the very first photograph


This weird fly was extremely difficult to photograph. First of all it was very small… Also, it’s body was so dark that my camera didn’t want to pick up much detail. I have seen one fly like this before, but I was unsure if it was half-eaten or something. I am going to submit it to Bug
If you have any clue as to what this guy is, please share! Wings and legs very transparent. It gives the illusion as if it’s a little body is floating. Very odd species!!! Found in Texas.

Update: Chrysopilus basilaris, Snipe fly family. Thank you to @britsnana2

can someone explain to me how all too well hasn’t been adapted into a motion picture when the scarf saga is literally the most iconic break up story of our time? the lyric “but you keep my old scarf from that very first week” is literally supported by REAL photographic evidence proving the scarf was stolen and worn by the male lead post break up?? this historic story of love and heart break is deserving of several academy awards, a handful of golden globes, a tony award and probably a few grammys 

Prideshipping on Location - At the Beach!

Felt like doing another Prideshipping photoshoot with my Yami and Kaiba figures, and today was a nice day, so I decided to go on location down to the nearby beach and get some snaps! (I am so privileged to live near both the beach and a nature reserve)

I had a lot of fun with this shoot, so prepare for a long post! Yami and Kaiba even got in a few selfies!

To announce their arrival, Yami and Kaiba pose dramatically and point to the sea.

Kaiba admires the sea, whilst I photograph his footprints in the sand.

“You’re not the only one in this shoot, Kaiba! Make way for the Pharaoh!”

It had to happen didn’t it? Once again, there’s a Duel underway for the title of ‘King of Games’.

Oh look, dogs are allowed on this beach. You hear that Wheeler? There’s a place that’ll actually let you in.”

And to finish things off our Prideshippers get together for some selfies with Yami’s smartphone, and they get caught in a last-minute shower.

On May 15, 1967, Paul McCartney was out on the town.

PAUL: The night I met Linda I was in the Bag O'Nails [nightclub] watching Georgie Fame and the Blue Flames play a great set. Speedy was banging away. She was there with the Animals, who she knew from photographing them in New York. They were sitting a couple of alcoves down, near the stage. The band had finished and they got up to either leave or go for a drink or a pee or something, and she passed our table. I was near the edge and stood up just as she was passing, blocking her exit. And so I said, ‘Oh, sorry. Hi. How are you? How’re you doing?’ I introduced myself, and said, 'We’re going on to another club after this, would you like to join us?' 

That was my big pulling line! Well, I’d never used it before, of course, but it worked this time! It was a fairly slim chance but it worked. She said, 'Yes, okay, we’ll go on. How shall we do it?’ I forget how we did it, 'You come in our car’ or whatever, and we all went on, the people I was with, and the Animals, we went on to the Speakeasy. 

It was the first evening any of us had ever heard a record called 'A Whiter Shade of Pale’ with words about feeling seasick. The lyrics were all very strange and poetic and the theme was a famous Bach theme but we didn’t know that. We just thought, God, what an incredible record! It was a sort of marker record. It was a benchmark. And we were all trying to guess who it was. So we had to go to the booth and ask, 'What was that one you just played?’ and he said, 'Oh yes, “Whiter Shade of Pale” by Procol Harum.’ 'Procol what? Is it Latin or something?’ And there were rumors went around about what that meant. So all the mystery of the evening.

LINDA: I first met Paul at the Bag O'Nails. The Animals were old friends because I’d photographed them so much in New York, so when I came to London they took me out; and we went to see Georgie Fame at the Bag O'Nails. And that’s where Paul and I met. We flirted a bit, and then it was time for me to go back with them and Paul said, 'Well, we’re going to another club. You want to come?’ I remember everybody at the table heard 'A Whiter Shade of Pale’ that night for the first time and we all thought, Who is that? Stevie Winwood? We all said Stevie. The minute that record came out, you just knew you loved it. That’s when we actually met. Then we went back to his house. We were in the Mini with I think Lulu and Dudley Edwards, who painted Paul’s piano; Paul was giving him a lift home. I was impressed to see his Magrittes.

They met again four days later at the launch party for Sgt. Pepper’s Lonely Hearts Club Band, an exclusive affair for a dozen journalists and a dozen photographers held at manager Brian Epstein’s house at 24 Chapel Street, Belgravia. Linda Eastman was in London to take photographs for a book called Rock and Other Four Letter Words on which she was collaborating with the journalist J. Marks.

LINDA: So we were in London to take pictures for this book. I’d always wanted to photograph Stevie Winwood because I loved Spencer Davis, I loved Stevie Winwood, and the Beatles. I’d pretty much photographed everybody else. But it was up to me, it’s not like Marks rang up people and said, 'I’m with Bantam Books. We want to take your picture.’ Nothing was organised, so I had to do it. I took my portfolio around to NEMS at Hille House, and Peter Brown looked at it. I’d met Peter when he and Brian Epstein came to New York, we had mutual friends. So I took my portfolio and asked him to show it to Brian. Brian liked it a lot and wanted to buy some of the pictures, which I loved. I gave them to him in the end. He said, 'Yes, you can photograph the Beatles.’ So I got to go to this press conference at Brian’s house for Sgt. Pepper. I got one good photo that I liked, which is that thumbs-up one. The rest are just like everyone else’s photographs, but for that one I said, 'Oh, come on, guys! You know?’ and that shows at least they were relating, because if you believe the press you’d never think John and Paul ever related.

(Quotes from Barry Miles’ Many Years From Now). The above photo was taken at the launch party by a press agency photographer and is the very first photo of Paul, then 24, and Linda, 25, together. They would not reconnect until a year later in America (in May 1968) and four months after that, would move in together. They married on March 12, 1969 and remained so until Linda’s untimely death from breast cancer on April 17, 1998. 

Four children and 30 years of marriage - and it all started 50 years ago at 9 Kingly Street. 

Marrissey Quotes to sob over

Your welcome…

“It’s no secret that I would be on the next bus to his house.”— Morrissey, 1990, upon being asked ‘If Johnny phoned and asked to work with you again, what would you say? ‘

“He is painfully shy,” emphasises Johnny Marr. “You’ve got to understand that. We all look out for Morrissey. It’s a very brotherly feeling. When we first rehearsed, I’d have done anything for him. And as a person Morrissey is really capable of a truly loving relationship. Every day he’s so open, so romantic and sensitive to other people’s emotions.”  Johnny Marr, 1985

“He was different with me than he was with everybody else. I couldn’t have given my music to anybody - anybody else, and he appreciated it more, because he just fell in love with it, and that went on all the way through the band. In many ways he was my biggest fan really.”
— Johnny Marr on Morrissey

“We really were swept away by passion for what we were about to embark upon. I remember talking about the New York Dolls’ album cover photograph on the very first day we got together - should we sprawl all over each other in photos like they did? Without sounding too pretentious, the two of us were able to project onto each other and into the ether, everything in us that had been suppressed for years. There was a lot of shouting “yeah!” at each other, great, passionate agreement: “Yeah, that’s what I want to do too…”— Johnny Marr, 2004, reflecting upon the day he met Morrissey.

“He is painfully shy,” emphasises Johnny Marr. “You’ve got to understand that. We all look out for Morrissey. It’s a very brotherly feeling. When we first rehearsed, I’d have done anything for him. And as a person Morrissey is really capable of a truly loving relationship. Every day he’s so open, so romantic and sensitive to other people’s emotions.”  Johnny Marr, 1985

“Obviously with Johnny, I feel very defensive about our relationship. Some things have to be shielded, but the dedication I feel to him is quite solid and impregnable.”   Morrissey.

“There’s a lot of our relationship in those songs. That’s not to say the words are about our relationship, but the feeling in the recordings and some of the songs are a product of our relationship because we are so wrapped up in each other.”
— Johnny Marr on working with Morrissey

“He appeared at a time when I was deeper than the depths, if you like. And he provided me with this massive energy boost. I could feel Johnny’s energy just seething inside of me.”  Morrissey.

“The relationship between me and Morrissey is the best in the group, of the four of us. I still see him now. I called him last night. Last time I saw him was a couple of days before he went in to do his recent album. We let a bored media get the better of us, but there’s always been a certain telepathy between us even when we didn’t see each other. We played a game with the press and they played with us, but it’s not true life. No, we’re friends.”
— Johnny Marr, 1993.

“He appeared at a time when I was deeper than the depths, if you like. And he provided me with this massive energy boost. I could feel Johnny’s energy just seething inside of me.”

Smash Hits: What would you do if you could be invisible for a day?
Johnny Marr: I think I’d just follow Morrissey around and see what he gets up to when he disappears…

“ We actually got together a few times. We went for a walk in the country, we went out to dinner one night and later we just went for a long drive. It was really good to see each other away from any scenes. Like everyone, in private we’re quite different characters. I know the real Morrissey and he knows the real me. "   Johnny Marr quote

” We really were swept away by passion for what we were about to embark upon. I remember talking about the New York Dolls’ album cover photograph on the very first day we got together - should we sprawl all over each other in photos like they did? Without sounding too pretentious, the two of us were able to project onto each other and into the ether, everything in us that had been suppressed for years. There was a lot of shouting “yeah!” at each other, great, passionate agreement: “Yeah, that’s what I want to do too… “ 'There was a sense that we’d really found each other. We really admired each other and wanted to spend every minute of the day with each other.‘   Johnny Marr, about meeting Morrissey.

“Only he and I know that something like a fight or a difference in lifestyles or court cases or who said what in the press about who, or what fans might say, is pretty small change compared to the connection we have. It’s very deep. In short, there’s a very big part of him that I understand. And he knows it.'  Johnny Marr.

“It was a special musical relationship. And those are few and far between. For Johnny and I it won’t come again. I think he knows that and I know it. The Smiths had the best of Johnny and me. Those were definitely *the* days.”  Morrissey

“We were totally excited about where we were going to go, and we were falling over ourselves with ideas. Looking back on it now, it’s an almost even stranger set of circumstances, that the two talents fitted together like a hand in glove. There, I’ve said it. I don’t think I’m the only one who could imagine that song being about Morrissey and myself. It certainly did describe our relationship, and was born out of that new relationship.  Johnny Marr

‘It got to the stage where I was so impressed and infatuated, that even if he couldn’t play, it really didn’t matter…’  Morrissey

“So much has been made of that first meeting with Morrissey, but I suppose that looking back at it, it must have been the attraction of opposites. Like, he is a very tidy person and very organised and that was a bit of a shock to me, plus I had never seen so many books in the one room. I had certainly never met anyone like him and it still intrigues me why he was interested in JM. I’m still a little puzzled. Still a little confused. Because a lot about us is really very different. Like I am quite into rock ‘n’ roll and he has obviously nothing at all to do with it. I did say before that I think he needs a good humping and I really believe that. I tell him that about three times a week so you can see that there is a lot more humour in the relationship than everyone thinks. He is certainly the funniest person I know.”
— Johnny Marr, 1985.

“I am shaken when I hear Johnny play guitar, because he is quite obviously gifted and almost unnaturally multi-talented. Since he shows an exact perspective on all things, I can’t help but wonder: What is he doing here with me? Formulating writing systems and mapping out how best to blend our dual natures – here, against the hiss of the paraffin lamp, and me wrapped in the sanctity of an enormous overcoat acquired in a Denver charity shop for $5. Why has Johnny not already sprayed his mark – elsewhere, with others less scarred and less complicated than I am? It seemed to me that Johnny had enough spark and determination to push his way in amongst Manchester’s headhunters – yet here he was, with someone whose natural bearing discouraged openness. Stranger still, we get on very well. It is a matter of finding yourself in possession of the one vital facet that the other lacks, but needs.” Morrissey (Autobiography)

Q: Do you love Johnny Marr? 

Morrissey: “Yes… that’s not a hard one. I loved and love Johnny Marr.” (Q, 1994).

“The thing that brought us really close together is the essence of why Morrissey lives his life and why I live my life.Without the art of pop music and pop culture, life doesn’t make any sense. It was a pretty serious, deep need. It wasn’t just the need to escape our social situation, because underneath it all, one of the things that makes us the same is that we’re both incredibly sensitive. There was this burden with serious mental problems that were taken care of by records.”— Johnny Marr 

“After the first meeting [with Morrissey] we really couldn’t get together often enough” says Marr. “It was a few times a week. We got a hell of a lot done in that first month”. They were, Marr admits, in awe of one another’s potential. “He and I almost had this unspoken relationship where we were both able to be ourselves but we both knew how important we were to each other. What shouldn’t be forgotten is that we really, really liked each other. It wasn’t some business arrangement or relationship of convenience. There was intrigue and understanding because as different as we were, the thing that was paramount inside each of us was pop records and that absolute promise of escape. And he understood that without us ever having to talk about it”. (Simon Goddard)

"We Loved Each Other” - Johnny Marr

“Angel, Angel, Down We Go Together” was written with Johnny Marr in mind and it is the only song I have written with him in mind, post-smiths.“   Morrissey - Mojo Magazine 2002

"Sometimes, I think all he needs is a good humping”   Johnny Marr about Morrissey

anonymous asked:

I find Billiam very interesting, maybe because of the mask and that tongue... Anyways, how did you guys all meet?

Billiam: Other than Olly- Me, Wilbur, Zeb and Looney all met at the same time in a lab. We knew each other since we were but kids.

Billiam: Here, I have our very first photograph we all had.

External image

External image

- character/props/item : Guru-Guru  
- game : Ocarina of Time/Majora’s Mask
- maker or cosplayer : Alessandro Pereira (Myself)
- photographer :  cosgamerbrasil
- website links :
- comment : My very first and only cosplay to date, it took me a looooooooooooong time to completely finish it since i wanted it to be 100% accurate to the game, this cosplay got a manual crank mechanism and a sound system that plays both normal and sped up song of storms and a self made papercraft head which i can swap Guru-Guru’s face between happy and angry

the only “drawback” of this cosplay is the fact that the whole costume weights about 90 pounds… 

Kudos from Brazil :D


Sumerian Silver Lyre, from Ur, southern Iraq, c. 2600-2400 BC

This lyre was found in the ‘Great Death-Pit’, one of the graves in the Royal Cemetery at Ur. The burial in the Great Death-Pit was accompanied by seventy-four bodies - six men and sixty-eight women -laid down in rows on the floor of the pit. Three lyres were piled one on top of another. They were all made from wood which had decayed by the time they were excavated, but two of them, of which this is one, were entirely covered in sheet silver attached by small silver nails. The plaques down the front of the sounding box are made of shell. The silver cow’s head decorating the front has inlaid eyes of shell and lapis lazuli. The edges of the sound box have a narrow border of shell and lapis lazuli inlay.

When found, the lyre lay in the soil. The metal was very brittle and the uprights were squashed flat. First it was photographed, and then covered in wax and waxed cloth to hold it together for lifting. The silver on the top and back edge of the sounding box had been destroyed. Some of the silver preserved the impression of matting on which it must have originally lain. Eleven silver tubes acted as the tuning pegs.

Such instruments were probably important parts of rituals at court and temple. There are representations of lyre players and their instruments on cylinder seals, and on the Standard of Ur being played alongside a possible singer.

anonymous asked:

Hey! Can you do RFA+ V + Unknown headcannons were they are just walking down the street and the reader sees Rika (ITS A THEORY BUT I DONT THINK SHES DEAD) and runs off after her and just a little story/ reaction/ response please?? THANK YOU!! LOTS O LOVE

Oh man, be careful for spoilers on this blog!! I’d hate to confirm/deny anything for you. I’ll write this as spoiler-free as possible, okay~? Thank you for the request. <3<3


  • The both of you are eating fish cakes at a street festival when you see just a glimpse of her blonde hair as she turns the corner. You stop dead, barely sure what you saw - it couldn’t be her, right? How would you even recognize her? All you’ve seen are a few photos on the messenger and in the photo albums at Yoosung’s apartment.
  • You’re running anyway before you really realize it, weaving through the crowd and reaching desperately for her. Yoosung’s here, she’d want to see him, right? Maybe she’s looking for him? He’d be so happy if he could see her! You just need to catch her! 
  • You lose her in the crowd, and get lost yourself, among a huge throng of people and clutching onto this stupid fish-stick as the anxiety builds in your throat. Oh no, where is she? Where is she?
  • Where’s Yoosung? God, he’s going to be so disappointed.
  • You try looking for a little more - uselessly, aimlessly  - and then you heard Yoosung shouting from somewhere. You call in reply, and he’s pushing through two people a moment later, reaching out desperately for your hand.
  • He takes it, and you stare at him in confusion. Why’d you run off like that? he says, tearing up a bit because even though he hated it, even though he wanted to be cool and mature, sometimes he still got so scared that he cried a little. What were you thinking?
  • The truth comes out before you can think about it. I thought I saw Rika. If I caught her, you could see her finally. You weren’t Rika, after all. You could never fill the Rika shaped hole in his life.
  • He looks down at you, not sure to react at first, but then - shockingly - he smiles. 
  • Rika must be an angel now, he says to you, patting your head. And she came down to heaven to see if I was happy. I’m so glad she could see me like this, even if it was just for a moment…
  • You throw your arms around him, because sometimes Yoosung is so cool.

Keep reading


Top 15 Hobbit cast members as voted by fans: Number one 

“I think it’d be interesting looking back through the footage that you have. I imagine it would be quite hard to find me in any of that behind the scenes footage because I certainly actively avoided those cameras. Even in the very first photograph of the Dwarves, for some reason I’m hiding in the back behind someone’s shoulder. Because I just didn’t know whether I could do this; I really didn’t know whether I could fill these boots. I thought I might be on my way home, so I just didn’t wanna to put myself forward until I’d understood what the character was. I love this book. I read it when I was seven years old. So I felt the weight of kingship and of responsibility, which was both mine and Thorin’s.” - Richard Armitage

Con-Etiquette: How to Gracefully Decline a Photo and Other Photography Tips

I feel like everyone as experienced some form of a “rude brush off” while photographing at a convention. Hopefully these tips will keep you from experiencing it or  help you handle it better, both from the photographers and models perspective.The key in most of these situations is politeness and compromise. I’ve also thrown in a smorgasbord of other cosplay photography tips.

What do you do if you want to ask a cosplayer, who appear to be resting, if you can take their picture? There are different perspectives on this. Some cosplayers are bothered by this; other could care less and are happy to be asked no matter how tired they are. Here is what I do: ask if I can photograph them while they are sitting. Some people’s costumes look very interesting while draped across a chair or billowed out while they sit on the floor. If you think that their costume would be better photographed while standing up simply ask them when and where you might find them later in the day for a photo.

Don’t stop photographing a cosplayer during a shoot so you can offer to shoot another cosplayer. This actually happened to me. My sister and I were walking by a photo shoot and waved hello to the model, who we knew. We stayed to chat a moment with the photographer and her while he fixed his lighting. He then proceeded to offer to take a photo of my sister and me. The model handled it quite gracefully and politely asked he could finish shooting her first. As a photographer this comes off as very rude and uninvested in your client, whether they are paying or not.

Have cos-cards and business card. This is supper helpful with finding a photographer or hunting down your pictures later.

I once asked a cosplayer for a photograph and he rudely brushed me off. I found out later he was on his way to a cosplay competition and was both late and stressed. I did not then, nor now think this is any kind of excuse for rude behavior. Two years later I found myself in a similar situation. I was late and flustered as I headed for photo shoot, that I couldn’t find the location to, when I was stopped and asked for a photo. I remember what it felt like to be on the receiving end of this situation. I smiled and politely explained what was going on and then offered to let him come with me to the shoot if still wanted a picture. I use this approach anytime I have to decline a picture. I try to express excitement about being photographed and then give them an alternate time and location during the course of the convention where they can find me. I feel like this has been successful solution for me and doesn’t leave the other party feeling embarrassed or let down.

Sometimes you get cornered by a creepy camera guy/girl and it is perfectly ok to say “no” to being photographed. I fortunately haven’t had to deal with this too much but a “No thank you”, “Not right now, but thank you for the offer”,  and “ Thank you but I’m too busy right now” are all perfectly acceptable answers. If the issue is presses you can explain that you have had a busy weekend, are tired of posing for pictures and would rather not be photographed right now. There is no need to be hateful or rude but always handle it with a level of maturity and politeness. This makes you look like the bigger person, particularly if the photographer pushes the issue. They will have no reason to call you out if your behavior has been impeccable; instead they will end up looking like an ass. Also, most conventions take harassment very seriously. If something feels off make a member of security aware.

Always be aware of your surroundings. I can’t count the times I’ve been stopped in a congested hallway for a photo. I try to steer the photographer to the nearest alcove or open area that will not block traffic. As a photographer, if your model positions herself against a wall for a picture this isn’t and invitation for you to stand in the middle of the hall to take the picture. I’ve seen this happen far too many times.

Don’t be afraid to work with amateurs, both from the cosplayers and the photographer point of view. No one is ever going to get better without practice.

Do you have any tips? Comment or submit them and I’ll add it to the list.


Prevost in NYC

Plenty of people have taken pictures of New York, but the French-born photographer Victor Prevost was one of the very first. He made these photographs using the rare calotype process. 

Victor Prevost. Statuary at Crystal Palace; Reed and Sturges Warehouse; Gori Marble Works. [1853-1857]. Contact prints made from calotype negative. New-York Historical Society.

I’m actually quite happy to have just dried my very first “print on demand”, ordered by a photographer of the great tumblr community. Many thanks to you, Florian, I’m happy to send you the result in the very next time.

Though my prints (at least some of them) can be ordered in my society6 shop, a handmade and unique darkroom print still remains something different and special, even for me. I don’t use fibre-based paper often, and it’s still a bit of a challenge for me - but if I should happen to sell a darkroom print, it will get the best treatment, like in this case being printed onto Adox Fine Print Variotone Baryta and it will be signed and dated.

Thanks again to Florian - and of course to everyone else who likes and supports my work, perhaps even through a purchase.

By Chance - Part 8

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7

Bucky Barnes x reader

Summary: you and James Barnes get to know by chance in a subway. Will destiny make your lifes come across again?

Y/N: this part is a little bit long but I hope you enjoy it as much as I did when writing it :) Probably, next part will be the last one, I am not quite sure yet. 

Tags: @supersoldierslover @kit-kat-coffeeworld @thegirlwithnodragontattoo @all-hail-the-fandom @mytasterpeculiar

Originally posted by little--batman

(Credits to the owner of the gif)

‘Wanda, if you do not tell me what this event is about, then I do not know what to wear!’ You complain as you get into the fitting room for the third time.

‘It is just an art gallery,’ Wanda answers as she looks at her nails, ‘but we barely buy clothes together so, as you accepted to go with me, it is a great opportunity to buy some new clothes for tonight…’ Wanda stops talking when you show her the dress you are wearing now. 'Oh Y/N, look at you. You look beautiful! Definitely, this is the dress!’

Keep reading


I present to you my very first project as an amateur photographer “Heavydirtysoul Project ‘16”

Yesterday with my friend Brandie we were up until around 4am doing this project. It was honestly an amazing experience to feel professional in a type of way, I’m only a GCSE student at Photography at the moment but I will be moving on to do it at A-Level too.

This was inspired by the band Twenty One Pilots and their character “Blurryface”, I’ve been in the Clique for 4 months now and I am fairly new however it’s been one of the best 4 months. I was getting to that point where the music I was already listening to got a bit boring so to completely transform my music taste from Rap to this pop-punk-alternative-ukelele screamo-emo reggae band really uplifts things. Having the opportunity to see them in concert in Portsmouth on February 29th was just breath-taking.

Blurryface is an interesting character that withholds a mystery vibe that pulls me into him. It represents that side of Tyler which is insecure and negative.

Walking around half the town looking for cheap black face paint that was under £1 was a challenge but we managed in time, it was worth walking around with a black neck finding paint to paint our hands and definitely worth having 4 hours sleep because of this. Now I will spend the next week or so experimenting with these type of photoshops using both simple apps on my iPad and Photoshop CC itself.

Thank you to Twenty One Pilots for being who you are and inspiring so many people to expand their talents to the maximum to the point where they aren’t afraid what people think. @stillstreet

If you wish to check out and be updated with my other projects in the future then follow me on instagram: fer.gie

Stay alive frens |-/


“I think it’d be interesting looking back through the footage you have. I imagine it would be quite hard to find me in any of that behind the scenes footage. Cause I certainly actively avoided those cameras. Even in the very first photograph of the dwarves, for some reason I’m hiding in the back behind someone’s shoulder. Because I just didn’t know whether I could do this; I really didn’t know whether I could fill these boots. I thought I might be on my way back home, so I didn’t want to put myself forward until I had understood what the character was.“

  • ABEL: Lana!
  • LANA: Abel!
  • ABEL: Where do I reach you?
  • LANA: I’m sitting in a little, picturesque Square in Paris, whose name I can never remember (laughs).
  • ABEL: Have I told you how happy it makes me that we could finally work together?
  • LANA: The pleasure is all mine. I love our song for your new album.
  • ABEL: The song was very important to me because I think you’re one of the best artists of our time. I admire that you never hide yourself and that your vision is so strong.
  • LANA: Oh thanks. That’s a really great compliment, especially when it comes from someone like you.
  • ABEL: Is it hard for you to always keep track of your vision?
  • LANA: Not really, no. I just do the things that feel right. That’s how I decide who I work with, for whom I work and what material I release. Before every project I think about how my aesthetic could fit to it and hold on to it.
  • ABEL: But one can still see your progress.
  • LANA: My taste is changing too. Nevertheless, I know exactly what I like, how it should sound and look.
  • ABEL: Is that the reason why you’re rarely working together with other artists?
  • LANA: I’m just very shy, which is why it’s difficult for me to approach people. With you it’s different: I love your voice and your talent to find a sudden melodic turn for each of your songs.
  • ABEL: You have always been working with different producers.
  • LANA: Yes, but that in a limited way. When I met my Producer Rick four years ago, I knew in that moment that we would be working together for a very long time. It just feels right. For my next album though I plan to open a up a little and work together with more people.
  • ABEL: You grew up in New York and still you seem to be magically attracted by the West Coast. Your music is like a reminiscing declaration of love to California. Where does this love for the other coast come from?
  • LANA: I have very much fallen in love with California’s landscape. There’s not much comparable nature in the world: The little villages and towns, which cuddle in between the coast and the mountains are unique. And so romantic. Adding to that I just admire Hollywood. When I left New York, I lived in London for four years. Then after that Los Angeles was the only destination to be in line.
  • ABEL: Do you like the people there?
  • LANA: I love the people in California!
  • ABEL: Why?
  • LANA: Because they are politically informed on the one hand and keep track of their health and on the other hand they appreciate their wild, untamed side. I think this contrast is cool: responsible and wild at the same time, yeah!
  • ABEL: I really enjoyed meeting your family. Your father is so cool. He’s a really special person!
  • LANA: Thanks!
  • ABEL: And your sister Chuck… How was it like growing up with her? Have you ever thought that you would work that closely together one day?
  • LANA: Not at all. We didn’t have the slightest idea. I would have never imagined that I’d be a singer and she didn’t think she’d be a photographer. But I remember very well how impressed I was by her first photographs. I was 17 at that time and just started college, she 15. In her first pictures you could already see this huge talent of hers. The pictures were perfectly exposed and absolutely symmetrical. Portraits of women are her specialty. She has her own imagery, I love that.
  • ABEL: You’re music is also very cinematic: I always think of films like Polanski’s Chinatown when I put on your records.
  • LANA: That’s a nice compliment. I love all the big L.A. films like Chinatown or also Sunset Boulevard.
  • ABEL: Would it appeal to you to ever direct something yourself?
  • LANA: I would in every case always mix reality with surrealism and I would use different cameras for different scenes to create a special mood, I’m really into that. In dream sequences for instance I like to work with a phantom camera and if it’s supposed to look vintage I prefer old VHS cameras.
  • ABEL: Could you imagine doing a video or short film for me?
  • LANA: I’d love to!
  • ABEL: Your new album is called Honeymoon. Why this title?
  • LANA: I just like beautiful, melodious words. And I love the word Honeymoon- and all it symbolizes. The idea of a romantic Rendezvous that stands for endless love is enchanting to me.
  • ABEL: In what kind of mood did you find yourself when you found the title?
  • LANA: Pretty much the opposite of Honeymoon. Last year there was a lot of chaos within myself. I like contrasts and contradictions though. Things I want but don’t get, positive and negative, inside and outside, I often use such combinations for my texts or titles.
  • ABEL: Summertime Sadness.
  • LANA: Exactly (laughs).
  • ABEL: How would you say does Honeymoon sound?
  • LANA: When I started working on the new album three months after Ultraviolence, it first sounded like a Jazz album. Then, in winter, after three quarters of the record were done, we played with muddy trap beats, and tried how they would fit the tracks.
  • ABEL: Okay.
  • LANA: That’s why the album somehow feels retro futuristic now.
  • ABEL: Would you say that this album like the one before sounds similarly like L.A.?
  • LANA: In a way it does. It started right after I moved to California: All of a sudden the West Coast urged itself into my creative process. Here is just the best place to live. And if you just look at who is moving here you realize: Others recognize this power of attraction that comes from California, too. Even the last complainers in New York that have always been picking at L.A. eventually pack their bag and switch coasts.
  • ABEL: Will you be here when the album comes out or on the road?
  • LANA: In London, because there I’m still deeply rooted in a way. And at the beginning of next year it’s going to go on tour. In the meantime I’ll be spending as much time as possible in L.A.; I couldn’t do it any other way.