Lana Del Rey: Can Artifice Survive in the Age of Adele?
- Posted on Jan 20th 2012 1:00PM by Renee Gold
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Dana Eldeson, NBC | WireImage
The British songbird was a commercial and critical success, selling over 6 million copies of her Grammy-nominated sophomore effort '21' and occupying most critic year-end lists. '21' debuted atop Billboard's charts and spent 16 non-consecutive weeks at No. 1, tying the 'Titanic' soundtrack from way back in 1997.
Adele embodied authenticity by refusing to fit into pop music's superficial and sexed-up landscape; she broke its mould altogether. Adele simply stood on her own laurels as a great singer. No bells, no whistles, no fireworks-blasting boobs. Despite wallets being tight, people shelled out in record-breaking droves.
Enter stage left -- wayyy left -- Lana Del Rey.
Working the fringe, play-to-your-friends club scene in Williamsburg, Brooklyn, she began her 'professional' career in 2006 under her real name Lizzy Grant and sported a short blond crop and a SoCal skateboarder aesthetic. She'd released music on three separate indie labels when, last spring, she uploaded her DIY vid for 'Video Games' to YouTube and quickly caught fire across the blogosphere.
Redubbed Lana Del Rey -- an evocative name picked by a curious new manager -- she now sported a '60s sex-kitten bouffant and, or so the bloggers blogged, collagen lips, a more streamlined nose and possibly chin-and-cheek implants. (Del Rey has, of course, denied all reports of plastic surgery.) Months after the video went viral, she signed to Universal's Interscope Records.
But perhaps in an attempt to hold onto her hipster fanbase, news of the record contract only became public in October 2011 -- despite the ink being dry in July. During that three-month buffer, Interscope enlisted indie media to build buzz off Del Rey's already bubbling retro-hipster persona. But at the same time they also started plastering Del Rey's face on the cover of glossy magazines as 2012's new 'It Girl' and procured her Next modeling contract.
Eventually, the contradictions became too much.
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Months before Del Rey's 'Saturday Night Live' debut became an epic fail, the 25-year-old singer had already become a whipping gal online. Most complaints centered on her authenticity, or rather lack of. Her glamour-puss persona and new blinged-out video shot in a Parisian castle (with tigers!) seemed a far stretch from her Mac Book-made 'Video Games.' And when the dots were connected further, people discovered she was the daughter of a millionaire. Nothing pisses off tastemakers more than the affluence and privilege of the questionably talented.
And so the questions began...
Was she a real indie artist? Did she write her own songs? (Yes, actually.) Was she manufactured by money-hungry studio execs? Why did she tell people she used to live in a trailer park? Did she get signed to Interscope based on the expertly produced/auto-tuned demo she made with daddy's wallet?
Deconstructionist indie site Hipster Runoff led the blog backlash charge -- recently even redubbing itself the Lana Del Report, the No. 1 source for #LDR HATE COVERAGE -- and Del Rey heard the negative rumblings loud and clear. She knew there was a lot riding on this 'SNL' gig, even presciently joking to MTV's Hive: "If it doesn't go well, I will kill myself."
Cue flatline.
Flanked by blue spotlights, she began to shakily sing 'Video Game,' manically octave-hopping between her baby-doll falsetto and a gruff, Transylvanian baritone. Add in her fidgety tics (hand-to-hair, hand-to-hip, hand-to-abdomen), expressionless gaze and side-to-side swaying and it was, well, awkward.
For her detractors, it was the gaffe they were waiting for, giving weight to their claims she is an over-hyped studio-bot. Before leaving the stage, Twitter was already tearing her down like scaffolding.
The schadenfreude tweets ranged from "Lana Del Ray (sic) looks exactly like the older sister in Sixteen Candles who was on muscle relaxants at her wedding" to Rolling Stone contributing editor David Wilde's "In Spanish, #LanaDelRey means 'Ashley Simpson.' In English too." Art Brut's lead singer Eddie Argos captured the thoughts of most new-to-Lana viewers: "Thats the Lana Del Rey you all like? I thought it was Kirsten Wiig doing one of her 'wacky' characters. You are all idiots."
Perhaps the most damaging was NBC anchorman Brian Williams' email to Nick Denton at Gawker which was published to the utter horror of NBC PR. The email and subsequent post referred to Del Rey as "one of the worst outings in SNL history" prompting NBC to email Denton to remove the post, which, of course, he also published.
Her team went into operation damage control, removing a nasty Wikipedia posting, taking to Twitter and even demanding Thought Catalog pull down a post, desperately trying to save the now too-aptly titled album 'Born to Die,' scheduled for release on Jan 31.
An Adele she is clearly not -- never was -- but that didn't stop Interscope from trying to package her as 2012's 'answer to.' Hell-bent on turning her into a superstar, they instead made Lizzy Grant the first victim of the Age of Adele. She failed the litmus test and now the label could have a bona fide disaster on their hands and are remaining tight-lipped, despite requests for a comment.
"The backlash is threatening to bring down the It Girl before she has even has time to 'break,'" wrote the Globe and Mail. But bombing on 'Saturday Night Live' is not necessarily a career-killer and record sales will ultimately reveal how much damage was done. Plus, she has two upcoming chances for redemption on 'Letterman' and 'Ellen.'
Where Adele is art, Lana Del Rey is all artifice -- and that may have been good enough a few years ago. After all, we consumed a steady diet of auto-tuned lip-syncer Britney Spears but she puts on a damn good 'live' show and regularly drops killer singles. And though Stefani Germanotta may have reimagined herself as Lady Gaga, her artifice is authentic. Like Ziggy Stardust before her, she has the voice, charisma, songwriting and instrumental abilities to make her far more than her cultivated look.
But even if we ignore Del Rey's appearance, the 'SNL' debacle has sullied her live reputation which doesn't bode well for her business-wise, since the new trend in 360 record deals depend on revenue from ticket sales and merch table sales to make up for the dwindling CD market.
In trying to make sense of the backlash thrum -- which, in Del Rey's defense, has always held a wiff of plain 'ol jealousy for the 'pretty new girl' -- one thing is clear, Adele has changed the game.
She skyrocketed to the top on the perfection of her cashmere voice and never let the poptart peacocking so demanded by the music industry define her. Adele's pedigree doesn't dominate Internet message boards (like Del Rey and her fabulously rich father) nor has her stage name ever been focus-group tested. She is pop's zeitgesit and the new standard for which to measure other artists. So why, especially when we're at the apex of a recession, would we settle for anything that reeks of an elaborate ruse? Authenticity is popular music's new currency and everyone (and their blog) are on the lookout for counterfeits.
- Filed under: News, Exclusive, Pop Culture, Between the Notes




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