Q Magazine Interview - Donald Trump, Thoughts on BTD, and New Music

[Valerie 1,379]

We’re already too far gone climate change wise. Pretty sure Lana’s private jet usage isn’t going to change the impending doom awaiting us.

 

Imagine having that mindset...yikes

[Valerie 1,379]

It’s not a mindset...it’s based on a statistical reality. Unless a significant percentage of the population begins to limit their carbon emissions, Lana’s private jet is just a drop in the bucket.

The difference 1 person can make is actually astounding if u consider Greta Thunberg but OK, Lana flying around in her unnecessary private jet while whining about climate change in interviews isn't hypocritical at all lmao

 

Lana has absolutely no reason to fly around in a private jet, period

 

Isn't ur friend Elle a vegan? Are u going to tell her to stop being a vegan because 1 person doesn't make a difference?

[Valerie 1,379]

The difference one person can make can be astounding—you are correct. But not when it comes to a numbers game regarding the amount of carbon emissions made on a global basis. One person is not going to make an astounding difference compared to 7 billion.

 

In regards to Elle, I am not even going to address this due to the presumptions within the statement and the logical fallacy made.

 

One person can influence others to make changes, which was the point in mentioning Greta Thunberg who has garnered up to 7 million protesters ww

 

Defending someone who uses private jets regularly (while they complain about climate change in interviews, no less) because "one person won't make a difference!1!1" is the logical fallacy here

 

Evidently when speaking of global greenhouse gas emissions the AVERAGE single person's contribution would be minuscule

 

However

 

The privileged population are proven to be responsible for 50% of emissions and a lot of that is due to their flying methods

 

Lana is a part of that

 

Therefore, if she wants actual changes to start happening, why doesn't she start by applying them to her personal life, while also actually saying something of substance rather than "people who are pro-environment have lovely voices" as this interview suggests?

 

Lana enjoys dipping her toes in, but so rarely follows through with said beliefs. One could take ur argument and actually flip it: since u consider one person's actions so irrelevant, whether it is climate change or veganism, what's the point in Lana's "lovely voices" words? It amounts to nothing, far more so than a single person's actions would. And, if she feels so strongly about it, why does she fly in private jets routinely? 

[The Greatest 8,803]

omg ladies this is a wendys

[Valerie 1,379]

Maybe the way that I'm living

Is killing the environment

 

[Valerie 1,379]

Oh okay, so by the logic, I’m expecting to see you not operate any vehicles, use planes, trains, or any other modern transportation system that emits carbon. Also, you will need to knit your own clothing, kill your own animals, and harvest your own food because corporations are responsible for most carbon emissions. But don’t worry, others will see your astounding lifestyle change, and you’ll inspire millions of others to change their ways too!

The fact that u equate private jet usage to any of these things when it is proven that the rich are responsible for 50% of emissions, namely due to their flying choices (PRIVATE JETS)

 

The fact that u think it is so out of the question that Lana could make a difference over her "lovely voices" garbage, when u know damn well her fans are highly influenced by her 

 

Or even just, you know, Lana refraining from using private jets because it's completely pointless to do so. Why does she feel so strongly about climate change, but then fly private jets routinely? Why?

 

That can't be answered, because u know it's hypocritical of her.

 

Celebrities who bat their eyes during their green thumb speeches don't have the balls to call out private jet usage because they all know they do it, and how terrible it truly is for the environment

 

U said one famous person's actions is pointless so why does Lana bother saying (and not even applying what she says to her life) anything at all then?

[SparkleJumpropeNoose 8,749]

that interview was literally horrifying im so glad i refuse to acknowledge ""lana del rey""

 

I leave you with this article. Rich people are not responsible for 50% emissions. According to the Carbon Majors Report, 100 corporations are responsible for 71% of global emissions: https://www.theguardian.com/sustainable-business/2017/jul/10/100-fossil-fuel-companies-investors-responsible-71-global-emissions-cdp-study-climate-change

ur saying this as if corps aren't ran by....... nvm can u just go back to helping run this trainwreck site

[Valerie 1,379]

@ Melissa

 

 

The clothing on my back is not responsible for even one tenth of what Lana's and every other rich person's private jets are capable of. The private jets are one of the real culprits here that u keep trying to dodge.

 

So wearing clothes is your defense to Lana flying around in a private jet routinely, while she preaches the opposite in her interviews?

 

Isn't what u say to me, also applying to her?

 

You're calling me a hypocrite for wearing clothes but having an issue with rich people & their senseless use of private jets, but defending Lana for flying private jets everywhere despite her preaching in interviews about the environment?

 

She shouldn't be preaching while she contributes to one of the worst acts for the environment, right?

 

Because that's what you're advising me against right now, simply for wearing clothes though, not flying around a private jet everywhere when there are more viable options.

 

And yet u defend her.

 

What even is your argument anymore, LMAO

 

Equating clothing to private jet flights

 

Btw, that same website u provided also stated what I already have in ANOTHER article: https://www.theguardian.com/environment/2015/dec/02/worlds-richest-10-produce-half-of-global-carbon-emissions-says-oxfam

 

Also, do u think corps aren't included in the rich category I mentioned? Hollywood celebrities aren't the only rich people in the world. U just supported my point with ur link...

 

The way u make a mockery out of this is gross lmao. Someone can't point out how unnecessary it is for rich people to fly private jets around without another taking an issue with it, no wonder our environment continues to have a STENCH

[melissal800 14]

that interview was literally horrifying im so glad i refuse to acknowledge ""lana del rey""

 

 

ur saying this as if corps aren't ran by....... nvm can u just go back to helping run this trainwreck site

lmaooo we working on it

[Ultra Violet 18,427]

 

Lana enjoys dipping her toes in, but so rarely follows through with said beliefs. One could take ur argument and actually flip it: since u consider one person's actions so irrelevant, whether it is climate change or veganism, what's the point in Lana's "lovely voices" words? It amounts to nothing, far more so than a single person's actions would. And, if she feels so strongly about it, why does she fly in private jets routinely? 

 

This has become one of my biggest issues with Lana. Finally deciding to care after years of scoffing at this stuff, dismissing feminism, etc, is not enough. And her young white fans be calling her "woke queen" when she still really knows nothing and is doing nothing except hoping her words will turn to birds and birds will send her thoughts our way 

[evilentity 13,303]

At the risk of some hypocrisy myself-- I love to travel and last year took a single vacation with 8 (coach) flights half-way around the world-- Lana's use of a private jet while she warns about climate change is not cool.

 

Picked up the magazine today I enjoyed reading the interview so much.

Has the full interview been posted anywhere?

Would be nice to read this interview before the world burns.

 

She saw boob

Assuming by "the window opposite" she means a browser window open to one of @@YUNGATA 's bathtime tinychats. I don't wanna know I'm wrong.

[Miss Tropicana 74]

I didn't know how to change the format, I apologize. Full interview:

You’ll need to order an Uber to get there           

as there’s no parking, so press that button

at 3.30 and head out into the Los Angeles

traffic on Sunset and Vine. Lana Del Rey

will be ready for you at 4pm.

Leave the transience of Hollywood

Boulevard in the rearview and head

north-west, following ever-more leafy lanes

far into the hills. Life is good up here, a

picture of moneyed, rustic bohemia, with

pastel stoops, houses built on stilts and

floor-to-ceiling views of the Hollywood

Hills. But it doesn’t matter how nice your

house is when the big one hits and

everything tumbles into the fire and

brimstone of the San Andreas Fault.

Everyone knows that approaching fear

here. It’s all they ever talk about.

Pull up at some steep, winding steps

beneath a lofty, proud wooden residence.

Climb them, shake two pairs of hands and

walk through wide-open French doors into a

high-ceilinged rented kitchen-diner lined by

so much vinyl there’s a ladder on wheels to

reach the top shelf. She’s sitting on a stool

with her back to the kitchen as you enter,

scrolling through her phone, and rises to

greet you with a firm handshake and an open

smile. Say hello to the resident voice in your

head, Lana Del Rey. “Where would you like

to sit,” she asks? You really don’t mind.

“Are you a Libra?” Del Rey asks,

perceptively. It’s an incredible deduction

based on four words and maybe 30

seconds’ interaction.

“I only think of star signs because it’s

come up in my writing for the next thing

I’m doing,” she says, with a chuckle, as we

pull up two chairs to a round table with a

bowl of tiny red apples at its centre. “I never

cared before. I did get you right as a Libra,

though. Typical Libra answer.”

Lana’s a Cancer. Born on 21 June,

1985, in New York City, as Elizabeth

Woolridge Grant.

“All water. A little fire. Carry my home on

my back, like a crab. Crybaby. Compatible

with Scorpio and Pisces, which is funnily

enough my sister and my brother. Kind of

cute, huh? I’m on the cusp of Gemini, which

takes care of my more theatrical side.”

She presses record on her phone.

Don’t worry, it’s just a precaution. “I’ve

never needed it since I started doing it.”

But there was that one time she wished

she had done it, so she always records.

Lana Del Rey pulls at her long, loose

pony-tail and straightens her back. A

small, square vape. A puff of mango smoke.

You have exactly one hour with America’s

greatest singer and songwriter of the era.

 

What is it that you want to know?

First of all, you have to

tell her some good news.

Video Games, Lana Del

Rey’s breakthrough single

from 2011, has been voted

the Song Of The Decade

by the writers and readers

of Q magazine. It won

by some distance, too.

“No fucking way!”

she laughs, looking

absolutely thrilled, and

shocked, even though later we will discover

that she knew this already. Her joy seems

genuine. “I mean… the best song of the

decade?! People really voted for that?”

They did.

“Wow. Come on!”

It is a good song.

“One of my favourites.”

Its conception took time. Video Games

finally arrived after Lana Del Rey had spent

two lonely years living in East London with

her manager Ben Mawson, above a fish

market on Kingsland Road in Dalston.

“I was at the tail-end of 600 days of writing

in London, back-to-back days. With about

111 writers. I was writing for others too.

I wasn’t really sure what I was doing. I’d kind

of exhausted my bigger sounds. I just worked

every day. For two years, I had no friends.”

The night that Video Games was born,

Del Rey was at the Sony studios in Mayfair,

working with a young English writer, Justin

Parker. “It was finally at the most casual

point in our relationship. We’d already

tried to write everything.”

On the piano, Parker started to pick

out a melody in F minor. “Hmm,” thought

Lana. “That’s good.” So she started to sing,

in a much deeper register than she’d

previously employed, “Swinging in the

backyard, pull up in your fast car, whistling

my name…” She knew immediately they

had something serious.

“I wrote it very quickly, because it’s just

that melody.” The song itself was a stately,

melancholic ode to a formative boyfriend

who liked to play World Of Warcraft as their

happy domesticity slowly drifted off-course

into a too-comfortable funk. It captures

that moment when something is over

before it actually officially ends. She knew

it was right. She’d finally done it.

“So I sent it around to everybody and

said, ‘This is it.’ And they were, like, ‘This

is not it. This is six minutes long.’”

They were wrong. Coupled with a

video she’d made using her own webcam

segments and YouTube clips, Video Games

became first a viral sensation, and then a

bona-fide hit. “I’m really grateful to Fearne

Cotton, too, for giving me a spin every

week [on Radio 1] for four weeks. And

Justin Parker is very good.”

In other words, Lana Del Rey is saying

she did not do this on her own – but, really,

in all the important ways, she did. She had a

song that sounded how she felt at last, that

represented her in a way that the music that

she’d released independently earlier, both

as Lana Del Rey and as Lizzy Grant hadn’t.

“I wasn’t signed to anybody, but a couple of

people had their eye on me. Everybody loved

all the big stuff I was writing, but I was at the

point where I had written in every style

except my own. Now I had.”

With Video Games, she found her

bearings. “It showed me a lot about myself,

an insight in terms of persistence. I love to

exhaust every resource before I get to that

right path. But once I settle into myself and

learn to trust my own style, I fall naturally

into the vein of a singer-songwriter type.”

Del Rey felt her major label debut album

materialise. She quickly wrote its title track

Born To Die, Blue Jeans and Million Dollar

Man. “Then I was like, ‘Got it.’ Racked that

album and left all the 167 other songs

I’d written in London behind.”

Or so she thought. “Eventually they all

got leaked through my Hotmail, which

fucking sucked. Cos they weren’t good.

And I knew it, objectively.”

A what-can-you-do shrug. Vape. Mango

smoke curls upwards beyond her eyes. Then,

a smile. “It’s incredible that Video Games

won Song Of The Decade. Born To Die

[the album] had to sound bigger, but it’s

interesting that what was its most quiet

moment has won Song Of The Decade.

I loved that song.” A nod. “And I still love it.”

 

On the sleeve of Lana

Del Rey’s most recent

album, Norman

Fucking Rockwell, she

is clutching the waist

of a handsome young

man on board a

sailboat decorated

with a Stars and

Stripes flag, holding

out her hand towards

the listener. In the

background, the Californian skyline is

ablaze, as if the big one has finally hit.

Come to me, she’s saying, this is your

best hope of sanctuary.

In those seven years since Video Games

and its parent record Born To Die, Lana Del

Rey had made a further three albums before

 

“I have to do a lot to keep my feet on

the ground. I need to leave to come back.

I have to really get myself out, to get

myself back in. I have to toggle myself.”

NFR arrived in August, each trying to hone

what she is musically, how she writes. But

it wasn’t until she met Jack Antonoff, the

producer who’s worked with Taylor Swift

and Lorde amongst many others, that

she teamed up with a writing partner

able to work in perfect relief to her.

His virtuoso musicianship and

sympathetic ear collided with Del Rey’s

melodic flair and once-in-a-lifetime way with

a killer line. Together they created a complex,

beautiful masterpiece. NFR unfolds lyrically

like a great American novel about freedom,

identity and the wreckage of the battle of the

sexes set in modern-day California, where the

stench of pot drenches every street corner

and where the thump of distant G-funk

mingles with the ghosts of Joni Mitchell and

the other Laurel Canyon ’70s soothsayers. All

the while the Pacific rolls in, and out, and

every day the news cycle nags incessantly

about Trump, the climate crises and the big

one which is just around the corner…

It establishes Lana Del Rey as one of the

truly great American songwriters of the age,

perhaps the only one who has managed to

distil this decade across an entire album.

She’s a galaxy brain of emotional intelligence

and cultural insight, armed with a skeleton

key for stately melody, and who now has a

writing partner with just the right palate to

make it explode into Technicolor. You should

take that hand she offers on the sleeve.

“It’s an album about coming into

one’s own,” she decides. “And choosing

to laugh rather than cry.”

 

This intention is clear from the very

first line, she says.

“Probably my favourite line on the album.

[she starts to sing it] ‘God damn man child,

you fucked me so good I almost said I love

you.’ That’s a tough one to sing in front

of your dad. And the album ends not on a

laugh, but still on a lightness.”

On that final song, Hope Is A Dangerous

Thing For A Woman Like Me To Have, she

sings of the many reasons why hope is a

dangerous thing for a woman like her to have

today, before a final echo where she softly

insists three times, “But I have it…”

The motives behind these two songs,

however, are not just what the album is

about alone, clarifies Del Rey.

“Also, hard work. Craftsmanship.

True craftsmanship. Eleven-minute

songs. Fifteen chord progressions…”

Lana Del Rey raises her eyebrows.

She is already carving out the next

chapter of this new imperial phase. In

her 20s, she was always looking for songs

to write. Now, she’ll write them when

she can. Antonoff comes to Los Angeles

every month and they’ll meet to see where

it takes them. “Sometimes we don’t write,

we just talk. And then, if I’m lucky, I’ll get

a song a month.”

This next album may come in 2020, it

may come in 2021, and it may be called

White Hot Forever, or she may change her

mind. But it will definitely have a first song

and a last song decided before any others.

“I always say that if you have a closer and

an opener then you know where you

are going,” she explains.

She’d spent four years working on Hope

Is A Dangerous Thing For A Woman Like

Me To Have before she met Antonoff.

“Not because it was special, but it wasn’t

piecing together. So I sang that to Jack

a cappella the day I met him and we did

Norman the next day. Just a series of chords

that he played that I freestyled over. And

I thought, ‘I’ve got the first song and I’ve

got the 13th song.’ And then I pretty much

know what to do in-between, I just don’t

know how long it’s going to take. I have

the same thing for this next album but it’s

actually going to take longer than I want if

it’s going to be as good as this one…”

Most importantly, though, she has the

outline of the words for the next album.

Certainly, if she was a white man holding

a guitar and writing words as potent and

poetic as she does on NFR, she’d be put

on a much higher pedestal.

“They’d say I was like Johnny Cash or

something,” she agrees. “It’s the words that

make me feel confident about the next one.

Every now and then one long phrase will

come to me. Like, Hope Is A Dangerous

Thing For A Woman Like Me To Have, Will

You Still Love Me When I’m No Longer

Young And Beautiful… I have no idea where

they’re going to go, but objectively I’m,

like, ‘Oof, I want to fill it in.’ So I have three

of those. One in particular, Let Me Love You

Like A Woman, there’s just something about

it. I feel like it’s going to be really important,

but I don’t know why yet. That’s where the

magic comes in.”

It’s during the filling in of these long

phrases that Del Rey determines the song’s

meaning. Hope Is A Dangerous Thing…

was easy to determine. It’s about the toxic

masculinity that she’d seen displayed on

her journey through musical showbusiness,

and her response to it.

 

“I think it’s dangerous for a woman who

is too kind, I really do,” she says. “That’s

what it’s about. Hope is a dangerous thing

for a woman who is told to bend to whatever

comes along because it’s the right thing to

do. So it’s less dangerous if you never gave a

fuck, but if you care it’s dangerous on seven

different levels.” She stops. “Do you agree?”

Kindness is not normally a trait that

bad men respect.

“I always say to my male friends that

good guys don’t know anything about the

bad side of truly bad men.”

This may be true. However, any man

who has been on a stag do, or even regularly

shared a locker room as part of a team

sport, can attest to the fact that even the

objectively “good” men can be much

worse than one imagines.

Lana Del Rey’s face sets to stone. “Well,

they’re the really bad ones. It’s rare to come

across someone who’s truly wonderful.”

The room falls momentarily silent.

What can we do?

“Write songs about it,” says Lana

Del Rey solemnly.

 

Lana Del Rey spends a lot

of time at the wheel of

her black pick-up truck,

trawling the highways

of her adopted state of

California out of her

base in Los Angeles,

heading north towards

San Francisco, or south

towards San Diego,

where she has other

nests. Not because

she has to, but because she needs to.

 

“I have to do a lot to keep my feet on the

ground,” she explains. “I need to leave to

come back. It’s almost like toggling. I have

to really get myself out, to get myself back

in. I have to toggle myself.”

Practically, this means heavy road-time.

“I’ll take a month at a time commuting to

Newport. It’s an hour and 20 minutes, at

least 80 miles every day. So I’ll drive to

Newport and come back the next day.

I’ll do yoga, I’ll swim. Then I’ll come back.”

This all leaves a lot of time alone in

her car with herself. “I am quite a planner.

I figure things out. I’m very much from

here,” places one hand on her chest, “to

here.” Puts the other hand on her head.

She has feelings. She has thoughts. It’s

why she needs the yoga and swimming:

to stretch those feelings out beyond her

chest, out into her toes and fingers.

But as she drives, those feelings and

thoughts start to re-emerge and she once

again begins to order them. She’ll dictate

lyrics and ideas for hours on end, and then

she’ll have to torturously unravel them at

home. She also “free-writes” every morning

and evening on her old typewriter, which

requires a lot of untangling before she

unearths any nuggets. It’s worth it, she says.

“Jung says that every character in your

dream is you,” she explains. “So every

morning I wake up and think, ‘Was I the

killer and the spider?!’ I’ve heard that

dream analysis upon free writing is the

only way your psyche can communicate to

your conscious self. So if you write, write,

write and eventually look at it you think,

‘Why am I writing that?’ There’s definitely

something to it.”

She’ll also think about the routing of

upcoming tours in her car. She’ll chew over

whether she’d like to do just a friends and

family circuit, a tour that takes in theatres

in unusual places. Alabama. Des Moines.

Places that people with multiple worldwide

Number 1 albums don’t typically play. But

maybe she will. Maybe she will.

“Sometimes I think enough songs

have been done. Enough tours. We toured

constantly for four years. And we did at

least 20 summer shows as well, and our

own tours. So now, we can do what we like.

We can do anything.”

So when she’s driving and she has an idea

about this, or that, she can make it happen.

For example, last weekend she did a “friends

and family show” at Jones Beach, in New

York, the site of the first concert she went

to 20 years ago: Bob Dylan and Paul Simon.

She invited two old friends who hadn’t

seen each other for 21 years to join her, as

well, just because she could and thought

it would be beautiful. Sean Ono Lennon

came on and sang their collaboration

Tomorrow Never Came for the first time

ever. And, on Leonard Cohen’s birthday,

his son Adam sang Leonard’s Chelsea

Hotel No 2 with Lana Del Rey. Not a dry

eye on Long Island.

“Man, I got to say, that show at Jones

Beach has got to be the best show I ever

did.” Enthusiastic vape, mango smoke.

“It was just a very gentle spirit.”

It got her thinking about who else she can

have join her on this tour. Next week at the

Hollywood Bowl, Weyes Blood will step

up alongside her, as will ’80s heartthrob

Chris Isaak “just because I like him.” Joan

Baez has been invited to Berkeley. “I hope she

comes. Diamonds And Rust is what we have

planned to sing. She’s someone I think a lot

about in terms of people I want to sing with.”

She picks up one of the apples from the

fruit bowl.

 

Before we press that

Uber icon again,

Donald Trump

shows up, as he

so often does

nowadays.

This August,

in response to the

mass shootings in

El Paso, Texas,

and Dayton, Ohio,

Del Rey wrote

and swiftly released a single, Looking For

America. In a landscape noticeably bereft

of any protest singles, certainly from big,

mainstream stars, Looking For America is

powerfully direct. “I’m still looking for my

own version of America,” runs the chorus,

“One without the gun, where the flag can

freely fly.” It signalled that Lana Del Rey

is happy to step beneath a spotlight

American pop stars tend to shun.

The day that we meet, the Trump

impeachment festival is in full swing on all

the news channels. Del Rey asks what the

latest from CNN is. She’s happy that some

legal norms still function.

“Nobody is above the law and you can’t

obstruct justice,” she notes. “It’s not just

because you’re an asshole.”

The Trump era has been helpfully

revealing, she says.

“What I like about it is that it’s mirroring

our tiny microcosms. It’s so-what culture.

‘I fucked you over? So what? I’m going to run

away with your money anyway.’ Trump is

reflective of that culture. I mean, he was

elected. And it’s no coincidence that it is all

happening at this late stage of our climate

crises. Again, that’s why I like Hope Is A

Dangerous Thing, because the people at the

forefront of fighting climate change are so

lovely. Do people listen to lovely voices?

Yeah, yeah, we’ll cut emissions in 10, 20, 30

years’ time.”

And yet, she says, that the more unhinged

the world becomes, the more creatively

stimulated she feels. “It’s definitely no

coincidence that I’m gaining clarity in the

midst of crises. I think chaos brings that: lots

of ‘good to know’ moments. Like, ‘Oh! That

entire group of people feel the same way?

I had no idea.’ It’s a time for concerted effort.

If just the needle could shift, be it in terms

of the climate crises or impeachment.

Then, it’s a question of the damage done,

culturally and environmentally.”

The time has come to press that Uber

app. Where are we headed, asks Del Rey. To a

hotel called Dream, opposite a bar, Black

Rabbit Rose, which makes a cameo on a

song on Norman Fucking Rockwell,

Happiness Is A Butterfly: “Hollywood

and Vine, Black Rabbit in the alley/I just

wanna hold you down the avenue…”

“Black Rabbit has a magic show every

Wednesday,” she says, ruefully. “Been a

while since I’ve been, but I do like Hollywood

and Vine. I don’t get stopped there,

unlike the younger areas.”

Her biggest foe are the paparazzi.

“I’ll have quiet months, then all of a sudden

I’ll be at lunch and they’ll be there and I’ll be

like [gasps]. It still surprises me. It’s like

waking up from a dream. ‘What are we

doing here again? I was just at a taco truck,

and now what the fuck?’”

She says that when she feels uprooted

by fame, either by paparazzi or just by

fans coming too close while grocery

shopping, she can call her friends, “Sarah,

Jen or Anne, and be, like, ‘You are not going

to believe what happened, and who I was

with, and now they will never speak to me

again.’ Because it’s unusual if you are with

someone and they get surprised by it too.

It’s slightly alarming.”

She shrugs, and laughs.

“Living the dream!”

No way out now.

“There’s a way out,” she says firmly. “Yes,

there is. I know it. I see it. Out of the corner

of my left eye, I have a rabbit hole. But you

know what it entails is not working. No

promoting. So it’s hard, but you could make a

lifestyle change. I’ve seen people do it,

sometimes not intentionally.”

We step out on to the verandah. Del Rey

reveals she did actually know about the Song

Of The Decade award: she was so touched, in

fact, that she organised her own photo and

video shoot for us to use this morning in this

very house. We deserve it. “I mean, Song Of

The Decade? Come on!”

As we stand admiring the view and the

beautiful houses of Laurel Canyon, a woman

appears at the window opposite. She is fresh

from the shower and clearly naked. “Ooops,”

says Lana Del Rey, almost involuntarily,

and pulls back inside the house. “I saw

boob! I do not want to get caught looking

into strangers’ bathrooms.”

Oh look, there’s our ride. A handshake,

a wave and away we go back down to the

grime of Hollywood Boulevard.

 

A week later, an email

arrives. A friend of

a friend was just at

an Afrobeat night

at a club in San

Francisco, the

evening before Lana

Del Rey’s big show

in nearby Berkeley.

As the music

and lights swirled on

the dancefloor, our

correspondent spotted a familiar face in a

booth outside the floor. Emboldened by the

night’s rush, she approached Lana Del Rey.

“I love your music,” she told her, and

“I’m coming to see you perform tomorrow.

I often listen to you before I go out,” she

added. “I listened to you tonight even.”

“That’s so funny,” replied Lana. “The

person I listen to before going out is here

tonight with me too,” she said, pointing

to the middle of floor. “We’re actually

singing together tomorrow.”

There, frugging energetically in the

midst of the throng on the dancefloor,

was 78-year-old songwriting legend and

activist Joan Baez.

And, in that booth, Lana Del Rey

smiled joyfully. She’s living the dream.

Finally enjoying the fruits of her labour.

 

“It’s so-what culture. ‘I fucked you over?

So what? I’m going to run away with your

money anyway.’ Trump is reflective of

that. It’s no coincidence it is all happening

at this late stage of our climate crises.” 

[Valerie 1,379]

^ thank you for posting.

 

But what the hell? What an awful interview

[Beautiful Loser 46,074]

“This next album may come in 2020, it

may come in 2021, and it may be called

White Hot Forever, or she may change her

mind.”

I was about to protest but then I realized that we probably already knew that deep down.

[Beautiful Loser 46,074]

It was a bit oddly written but I don’t feel like it was a bad article. I think I might go and hunt a magazine down and buy a copy.

[bluefiona 8,050]

No scans yet? 

[Beautiful Loser 46,074]

Wait a minute...

 

“Everybody loved

all the big stuff I was writing, but I was at the

point where I had written in every style

except my own. Now I had.””

 

But what about AKA? Wasn’t that her style too?

[baddisease 15,894]

 

Or so she thought. “Eventually they all

 

got leaked through my Hotmail, which

 

fucking sucked. Cos they weren’t good.

 

And I knew it, objectively.”

 

why would she think they suck? I think her unreleased songs are great.

 

also, did we get all 167 tracks?

[Creyk 11,497]

why would she think they suck? I think her unreleased songs are great.

 

also, did we get all 167 tracks?

I guess it's a case of an artist being her own biggest critic.

But we also know her taste low-key sucks like she scrapped your girl fine china and yes to heaven just to put guns and roses on there.

[Valerie 1,379]

why would she think they suck? I think her unreleased songs are great.

 

Because a good majority of them do suck