veniceglitch

I honestly think Lana's biggest fault to her social/feminist critics is her extreme solipsism. She refuses to see/admit to seeing a world outside of her own extremely subjective experience, which goes against everything a so-called progressive is supposed to be about in 2014. She has turned her back on objectivity and pluralism. But my hunch is that this is entirely intentional, and might have something to do with rejecting her background in 'metaphysics' in favor of something more like a personal, self-engineered mythology, a intensely individualistic belief system she created post-college/pre-LDR. The point is, I am sure Lizzy Grant is aware of a world beyond her own, but as Lana Del Rey, she must never betray this, even when it creates headlines such as these. There's no way she's actually that myopic. It's defiance. It's also a way to maintain an alienated stance, which benefits her art.

I just said this in response to this (decent) Consequence of Sound piece, actually:

'She is master and commander of her own submissive exploration of femininity and psychology. Honestly, I can’t think of anything more liberated than that. She is comfortable enough in her own skin to explore masochism. There is true power in psychological surrender, and she gets that. She is operating on a totally different level, unconcerned with the cycle of world news and SJW think pieces.'
 
Also, hi everyone. First post here. Excited for Ultraviolence.  

Lana is on the cover of UK digital magazine Clash this month. (Hopefully someone can buy it and post the whole interview!) The theme of the issue is, fittingly, The American Dream.
 

 
 
They tease with a blurb about her talking leaving music (again).
 
 
'In an interview with Clash for this month’s special American Dream-themed issue,Lana Del Rey admitted that she considered quitting music after her breakthrough album ‘Born To Die’.
Speaking with our own Joe Zadeh in California, she shed some light on her feelings at the time of the criticism that accompanied her early rise to fame.
In response to us asking regarding whether some of the criticism ever made her resent becoming a musician, she responded:
“All the time. Every day. I didn't want to do it, ever. You can make music, just for making music – you don't have to put it on YouTube. That was definitely a viable option for me. I have a lot of passions and making music was always something I would do for fun.
“But from what happened, it wasn't worth it most of the time. It’s still not really worth all the bullshit. But, meeting people like Dan Auerbach, making a record (‘Ultraviolence’) that is perfect for me, and being able to tell my story through music – that is totally amazing. But that is where it begins and ends. Sometimes I meet people who are really cool, but most of the time it isn't like that.”'

Lana is on the cover of UK digital magazine Clash this month. (Hopefully someone can buy it and post the whole interview!) The theme of the issue is, fittingly, The American Dream.
 

 
 
They tease with a blurb about her talking leaving music (again).
 
 
'In an interview with Clash for this month’s special American Dream-themed issue,Lana Del Rey admitted that she considered quitting music after her breakthrough album ‘Born To Die’.
Speaking with our own Joe Zadeh in California, she shed some light on her feelings at the time of the criticism that accompanied her early rise to fame.
In response to us asking regarding whether some of the criticism ever made her resent becoming a musician, she responded:
“All the time. Every day. I didn't want to do it, ever. You can make music, just for making music – you don't have to put it on YouTube. That was definitely a viable option for me. I have a lot of passions and making music was always something I would do for fun.
“But from what happened, it wasn't worth it most of the time. It’s still not really worth all the bullshit. But, meeting people like Dan Auerbach, making a record (‘Ultraviolence’) that is perfect for me, and being able to tell my story through music – that is totally amazing. But that is where it begins and ends. Sometimes I meet people who are really cool, but most of the time it isn't like that.”'

Lana is on the cover of UK digital magazine Clash this month. (Hopefully someone can buy it and post the whole interview!) The theme of the issue is, fittingly, The American Dream.
 

 
 
They tease with a blurb about her talking leaving music (again).
 
 
'In an interview with Clash for this month’s special American Dream-themed issue,Lana Del Rey admitted that she considered quitting music after her breakthrough album ‘Born To Die’.
Speaking with our own Joe Zadeh in California, she shed some light on her feelings at the time of the criticism that accompanied her early rise to fame.
In response to us asking regarding whether some of the criticism ever made her resent becoming a musician, she responded:
“All the time. Every day. I didn't want to do it, ever. You can make music, just for making music – you don't have to put it on YouTube. That was definitely a viable option for me. I have a lot of passions and making music was always something I would do for fun.
“But from what happened, it wasn't worth it most of the time. It’s still not really worth all the bullshit. But, meeting people like Dan Auerbach, making a record (‘Ultraviolence’) that is perfect for me, and being able to tell my story through music – that is totally amazing. But that is where it begins and ends. Sometimes I meet people who are really cool, but most of the time it isn't like that.”'

Lana is on the cover of UK digital magazine Clash this month. (Hopefully someone can buy it and post the whole interview!) The theme of the issue is, fittingly, The American Dream.
 

 
 
They tease with a blurb about her talking leaving music (again).
 
 
'In an interview with Clash for this month’s special American Dream-themed issue,Lana Del Rey admitted that she considered quitting music after her breakthrough album ‘Born To Die’.
Speaking with our own Joe Zadeh in California, she shed some light on her feelings at the time of the criticism that accompanied her early rise to fame.
In response to us asking regarding whether some of the criticism ever made her resent becoming a musician, she responded:
“All the time. Every day. I didn't want to do it, ever. You can make music, just for making music – you don't have to put it on YouTube. That was definitely a viable option for me. I have a lot of passions and making music was always something I would do for fun.
“But from what happened, it wasn't worth it most of the time. It’s still not really worth all the bullshit. But, meeting people like Dan Auerbach, making a record (‘Ultraviolence’) that is perfect for me, and being able to tell my story through music – that is totally amazing. But that is where it begins and ends. Sometimes I meet people who are really cool, but most of the time it isn't like that.”'

Lana is on the cover of UK digital magazine Clash this month. (Hopefully someone can buy it and post the whole interview!) The theme of the issue is, fittingly, The American Dream.
 

 
 
They tease with a blurb about her talking leaving music (again).
 
 
'In an interview with Clash for this month’s special American Dream-themed issue,Lana Del Rey admitted that she considered quitting music after her breakthrough album ‘Born To Die’.
Speaking with our own Joe Zadeh in California, she shed some light on her feelings at the time of the criticism that accompanied her early rise to fame.
In response to us asking regarding whether some of the criticism ever made her resent becoming a musician, she responded:
“All the time. Every day. I didn't want to do it, ever. You can make music, just for making music – you don't have to put it on YouTube. That was definitely a viable option for me. I have a lot of passions and making music was always something I would do for fun.
“But from what happened, it wasn't worth it most of the time. It’s still not really worth all the bullshit. But, meeting people like Dan Auerbach, making a record (‘Ultraviolence’) that is perfect for me, and being able to tell my story through music – that is totally amazing. But that is where it begins and ends. Sometimes I meet people who are really cool, but most of the time it isn't like that.”'

She seems preoccupied by repetition, rituals, iconography. It feels almost religious. I believe she truly is a visual thinker, and tries to use her words to paint the obsessive scenery she loves. I like how she talks about how words sound; their universally understood meaning or context isn't so important to her, which I think gets her in trouble with more linear types (journalists) in interviews, etc. The title Ultraviolence is a good example. She knows its pop cultural history, but she bends the word itself to her own will. It's all how it makes her feel, and how she can use word and motifs as tools to create new meanings. For her, language is an intuitive art like everything else.
 
Red dress. Blood red jam. Red lipstick. Red nail polish. Red, white, blue. Blue dark. Blue jeans. Blue hands. Blue mascara. Boy blue. Swayin'. Swingin'. Driving fast, 'bout 99, in cars with boys, alone. The list goes on.
 
I enjoy how sensory-oriented her lyrics are, but I get the sense she does this knowing that concrete words can hold a lot of abstract power, not because she literally only thinks about things in terms of their color etc. I get the sense she approaches melody-writing similarly; she's fine recycling her own motifs because it reinstates the ritualistic nature of her music. That said, I am hungry for new metaphors and themes from her. I'm sure the music she makes in her 30s will reveal a whole new part of her mind and soul.
 

She seems preoccupied by repetition, rituals, iconography. It feels almost religious. I believe she truly is a visual thinker, and tries to use her words to paint the obsessive scenery she loves. I like how she talks about how words sound; their universally understood meaning or context isn't so important to her, which I think gets her in trouble with more linear types (journalists) in interviews, etc. The title Ultraviolence is a good example. She knows its pop cultural history, but she bends the word itself to her own will. It's all how it makes her feel, and how she can use word and motifs as tools to create new meanings. For her, language is an intuitive art like everything else.
 
Red dress. Blood red jam. Red lipstick. Red nail polish. Red, white, blue. Blue dark. Blue jeans. Blue hands. Blue mascara. Boy blue. Swayin'. Swingin'. Driving fast, 'bout 99, in cars with boys, alone. The list goes on.
 
I enjoy how sensory-oriented her lyrics are, but I get the sense she does this knowing that concrete words can hold a lot of abstract power, not because she literally only thinks about things in terms of their color etc. I get the sense she approaches melody-writing similarly; she's fine recycling her own motifs because it reinstates the ritualistic nature of her music. That said, I am hungry for new metaphors and themes from her. I'm sure the music she makes in her 30s will reveal a whole new part of her mind and soul.
 

She seems preoccupied by repetition, rituals, iconography. It feels almost religious. I believe she truly is a visual thinker, and tries to use her words to paint the obsessive scenery she loves. I like how she talks about how words sound; their universally understood meaning or context isn't so important to her, which I think gets her in trouble with more linear types (journalists) in interviews, etc. The title Ultraviolence is a good example. She knows its pop cultural history, but she bends the word itself to her own will. It's all how it makes her feel, and how she can use word and motifs as tools to create new meanings. For her, language is an intuitive art like everything else.
 
Red dress. Blood red jam. Red lipstick. Red nail polish. Red, white, blue. Blue dark. Blue jeans. Blue hands. Blue mascara. Boy blue. Swayin'. Swingin'. Driving fast, 'bout 99, in cars with boys, alone. The list goes on.
 
I enjoy how sensory-oriented her lyrics are, but I get the sense she does this knowing that concrete words can hold a lot of abstract power, not because she literally only thinks about things in terms of their color etc. I get the sense she approaches melody-writing similarly; she's fine recycling her own motifs because it reinstates the ritualistic nature of her music. That said, I am hungry for new metaphors and themes from her. I'm sure the music she makes in her 30s will reveal a whole new part of her mind and soul.
 

I honestly think Lana's biggest fault to her social/feminist critics is her extreme solipsism. She refuses to see/admit to seeing a world outside of her own extremely subjective experience, which goes against everything a so-called progressive is supposed to be about in 2014. She has turned her back on objectivity and pluralism. But my hunch is that this is entirely intentional, and might have something to do with rejecting her background in 'metaphysics' in favor of something more like a personal, self-engineered mythology, a intensely individualistic belief system she created post-college/pre-LDR. The point is, I am sure Lizzy Grant is aware of a world beyond her own, but as Lana Del Rey, she must never betray this, even when it creates headlines such as these. There's no way she's actually that myopic. It's defiance. It's also a way to maintain an alienated stance, which benefits her art.

I just said this in response to this (decent) Consequence of Sound piece, actually:

'She is master and commander of her own submissive exploration of femininity and psychology. Honestly, I can’t think of anything more liberated than that. She is comfortable enough in her own skin to explore masochism. There is true power in psychological surrender, and she gets that. She is operating on a totally different level, unconcerned with the cycle of world news and SJW think pieces.'
 
Also, hi everyone. First post here. Excited for Ultraviolence.  

I honestly think Lana's biggest fault to her social/feminist critics is her extreme solipsism. She refuses to see/admit to seeing a world outside of her own extremely subjective experience, which goes against everything a so-called progressive is supposed to be about in 2014. She has turned her back on objectivity and pluralism. But my hunch is that this is entirely intentional, and might have something to do with rejecting her background in 'metaphysics' in favor of something more like a personal, self-engineered mythology, a intensely individualistic belief system she created post-college/pre-LDR. The point is, I am sure Lizzy Grant is aware of a world beyond her own, but as Lana Del Rey, she must never betray this, even when it creates headlines such as these. There's no way she's actually that myopic. It's defiance. It's also a way to maintain an alienated stance, which benefits her art.

I just said this in response to this (decent) Consequence of Sound piece, actually:

'She is master and commander of her own submissive exploration of femininity and psychology. Honestly, I can’t think of anything more liberated than that. She is comfortable enough in her own skin to explore masochism. There is true power in psychological surrender, and she gets that. She is operating on a totally different level, unconcerned with the cycle of world news and SJW think pieces.'
 
Also, hi everyone. First post here. Excited for Ultraviolence.  

I honestly think Lana's biggest fault to her social/feminist critics is her extreme solipsism. She refuses to see/admit to seeing a world outside of her own extremely subjective experience, which goes against everything a so-called progressive is supposed to be about in 2014. She has turned her back on objectivity and pluralism. But my hunch is that this is entirely intentional, and might have something to do with rejecting her background in 'metaphysics' in favor of something more like a personal, self-engineered mythology, a intensely individualistic belief system she created post-college/pre-LDR. The point is, I am sure Lizzy Grant is aware of a world beyond her own, but as Lana Del Rey, she must never betray this, even when it creates headlines such as these. There's no way she's actually that myopic. It's defiance. It's also a way to maintain an alienated stance, which benefits her art.

I just said this in response to this (decent) Consequence of Sound piece, actually:

'She is master and commander of her own submissive exploration of femininity and psychology. Honestly, I can’t think of anything more liberated than that. She is comfortable enough in her own skin to explore masochism. There is true power in psychological surrender, and she gets that. She is operating on a totally different level, unconcerned with the cycle of world news and SJW think pieces.'
 
Also, hi everyone. First post here. Excited for Ultraviolence.  

I honestly think Lana's biggest fault to her social/feminist critics is her extreme solipsism. She refuses to see/admit to seeing a world outside of her own extremely subjective experience, which goes against everything a so-called progressive is supposed to be about in 2014. She has turned her back on objectivity and pluralism. But my hunch is that this is entirely intentional, and might have something to do with rejecting her background in 'metaphysics' in favor of something more like a personal, self-engineered mythology, a intensely individualistic belief system she created post-college/pre-LDR. The point is, I am sure Lizzy Grant is aware of a world beyond her own, but as Lana Del Rey, she must never betray this, even when it creates headlines such as these. There's no way she's actually that myopic. It's defiance. It's also a way to maintain an alienated stance, which benefits her art.

I just said this in response to this (decent) Consequence of Sound piece, actually:

'She is master and commander of her own submissive exploration of femininity and psychology. Honestly, I can’t think of anything more liberated than that. She is comfortable enough in her own skin to explore masochism. There is true power in psychological surrender, and she gets that. She is operating on a totally different level, unconcerned with the cycle of world news and SJW think pieces.'
 
Also, hi everyone. First post here. Excited for Ultraviolence.  

I honestly think Lana's biggest fault to her social/feminist critics is her extreme solipsism. She refuses to see/admit to seeing a world outside of her own extremely subjective experience, which goes against everything a so-called progressive is supposed to be about in 2014. She has turned her back on objectivity and pluralism. But my hunch is that this is entirely intentional, and might have something to do with rejecting her background in 'metaphysics' in favor of something more like a personal, self-engineered mythology, a intensely individualistic belief system she created post-college/pre-LDR. The point is, I am sure Lizzy Grant is aware of a world beyond her own, but as Lana Del Rey, she must never betray this, even when it creates headlines such as these. There's no way she's actually that myopic. It's defiance. It's also a way to maintain an alienated stance, which benefits her art.

I just said this in response to this (decent) Consequence of Sound piece, actually:

'She is master and commander of her own submissive exploration of femininity and psychology. Honestly, I can’t think of anything more liberated than that. She is comfortable enough in her own skin to explore masochism. There is true power in psychological surrender, and she gets that. She is operating on a totally different level, unconcerned with the cycle of world news and SJW think pieces.'
 
Also, hi everyone. First post here. Excited for Ultraviolence.  

I honestly think Lana's biggest fault to her social/feminist critics is her extreme solipsism. She refuses to see/admit to seeing a world outside of her own extremely subjective experience, which goes against everything a so-called progressive is supposed to be about in 2014. She has turned her back on objectivity and pluralism. But my hunch is that this is entirely intentional, and might have something to do with rejecting her background in 'metaphysics' in favor of something more like a personal, self-engineered mythology, a intensely individualistic belief system she created post-college/pre-LDR. The point is, I am sure Lizzy Grant is aware of a world beyond her own, but as Lana Del Rey, she must never betray this, even when it creates headlines such as these. There's no way she's actually that myopic. It's defiance. It's also a way to maintain an alienated stance, which benefits her art.

I just said this in response to this (decent) Consequence of Sound piece, actually:

'She is master and commander of her own submissive exploration of femininity and psychology. Honestly, I can’t think of anything more liberated than that. She is comfortable enough in her own skin to explore masochism. There is true power in psychological surrender, and she gets that. She is operating on a totally different level, unconcerned with the cycle of world news and SJW think pieces.'
 
Also, hi everyone. First post here. Excited for Ultraviolence.