I think Lana said that they were/are neighbors and Jen was the first person she met in the neighborhood when she moved in years ago
I'm glad too that she was able to make such a great friendship thats lasted all these years
Does anyone know Lana and Jen’s origin story? It seems like she’s been part of Lana’s life for many years now, I’m curious how they initially crossed paths.
I’m glad Lana has found lasting and meaningful friendship. I’m sure it’s quite difficult to do when you’re as famous as she is.
Does anyone know Lana and Jen’s origin story? It seems like she’s been part of Lana’s life for many years now, I’m curious how they initially crossed paths.
I’m glad Lana has found lasting and meaningful friendship. I’m sure it’s quite difficult to do when you’re as famous as she is.
Does anyone know Lana and Jen’s origin story? It seems like she’s been part of Lana’s life for many years now, I’m curious how they initially crossed paths.
I’m glad Lana has found lasting and meaningful friendship. I’m sure it’s quite difficult to do when you’re as famous as she is.
I think people just literally make shit up when it comes to filling in the gaps with Lana’s story.
and wow that would be such an odd, surreal moment seeing patty and rob in the wild (and on Sunset no less). Just seeing patty in the flesh would be extra impactful now that she’s kind of the resident villain of the LDR mythos
I think people just literally make shit up when it comes to filling in the gaps with Lana’s story.
and wow that would be such an odd, surreal moment seeing patty and rob in the wild (and on Sunset no less). Just seeing patty in the flesh would be extra impactful now that she’s kind of the resident villain of the LDR mythos
I think people just literally make shit up when it comes to filling in the gaps with Lana’s story.
and wow that would be such an odd, surreal moment seeing patty and rob in the wild (and on Sunset no less). Just seeing patty in the flesh would be extra impactful now that she’s kind of the resident villain of the LDR mythos
I think people just literally make shit up when it comes to filling in the gaps with Lana’s story.
and wow that would be such an odd, surreal moment seeing patty and rob in the wild (and on Sunset no less). Just seeing patty in the flesh would be extra impactful now that she’s kind of the resident villain of the LDR mythos
I think people just literally make shit up when it comes to filling in the gaps with Lana’s story.
and wow that would be such an odd, surreal moment seeing patty and rob in the wild (and on Sunset no less). Just seeing patty in the flesh would be extra impactful now that she’s kind of the resident villain of the LDR mythos
I think people just literally make shit up when it comes to filling in the gaps with Lana’s story.
and wow that would be such an odd, surreal moment seeing patty and rob in the wild (and on Sunset no less). Just seeing patty in the flesh would be extra impactful now that she’s kind of the resident villain of the LDR mythos
I think people just literally make shit up when it comes to filling in the gaps with Lana’s story.
and wow that would be such an odd, surreal moment seeing patty and rob in the wild (and on Sunset no less). Just seeing patty in the flesh would be extra impactful now that she’s kind of the resident villain of the LDR mythos
that’s odd? idk , but back when chuck had her baby, i was driving down sunset blvd and there was patty and rob outside at a table having a glass of wine… i think she and lana just do not associate. (speculation)
I was on Reddit (not the official Lana subreddit one but a general discussion thread for Ocean Blvd.) and somebody was matter of factly talking about how Rob’s not married to Patty anymore and that Lana actually gets along really well with her step mother….
maybe this is 2 months late but who cares, this post by @BlackoutZone bothers me. He concedes it could be wrong (so don't attack), but let me tell you why none of what he said makes...any sense from a music making perspective. I'm going to be relying on actual facts we know from Lana/her team over the years, and on standard industry practice and practicalities. This post will be long, but worth it for the sake of truth.
to start, let's define some terms (these are all in the context of songs, not albums):
Producer - someone who, in some way, directs the actual sound recording of a song (composition of music, in these cases consisting of melodies, lyrics, and chords progressions)//recording project's creative and technical leader. They create or direct the creation of the tracks (stems) that make up a song (vocals, beats, instruments etc.)
Instrumentalist/session musician - someone commissioned by a PRODUCER of a song to play instruments (usually prewritten, sometimes improvised by the musician) for its sound recording
Mixing - the very complex, very difficult process of balancing every track in a song (vocals, backing vocals, digital and live instruments, special effects, etc.) Notably, Lana's frequently mentioned her mixing takes months because of how meticulous she is. Mixing is performed by engineers, in some cases (such as Lana's music) heavily assisted or directed by the producers or artists.
Engineer - here we have both recording engineers and sound engineers, which are different but often the same person, however - basically they're behind all the technical aspects of recording a song. That includes literally pressing record for a session, throwing together a mix for the artist to listen to outside of the studio, etc. Audio engineers work on the actual recording of the song, mixing engineers begin the process most traditionally known as mixing once the artist and producer's song of the vision is complete. (there's an element of mixing that's done by producers, but we're not talking about that).
OWNERSHIP: Legal concept. google Taylor Swift if you need a refresher. What's important to remember is that Lana has owned her master recordings since Born to Die. Established musical term partnerships (such as Lana and Rick or Lana and Jack) often begin the legal aspect's work on an album with a producer and master recording owner (in this case Lana, probably with advance funding in exchange for their licensing deal) entering into a contract for a joint venture. The owner of a master recording has all right to any reproductions of the song.
In a gist, this is typically how a song or group of songs begins. The owner of the recording (usually a label, in this case Lana with her label’s advance money) will contract a joint venture for the recording of a song or songs with a producer. Lana has her relationships established, so while I suspect none of them are taking the contracts to each other, everybody’s got to get paid so somewhere these signatures exist (to prevent say Rick suing Lana for a song’s ownership or something). The producer(s) (ie Lana and Rick/Jack/etc.) begin to create the song (Lana and her producers usually write them as well but that is a can of worms for another time) in its recording by either creating themselves or commissioning others (instrumentalists) to create tracks of music for the song. Ie Change - Lana and Rick created tracks (vocals and piano) pretty much themselves. Or a song from Born to Die (Lana wrote the songs, and worked with producers who created beats (Emile) and helped her record her vocals). Throughout this recording process the people actually pressing (+ new track), (record), (pause etc.) on the computer is a recording engineer, who may also function as a mastering engineer. For example, with White Dress Jack and Lana as producers and instrumentalists were messing around with piano and vocals, and thankfully Laura (engineer) was around to actually press the record button and ensure what they sang into the mic existed digitally.
Now that we have basic terminology down, let's run down who on Lana's team wears which of these hat(s).
Lana Del Rey: Producer (beginning with Pretty When You Cry and Guns and Roses, and nearly every released album track since then *notably excluding Fingertips), instrumentalist (horns on NFR is the only thing I can think of off the top of my head but there might be more)
Engineer* - Lana's known to be (annoyingly, in her own words) meticulous over the mixing process. She's been said to know decibel level differences in the way stems are mixed against each other. The * is because she didn't get an actual mixing credit until the songs with Barrie were used for Blue Banisters. (that's why they sound that way I suspect, not because they were ripped from YouTube - the amount of quality loss from downloading an Mp3 of a unmastered or even mastered song and then remastering it without the stems would make them sound very horrible in my AirPods). OWNER - Lana has owned all her masters since Born to Die, exclusively licensing the distribution rights to Interscope in the US, Universal everywhere else, and Polydor in the UK.
Jack Antonoff: Producer, Instrumentalist, Recording Engineer, Mixing Engineer
Rick Nowels: Producer, Instrumentalist
Laura Sisk: Recording Engineer, Mixing Engineer, Producer (kintsugi) and of course…
Patrick Warren: In all of Patrick's work Lana and Rick (beginning with Born to Die and spanning until Lust for Life), he has only ever served as an instrumentalist. There is one song Lana is on where Patrick served as a producer, and it's the time she featured on Cat Power's album. According to Rick Nowels himself: "Patrick Warren has done strings and keyboards on all the Lana records since ‘Summertime Sadness’. He is a big part of the ‘Lana sound’." This is a very important piece of information.
Okay, now we can begin to examine why @BlackoutZone ’s post made no sense. Let’s examine a Lana and Rick iconic album to see why it made no sense.
Honeymoon was made entirely in Lana and Rick’s circle. Kieron Menzies, Dean Reid, Patrick Warren - all Rick’s guys (similar to Laura working as an engineer on every Jack project). The whole album except for 2 songs was recorded at Rick’s studio. Patrick Warren is an INSTRUMENTALIST on every song except for Freak and Art Deco. That’s why we’re using this as an example.
Depending on which instrument provided on any given song by Patrick, it’s highly likely (or impossible not to have been) he either played a live instrument recorded into a mic (piano, strings, kantele), or created it digitally (synth effects on Don’t Let Me Be Misunderstood).
Either way, there’s a very good chance these happened at The Green Building - this was precovid, Rick’s studio is filled with instruments and that would be the best way for the producers to get the desire result. There is however, considering Patrick Warren’s success in his own right, he provided tracks that came from his own studio of choice. It’s important to note that he has no writing credits for lyric, melody, or music on any of the songs - so anything he recorded was written by Lana or Rick (or Nina Simone writers etc.). Basically, he was recording music as dictated to him by the composers. He also doesn’t have a producer credit, so he was never ever expected to provide direction as to what sounds should be there, when they should be there, etc.
Here’s where @BlackoutZone's theory begins to fall apart. The idea that Patrick Warren, whose worked with Lana since 2012 would, in the midst of going back and forth out of the Green Building to record instruments for Lust for Life, would receive a random email (note: Lana’s publicly stated her team /can’t/ use email because of leakers) and then release Lana’s music is questionable at best, considering their extensive working history. What’s even more questionable is that Patrick Warren would 1) have all the stems of any given Lana song, 2) take the role of producer and himself ARRANGE a partially recorded song 3) throw together a rough mix (balancing eq, plugins, reverb, etc.) of the song and 4) then send it to Lana and her team? It’s laughable only because the sheer amount of 1) the amount of work required and 2) complete disregard of Lana and Rick’s recording process, which he had been a witness to, at this point, for the past 4 years.
Let’s take a look to see how mixing for Lana’s team in 2016 actually played out, according to Dean Reid:
"Lana likes to listen to things on her iPod on the beach, and she wants them to sound murky and mysterious. We’re very conscious of that. If we do something that doesn’t fit and that sticks out, we immediately get reactions from Lana or Rick. There is this thing about Lana that if we know she’ll be showing up in half an hour, we have an instinct about what she’s going to like and what not, and so it’s like: ‘Hurry up and make it sound good, so when she walks in the door she’ll be smiling.’ And if she’s not smiling we know how to pull it together really quickly. But she’s in the room for much of the process, and incredibly meticulous about vocal levels, for example. A lot of the vocal rides are dictated by her. She hears 0.2dB differences in volume,”
And according to Kieron Menzies: “She’s very involved during all stages. Obviously she’s central to the writing, but she also sits with us during a lot of the production and mixing.”
“We often do late-night rough mixes,” Menzies elaborates, “so Lana has something she can take home, and that we can play in our cars to check.”
If Lana, in 2016, the time these fakes allegedly occurred, was sitting in the room for months and months with 2 guys, how on earth would it be plausible for Patrick Warren, an instrumentalist with an extensive history of working with Lana and Rick, be fooled in the way that @BlackoutZone described? It makes no sense at all, and that’s before we look at the sheer impracticalities of it.
Mixing a song takes months, and the files are huge. Mixing and mastering are not “basic end steps” as @BlackoutZone described. They take weeks at minimum.
Example: Dean Reid "when we got the first mastered songs back, she was really dismayed by how they sounded, and it turned out to be the dithering down from 24- to 16-bit that was bothering her!"
To mix along the way, as Kieron and Dean do, you need to be a part of an ongoing recording process. All of the files are on Rick’s local network of computers (they have a twin setup), and Kieron and Dean have said they never even work on one song at the same time so they don’t step on each other’s toes. These files, by the way, are huge. The stems themselves create data, but the tracks containing stems are massive. For example, Lust for Life (the song) in its final version had 129 tracks of vocals, drums, effects, etc. It’s a five minute song with basic verse chorus verse chorus bridge chorus structure and has 129 tracks. Massive.
So it’s questionable that Patrick, as an instrumentalist, has all of these tracks on his home computer just laying around. It’s even more questionable that Patrick is sitting around mixing files that start in Pro Tools, switching to Logic for some reason and then reconfiguring them back to be reimported? into Pro tools at The Green Building. It doesn’t make any sense. What most likely happened is one of two scenarios, accounting for @BlackoutZone (unverified yet question raising) claim about the metadata export info. I don’t really have an opinion on the likelihood of one over the other, as they could both be true at the same time.
Scenario A: During the recording of the song, Patrick worked from his own studio to record live or digital instruments, for some reason not at the Green Building. In order to record his section properly, he was sent rough mixes of certain parts of the song (whether it was just vocal and piano or more meaty versions) and then recorded his sections alongside them using Logic.
Scenario B: At some point during the recording of the songs Patrick was sent rough mixes in the forms of mp3 to take home and listen and hear how his instruments sounded to see if he wanted to rerecord, or because he was asked to rerecord them, OR after the songs were done, he was sent the rough mixes to hear his part, purely as common courtesy and a member of the team.
However, in both of these scenarios, it would be a logistical nightmare to send him the entire data file (massive), and there would be no need to do so, since he’s not a producer or engineer. Without the file and with only an exported copy, there’s no way he could arrange the songs into a “fake” mix Lana nor Rick approved of. Because he would only have a sound file. So the idea that Patrick himself was fooled into thinking Lana’s team was asking him for a rough mix is improbable because it is implausible.
The only part of @BlackoutZone's theory that could be potentially true is that Patrick was responsible for the songs getting out in someway (perhaps even deception), and/or the strings or some other instrument he provided were in a different section than Lana or Rick wanted. But there’s no actual evidence of that. I could make an entire separate thread about song composition that demonstrates the unlikely nature of this “fake songs” theory as well, but this post is long enough.
Perhaps Patrick was the source of the leaks (we may never truly know) - but it definitely wasn’t in the way that @BlackoutZone described, because that would be logistically impossible and also make no sense if you give it 3 seconds of thought into how music is made. This theory is debunked, the songs are not fake. One thing is clear however: @111 is certainly owed an apology.
*Lastly ownership: the idea that commissioned producers, instrumentalists, etc. would risk the legal consequences of reproducing songs using recordings they have no claim of ownership to is laughable. It’s just not worth it. There is a lot of money in master recording rights, and they’re usually owned by labels with armies of lawyers. Beware any such theories of producers or instrumentalists getting crafty with sound files they don’t own (or even likely have access to, as in this specific case).
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