s folk scene — the onetime home of her hero Joni Mitchell — where you’d expect to find one of the world’s most dedicated California music enthusiasts.
She may have originated in New York as Elizabeth Woolridge Grant, but Lana Del Rey has become the preeminent modern practitioner of the California sound — the dreamy, psychedelic style associated with El Lay acts like the Mamas and the Papas and Fleetwood Mac.
Del Rey, 34, recently released her sixth album, “Norman F— Rockwell,” to nearly unanimous critical acclaim. With a little downtime between appearances promoting the record, including her upcoming concert at the Hollywood Bowl, she’s been taking pleasure in doing mundane things: grocery shopping, arranging flowers, catching up on reality TV. In a white tank top and denim cutoff shorts, makeup-free save for her Bambi lashes, she’s a warm and friendly host, offering a cup of kombucha or a perfect red apple from a bowl on the table, spinning Joni albums to fill the space with sound.
Lana Del Rey: “I’ve put a lot of stuff out there on the table. But I’ve been very appropriate in other ways. I’m not throwing everything out there on the table for a reason.”
(Jay L. Clendenin / Los Angeles Times)
Del Rey occupies a place in the popular music firmament unlike anyone else. “Norman F— Rockwell” debuted at No. 3 on the Billboard album chart, quite a feat in 2019 for a confessional singer-songwriter who pointedly evokes the ghosts of both hallowed rock poets like Leonard Cohen and the femme fatales of Hollywood’s golden age. She was tagged as “sadcore” on her earlier albums, but her biggest chart hit was an EDM remix of “Summertime Sadness” and she recently slid in gracefully next to blockbuster pop stars Miley Cyrus and Ariana Grande on “Don’t Call Me Angel,” a glossy bit of girl-power branding for the new “Charlie’s Angels” movie. On “Norman F— Rockwell,” she lets the sunshine in more than ever. “There’s room now,” she says. “There’s a little bit of a lightness to some of the stuff.”
Her career has been unusual in many ways. After releasing music under the names Lizzy Grant and May Jailer, she took on the mantle of Lana Del Rey. She quickly played “Saturday Night Live” and was met with fierce criticism for her look, her sound, her lyrics. But that fast rise to fame and chauvinist response from some critics didn’t scare her; she just doubled down on what she does best: writing songs. A decade in, against all odds, Lana Del Rey has established herself as a bonafide rock star in an era in which fewer are minted than ever before.
On Oct. 10, she’ll take the stage at the Hollywood Bowl, a venue whose place in rock history is very meaningful to her. She cites the famous 1968 Jimi Hendrix show at the Bowl where audience members got naked and climbed in fountains (no longer there) as her model for an ideal Bowl show. She has a couple of special guests in mind for next week, and has been mulling an Eagles cover if she can pull it together and it’s up to her standards. “It’d be so fun to do ‘Hotel California,’” she says. “It’s really hard to sing, though. You think you know it and then seven minutes in you’re like, ‘Oh, Jesus!’”
Lana Del Rey performs during the 2016 Outside Lands Music and Arts Festival at Golden Gate Park in San Francisco in 2016.
(C. Flanigan / WireImage)
Fleetwood Mac’s Stevie Nicks, with whom Del Rey collaborated on the 2017 track “Beautiful People Beautiful Problems,” says by phone from Hawaii that she and Del Rey shared an “instant connection. We both love writing songs more than anything: Sitting in a room with some candles and a piano and communing with our own channels that are going up to the spirit world and coming back down through us. She’s a little weird, and she likes being a little weird. She’s a real artist. I think she should direct movies when she’s tired of all this.”
Del Rey speaks thoughtfully, taking time to express herself to ensure she won’t be misunderstood. Lately, she’s been thinking a lot about her voice, how much power it has and how she ought to use it to speak up for herself. She dabbles in California new-age culture, but she’s ultimately a realist. In 2017, she gave her fans instructions on how to cast a spell on Donald Trump. When I asked if it had been effective, she said “No,” then laughed. “It’s slow, I guess. It takes three years to work.”
It feels like you’re being a lot more public during the release of “Norman F— Rockwell” than you were for your previous albums. Was that always your plan for this one? No. It’s just that people like it. I’m like, “Alright! Let me tell you about the album!” I remember when I made [the 2014 album] “Ultraviolence,” I put so much work into it. I mixed on my own console for months. And then I did extensive interviews and no one cared that I mixed anything. So I stopped promoting after that. I was like, “Honeymoon,” “Lust for Life” ... just take them.
You’re renowned for your lyrics, but you probably had your biggest radio hit since “Summertime Sadness” with your cover of Sublime’s “Doin’ Time,” and you also covered Donovan’s “Season of the Witch” for the recent horror film “Scary Stories to Tell in the Dark.” Would you like to record more covers? Somewhere in the back of my mind, I’ve been coordinating this concept covers album called “Pacific Blue.” It would be a very low-key thing, like acoustic Beach Boys stuff, Elvis, Chris Isaak. People usually think your career is over when you record a covers album or a Christmas album. But my musician friends and I are always playing covers. We could probably do that album in a week.
Like Linda Ronstadt when the Eagles backed her, before they became the Eagles. I wanted Don Henley to be a guest at the Bowl show, but I think he’s in Texas. Also, it’s Don Henley.
After “Norman” came out to glowing reviews, you took to Twitter to criticize a piece written by NPR Music critic Ann Powers, a longtime champion of female artists. Your fans then trolled her. Why did you choose to go that route? First of all, and this is very me, there were a million beautiful reviews that I didn’t read. And then I randomly see this one thing. In the piece, she said that I’d overcome something, and the way she said it one can only assume she meant I’d overcome child abuse. I’m like, “Don’t bring kids into it. Even if it’s me.” And I’ve never said anything about that.
Was she writing about your use of Lolita imagery? One can only assume. I’ve put a lot of stuff out there on the table. But I’ve been very appropriate in other ways. I’m not throwing everything out there on the table for a reason. Mostly because my family is big and they’re here. I don’t go there. So it’s like, “Why do you think that you’re going to be the one to put that out there?”
Did you think about reaching out to Powers instead of clapping back on social media? No. By the way, I didn’t know she was a big journalist. It probably would have been a good time to exercise some restraint. But I felt that she wasn’t taking me seriously. My album’s not good because I overcame things from my childhood. It’s good because the melodies are great, and because I have a natural-born ability to put words together.
Even so, why do you think her piece stuck with you the way it did? There’s probably a reason that I’ll understand in time. I think part of my response was showing myself I do have a voice. All I wrote was, “I’m not uncooked and I don’t have a persona.”
You say you don’t have a persona, but you do have a stage name... True. But I also don’t know anyone who doesn’t. Onstage, I wear the same shoes and dress that I go lunch in. It’s always just a dress off the rack. I’ve never had a costume maker. I do my own makeup. But everyone says I have a “persona.” Just because I wear short dresses doesn’t mean I can’t write my own narrative.
Lana Del Rey showed her support for the Time’s Up movement with a white rose corsage on her wrist at the Grammy Awards, Jan. 28, 2018.
(Jewel Samad / AFP/Getty Images)
People seem to project a lot of strong psychological energy on you, for good and ill. It was that way when I was younger too. Even when I was a waitress. I definitely took on a lot of other people’s energy because I’m just sensitive in that way.
Do you think about the power you have when you’re onstage? No. I just really don’t want to mess up!
Do people misjudge your perfectionism as aloofness? Maybe my privacy as aloofness. I’m not a perfectionist. My live shows are not perfect. They’re not choreographed to a T.
Speaking of not choreographed: Last week, you were photographed by the paparazzi in New York’s Central Park with Sean “Sticks” Larkin, a cop from the reality show “Live PD.” I didn’t know we were being photographed. I would’ve worn something different.
Were you caught off guard when the pictures came out? Yeah. It’s funny because I was with someone for years and we never had that problem.
Were you worried about the reaction to you dating a cop? Well, the thing is, he’s a good cop. He gets it. He sees both sides of things.
Do you feel that your fans shouldn’t care about your personal life? Hell no. I care about what Bob Dylan is doing right now. I’m curious to know if he’s wearing a hoodie or a blazer. I get it.
Alessandro Michele, Lana Del Rey and Jared Leto at the 2018 Met Gala, where the theme was “Heavenly Bodies: Fashion & the Catholic Imagination.”
(Jamie McCarthy / Getty Images )
Criticism of you is often levied at your appearance — the choice to wear makeup and dresses. There’s a theatricality to femininity that gets falsely equated with fakeness. I agree. But I always think of Amy [Winehouse] with her bouffant and full face of makeup.
There’s something about women like Winehouse and yourself who are very done up and unwilling to smile that scares some people, especially men. Right. I do smile at my shows, though. My mood will dictate the show, but there are many joyful ones.
But your debut as Lana Del Rey definitely had a strong sense of importance and symbolism. That was intentional. It was like, “I’m taking this seriously, so you should take this seriously.”
Were you taken less seriously as Lizzy Grant? No. I just liked the sound of “Lana Del Rey.” And I also knew the music sounded as big as that name. It had a ring to it.
It must be strange to be discussed so intensely by critics who don’t know you. Freud and Jung say that 30% of what you end up thinking about your own self is based on what other people think of you. I believe that. I make sure I know what my story is. That’s why I get mad if I read something that seems off. Because I’m so sure of my story.
How do you relax when you’re not being Lana? Do you watch TV? I watch a lot of reality TV. I’m obsessed with “The Bachelor.”
Your songs can be brutal about romance, just like “The Bachelor.” It’s brutal out there! Even good guys don’t know what toxic masculinity is. My friends and I didn’t either. We had bad experiences that we didn’t share with each other. We were like, “Oh, that was so stupid that I got myself into that.” Now, we realize, “Oh, you actually didn’t.”
Besides your beloved Joni and Stevie, are there other female public figures who inspire you? Oh yeah. Lately, I was so inspired by Greta Thunberg. I’m not saying it’s similar to what I’ve experienced, but it’s interesting when people say how “angry” she is. I think one of the reasons that climate-change advocates haven’t made more progress is because they are kindhearted. It’s not the Trumpian way of the iron fist. It’s very interesting to see someone who’s so young come off as so angry, and then see people’s reactions. I’m sure she smiles and is nice to her family, but why should she smile at people who are killing the planet? I really like when she said something to the effect of, “I don’t want to hear you say that we understand and we hear you. Because if that were really true, it would mean you were evil, because you’re not taking any action.” I think that line also sums up the #MeToo movement … and every cultural shift we’ve been experiencing lately.
Once you’re done finally touring behind “Norman,” what do you plan to do? What’s your dream vacation? Just relaxing. Buying groceries. This here, this is definitely the dream. Just this little spot.
Lana Del Rey: “Freud and Jung say that 30% of what you end up thinking about your own self is based on what other people think of you. I believe that. I make sure I know what my story is.”
(Jay L. Clendenin/Los Angeles Times)
Source:
https://www.latimes.com/entertainment-arts/music/story/2019-10-03/lana-del-rey-hollywood-bowl-norman-rockwell
That’s our girl
Just look at 2007-9, where she somehow juggled Josh, Arthur, Steven, Mike, Reeve, and probably more, all with various degrees of involvement and overlap. When she said prolific, she wasn’t kidding
Okay, so How to Disappear & Cinnamon Girl are about boxer Joe Schilling.
So, Lana stated in her livestream she wrote both of the songs song after "getting back to New York from Boston" after being "fucked up in Boston"
Nick reminded me there was a rumour of Lana going to Boston to watch her boyfriend who was coaching, which lined up during the same time period as I noticed she was in Rhode Island on October 3rd & New York October 5th with Jack, same day she shares first snippet of HTD along with video captioned "pre-recording dance"
The rumour seemed to originate from a girl who worked at a store Lana was shopping at while in Rhode Island.
Rhode Island - Oct 3 (traveling there)
Boston - Oct 4 (meltdown happened w this guy)
New York - Oct 5 (wrote HTD)
October 5th: "At the Red Sox vs Yankee play off game at Fenway Park tonight. We’ll be wishing a mother fcker would." (Fenway Park is in Boston, and Lana was there to watch him train the day before)
The man in question seems to be this boxer named Joe Schilling, who a bunch of fans attacked on instagram by commenting rats under his instagram posts on October 21st after he dragged her music & the unfollowed each other, and Lana had to tell her fans to back off.
That makes perfect sense given the lyrics: "Joe met me down at the training yard, with cuts on his face 'cause he fought too hard" (which would make sense bc he's a boxer)
& then of course the lyrics in Cinnamon Girl indicating that something went wrong with them "if you hold me without hurting me, you'll be the first who ever did"
whew that man really hurt her x
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