David Kahne

She was a temp, but, you know, she was there, and she heard, she overheard this conversation.

I think it was David Kahne.

Um, I might be wrong about that, but I'm pretty sure it was David Kahne, uh, where somebody was like, "You hired Beinhorn to produce that record? He's a pain in the ass."

Oh, my God.

And somebody goes, "I know, but he'll fire the drummer, so I won't have to."

Not as good as Being There, but still really good.

Warner Brothers then approached the band, because they were massively in debt, and they were really looking to capitalize on any opportunity they could to make more money, and they said, "Can you make us a radio-friendly remix of the song Can't Stand It?" Wilco agreed, quote, "Once and only..." Uh, sorry, "Once and once only," end quote, at the direct request of David Kahne, uh, the head of Warner's A&R department.

Sure.

So it was a little bit of a capitulation, but they were like, "Yeah, we'll try it." They made the single.

So they, during the merger, they eliminated over 600 jobs, including they let Reprise Records president Howie Klein go.

[clears throat] Excuse me.

So the decision to release, uh, Yankee Hotel Foxtrot fell onto this guy named David Kahne, who we've [laughs] already talked about.

Yes.

She read philosophical texts during the day and performed her music at night.

During this time, Lana partook in songwriting competitions and secured small recording contracts, and when she graduated with her bachelor's in 2008, she moved to Manhattan and began working with the producer David Kahne.

Lana performed under several stage names, including Sparklejump Ropequeen and May Jailer, before solidifying Lana Del Rey with her 2011-2012 success from the Born To Die and Paradise albums.

Aided in part by the viral success of the music videos that Lana made herself to accompany the songs Blue Jeans and Video Games, the 26-year-old mesmerized people with her retro style, soulful voice, and her free spirit.

Sure.

So they ended up bringing in a hired gun named David Kahne, and if you remember that name, he was the dude who had a, a pretty big role in Sublime's record.

Oh, yeah.

Okay.

They were like, "Well, Gordon Raphael's gonna produce this record, but we need you to, like, run the gear and give it a polished sound, and just help us out with that part."

Sure.

Well, it became really apparent really fast that David Kahne was, like, basically taking over as production.

Like, he basically hijacked the fucking, the scene over there, and after a couple weeks, Gordon Raphael was like, "Uh, this isn't going the way I wanted it to.