![]() ![]() “Lana Del Rey went to visit the ‘Waffle House’ restaurant and ended up working in uniform serving fans,” a fan account claimed in an Instagram post on Thursday. In one photo, the songwriter was seen pouring a customer a hot cup of coffee as her hair was pulled back in a clip. Lana, 38, was dressed in the restaurant’s servers’ uniform with a blue collared shirt, a short black skirt, white sneakers and an official big yellow name tag on her chest. The “Norman F–king Rockwell” singer was spotted working behind the counter at the Florence, Ala., breakfast franchise in photos and videos circulating on social media. Lana Del Rey surprised adoring fans when she was seen serving customers at a Waffle House in Alabama on Thursday. Lana Del Rey slammed for wearing white to New Jersey wedding Taylor Swift makes raucous 15-minute toast at Jack Antonoff and Margaret Qualley’s weddingĪll the celebs who attended Margaret Qualley and Jack Antonoff’s wedding Now it’s the opposite: See me the way I want to be seen, the song demands.Lana Del Rey slams ‘super gremlin’ who accused her of having ‘demonic energy’ ![]() She ends the record with a beautifully spooky rendition of “Don’t Let Me Be Misunderstood,” a song that two or three years ago - back when Del Rey was regularly taken for some kind of phony record-label invention - would’ve felt like an appeal for objective clarity. Where Del Rey could seem aggrieved in the past, here she’s downright placid there’s a calmness to this album (notwithstanding that exploding helicopter) that belies the emotional devastation she’s singing about, as though she’d simply elected to rise above it all. But the line gives an indication of how she’s absorbed the polarized reaction to her work, which has spawned as many enemies as acolytes. Krug’s work is bold, and comes across like that of a spaghetti Western surrealist with an eye for finding the artistic merit in ’70s American schlock. This is obviously nonsense: Del Rey has never been more in demand among trendsetting mavericks, be it Kanye West, who hired her to sing at his wedding, or the Weeknd, who drafted her for a duet on his new album. Interview with Lana Del Rey for Clash Magazine ‘A friend gave this Pulp Art Book to me as a present, but for some reason they thought the photographer was dead,’ explains Lana. Her first words on the album go even further: “We both know that it’s not fashionable to love me,” she sings, luxuriating in each syllable. Over and over she explicitly describes herself that way, as in “The Blackest Day,” where she’s “on my own again,” and “Freak,” in which she invites a fellow misfit to follow her to California. Nobody else is doing this.Īnd it’s not just the sound of “Honeymoon,” her third full album with Interscope Records, that marks the singer as a proud outsider. Compare the title track or “Terrence Loves You” to Taylor Swift’s “Wildest Dreams” or Selena Gomez’s “Good for You” - just two of the ultra-breathy pop hits Del Rey has inspired almost in spite of herself - and she comes across as some infinitely stranger creature, an assured combination of Julee Cruise and Eartha Kitt. “I’m going deeper and deeper,” she sings in “The Blackest Day,” and in terms of her aesthetic vision, that’s true enough. So, to call the 'Video Games' singer 'divisive' would be an understatement. Full of strings, horns and keys, the lush arrangements feel more connected to the dabbling Del Rey did last year in high-end movie music (with songs for “Maleficent” and “Big Eyes”) than to the danced-up remix of “Summertime Sadness” that yielded her biggest chart hit. Lana Del Rey's SNL performance caused a critical uproar, and her seemingly calculated image has raised eyebrows. “Honeymoon,” written and produced primarily with Rick Nowels (who got his start in the mid ‘80s with Belinda Carlisle and Stevie Nicks), is her most pronounced rejection so far, with songs set at such lethargic tempos that many of them don’t even bother with beats. “Born to Die” looked back to early-’90s trip-hop, while last year’s “Ultraviolence” found her in close collaboration with Dan Auerbach of the Black Keys - not a pariah but certainly not Dr. Lana Del Rey puts on a leggy display in Daisy Dukes as she makes 7-Eleven run in LA after dropping spoken word album. And if there’s one thing Del Rey makes clear on “Honeymoon,” it’s that she wants virtually nothing to do with ordinary pop stardom.įrom the dirge-like “Video Games” on, Del Rey has shown little interest in whatever’s driving the Top 40. Basically, they’re capturing her as they would an ordinary pop star.
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