A Quote by Lana Del Rey

I'd liked my first record, it was autobiographical and beautiful. — © Lana Del Rey
I'd liked my first record, it was autobiographical and beautiful.
My first vinyl was a Kiss record and a Walt Disney record. I liked the energy of rock and roll.
The idea that somebody out there is that eager to hear my music in advance can only be a good thing. But growing up, I always liked that system where "release day" was a big thing, and for bands I really liked, I'd know that date. It'd be on my calendar, and I'd go to the record store that day. Sitting down and listening to the record for the first time was a real event. I wish it was still that way, but that's not the way the world works any more.
Even if the experience in my stories is not autobiographical and the actual plot is not autobiographical, the emotion is always somewhat autobiographical. I think there's some of me in every one of the stories.
Remember the Stax label and how if you liked one record, you liked all the others as well? You don't talk to a lot of people who tell you how much they love their record label. I don't care how many records they sell.
Whenever I approach a record, I don't really have a science to it. I approach every record differently. First record was in a home studio. Second record was a live record. Third record was made while I was on tour. Fourth record was made over the course of, like, two years in David Kahn's basement.
Our first record as the Veronicas was a big mainstream success. Maybe if we'd had the indie record first, then the breakout record, it would have been supported by Triple J.
You're always trying to make each record more autobiographical than the last one.
I got into music when I was a little boy. My dad was always into jazz. I got my education from him. The first time I listened to jazz, he gave me a Thelonious Monk record. It was so different from anything I had ever heard. It took me a while to understand it, and I liked that. I liked the fact that it wasn't immediately palatable.
I've never had a relationship with a record executive. I always went to the record company by someone that liked my playing. Then they would get fired, and I'd be left with the record company. And then - because they got fired - the record company wouldn't do anything for me.
I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.
You can look at my autobiographical pieces as source books... But, you see, my fiction doesn't revolve around autobiographical questions.
When I first was a part of 'The Monster,' I really wanted to put it out under my name, but no record label thought it was good enough - until Eminem liked it.
People ask, 'Are your things autobiographical?,' and I think, no, they're not autobiographical directly, but of course my life has informed my work.
A first building is like a first novel, it is always autobiographical.
After my second No. 1, my record company, Warner Brothers, gave me a beautiful present - quite unique at the time - one of the very first Sony stereos which had speaker and radio included so I could record the radio and build up cassette tapes of music, gospel singing, adverts, evangelists.
Anyone who writes an autobiographical work at the age of 34 is, at best, presumptuous. It occurred to me that it was time to set the record straight.
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