Occasionally, we must praise Lana Del Rey‘s managers, Ben Mawson and Ed Millet.
Mawson, then a practicing lawyer at SSB, first met Lana when he was helping her get out of recording and publishing deals she’d signed early in her career. They built a personal and professional relationship and he eventually ended up managing her. He teamed up with Millet and they developed Tap Management in 2009.
Whilst the company has only been in existence for seven years, it “steered the career of the international star”, and they have since been developing major UK breakthrough artist (and double-BRIT award dinner) Dua Lipa.
Tap Management started as a London-based publishing firm – which now has offices in the US, Australia and Germany – and will soon branch out into its very own record label.
Mawson and Millett were crowned ‘Managers of the Year’ at the UK Artist and Manager Awards in 2017, which Lana spoke at.
The pair recently gave an interview with Music Business Worldwide, where they spoke about Lana and how she’s got another album in the works. Below are the interview highlights.
You’ve got offices around the world – how does that impact what you offer artists independently?
Ed: We’ve always had an eye on the global nature of music and we don’t want to be a ‘UK company’. Now more than ever it’s so important to start America at the same time as everything because it drives all your Spotify numbers.
We also sign quite a lot of things direct in Germany because it’s a great market, they can take stuff to radio and make it work and don’t have to wait for the UK to drive things.
That worked for Dua, for Lana and for Grace Carter, who is directly signed to Sony out there and signed to Universal everywhere else.
Ben: Lana got her record deal in Germany first – it’s such a huge market. You can have a career just in Germany and be very successful. Everyone used to be kind of obsessed with the Radio 1 playlist but we’ve always tried to be as global as possible and put an emphasis on all of the important territories.
During Lana’s speech at the A&M Awards in London last year, she praised you both for having shared principes and gave a bod to the #MeToo movement. As managers of two leading female artists, do you have conversation about sexism and equality, and do those tie into marketing decisions?
Ed: The way we look after artists is a partnership and the whole point is to empower someone, to finesse them and help them get even better. Everything they do is coming from them. We’ve never put Dua or Lana in a position where they’re told, ‘You need to be sexy.’
Ben: We look after them, but they are strong-willed and opinionated females. Dua won’t let anyone over-sexualise her. Lana was shot nude for GQ and there was outcry from some people saying it was in some way demeaning, but she was like, I’m having a laugh! Lana is a very strong woman – she doesn’t let anyone walk all over her, and Dua is the same. They are totally in charge of their creative.
What are your ambitions for Tap and the artists you look after?
Ed: We want to work with more artists and break more artists. We’re not really set up to do small independent stuff, we want global success with everybody. But we don’t have the objective to become a massive corporate management company, it’s always going to be relatively boutique.
Ben: Lana is going to keep putting music out. She’s got another album in the works and her fanbase is as rabid as ever. For Dua, the sky is the limit; she wants to end up performing in stadiums.
Read the full interview here. This was written for LanaDelReyFan.com with information and quotes taken directly from the full interview on Music Business Worldwide.
In a candid interview with ELLE Magazine – for their June 2018 issue – Lana Del Rey and Kendall Jenner discuss their anxiety, Kylie’s baby and social media issues. The pair also chat about when they first met at the Kardashian-West rehearsal dinner at the Palace of Versailles.
Here is a snippet from the interview:
The two are chatting on the phone—Jenner in her house in L.A., and Del Rey in Brazil, in between tour gigs—discussing their mental health. Jenner’s struggles with anxiety were a central topic on the last season of Keeping Up With the Kardashians, and Del Rey, for one, gets it. “I haven’t spoken that much about my anxiety over the years,” the singer, 32, tells Jenner. “But one of the cool things that’s come up is the focus on self-care. I do meditations for joy and happiness and try not to spread myself too thin.” Jenner welcomes the advice. “It’s interesting; ever since I said something about being anxious, a lot of people in the spotlight have come to me, being like, ‘Oh my God, me too!’ There’s this community. I take what they do to help themselves and piece it together to find what helps me.”
Click here to read the full interview.
On March 20, Lana Del Rey spent some time on a beach in Leblon, Rio de Janeiro. The following day she visited Crystal Hair Salon to retouch her hair and, whilst there, Lana gave a short interview with Vogue Brazil. The interview is available to read on their website here. However, as the interview is in Portuguese, we have provided a rough translation below:
Lana Del Rey is among us. In Rio De Janeiro before her performance at the Lollapalooza Festival, the singer enjoyed Tuesday (20) night in Rio: she had cold draft beer in the traditional Jobi bar in Leblon until late at night. There, she bumped into Brazilian singer Anitta.
“I had three days off and I really wanted to go to the beach, so I chose to visit Rio before going to São Paulo. I love Brazil! What I love the most here is people’s energy. The way you take life, the joy… it’s so different! It’s delightful – I want to be a part of it.”
Crazy to know the beaches in the city, she dedicated her Wednesday (21) to enjoying the sun and the sea – but not in a bikini! Lana wore skinny jeans, long sleeve t-shirt and Havaianas for her day at sea. The reason? “I even went to the beach, but they had several paparazzi and I didn’t feel comfortable in my bikini.”
After the (non) dive, she went to the Crystal Hair salon in Ipanema, to take care of her beauty: the singer sought the expert in colouring Branca Di Lorenzo to touch the root in dark brown tone and took opportunity to hydrate and paint her nails in light pink. “Tonight I want to go to the Pearl Jam show in Maracanã. It depends on the rain.” Animation and willingness to perform on the stage at Lollapalooza Festival in São Paulo does not lack: “It will be incredible!”
Candids > 2018 > At Crystal Hair Salon with Vogue Brazil in Rio de Janeiro, Brazil (March 21)
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EXCLUSIVO! “Eu amo o Brasil! O que mais amo aqui é a energia das pessoas”, nos disse @lanadelrey enquanto cuidava da beauté com @cesarneubert, no @crystalhairoficial. Depois de conhecer a praia do Leblon, a cantora encontrou um momento para retocar o visual antes de seguir para São Paulo, onde se apresenta no @lollapaloozabr, e nos cedeu uma entrevista que você lê na íntegra já – no link da bio! #voguenololla #lanadelrey
After her Philadelphia show on January 21, Lana Del Rey was interviewed by Talia Schlanger for World Cafe. In the interview Lana talks about living in the H of the Hollywood sign, the deeper meaning behind some of her lyrics, and her friendships with Courtney Love and Stevie Nicks.
Talia even asks Lana about the controversial line “he fit me and it felt like a kiss” in ‘Ultraviolence‘. Lana says, “I guess I would say I didn’t have a great reference for what a really nurturing relationship would look like.”
To read to the full interview, head over to National Public Radio – or check out the audio embedded below, which includes more than the write up! Here is a snippet from the interview:
Talia Schlanger: When you announced the new record, you released this video that is beautiful and very clever. Can you describe what we see in this video, where you are?
Lana Del Rey: I had been thinking about this idea of broadcasting from the middle of the “H” in the Hollywood sign in California. So I asked my director … to help me set up this whole space to look like the H. In it, I was sort of looking at all of the mayhem in the city below and beyond — but I also wanted it to have sort of a B movie twist on it with the narrative.
I want to talk about Stevie Nicks, who sings on “Beautiful People, Beautiful Problems.” There’s such a great interplay between your two voices: You open the song and when she comes in, you can really hear the saltiness in her voice in a different way. I know you’re really involved in mastering and and mixing your music, and so you have your hands on her raw vocals. What’s that like?
Funny enough, I had wanted her to open the song — ’cause, you know, she’s Stevie. But she didn’t want to. She wanted to take the second verse and step into it. So, yeah, she was full of surprises. She gave me a little golden diamond H, cause she always joked about how when I got older, I would live in the H and she would live in the W of the Hollywood sign — turn it into a little A-frame house. I was like, “Really? Let’s do it.”
When you first met her in the studio, what was going through your mind?
I remember so many different things about that session. She wanted me to go in and do something at the end, like a little tag. I got on the microphone and I had, like, red-light fever because she was watching me. I said, “That was bad, my voice was breaking.” And she’s like, “I like that it was breaking. I’m gonna try and do it like you now.”
Lana Del Rey is on the cover of California Style magazine for their March issue. She spoke to Lesley McKenzie about living in LA and finding friends and inspiration there, as well as how she’s over her obsession with old cars such as the 1950s pickup. Lana also talks about being in a happy place, following her dreams and how she warms up for her shows with rehearsals and meditation.
The interview is accompanied by a gorgeous photoshoot photographed by Victor Demarchelier and styled by Alison Edmond. Below you can find some snippets from the interview!
California has been a source of inspiration for Del Rey in the last few years, often from behind the wheel of her truck (“It’s brand-new, it’s not a nostalgic, 1950s pickup,” she quips. “I’m over my old-car obsession—I’m happy with Bluetooth”), driving along the Pacific Coast Highway. The tony San Ysidro Ranch in Montecito, which was devastated in the winter mudslides, was always a favorite destination for Del Rey to recharge.
“I’d say the last two years have been relatively peaceful,” says Del Rey of her current frame of mind, which has since seeped into her work. “I think that’s kind of why my newer record has a little bit of a brighter tone to it, whereas before I was definitely working a lot and on the road 24/7,” she says. “I’m still traveling a lot but I had a lot more to work through a couple years ago, I guess.”
That shift in perspective shines through on ballads such as “Change,” the last song Del Rey wrote for the album, which addresses the fact that she was seeking change in her life but didn’t know how to go about it. “It was just more like a small bubbling of wanting to turn things around aesthetically in my art and personally as well. I really like the idea that life imitates art and I’ve noticed that in my own work. I knew that good things could follow if I put it out there that I was still trying to grow.”