intensely

if all videos are eternally teasers
the full cuts are unredeemable 

What might have been
And what has been
Point to one harddrive
Which is always stolen
 
Footfalls echo in the memory
Down the Cola which we did not drink
Toward the Dark Paradise we never opened
Into ultraviolence (original)

hold it open as a vigil in loving memory of what we have lost 
 
videos realized and videos unrealized
are perhaps both present in videos future
and videos future contained in videos unrealized
if all youtube links are eternally present 
all videos are on private
what might have been is a rumor 
remaining a perpetual possibility
only in a world of lananalyis 
what might have been and what has been
point to lana, which is always present
cola echoes in the memory
down the passage lana did not take
towards the door she never opened
into video production
 
help 

tmz is always right lol 
Not Lana's fault, she should get help, but like no she aint the victim here

I've seen concerts for years, watched recordings of concerts from the 50's to now, it's not new for teens/young adults to hyperventilate/cry/faint from the overwhelming emotion of being in the same space as their idols. It just happens. I believe the line is crossed when people like this young woman somehow develops an unhealthy obsession with appearing around Lana as a way to be seen as important/liked.

If you're insinuating that just because people get overemotional at concerts then that has a correlation to the two girls stalking her then you're simple minded. The recent stalkers/home invaders are clearly mentally fragile and need to be imprisoned for this, not overly generalizing actual fans who just idolize Lana and can healthily go about their day without harassing her.
 
Lana is not going to stop her source of income due to a handful of mentally unstable people. If that were the case then literally half of the artists in the industry wouldn't be touring. She needs real security, to move the fuck out of her house and into somewhere outside of LA/in that area, etc. in order to take steps to make herself safer.

this is so sad and ugly

This isn't the first time Lana's done something about it too   at the LA signing they got kicked out of line and we're told they are blacklisted. Lana is so nice to fans and people take advantage of it

I agree, i think she's gonna lose her patience at some point   I mean, i would've already lost it one or two years ago

lana finally doing promo.............
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
for someones elses album

are we? i don't give two fucks, they can keep giving them to bieber and taylor queeft x
 
 
honeymoon promo xxxxxxxxxxxx
 
 
 
 
 
 
omg i'm dying, it's my dream that lana and abe make a whole album together, or maybe just a sex tape i dont knowwwwwwwwwwwwwwwwwwwwwwww

No, they won't. All Lana gets is royalty checks when people buy Prisoner/the album. Please calm down. Yes she will technically be part of his winning Grammy but she's not gonna get a whole other statue.

she lies a LOT and makes up a lot of stuff in her songs...he's probably not a real person, or at the very least an amalgamation of different boys that shes dated

I think it's really strange that people assume Lana's co-producers in Nowels, of course men, don't challenge her and that she needs a really strong producer, of course a man, to do good work with. I can think of very few artists who don't work with at least one collaborator in terms of lyrics or production and create excellent music (even Pet Sounds, which people erroneously think Brian Wilson created on his own) so I do think Lana would need collaborators. But a woman artist being in control (whatever this means - she coproduced the whole album for the first time. But she has always had a strong vision and on HM talked about how the sound changed) seems to send the Lana concern pearl clutchers to speculate that if an album doesn't meet their expectations then she needs a strong male producer to save her from mediocrity. The comparison with Tori Amos is really off too.

I'm still in the Honeymoon phase.

My impression of what she said was that Nowels is willing to experiment and try out her ideas. Not that anything she suggests sounds good and is given the go ahead. This is absurd otherwise an album would never be finished and as if the record company gives her absolute freedom. She was also frank about how Nowels offered up his ideas and what his roles are. That's what collaboration and creativity are, not simply shutting things down because you think you know better from the get go. There are always limitations when making music that is supposed to turn over a profit.
 
If BTD is so excellent because she worked with people who she had tension with...well yes tension or like conflict can be an important part of collaboration but she worked with Nowels on BTD too. Also we have no idea what the tension was about, Dan said it could stem from being a woman in the industry-it doesn't necessarily follow it's because Dan said no to her ideas in such a way which accounts for the brilliance of UV. He said himself he could see what she was trying to do but she was not there yet; Lana said it was great that Auerbach believed in her. Dan also spoke about how the record company brought in the other record producer who said everything was fine. You are speculating from simplistic ideas like collaboration has no conflict at all or has to have a set amount of conflict to claim that Lana surrounds herself with yes people to create an inferior product. There is just no evidence for that.
 
She also said in another interview that her tastes are changing and she will work with other producers. Re your response to strong man, seeing people saying she needs someone dominant like Dan to push her, that's what I reacted to.

I think it's really strange that people assume Lana's co-producers in Nowels, of course men, don't challenge her and that she needs a really strong producer, of course a man, to do good work with. I can think of very few artists who don't work with at least one collaborator in terms of lyrics or production and create excellent music (even Pet Sounds, which people erroneously think Brian Wilson created on his own) so I do think Lana would need collaborators. But a woman artist being in control (whatever this means - she coproduced the whole album for the first time. But she has always had a strong vision and on HM talked about how the sound changed) seems to send the Lana concern pearl clutchers to speculate that if an album doesn't meet their expectations then she needs a strong male producer to save her from mediocrity. The comparison with Tori Amos is really off too.

My impression of what she said was that Nowels is willing to experiment and try out her ideas. Not that anything she suggests sounds good and is given the go ahead. This is absurd otherwise an album would never be finished and as if the record company gives her absolute freedom. She was also frank about how Nowels offered up his ideas and what his roles are. That's what collaboration and creativity are, not simply shutting things down because you think you know better from the get go. There are always limitations when making music that is supposed to turn over a profit.
 
If BTD is so excellent because she worked with people who she had tension with...well yes tension or like conflict can be an important part of collaboration but she worked with Nowels on BTD too. Also we have no idea what the tension was about, Dan said it could stem from being a woman in the industry-it doesn't necessarily follow it's because Dan said no to her ideas in such a way which accounts for the brilliance of UV. He said himself he could see what she was trying to do but she was not there yet; Lana said it was great that Auerbach believed in her. Dan also spoke about how the record company brought in the other record producer who said everything was fine. You are speculating from simplistic ideas like collaboration has no conflict at all or has to have a set amount of conflict to claim that Lana surrounds herself with yes people to create an inferior product. There is just no evidence for that.
 
She also said in another interview that her tastes are changing and she will work with other producers. Re your response to strong man, seeing people saying she needs someone dominant like Dan to push her, that's what I reacted to.

Even though I'm a BTD stan, I want Lana to do an Ultraviolence 2.0, not a BTD 2.0.

LANA DEL REY INTERVIEWED FOR NYLON ESPAÑOL FALL/WINTER ISSUE 2015
 
Paris, the city of light, the city of fashion; the one who saw the birth of Dumas, Verne, Proust, Piaf and Bardot, and was warm with Buñuel, Wilde, Hemingway and Gertrude Stein, it welcomed us to make one of the biggest and long awaited productions from Nylon Español. 
 
This trip to Paris wasn't a cliché scene from a Hollywood movie, neither a midnight walk a la Woody Allen. We got to Paris on a countdown to make our job, five covers with Lana Del Rey.
 
There's a perspective of Paris for everyone; there's the fashion world, the gastronomy, the culture and literature. But on this occassion we weren't there as tourists; we had nine days to arrange everything. As a reality show, the Nylon Español crew had just a few hours to make what would be the most important number on our editorial schedule. The style team, leaded by Greta Forte, went on a hurry through fashion boutiques, between Champs-Élysées through Le Marais to have the complete outfits for Lana. While Esteban Calderón, photography director, and I, organized everything carefully for the shooting. The Eiffel Tower lights illuminated our hurried steps from Arc de Triomphe to Rue Galilée, where the exorbitant amount of clothing was kept.
 
Back on April, this year, I began the calling process and meetings with the press team of Lana Del Rey; 145 emails later, we had a deal. Her songs are haunting and beautiful, but they go deeper on desire and freedom, they represent femininity and women's sexuality. 
They ninth day was here, the end of arrangements. On midnight we were on the way to Le Bal Studio. We were accompanied by a team of bodyguards taking care of diamonds, just as a team of stylists and a glam team. In the studio, the equipment was put together on set, waiting for Del Rey to arrive. Punctually, Lizzy Grant arrived, the person she is off-stage. With a smile and open arms, she introduced herself to the whole team. 
Her professionalism and humble personality allowed us to talk and laugh with her for more than twelve hours, seven changes and fifteen outfits: a photoshoot without antecedents on her career.
 
Honeymoon is your fourth body of work, how do you define your evolution?
 
When I started my first album, Born To Die, I had already several years of experience on song writing. But when Video Games was finally played on the radio, in that moment, I knew my record was known. Before this one, I had already written two albums, but writing Born To Die was similar to the way I had fun while documenting my life and my fears, as well as my fantasies. After the release of Born To Die, I started working on more material as nine songs that I originally thought they were for a new album, but due to other things, they became part of the deluxe re-packaging of Born To Die, Paradise. It felt like a grounded notion of what I was looking for the feeling and production behind Born To Die. I especially loved the songs Ride and Cola. Then I toured for a while and while I was on the road, I began thinking about the kind of songs I wanted to sing on stage: something a lot more organic and with guitars on it. That's how I wrote songs with more acoustic sounds and a touch of psychodelia, that became later my album Ultraviolence. After I wrote this album, I sent it to Dan Auerbach because I wanted him to help me with the production, then we spent another four months on the mixing. The mixing can be a really exhausting process, so I began writing new songs in my home again between sessions. Finally, I came back to the studio with Rick Nowels. Honeymoon was similar to when I began writing Ultraviolence after Paradise, because I didn't feel any pressure while doing it. It felt very natural but also very emotional, I was writing songs like Terrence Loves You, Honeymoon and God Knows I Tried, but also had fun with songs like Freak and Art Deco. 
 
Tell us more about the process of recording Honeymoon
 
I wrote the biggest part of the record during fall, winter and spring, and it was a beautiful process because I did it with one of my best friends, Rick. My daily activities consisted on swimming on the beach and writing. The album started very easily and fun with songs like Music to Watch Boys To, Honeymoon and Terrence Loves You, and finally, it went through more modern and sexy songs like Freak and Art Deco. But the line that goes through the record has a lot of jazz influence.
 
What personal trait did you add to this recording?
 
I guess that you always realize a lot about where you are in your life while you're writing a record. I realized that I didn't fully understand, but I knew I had a great potential to see life as a more fun and beautiful experience.
 
Tropico is a short film you did with Shaun Ross, written by you. How does it feel to go into the visual representation of your music? Are you doing something similar with Honeymoon? 
 
Yes, I like what I've done with Honeymoon until now. And yes, I have a visual concept that goes through this record, but it's more in terms of cameras I have used and the velocity in which I record certain stuff. Tropico is one of my favorite proyects I've done and was really hard to make considering the lenght of it and the number of settings. With Honeymoon, I think High By The Beach was a fun and beautiful video at the same time. And I think that the  video for Music to Watch Boys To highlights the cool and touching part of the song, things that may have been overlooked. I also love the continuity of some themes that run in and out of the art, starting with the album cover art and the fact that I'm posing on a Starline Tours tourist bus, to the fact that there's presence of telescopes in the High By The Beach video. 
 
Did you add something different to Honeymoon?
 
I guess that records always have a way to surprise you. I always start the process of making a record, knowing where I'm going, but finally, as songs are being conceived, you realize that the concept can be something completely different to what you had originally contemplated. Honeymoon started with a lot if Jazz implementation, but it grew to be something a lot more grounded and minimalistic. 
 
Aside of your artistic evolution, how has been your personal evolution?
 
I feel that it's been the opposite to an evolution, I feel like it has been more of a deconstruction. My personal life has been through different transitions, on this moment, my life is on a stripped place, where I only have basic daily needs, I'm working on myself and where I want to go from here. 
 
Lana Del Rey as an artist has reached many different types of public, regardless of gender and age of these. How do you find the balance between so many publics and what you deliver?
 
I think that if you stay true and honest to your sound, then you'll reach the public you're supposed to reach. I started doing little shows on New York City, and I feel like that the few unusual people I met there, at that informal folk scene, were my public, and I was theirs. While my record got bigger through the years, I ended up performing to a more younger public. But I feel like all types of people come to my shows.
 
Fashion and music: let's talk about your personal style and how this has influenced your music.
 
When I'm home for a long time, I have more time to go shopping and organize everything. I have a very casual life when I'm off-stage. I love vintage leather, pastel blue denim, white blouses and blue cardigans. I've been through different fases in my life in which ones, I've appreciated fashion more than on anothers. For the moment, I'd say I'm very interested. In general, I'd say that my personal style is introspective, I guess it's the reflection of more contemplative and raw songs like the Ultraviolence ones. 
 
How much do you incorporate your own stories to your music?
 
I'd say that except for one or two songs, my personal life is always reflected on my music, it's easier to write about what it's closer to you and what you want, it's also is more gratifying despite the consequences of it.
 
You've done collaborations with other artists, ones that are out of the pop world, are you interested on giving a twist to your music?
 
I see myself working with people I admire, until now, I've had the opportunity to go on tour with Father John Misty, and recently, I made a song with Abel (The Weeknd). There's people I'd like to work with on my next album. In terms of sound, I really think it's gonna have a variety of different sounds. 
 
In terms of women that have achieved challenges on the industry, what are your thoughts on the timing of these achievements?
 
I don't necessarily listen to women who are considered to have broke gender parameters. I listen to Billie Holiday, who is someone really important to me, who achieved a lot of things, just as Joan Baez. 
 
Your fans are very aware of every step you take in your career. The internet allows them to access to information about whatever you're doing, what do you think about this? 
 
I don't know, I think a big part of my career happens through the internet, except from my shows and albums. But with that said, I'm not someone who spends a lot of time online.
 
During the shoot, we were talking about goals and challenges, and the importance to keep fighting, tell us more.
 
Dreaming is just as important as any mantra about fighting for your dreams, there's books I love that talk about dreams as a science, and the fact that it's impossible to close the gap in between where you are and where you want to be without dreaming. My favorite principle when it's about dreaming is "be true to yourself".
 
You have fans outside the US, are you conscious about your iberoamerican and latin public?
 
I have a connection with fans on Latin America and Spain, maybe it is because of the passion and devotion I feel when I'm there, or maybe because of my deep roots with faith. When I'm in Mexico, or even in Barcelona and Madrid, I feel more understood and I feel that my music is appreciated for exactly what it is.
 
How do you feel about your music transcending borders?
 
I'm not sure about how it transcended borders, but I'm sure it has transcended the way in which I thought it would. I think all of this converges in what we were talking about dreaming. The more honest you are to yourself and the harder you dream, the more you'll have the opportunity for your art to travel further away.

At the moment 24 is my least favourite tbh, it's like a watered down Million Dollar Man with unfathomable, nonsensical, just mere stupid lyrics... "there's only 24 hours in a day" like thanks, hun, I don't know about you, but I've known that since I was about 5 
The other thing that annoys me about 24 is the "give me your diamonds" line, because it completely contradicts the theme of criticising fame/glamour and so on, which is so prominent throughout the album in basically every other song. It just feels so out of place after Religion, where she says "it never was about the money or the drugs". Idk, 24 just doesn't really interest me that much melodically either. like, it's a nice song but for me it's kinda just meh compared to every other track   

we can now agree with that UV is a better album, can't we 
 
   

Your posts on that devil give me life.

As long as Kendrick keeps winning every main categories and Lawsuit Queen T.S. © keeps losing / gets snubbed, I won't be fuming. 
 
I'll be happier if I see Miguel snatches a grammy or two and if Lana, FKA, Bjork and FJM get nom'ed
 
 
That Satanist. © 2015. Big Machine Records, LLC.

never forget

Lorde is a Taylor Swift BFF aka she will buy any white feminism bullshit