Vintage Kid

I WASN'T READY FOR THIS AND NOW I'M DEAD

I WASN'T READY FOR THIS AND NOW I'M DEAD

I WASN'T READY FOR THIS AND NOW I'M DEAD

i need to SEND a text to my mom, IT won't take long VIA phone, i'm going to DM her!

Oh I like this new version of St Tropez (Party Girl) 

Oh I like this new version of St Tropez (Party Girl) 

Oh I like this new version of St Tropez (Party Girl) 

I feel like this album's release date is gonna turn into a Tropico situation

me, right now with all of this mess
 

me, right now with all of this mess
 

FBI???? LOL!!!! because there's not serious issues in the world for the FBI to deal with, they're now setting up "Special Task Fork Dark Blue", to find the source of song title leaks for Lana Del Rey!
 
:kettle whistle alarm goes off in Pentagon head quarters:
 
Over radio: "Cherry Pie, do you copy? Cherry Pie this is, Red Dress, over"
 
"Cherry pie, this is red dress, are we having a code Yayo? Over"
 

I thought you said tattoo instead of taboo. God I am stupid

saaaaaaameeee. Queen of communicating to her fans through an altered state of consciousness

Really HQ Photos of the show
 
 
 

https://www.periscope.tv/w/1lDxLelRojQKm - a better one

The setlist:
 
Cruel World
Cola
Blue Jeans
Born To Die
Interlude (full of facts about space)
Honeymoon
High By The Beach
Freak
Carmen
Lolita
Ultraviolence
Yayo
Video Games
Off To The Races

Ohh yes.. but it looks so iconic...
 
Nope 

all the mess/weird predictions/speculations coming after Lana's announcement.
 
Lanaboard never changes

I've heard Halsey will also be featured and the remix is going to be named Americana Freak.

Anyway I'm sure that fatty will die soon enough

coz she's always thinking about the next one. duh! 
so the old ones aren't supposed to be the old ones.
 
coz what she has filmed in time past and time present
are both perhaps present in time future

Sorry about the delay, it took me like three hours to translate this !  The guy, although being super interesting, talked SUPER fast ... Anyway, here is my translation ! 
 

http://instagram.com/p/71H6nOskdf/
http://instagram.com/p/71JRv9hhmT/
http://instagram.com/p/71JyrTwa-2/
http://instagram.com/p/71JgpRSp37/

On Doing “Ride” With Rick Rubin
 
I was writing that Paradise edition, and originally was writing it as a follow-up record, but nobody wanted to release something eight months later. It ended up being a re-release-slash-second edition, and I loved this demo I did with Justin Parker, who I wrote a lot of things with like “Video Games” and “Born to Die,” “National Anthem,” and Ferdy Unger-Hamilton at EMI hated the song. So I think him and Rick had been talking and Rick was like, “What’s going on with Lana? Can she come over, I hear she’s in L.A.” I think I had been over to say “Hi” to him first. Just to say “​hi.” We took a walk in Santa Monica—he takes the same walking route every morning. Then a few weeks later I brought him “Ride,” and he really liked it. Working with him was good, I was still in my old car, my old Mercedes that was barely making it down that hour-and-a-half drive down to Shangri-La Studios in Malibu, and it was really good. He has this sprawling lawn with all these bunnies and palm trees. He was very relaxed. It was good.
 
On the Most Important Person She Ever Shared a Cigarette With  
Probably my manager, who is still my manager, Ben Mawson, over the last four years. He doesn’t smoke anymore, but he used to smoke more than me and drink 12 beers a day. I met him, he told me to just come to London and I did. I just went and met him. I think they were at Shoreditch House, so we went on the roof and had a cigarette. He felt like I was really worried about everything, and he told me that he had a plan and that everything was going to go OK and not to worry. He was very aggressive, and he was such a believer. So probably with Ben, I guess.
 
 
On Making Art Vs. Satisfying the Major Label Machine 
I came in in a unique position in that “Video Games” had so many views, and that was the reason why Jimmy Iovine at Interscope and Ferdy Unger-Hamilton at Polydor had called me on that day and wanted to revisit the record and hear it again.
So I got signed on great terms because the discussions we were having were that it was always going to be my way. I liked coming from this DIY place where if I had a single that they really felt like they wanted to put money behind or promote—I liked knowing it was an option that I could make my own video at home for it, like I did with “Video Games.” Eventually I tired of that, graduated to working with other people. But in that way I was in a really good place after the record was done with its cycle.
I think the label was half-and-half on this record [Ultraviolence] because there were a lot of jazz undertones and West Coast references. I think they were happy that I was happy with it and that I made it. I don’t think they felt like there were singles that could work at radio. And I kind of felt that, because I have such a good relationship with Jimmy and Ferdy. I’ve been working, “working” [makes air quotes], singing, for years. So the people I’m closest with are like my product manager and the video commissioner, because they’re really good girls. The A&R guys—Larry Jackson and John, if I go out at night I probably go out with them. We’re pretty flexible with each other, but it always come down to differences. For example, the bonus tracks on this record I didn’t feel like had any relation to the atmosphere of the record itself. I think iTunes was like, “You would have trouble promoting a record if it didn’t have a deluxe edition,” so, there’s stuff like that.
 
 
http://www.complex.com/music/2015/09/lana-del-rey-interview-outtakes/?utm_campaign=complexmag&utm_source=twitter&utm_medium=social

https://soundcloud.com/franceinter/smile-lana-del-rey-chante-nat-king-cole-a-capella