Million Dollar Man
Lana del Rey Appreciation Thread
52 of 77
I know this has already been answered but just in case you haven't seen it she also did a very affecting version of Born To Die at that event.
http://www.youtube.com/watch?v=StJdw8ifFp0
Originally Posted by konebyvax:
“I know this has already been answered but just in case you haven't seen it she also did a very affecting version of Born To Die at that event.
http://www.youtube.com/watch?v=StJdw8ifFp0”
“I know this has already been answered but just in case you haven't seen it she also did a very affecting version of Born To Die at that event.
http://www.youtube.com/watch?v=StJdw8ifFp0”
Thanks! I have seen it, but I found that only last night. I think it's great, one of her best and most hauntingly beautiful performances.
However, I think it might not be same event. She's dressed differently, or seems to be, and the description for the one I linked said it was in New York, while the one you linked looks like it must be the same as this: Lana Del Rey 'Born To Die' - Mulberry Mixtape Tour at Chateau Marmont, LA which clearly is at Chateau Marmont (note the pool).
(That video also has a very nice 1080p mp4 HD version.)
And (more fruit of last night's explorations) there's a "Video Games" from what seems to be the same Chateau Marmont event: Lana Del Rey Video Games Live at Chateau Marmont HD.
There's also (from a different time) and Lana Del Rey Interview - Poolside at Chateau Marmont where she talks about using clips of Chateau Marmont in her video.
Originally Posted by rbautz:
“Million Dollar Man”
“Million Dollar Man”
Thanks!
I haven't played that song much so didn't recognise it.
I like the top comments on the clip:
Quote:
“NajaLosho 7 months ago
Billie Holiday once said: "I can’t stand to sing the same song the same way two nights in succession, let alone two years or ten years. If you can, then it ain’t music, it’s close-order drill or exercise or yodeling or something, not music.". Maybe Lana feels the same way. <3
fAshSon 7 months ago
Holy ****, it was like she was making loving with her song.”
“NajaLosho 7 months ago
Billie Holiday once said: "I can’t stand to sing the same song the same way two nights in succession, let alone two years or ten years. If you can, then it ain’t music, it’s close-order drill or exercise or yodeling or something, not music.". Maybe Lana feels the same way. <3
fAshSon 7 months ago
Holy ****, it was like she was making loving with her song.”
You know Lana has really made it when she has her own fabulous drag queen paying tribute to her
http://www.youtube.com/watch?v=DZLlCU_k4sM
This guy is actually very good! He got a lot of her various looks pretty much spot on.
http://www.youtube.com/watch?v=DZLlCU_k4sM
This guy is actually very good! He got a lot of her various looks pretty much spot on.
I occasionally read random earlier pages in this thread and followed this link:
Originally Posted by rbautz:
“Good read in the New Yorker
http://www.newyorker.com/online/blog...-15-miles.html”
“Good read in the New Yorker
http://www.newyorker.com/online/blog...-15-miles.html”
Quote:
“There are no more scheduled appearances until her first U.S. tour begins, in January of 2013. The Wooly show seemed, though, like the first and last stop on the “Yes, I Can Sing, Can We Get On With It Now Please?” tour. Had it been called that, we’d be done. Yes, she can sing”
“There are no more scheduled appearances until her first U.S. tour begins, in January of 2013. The Wooly show seemed, though, like the first and last stop on the “Yes, I Can Sing, Can We Get On With It Now Please?” tour. Had it been called that, we’d be done. Yes, she can sing”
Just for fun: Its worth saying that fansite Lana Del Rey online have got a news items that says Lana is THE most popular woman on web. She's had more Google searches than anyone other lady : 722,000,000(!) and counting this year.
On the same news item they've also got a link to eonline.com that are running one of those vote for the best celeb of the year knock out competitions. Lana has already beaten the apparent favorite Taylor Swift in round 1 and is through to round 2 against Nicki Manaj (who she is also winning against)!
Whilst I normally don't get involved in these silly vote things... it would be rather nice to see Lana kicking everyone's a*s! C'mon get on there voting people!
http://uk.eonline.com/news/368387/ce...rite-hitmakers
On the same news item they've also got a link to eonline.com that are running one of those vote for the best celeb of the year knock out competitions. Lana has already beaten the apparent favorite Taylor Swift in round 1 and is through to round 2 against Nicki Manaj (who she is also winning against)!
Whilst I normally don't get involved in these silly vote things... it would be rather nice to see Lana kicking everyone's a*s! C'mon get on there voting people!
http://uk.eonline.com/news/368387/ce...rite-hitmakers
Originally Posted by Makson:
“You know Lana has really made it when she has her own fabulous drag queen paying tribute to her
http://www.youtube.com/watch?v=DZLlCU_k4sM
This guy is actually very good! He got a lot of her various looks pretty much spot on.”
“You know Lana has really made it when she has her own fabulous drag queen paying tribute to her
http://www.youtube.com/watch?v=DZLlCU_k4sM
This guy is actually very good! He got a lot of her various looks pretty much spot on.”
His Lana act is hilarious and very well done. He mentions in the comments that he's a fan. His Cher is excellent, too.
He's on Twitter @charliehidestv
Originally Posted by konebyvax:
“Ride - Live (Accoustic).
Amazing.
http://www.youtube.com/watch?feature...v=D3YO42_XTuI#!”
“Ride - Live (Accoustic).
Amazing.
http://www.youtube.com/watch?feature...v=D3YO42_XTuI#!”
Originally Posted by konebyvax:
“And please observe, yet again, not one backing singer in attendance. Very unusual these days (even the amazing Adele has up to 4 backing singers at her gigs).”
“And please observe, yet again, not one backing singer in attendance. Very unusual these days (even the amazing Adele has up to 4 backing singers at her gigs).”
She has a great voice -- and with no backing singers to fill or smooth her voice, and restrained backing from the piano and strings that can't hide anything either. I like this better than the album version.
It's too bad she came along at a time when many people seem to think "can sing" means "can produce note-perfect renditions every time on demand", with nothing about how well the voice conveys thought and emotion.
Great lyrics too.
Originally Posted by Makson:
“As per usual, another case where the demo is even better than the final version!
Love the chorus in the demo version of Dark Paradise.”
“As per usual, another case where the demo is even better than the final version!
Love the chorus in the demo version of Dark Paradise.”
I'm not sure if I would say it's better. To me, it sounds like a different song which I love just as much as the album version of Dark Paradise.
The thing I love about hearing her demos is how the songs progress. I've heard so many artists where the demos are the same as the finished product but without the production. Lana seems to really enjoy playing with different sounds and production to her music. It shows that she really loves the craft of creating a song.
The influence
http://www.spin.com/#articles/taylor...a-del-rey-ride
Quote:
“Her wubby single gets the Anthony Mandler treatment: tough guys in leather, desert drama, spoken word poetry
So here's a thing that a crossover female pop star might want to do in 2012: hire Anthony Mandler to make you an extended arty music video, bookended by spoken word pieces, about falling in with leather-clad cool guys and having crazy desert adventures that end disastrously. That's exactly what Lana Del Rey did with her "Ride" short film a mere two months ago (we should know, SPIN was on site when she premiered the thing) and that's what Taylor Swift has now done, to a T, with the just-released six-minute clip for her wubby Red standout "I Knew You Were Trouble."
Today is Swift's 23rd birthday and MTV has just debuted her 23rd video (head here to watch it on that site), which is cool and all (if you're not bothered by the whole 23 enigma thing) but the singer might want to have a discussion with Mandler about where the concept for this one originated. Remember Lana's "mood boards"? When the scene opens, Swift is all alone in a desert wasteland, confused and upset, surrounded by debris. She speaks from the omniscient view — "I think when it's all over, it just comes back in flashes, ya know? It's like a kaleidoscope of memories." — and then we see those flashes.
And just like Del Rey, there she is, hanging out with tough guys, making out in bars, screaming like a loon, letting her hair blow in the wind while someone else drives a cool vehicle (then it was a motorcycle, now it's a hot rod). And when that fantastic dubstep-damaged single of hers kicks in, surprise, we find out what happened. Good girl falls for bad boy, they do thrilling things together like make out in bars and start fights and get tats, and then it all goes to **** when she loses track of homeboy at a rave on the sand and eventually finds him in the embrace of another.
But let's be fair. LDR's character already had some bad girl in her, she didn't make out in bars (she had sex in them), and there wasn't a rave — only a desert bonfire that involved people wearing Native American headdresses, getting intoxicated, and dancing. So ... a rave. Don't believe us? Go ahead, watch "Ride" below.”
“Her wubby single gets the Anthony Mandler treatment: tough guys in leather, desert drama, spoken word poetry
So here's a thing that a crossover female pop star might want to do in 2012: hire Anthony Mandler to make you an extended arty music video, bookended by spoken word pieces, about falling in with leather-clad cool guys and having crazy desert adventures that end disastrously. That's exactly what Lana Del Rey did with her "Ride" short film a mere two months ago (we should know, SPIN was on site when she premiered the thing) and that's what Taylor Swift has now done, to a T, with the just-released six-minute clip for her wubby Red standout "I Knew You Were Trouble."
Today is Swift's 23rd birthday and MTV has just debuted her 23rd video (head here to watch it on that site), which is cool and all (if you're not bothered by the whole 23 enigma thing) but the singer might want to have a discussion with Mandler about where the concept for this one originated. Remember Lana's "mood boards"? When the scene opens, Swift is all alone in a desert wasteland, confused and upset, surrounded by debris. She speaks from the omniscient view — "I think when it's all over, it just comes back in flashes, ya know? It's like a kaleidoscope of memories." — and then we see those flashes.
And just like Del Rey, there she is, hanging out with tough guys, making out in bars, screaming like a loon, letting her hair blow in the wind while someone else drives a cool vehicle (then it was a motorcycle, now it's a hot rod). And when that fantastic dubstep-damaged single of hers kicks in, surprise, we find out what happened. Good girl falls for bad boy, they do thrilling things together like make out in bars and start fights and get tats, and then it all goes to **** when she loses track of homeboy at a rave on the sand and eventually finds him in the embrace of another.
But let's be fair. LDR's character already had some bad girl in her, she didn't make out in bars (she had sex in them), and there wasn't a rave — only a desert bonfire that involved people wearing Native American headdresses, getting intoxicated, and dancing. So ... a rave. Don't believe us? Go ahead, watch "Ride" below.”
http://www.spin.com/#articles/taylor...a-del-rey-ride
Thanks, rbautz.
I had to look up 'wubby', 'Lana's "mood boards"', and '23 enigma'. Fortunately, the article had a link for each. Fun. ... Though I'm still not entirely sure what a "mood board" is.
It was also a chance to watch the 10-minute "Ride" viewo again. I never tire of that song.
But ...
Does SPIN like Lana? The best thing I've read about her so far was in SPIN -- Deconstructing Lana Del Rey -- and the article about Taylor Swift's video seems to. ...
But the same author, Chris Martins, also wrote this: Born to 'Ride': Lana Del Rey Longs for Leather Daddies in New 10-Minute Short Film -- the article the 'Lana's "mood boards"' link went to -- and as one of the comments pointed out, it has an odd, snarky undertone.
So:
I had to look up 'wubby', 'Lana's "mood boards"', and '23 enigma'. Fortunately, the article had a link for each. Fun. ... Though I'm still not entirely sure what a "mood board" is.
It was also a chance to watch the 10-minute "Ride" viewo again. I never tire of that song.
But ...
Does SPIN like Lana? The best thing I've read about her so far was in SPIN -- Deconstructing Lana Del Rey -- and the article about Taylor Swift's video seems to. ...
But the same author, Chris Martins, also wrote this: Born to 'Ride': Lana Del Rey Longs for Leather Daddies in New 10-Minute Short Film -- the article the 'Lana's "mood boards"' link went to -- and as one of the comments pointed out, it has an odd, snarky undertone.
So:
Very very few US music sites like Lana and even the ones that do seem to always throw in some shade as if they don't want to be too 'out of kilter' with popular opinion over there, I'm afraid. It's just the way it is at the moment but Paradise Edition did attract a generally more favourable response then Born To Die did on release so us Lana obsessives see reasons to be hopeful that the tide may be (slowly) changing over there.
Originally Posted by konebyvax:
“Very very few US music sites like Lana and even the ones that do seem to always throw in some shade as if they don't want to be too 'out of kilter' with popular opinion over there, I'm afraid. It's just the way it is at the moment but Paradise Edition did attract a generally more favourable response then Born To Die did on release so us Lana obsessives see reasons to be hopeful that the tide may be (slowly) changing over there.”
“Very very few US music sites like Lana and even the ones that do seem to always throw in some shade as if they don't want to be too 'out of kilter' with popular opinion over there, I'm afraid. It's just the way it is at the moment but Paradise Edition did attract a generally more favourable response then Born To Die did on release so us Lana obsessives see reasons to be hopeful that the tide may be (slowly) changing over there.”
In this case (" Born to 'Ride': Lana Del Rey Longs for Leather Daddies in New 10-Minute Short Film"), the shade is very dark in the last line (a reference Jonestown)
, though the target seems to be Lana's fans more than Lana herself.Perhaps that's just down to the author (Chris Martins), though. I thought SPIN was very fair to her in the Deconstructing Lana Del Rey article (by Jessica Hopper).
Originally Posted by Veri:
“In this case (" Born to 'Ride': Lana Del Rey Longs for Leather Daddies in New 10-Minute Short Film"), the shade is very dark in the last line (a reference Jonestown), though the target seems to be Lana's fans more than Lana herself.
Perhaps that's just down to the author (Chris Martins), though. I thought SPIN was very fair to her in the Deconstructing Lana Del Rey article (by Jessica Hopper).”
“In this case (" Born to 'Ride': Lana Del Rey Longs for Leather Daddies in New 10-Minute Short Film"), the shade is very dark in the last line (a reference Jonestown)
, though the target seems to be Lana's fans more than Lana herself.Perhaps that's just down to the author (Chris Martins), though. I thought SPIN was very fair to her in the Deconstructing Lana Del Rey article (by Jessica Hopper).”
Something for the thirst? http://pussycola.com/
http://www.youtube.com/watch?feature...&v=fgNfBVbQ9uA
Originally Posted by rbautz:
“Something for the thirst? http://pussycola.com/
http://www.youtube.com/watch?feature...&v=fgNfBVbQ9uA”
“Something for the thirst? http://pussycola.com/
http://www.youtube.com/watch?feature...&v=fgNfBVbQ9uA”
.
.
Originally Posted by konebyvax:
“Bizarre happening
http://uk.eonline.com/news/371762/la...e-year-round-4”
“Bizarre happening
http://uk.eonline.com/news/371762/la...e-year-round-4”
"We cannot stress (enough) how close the results of the previous round were."
I've just seen an interesting new article about Lana and authenticity: A Visit From the Credibility Squad -- why music communities fight to define authenticity in pop
Just to give an idea of what it's about:
(That quote's not meant to be the interesting part, just a part that gives some idea of what the article's about.)
The New Yorker article linked in the quote is also worth reading.
Here's a quote from it:
Just to give an idea of what it's about:
Quote:
“...
For those without a stake in the fight, however, the spectacle was just ugly and exasperating. “Del Rey has managed, like a slow car in the left lane, to make everyone around her angry and over-invested,” wrote Sasha Frere-Jones in The New Yorker, in an essay that took wide aim at music fans’ frequently overweening obsession with authenticity. His frustration is understandable: any reasonably sophisticated consumer knows that pop music is, by necessity, produced and staged by teams of professionals. So why all the “gotcha” drama surrounding the revelation that a pop musician is a product? “Why is pop music the only art form that still inspires such arrantly stupid discussion?,” Frere-Jones asked. “No movie review begins, ‘Meryl Streep, despite not being a Prime Minister, is reasonably convincing in The Iron Lady.’”
So the question remains: Why do music fans obsess about authenticity? What’s at stake when a fan argues, with emotions riding high, that Taylor Swift is too pop to be country, or that Green Day isn’t authentic punk rock?
As a sociologist who studies music, I’ve spent the last five years trying to understand these authenticity debates—which, incidentally, span just about every style of 20th- and 21st-century music, from electronic dance to South Texas polka. And what I’ve learned is that, if you want to understand why authenticity disputes occur, it’s best to look first at when they do.
...”
“...
For those without a stake in the fight, however, the spectacle was just ugly and exasperating. “Del Rey has managed, like a slow car in the left lane, to make everyone around her angry and over-invested,” wrote Sasha Frere-Jones in The New Yorker, in an essay that took wide aim at music fans’ frequently overweening obsession with authenticity. His frustration is understandable: any reasonably sophisticated consumer knows that pop music is, by necessity, produced and staged by teams of professionals. So why all the “gotcha” drama surrounding the revelation that a pop musician is a product? “Why is pop music the only art form that still inspires such arrantly stupid discussion?,” Frere-Jones asked. “No movie review begins, ‘Meryl Streep, despite not being a Prime Minister, is reasonably convincing in The Iron Lady.’”
So the question remains: Why do music fans obsess about authenticity? What’s at stake when a fan argues, with emotions riding high, that Taylor Swift is too pop to be country, or that Green Day isn’t authentic punk rock?
As a sociologist who studies music, I’ve spent the last five years trying to understand these authenticity debates—which, incidentally, span just about every style of 20th- and 21st-century music, from electronic dance to South Texas polka. And what I’ve learned is that, if you want to understand why authenticity disputes occur, it’s best to look first at when they do.
...”
(That quote's not meant to be the interesting part, just a part that gives some idea of what the article's about.)
The New Yorker article linked in the quote is also worth reading.
Here's a quote from it:
Quote:
“The weirder strain of criticism concerns authenticity. People seem to feel that Del Rey is trying to trick us, though it’s impossible to figure out exactly what that trick would be, as we are dealing with an entertainer and her audience, not a naturally fractious relationship. Detractors cite a variety of presumed conspiracies, some involving the influence of her father, Rob Grant, who is a successful Internet entrepreneur; the rumor of manipulative managers guiding her; the reality of professional songwriters working with her; the question of who paid for the cartoons and the paparazzi footage of the actress Paz de la Huerta that appear in the “Video Games” clip; and how Grant’s top lip got so big so fast. (Grant says she’s undergone no surgical procedures.) Surely no equivalent male star would be subject to the same level of examination.
Why is pop music the only art form that still inspires such arrantly stupid discussion? The debates that surround authenticity have no relationship to popular music as it’s been practiced for more than a century. Artists write material, alone or with assistance, revise it, and then present a final work created with the help of professionals who are trained for specific and relevant production tasks. This makes popular music similar to film, television, visual art, books, dance, and related areas like food and fashion. And yet no movie review begins, “Meryl Streep, despite not being a Prime Minister, is reasonably convincing in ‘The Iron Lady.’ ””
“The weirder strain of criticism concerns authenticity. People seem to feel that Del Rey is trying to trick us, though it’s impossible to figure out exactly what that trick would be, as we are dealing with an entertainer and her audience, not a naturally fractious relationship. Detractors cite a variety of presumed conspiracies, some involving the influence of her father, Rob Grant, who is a successful Internet entrepreneur; the rumor of manipulative managers guiding her; the reality of professional songwriters working with her; the question of who paid for the cartoons and the paparazzi footage of the actress Paz de la Huerta that appear in the “Video Games” clip; and how Grant’s top lip got so big so fast. (Grant says she’s undergone no surgical procedures.) Surely no equivalent male star would be subject to the same level of examination.
Why is pop music the only art form that still inspires such arrantly stupid discussion? The debates that surround authenticity have no relationship to popular music as it’s been practiced for more than a century. Artists write material, alone or with assistance, revise it, and then present a final work created with the help of professionals who are trained for specific and relevant production tasks. This makes popular music similar to film, television, visual art, books, dance, and related areas like food and fashion. And yet no movie review begins, “Meryl Streep, despite not being a Prime Minister, is reasonably convincing in ‘The Iron Lady.’ ””
CMU Artists Of The Year 2012: Lana Del Rey
("CMU is the Complete Music Update, the biggest news provider to the UK music business, covering industry, media and artist stories, big name, alternative and new talent, and with a passion for all music genres.")
("CMU is the Complete Music Update, the biggest news provider to the UK music business, covering industry, media and artist stories, big name, alternative and new talent, and with a passion for all music genres.")
Quote:
“...
But that’s just one way to look at it. And as I said, the Del Rey/Grant aesthetic is far from one dimensional. And it’s not like she’s asking girls to emulate her; she’s pragmatic about the fact that she’s a ‘loner’ who’s less than content with her own life, and in this interview recommends fans “pick their role models wisely”.
And it’s this kind of duality, this uncertainty, that makes the still-animated LDR conversation such an object of fascination, and that lends an extra sweet-sour piquancy to tracks like ‘National Anthem’, an exemplary pop single by any standards. The Lana Del Rey myth well may be just that, but even if it isn’t true, it’s a beautiful lie nevertheless.”
“...
But that’s just one way to look at it. And as I said, the Del Rey/Grant aesthetic is far from one dimensional. And it’s not like she’s asking girls to emulate her; she’s pragmatic about the fact that she’s a ‘loner’ who’s less than content with her own life, and in this interview recommends fans “pick their role models wisely”.
And it’s this kind of duality, this uncertainty, that makes the still-animated LDR conversation such an object of fascination, and that lends an extra sweet-sour piquancy to tracks like ‘National Anthem’, an exemplary pop single by any standards. The Lana Del Rey myth well may be just that, but even if it isn’t true, it’s a beautiful lie nevertheless.”
Interesting review of Paradise in American Songwriter from November:
The "..."s in square brackets are where I've left something out of the quote. The other "..."s are in the original.
I like seeing the sorts of often poetic imagery people are drawn to when writing about Lana's music, such as: "like slow-moving waves of cough syrup" ... "like the score to a movie that doesn’t exist". Like it's difficult to describe, to get quite right, yet they need to make the attempt.
Quote:
“Rating: 3 1/2 out of 5 stars
Lana Del Rey. You either love her or love to hate her. It’s hard to be ambivalent... and if you are ambivalent, set aside 10 minutes of your life and watch the “Ride” music video [...] and if it doesn’t leave you feeling something — distaste, interest, arousal, confusion — then you’re about dead inside.
Paradise, a standalone EP that’s also being attached to the deluxe edition of Born to Die, is every bit as polarizing as Lana’s debut, [...] Here, our femme fatale sings, swoons, and slurs her way through eight new songs that blur the lines between baby talk and dirty talk, between 1950s torch ballads and 21st century pop, between lyrics that belong in a softcore porno and string arrangements stolen from a film noire soundtrack. [...]
“My pussy tastes like Pepsi-Cola,” she informs us at one point. Lines like that are a dime a dozen on an EP that veers between come-ons [...] and mid-coital exclamations [...], and Lana sings each one with sluggish sexiness, like a femme-bot whose batteries have started to short out. The whole thing is exploitive, and it’s easy to see why people desperately want to dislike it… but the music is oddly gorgeous, laced with soft piano chords and moody strings that ooze their way through every song like slow-moving waves of cough syrup. Atmospheric and manic-depressive, it feels like the score to a movie that doesn’t exist.
Lana’s voice has gotten better since her shaky Saturday Night Live performance, but she isn’t selling her voice. She’s selling something larger — a romanticized vision of mid-century Hollywood; [...]; a dedication to long-form music videos whose length, cinematic quality and sheer strangeness would’ve made Michael Jackson proud — and she sells it well. [...] Once you accept that Lana knows exactly what she’s doing — that she, not Interscope Records or any of her co-producers, is the architect behind this R-rated retro-pop fantasy — then maybe you’ll start loving her, too.”
“Rating: 3 1/2 out of 5 stars
Lana Del Rey. You either love her or love to hate her. It’s hard to be ambivalent... and if you are ambivalent, set aside 10 minutes of your life and watch the “Ride” music video [...] and if it doesn’t leave you feeling something — distaste, interest, arousal, confusion — then you’re about dead inside.
Paradise, a standalone EP that’s also being attached to the deluxe edition of Born to Die, is every bit as polarizing as Lana’s debut, [...] Here, our femme fatale sings, swoons, and slurs her way through eight new songs that blur the lines between baby talk and dirty talk, between 1950s torch ballads and 21st century pop, between lyrics that belong in a softcore porno and string arrangements stolen from a film noire soundtrack. [...]
“My pussy tastes like Pepsi-Cola,” she informs us at one point. Lines like that are a dime a dozen on an EP that veers between come-ons [...] and mid-coital exclamations [...], and Lana sings each one with sluggish sexiness, like a femme-bot whose batteries have started to short out. The whole thing is exploitive, and it’s easy to see why people desperately want to dislike it… but the music is oddly gorgeous, laced with soft piano chords and moody strings that ooze their way through every song like slow-moving waves of cough syrup. Atmospheric and manic-depressive, it feels like the score to a movie that doesn’t exist.
Lana’s voice has gotten better since her shaky Saturday Night Live performance, but she isn’t selling her voice. She’s selling something larger — a romanticized vision of mid-century Hollywood; [...]; a dedication to long-form music videos whose length, cinematic quality and sheer strangeness would’ve made Michael Jackson proud — and she sells it well. [...] Once you accept that Lana knows exactly what she’s doing — that she, not Interscope Records or any of her co-producers, is the architect behind this R-rated retro-pop fantasy — then maybe you’ll start loving her, too.”
The "..."s in square brackets are where I've left something out of the quote. The other "..."s are in the original.
I like seeing the sorts of often poetic imagery people are drawn to when writing about Lana's music, such as: "like slow-moving waves of cough syrup" ... "like the score to a movie that doesn’t exist". Like it's difficult to describe, to get quite right, yet they need to make the attempt.
Like "Us against the world." A very appropriate song title given the seemingly endless battles both her and us the fan base have had to go through!
Nice excerpts Veri, yep I'd say Lana is one of the best lyricists out there myself. I don't see how that lacks any "authenticity" at all myself, and I say that as an indie/alt music fan. Is she ever pretending to be something she isn’t? Most of her lyrics seem brutally honest if anything. And even if she was it would indeed be “a beautiful lie” as that article says.
Frankly I have never found anything deeper to the LDR hate other than very jealous people that seem to resent the fact that she is something of a glamour puss as well as an extremely talented singer/songwriter. It all gets a bit woman hating and misogynistic, and is a sad reflection of the world we live in.
Still in-spite of all that Lana is the internet Queen and it’s no surprise to me that she's winning internet popularity polls. Keep kicking butt and keep proving 'em wrong gal!
Nice excerpts Veri, yep I'd say Lana is one of the best lyricists out there myself. I don't see how that lacks any "authenticity" at all myself, and I say that as an indie/alt music fan. Is she ever pretending to be something she isn’t? Most of her lyrics seem brutally honest if anything. And even if she was it would indeed be “a beautiful lie” as that article says.
Frankly I have never found anything deeper to the LDR hate other than very jealous people that seem to resent the fact that she is something of a glamour puss as well as an extremely talented singer/songwriter. It all gets a bit woman hating and misogynistic, and is a sad reflection of the world we live in.
Still in-spite of all that Lana is the internet Queen and it’s no surprise to me that she's winning internet popularity polls. Keep kicking butt and keep proving 'em wrong gal!
Originally Posted by rbautz:
“lana del rey us against the world
http://stormriver.tumblr.com/post/38419812015”
“lana del rey us against the world
http://stormriver.tumblr.com/post/38419812015”
Thanks!
BTW, does Lana have an explanation for all the leaked songs? Not for how they got out -- but for how and why they exist and are in what seem to be fairly well-polished forms yet not (it seems) being assembled into a 2nd album.
(Although their getting out rises some questions too. I think she said something about her phone being hacked. But, though that might explain leaks in the past, it doesn't explain why they keep happening, since a leaking mechanism like that can presumably be avoided or "plugged".)
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