litewave

Or maybe she is a Sophia and the dark cabin is a transcendental timeless perspective from which she "puts on the music". As she appears to be standing by a window, looking out and watching the "cult leader", she reminds me of Lady of Shalott. I imagine that a timeless point of view is sort of "mundane" too, in the sense that there isn't much going on lol. Everything is there, but it's dormant, hidden, unexpressed. "I am half sick of shadows," said the Lady of Shalott.
 
 
Oh, the cabin scene is so murky that I didn't even think of reflections but it makes sense: the realm (or perspective) of time is like a moving reflection, or manifestation, of the timeless realm. Here is another nice picture that seems to portray this kind of idea:
 

 
 
Bear looks like such a strong and down to earth animal, while owls are associated with wisdom and mystery. A duality seems to be symbolized here, and I also get vibes of masculinity and femininity. The bear is also on the flag of California, the land of materialism, individualism and time (golden gods, silver starlets, movies). But I am sure these animals have also other symbolic associations in various traditions.

Or maybe she is a Sophia and the dark cabin is a transcendental timeless perspective from which she "puts on the music". As she appears to be standing by a window, looking out and watching the "cult leader", she reminds me of Lady of Shalott. I imagine that a timeless point of view is sort of "mundane" too, in the sense that there isn't much going on lol. Everything is there, but it's dormant, hidden, unexpressed. "I am half sick of shadows," said the Lady of Shalott.
 
 
Oh, the cabin scene is so murky that I didn't even think of reflections but it makes sense: the realm (or perspective) of time is like a moving reflection, or manifestation, of the timeless realm. Here is another nice picture that seems to portray this kind of idea:
 

 
 
Bear looks like such a strong and down to earth animal, while owls are associated with wisdom and mystery. A duality seems to be symbolized here, and I also get vibes of masculinity and femininity. The bear is also on the flag of California, the land of materialism, individualism and time (golden gods, silver starlets, movies). But I am sure these animals have also other symbolic associations in various traditions.

Or maybe she is a Sophia and the dark cabin is a transcendental timeless perspective from which she "puts on the music". As she appears to be standing by a window, looking out and watching the "cult leader", she reminds me of Lady of Shalott. I imagine that a timeless point of view is sort of "mundane" too, in the sense that there isn't much going on lol. Everything is there, but it's dormant, hidden, unexpressed. "I am half sick of shadows," said the Lady of Shalott.
 
 
Oh, the cabin scene is so murky that I didn't even think of reflections but it makes sense: the realm (or perspective) of time is like a moving reflection, or manifestation, of the timeless realm. Here is another nice picture that seems to portray this kind of idea:
 

 
 
Bear looks like such a strong and down to earth animal, while owls are associated with wisdom and mystery. A duality seems to be symbolized here, and I also get vibes of masculinity and femininity. The bear is also on the flag of California, the land of materialism, individualism and time (golden gods, silver starlets, movies). But I am sure these animals have also other symbolic associations in various traditions.

Reading http://www.amazon.com/Restoring-Paradise-Esotericism-Literature-Consciousness/dp/0791461394
 
 
When she wished to die, and spoke of Melancholia as Ultraviolent Initiation, I saw a kindred soul. When I see the pop starlet with immaculate hair on the red carpet, it does not speak of me. Yet even tracks like "Heavy Hitter," "TV in Black and White" and "She's Not Me" seem to reveal deep waters beneath their plastic forms.
 
The cabin is the world of the mundane, where "It's all been done before," the ennui of modernity becomes curiosity as one reaches down into an unknown darkness. The wish to be something more than human (per David Bowie) becomes an imitation of Sophia's original creative act.
 
"It's been an interesting journey. I feel like this year I'm only just starting to figure out the perspective I've written the last four records from" -- whose perspective?
 

 
"Burned into my brain are these stolen images"
 
Lizzy was a fresh-faced innocent opening strange doors that would never be closed again -- the blonde (Lizzy) meeting the brunette (Lana) in the waters and dying to that self. ("Deeper and deeper, looking for love in all the wrong places ...")
 
The "Cult Leader" is man as priest and mediator of a feminine Shekinah presence, he who enters the Holy of Holies and communes directly with God -- but in our modern world, the Church no longer fulfills this function; it has become an empty and murderous Manson Family disconnected from the Source (Family). Isis in the Aquarian Age:
 

 
"Something happened on the day he died
Spirit rose a metre and stepped aside Somebody else took his place, and bravely cried: (I'm a blackstar, I'm a blackstar)"   (Ground Control to Major Tom)  
"In the name of higher consciousness
... I'd rather know what God knows"   "Palm trees in black and white Was the last thing I saw before I died Right line, right man Right mixture of cocaine and heroin Do you wanna jump, jump, jump?"   To die before one dies, to jump into the Abyss and know what only God knows

"I am my only God" remids me of the myth of Narcissus, as well as this image of her touching the surface of the opaque black water in the round pool (also, there are Alice In Wonderland allusions, especially with the tripping delirium):
 

 
as well as a portal to the haunted house of doppelgangers (god, pure, and evil, corrupted facets of the same person descended in the realm of the shadows) full of identical bloody cherry red rooms in David Lynch´s "Twin Peaks" - a purgatory of sorts, a test for a pure in encounter with the evil spirit Bob - if it succumbs, only its shadow self returns to the face of the Earth, to the daylight:
 

 

 
 
The log lady from "Twin Peaks" claims that owls are not what they seem (they are actually the angels of death, forshadowers of trouble and demise), and the wooden cabin from "Freak" is full of taxidermy animals from the darkwoods, owl among them, that resemble heralds of death or emblems of resurrection/afterlife.
 
And, because you are your only God, you yourself must face and live with your own Devils, there is no shortcut, escape or magnus trickus

I think introverted and melancholic people don't necessarilly avoid jamboree activities, wild lifestyle, sensual pleasures or even ticklish encountering with strangers in the night – at least I speak from my personal experience, as an introvert who mentally and emotionally nurtures myself with deep and meaningful relationships, but is often ready for a quick injection of casual, sparkling, unbounded fun for the purpose of relaxing from ruminations, mental efforts, bloody labour or intimately pessimistic thoughts, or - chiefly - to numb the pain by acting the opposite way, but I cannot speak in Lana's name, although I can agree that a good portion of her sadness is a part of meticulously crafted image.
 
And although I'm not a die-hard fan of astrology, there is something in her being on the cusp between sanguinary, feisty, audacious Gemini and egregiously emotional and moody Cancer who would literaly perish for her lover.
 
Yes, most of depressive individuals are terrified of the nonchalant frivolity of the summer. I think Lana has a very plastic, viscose, slippy personality that has that stupendous ability to act like an extrovert and to metamorphose into totally different, foxy entity to fuel the fire of fun/cheap thrills or snap attention, love and affection, even in the moments when she would rather crowl to her coffin of dark security, emotional blackout and temporary misantropy, but those are just my projections onto the blank papyrus of her public persona, since I don't know her personally.
 
Also, she was certainly dazzling idealist during her adolescence, allegedly living on the street, when she sucked in every impression, sensation and wonder of the world around her and that can be seen in her earlier lyrics which are so fresh, prolific and profuse with fireworks of visual metaphores, electrified associations and lustrous, lucid, unpredictable stream of counsciousness that effortlessly flows in cascades, while now she reduced her verbal expression to simpler, cryptic but „bigger“, heavier, more monumental words,statements and expressions.
 
And, I think that dramatic effect can be achieved by ecstatic imagery also, although melancholia is always more potent, convincing and capable to seduce, shock, distress and narcotize the listener, to suck him deeper into author's limbo or twilight zone of her or his private hells, because we are bloodthirsty by nature and weaker for the gloomy than the merry, just like we tend to be horrified by a carcrash, but simultaneously we cannot avert our eyes from its most eerie and abominable details, like cut throats or ultracrimson flames.
 
Lana obviously counts on that effect, so she is using it intemperately and almost greedily (plus, people tend to identify more with someone's else's despair, than happiness, if I'm not fooled), and she wouldn't be capable of drawing inspiration from melancholia as a phenomena and milking it productively and sooo convincingly if she hadn't had a germ of that blackess in herself already. To me, she is somehow split personality, not meaning dissociation, but containing both Sun and Moon, and the most impressive, magical and cataclysmal works of hers happen when the two polar opposites collide.
 
Or she is just simply a perfectly balanced cocktail of extroversion and introversion. To put it simple, Lizzy was gleeful, curious, playful and adventurous, but life brought some harsh disillusionments for her who dreamt biggest (as Marilyn also stated for herself), so now she is off her seventh heaven and into the Black Lodge of pinewoods muffled in mint-cool, sinister breeze. (To read this again as my biased interpretation, since I tend to romanticize and identify with anything uncanny and obscure).
 
Also, they say that people around 30 tend to finally settle with a temperament that is destined to be their own, and all before is just a great rehearsal for life, a series of experiments in a cosmic meta-chemical laboratory, so a 30-year old paranoid eunuch can easily be explosive, methamphetamine-addicted, carnivorous nympho in her twenties, fleeing from one golden-grilled caregiver to another, like apocalypse is tomorrow. I see Lana that way, who knows how fatally I'm wrong.
 
PS. Sorry for gigantic post, I alwas carry myself away

I think even contemplative introverts generally feel happier in the summer (maybe with the exception of depressives who dislike being reminded of the fun others are having). It's just that people usually focus on their ability to romanticize the darkness and desolation of winter, because it is comparatively rare in non-introverts. But I also tend to think that Lana's melancholy and introversion is exaggerated for the most part. To me it's pretty clear that she's fun-loving (references cheap thrills and sensual pleasures often) and a natural born people-person who really gets off on outwardly projecting her best 'self', partly for the enjoyment of others. I get the feeling her love of interpersonal contact isn't just limited to the meaningful/intimate stuff and that she feels most in her element when she's being wild, carefree, and expressive. It seems that if anything, Lana's melancholy arises from the high expectations of lasting happiness she has, and that she uses this melancholy as artistic fuel for the dramatic musical/visual aesthetic that she loves so much.

Note this line from the recent NME interview: "I am surprisingly similar to the person in those songs"  
 
Lizzy says she is wholly this "Lana" archetype already illustrated in her imaginal crystallizations (not a 'persona' because 'Ms. Grant' was the name written on her wallet ID that was ceremonially sacrificed) -- "i am my only god"
 

 

 
"Dive in, dive deep and dive blue, my sweet
Rushing up from the water where the ice meets"   Your Cult Leader meets your Jazz Singer as Hierophant and High Priestess down through history in an Initiation into higher consciousness, ending the division of the two churches   The LSD tab becomes the PEYOTE shirt from Ultraviolence as noetic Pepsi-Cola   Sophia (the dove) seeing her reflection in the waters of Chaos (the Dead Pool) and running to meet it, becoming a "Freak" exiled from the mundane, drinking the cup of poison that Christ begged to be taken from him   "California" as the Western lands of Underworld as Paradise (Lost)

Just for the record... shades of red dominate the first half of the Freak video, and shades of blue the second, with some white in between.
 
Daylight, moonlight, and a moment of silence in between.
 
Two worlds in one.

Just for the record... shades of red dominate the first half of the Freak video, and shades of blue the second, with some white in between.
 
Daylight, moonlight, and a moment of silence in between.
 
Two worlds in one.

Just for the record... shades of red dominate the first half of the Freak video, and shades of blue the second, with some white in between.
 
Daylight, moonlight, and a moment of silence in between.
 
Two worlds in one.

Just for the record... shades of red dominate the first half of the Freak video, and shades of blue the second, with some white in between.
 
Daylight, moonlight, and a moment of silence in between.
 
Two worlds in one.

This T. S. Eliot quote about time and timelessness, or movement and stillness, or incarnation and transcendence, nicely sums up the audio video for High By The Beach:
 

 
Reality contains all possibilities, which are fundamentally timeless or eternal because they can be neither created nor destroyed. But among these possibilities are their orderings in sequences which we experience as time, as processes in which things become differentiated/individuated. Thus timeless reality contains in itself its temporal manifestations or expressions - timeless art manifests as life, script comes alive in a movie, so to speak. The eternal soul embarks on a voyage of exploration of reality, with ego as the pinnacle of the soul's individuation in time and a body as their expressed form/vehicle in which they live and move.
 
The first two singles off Honeymoon offer two scenarios of what happens next. The first one (Honeymoon) is a vision of love, of reconciliation of the qualities of ego and soul, of learning from the past and continuing the journey on a higher level. The other one (High By The Beach) is a vision of further deterioration which will compel the soul to get rid of the ego and start again.    
 
Ken Carey - The Third Millennium

The picture above portrays progressive differentiation of timeless, undifferentiated oneness into separate individuals. In the MTWBT video, Lana lying alone on the lounge chair represents the ultimate/universal soul, the kissing/embracing underwater girls represent the souls and the competing boys represent the egos, the peaks of individuation. She puts on the music, camera's on, time begins to flow. "This is what makes us girls, we don't stick together 'cause we put our love first" - as the souls individualize they eventually separate into the egos.
 
The duality of differentiation and unification, or masculinity and femininity, produces the music (life) and seems to be represented by the two gramophones revolving in opposite directions. Lana also seems to suggest this duality by emphasizing her headphones with flowers, as the sound from the right ear is processed in the analytic left brain hemisphere and the sound from the left ear in the holistic right hemisphere (in general, each brain hemisphere is connected to the opposite half of the body).
 
The colors or lack thereof in this video are apparently a deliberate symbolism too. There is the blue color of water that can be associated with heaven and (because of the underwater girls) femininity and there is the pink color of the flamingos. I think the flamingos represent masculinity: their long necks with heads and beaks on the end look like probes (analysis) and their pink/reddish color suggests earthly/carnal orientation (as the opposite of the heavenly blue). Flamingos are wading birds though, so they are in contact with water (egos in contact with souls).
 
The black and white scenes represent the opposite extremes of reality: the undifferentiated oneness where everything is hidden in the timeless potential, including colors, and the purely earthly realm where differentiation reaches the point of maximum contrast, stark black and white, with no place for colors. Colors, vividness, life -- are to be found between the extremes...

Just for the record... shades of red dominate the first half of the Freak video, and shades of blue the second, with some white in between.
 
Daylight, moonlight, and a moment of silence in between.
 
Two worlds in one.

I suspected Lana was undergoing the Jungian process of integrating with the Self, but not like this...

I suspected Lana was undergoing the Jungian process of integrating with the Self, but not like this...

I suspected Lana was undergoing the Jungian process of integrating with the Self, but not like this...

God and Lucifer are the opposite sides of one single coin, and Lucifer is, after all, the bearer of light and knowledge, therefore, positive figure (a fallen angel, he was once one of the fair feathery gang up in the Elysian fields). The church itself glued the alarm of evilness to the so called Satan in medieval times, untill now.
 
And this book, "Satan Witch", is actually charming, harmless text about saucy, foxy seductresses that tease and manipulate men slyly and ingeniously into doing what those capricious little asses want them to do - to lick their feet and the ground they walk upon. I mean, just look at the subtitles of chapters:
Cartoon Cuties
Stockings versus Panty Hose
The High Heel
Accessories
Color Clues for Witches
How and When to Lie
Learn to Be Stupid :teehee:
 
etc.
 
There are some spicy advices on how to cast spells and practice real, spoooky witchcraft, but they are in the cathegory of lite, sugar cotton Disney movies (at least for the people who were baptized by serious and tempestuous pains and troubles).
 
It's a fun manual for ambitious chicks who want to be the whole world's girls or lethal femmes fatales that grab everything life offers in its cornucopia and who seek material, mundane, teluric pleasures (money, adoration, power and hot, sweaty screw). And, after all, "lies can buy eternity".
There is no trace of bloody ritual carnages or eating little babies or placenta. C'mon, who takes satanists seriously, or at least their today's naive admirers?
Once you enter into their narrative, you discover they are actually hypersensitive creatures who find their guidance and guru in worshipping Devil because they need an iron spine and someone omnipotent to rely on, in their wavering life whereabouts (because they are too insecure and scared to wander around stormy waves of existence themselves, or they undergo an identity crisis).
 
 
Here is the gem to download:
 
http://www.e-reading.club/bookreader.php/130868/LaVey_-_The_Satanic_Witch.pdf

This is the key point. "Lana Del Rey" is not strictly a person, she is an archetype manifested by Lizzy Grant — an archetype derived from where? From the Still Point between Time Past and Time Future, and the Goddess of that space (see Tropico). Beauty is archetypal precisely because it recalls the pre-existent Form of the beautiful. Star Wars is a Monomyth (see Joseph Campbell), and somehow, so is she — her career follows the arc of a crucifixion on the world-stage. Therefore the question becomes not if "life imitates Lana," but if Lizzy imitates a pre-existent Lana, or vice versa—all depending on whether you view time forwards or backwards.

Like the platonic idea of beauty (or everything else) that is supreme and sublime, above the physical manifestations of that idea/ideal in material world, that imitate her in perpetually imperfect manner, never reaching nor achieving that ideal. Like art that, according to Plato, unsuccessfully imitates that ethereal world of ideas. There are zillions of manifestations and representations of certain archetype, but, according to his theories, it is always just a faint echo of a "real deal", at least for him (I don't agree with his tense attitude towards creativity, though). Ideas are eternal and unchangeable, fixed in eternity, or, in the space where time does not exist, frozen in the eye of the hurricane, standing still like monades, and avatars/incarnations on Earth, like Lana, Lizzy (not Elizabeth), May Jailer, Sparkle Jump Rope Queen, that are mutable, like chameleons, channel specific idea or archetype, enriching skeleton of them with flesh, blood, juices and peculiar aromas and scents. She, with her many faces of goddess, injects trembling life and electric vividness to grey, monumental, austere, and ice-cold ideas/archetypes on their solemn pantheon and makes them unique in her individualistic, quirky and seductive manner.
 
I guess so.

These are strong french new wave, nouvelle vague, existentialist black and white, sombre movie vibes> antiheroine that is well read, educated, sophisticated, psychologically and emotionally complex, but fragile and delicate, and in ennui and angst of life, in her own despair of lonely, displaced and alienated individual, she gives up all of security and coziness of futile bourgeois living and goes to explore a dangerous, edgy street life of a prostitute, like Catherine Deneuve in Belle De Jour or Anna Karina in Vivre Sa Vie, and at the end she is shot by the criminals in absurd death because of being misfortunatelly and randomly involved in their dubious activities, being innocent victim of disconsolate, wretching, calamitous path of contingency.
 
Or it is her giving up, negative laissez-faire attitude, after she reached her glorious goal, the holy grail of her tempestuous voyage, fame, and now she is just a shadow, or empty shell, of her former, bursting, healthy competitive, ardorous and playful self. Languid goddess in the fluffy nest of pearly, milky swan feathers landed on the hard, cruel, cold, broken glass concrete of harsh, brutal reality, fearing death and loss of beauty and youth, those hostages of vanity.
 
Of course, this is just a speculation, since I inscript my own sensations into Lanette, according to my own current anxieties *I also suffered from panic attacks, so I know exactly how it is to be in the crusty, spiky arms of that gravely Leviathan. Suffocating, heart palpitations, hot and cold sweat, dizziness, derealization, depersonalization, fear of losing control, of going batshit crazy and of death. So maybe her own anxiety really is that debilitating, and therefore her fans should be more compassionate, considering her, hopefully temporary, giving up tours, because she really doesn't owe nobody anything, despite our hysterically galactic expectations. One's health and spiritual peace is more important than serving delusional wishes of the ones that don't love you for who you really are, but for what ideal coconut crisp and pure screen you lay out for their unfulfilled and burning desires.
 
Speeking of impacts, jungian synchronicities and cosmic coincidencies, I am also terrified of sharks, those eclatant representatives of devouring ambition (if you cease to move, you instantly die), my first avatar here was Sharon Tate, and online digital magazine representing new cinema, in the grand interview I gave to it, compared my short experimental movies with the legendary and iconic Kenneth Anger. Not that I like to brag, but...     *I know noone cares, but I'm so proud of myself 

The picture above portrays progressive differentiation of timeless, undifferentiated oneness into separate individuals. In the MTWBT video, Lana lying alone on the lounge chair represents the ultimate/universal soul, the kissing/embracing underwater girls represent the souls and the competing boys represent the egos, the peaks of individuation. She puts on the music, camera's on, time begins to flow. "This is what makes us girls, we don't stick together 'cause we put our love first" - as the souls individualize they eventually separate into the egos.
 
The duality of differentiation and unification, or masculinity and femininity, produces the music (life) and seems to be represented by the two gramophones revolving in opposite directions. Lana also seems to suggest this duality by emphasizing her headphones with flowers, as the sound from the right ear is processed in the analytic left brain hemisphere and the sound from the left ear in the holistic right hemisphere (in general, each brain hemisphere is connected to the opposite half of the body).
 
The colors or lack thereof in this video are apparently a deliberate symbolism too. There is the blue color of water that can be associated with heaven and (because of the underwater girls) femininity and there is the pink color of the flamingos. I think the flamingos represent masculinity: their long necks with heads and beaks on the end look like probes (analysis) and their pink/reddish color suggests earthly/carnal orientation (as the opposite of the heavenly blue). Flamingos are wading birds though, so they are in contact with water (egos in contact with souls).
 
The black and white scenes represent the opposite extremes of reality: the undifferentiated oneness where everything is hidden in the timeless potential, including colors, and the purely earthly realm where differentiation reaches the point of maximum contrast, stark black and white, with no place for colors. Colors, vividness, life -- are to be found between the extremes...

The picture above portrays progressive differentiation of timeless, undifferentiated oneness into separate individuals. In the MTWBT video, Lana lying alone on the lounge chair represents the ultimate/universal soul, the kissing/embracing underwater girls represent the souls and the competing boys represent the egos, the peaks of individuation. She puts on the music, camera's on, time begins to flow. "This is what makes us girls, we don't stick together 'cause we put our love first" - as the souls individualize they eventually separate into the egos.
 
The duality of differentiation and unification, or masculinity and femininity, produces the music (life) and seems to be represented by the two gramophones revolving in opposite directions. Lana also seems to suggest this duality by emphasizing her headphones with flowers, as the sound from the right ear is processed in the analytic left brain hemisphere and the sound from the left ear in the holistic right hemisphere (in general, each brain hemisphere is connected to the opposite half of the body).
 
The colors or lack thereof in this video are apparently a deliberate symbolism too. There is the blue color of water that can be associated with heaven and (because of the underwater girls) femininity and there is the pink color of the flamingos. I think the flamingos represent masculinity: their long necks with heads and beaks on the end look like probes (analysis) and their pink/reddish color suggests earthly/carnal orientation (as the opposite of the heavenly blue). Flamingos are wading birds though, so they are in contact with water (egos in contact with souls).
 
The black and white scenes represent the opposite extremes of reality: the undifferentiated oneness where everything is hidden in the timeless potential, including colors, and the purely earthly realm where differentiation reaches the point of maximum contrast, stark black and white, with no place for colors. Colors, vividness, life -- are to be found between the extremes...

The picture above portrays progressive differentiation of timeless, undifferentiated oneness into separate individuals. In the MTWBT video, Lana lying alone on the lounge chair represents the ultimate/universal soul, the kissing/embracing underwater girls represent the souls and the competing boys represent the egos, the peaks of individuation. She puts on the music, camera's on, time begins to flow. "This is what makes us girls, we don't stick together 'cause we put our love first" - as the souls individualize they eventually separate into the egos.
 
The duality of differentiation and unification, or masculinity and femininity, produces the music (life) and seems to be represented by the two gramophones revolving in opposite directions. Lana also seems to suggest this duality by emphasizing her headphones with flowers, as the sound from the right ear is processed in the analytic left brain hemisphere and the sound from the left ear in the holistic right hemisphere (in general, each brain hemisphere is connected to the opposite half of the body).
 
The colors or lack thereof in this video are apparently a deliberate symbolism too. There is the blue color of water that can be associated with heaven and (because of the underwater girls) femininity and there is the pink color of the flamingos. I think the flamingos represent masculinity: their long necks with heads and beaks on the end look like probes (analysis) and their pink/reddish color suggests earthly/carnal orientation (as the opposite of the heavenly blue). Flamingos are wading birds though, so they are in contact with water (egos in contact with souls).
 
The black and white scenes represent the opposite extremes of reality: the undifferentiated oneness where everything is hidden in the timeless potential, including colors, and the purely earthly realm where differentiation reaches the point of maximum contrast, stark black and white, with no place for colors. Colors, vividness, life -- are to be found between the extremes...