LoreleiLee

This will maybe more fit the category of personal, non-biased statement, but I really like the sax in Art Deco, it is sexy, sensual, yet eerie and extraterrestrial. Its oriental, evocative melisma and almost antrophomorphic soundscape of the dancing and swirling ghost reminds me of spooky, morose instrumentals of Angelo Badalamenti in Twin Peaks, precisely, this: https://www.youtube.com/watch?v=nLTiKC13sfY It is like TP's exotic, cocktail, poolside, bellydance, steamy, neon and magmatically fervid version. Like the other side of the Moon with sax as a red thread or cobra rising from the basket that connects both worlds. Also, I have flashes of reminiscence to this Portishead song (except here sax is more jazzy and defined): https://www.youtube.com/watch?v=u7Heejpc5GI

Lana was born on solstice (21 june) (so she is a solstice babe - and she loves summer so much, which is the time of her life arcadia and fulfillment of her dreams, the blissful paradise state; everything concerning winter in her songs, literally or metaphorically, is related to depression/dark night of the soul, mourning the break up of a relationship, loneliness or blues of the soul in general - except for her mentioning Christmas time and the day "we met in December"). (Ok, here I brought the notion of the opposition inside the same category - winter-summer solstice). And that is often what I was astonished about - usually melancholic and introverted people prefer aloofness, stillness and contemplative desolation of the winter, and Lana, of the same temperament, is so attached to bright summer days - maybe to exhilarate too much water (emotions) with the glorious fire chariots of the Sun.

Video Games - 29 Born to Die - 15 West Coast - 46 Shades Of Cool - 39 Brooklyn Baby - 28

Video Games - 30 Born to Die - 15 West Coast - 46 Shades Of Cool - 39 Brooklyn Baby - 27

Why are you sooo obsessed with numbers, charts, numeric comparisons and money, like some banker? Musical legends from the past (which you permanently mention as a reference in mantra style) and their fans lived primarily for their music, and music was their passion, personal statement, way of expression and entire lifestyle, something to die for, pure pleasure and ecstasy. Yeah, they need bucks for survival and some dope supply , but love and art is what its all about (at least for idealists like me, and for auteurs that are not generic, plastic, soulless mannequin, instant sell-off starlets). You are jumping into your own mouth.

So, The White Goddess stands for all other female pagan deities in Europe, or behind them? I've read she has also three faces which represent the stages of the Moon, which means she is a tripple goddess and that resonates with Lana being often in tryad of colours: black, white and red. I guess that is related with nigredo, albedo and rubedo, and on the other hand, with hell, purgatory and heaven, and with the stages of woman as a maiden, mother and crone. Or maybe Lana being young nymphet, wounded girl and independent superwoman (but you've already wrote all about that, so I won't repeat myself) Despite Lana her being haunted by the male loves of her life, I couldn't envision Muse as a guy (because she was actually desperately trying to permanently fall in love with herself, or to make her androginuos God to return to the temple of her body and soul; lack of (self)love = God is dead). Maybe that proves the existence of collective consciousness and the laws that are applicable to everyone, no matter what sex or gender we are: Muse is by definition female, because a woman is the Other, mysterious, tricky and elusive; man is the doer and active creator of history, a concrete and simple creature, woman is receptive vase that gathers all enigmas or fluid mirage in hundred veils, complex within itself, like a snake that bites its own tail. (And Muse is also mostly idealized woman, Madonna, vs. Whore, although Baudelaire's muses were very terrestrial, carnal and salacious, even literally dirty, decaying and rotten. Him and Rimbaud imported the aesthetics of ugliness, as something that inflames imagination to create more vivid, shocking, palpable and sensual imaginery. Symbolism in general was a turning point in the perception of feminity versus romanticist ethereal elations and obsessions over unreachable „Ladies“ in celestial thrones of unsatisfied desire and longing, and they turned to contemporary time and the very changes that arrived, including the surmise of women gaining their social and political rights, which was, I guess, partial reason of dethroning and demistifying women in general. Ancient muse doesn't have a mind or a soul of herself, she's a mere apparition, somethimes terrifying, omnipotent yet unatainable phantom - she's a "Belle Dame Sans Merci". Modern women are finally given voice and have become human and real, multidimensional, so impenetrable Sphynx became Picasso's distorted and vulnerable "Weeping Woman"). I think all of Lizzy's and Lana's boyfriends are just a vehicle, a medium of one spirit she drags from one body to another, having in mind an ideal that is modeled out of puzzle pieces of her dudes' traits. They are not important, important is the idea of love and merging lovers or animus and anima in sacred heavenly marriage, feeling mystical ecstasy, like St. Theresa (you've said that too). And, before she had internalized patriarchal and sadistic male gaze, inverted towards herself as an object (submissive, needy, masochistic, suffering but beautiful and seductive, sometimes treating herself as a piece of meat or an unworthy prostitute), and now she reverts it into assertive, emancipating female gaze (for example, when she reaches for typical male weapon in High By The Beach and attacks intruding male stare in self-defence and reclaiming power over her whole being, or when she is „watching boys to“, like a matron/dominatrix/mafia widow observing sexy but deindividualized mannequins in a parade of flesh). She is also "sent to destroy" (Kali, threatening goddess with skulls around her neck), dangerous, coldhearted and sick of the bullshit that honey-tongued sleazes serve her as an agency of corruption. Interestingly, she often mentions Federico Fellini, who is, like Pedro Almodovar, fiery admirer of the womanhood in all of its aspects and eagerly, fiercely pays tribute to female archetypes in his movies, where women are always superior to men, because they are fragile feelers, but at the same time so strong and intellectually and emotionally giant that they bear the burden of entire planet and universe on their shoulders, always having very thorny and excruciating path in this earthly life and going through thousand little deaths and resurrections. He displays compassion towards their martyrdom, and also nurtures awe and lustful trepidation in front of vamps, who are pure primal force of nature (as Courtney Love, Lana's temporary companion, once proudly claimed for herself). And, considering The Cult Of Isis, she wears red robe, and maybe that is the reason of Lana's trope of red dress, which she mentions everytime in the song she is about doing something special: visiting club, attending a ball, a ceremony, seducing her tiger or taking an intimate ride with her babe on the heavenly side, mostly whenever she wants to be seen and to display herself (those special moments equate the festival of worshiping Isis). But, I will stop now because I have a feeling most of it was already said and I am talking too much, and I will follow your correspondencies.

I honestly think the anguish and torture of choosing between Born To Die and Ultraviolence would be equal to Sophie's choice. Both of them are magnum opuses, ultimate classics. BTD has more distinguished, irreplaceable, anthological singles which set the anchor ideals, and Ultraviolence is one blended, monumental, monadic emotional experience. So, they are equal in the long run. It is still early for me to put Honeymoon in the race, although it grows on me with astral speed.

Freak Art Deco Salvatore The Blackest Day --------------------------- on repeat

I am doing it for fun and some brain gymnastics, without pretension for something bigger than life. And Lana is voluntary a public person, so she (and her opus) serves as screen for projecting our own wishes, dreams, desires, identifications or disagreements, thoughts, analyses etc. I don't know about the others. For me, meanders of her own jurney clarify some things in my own life, and I enjoy reading litewave and DeadAgainst because I'm seriously interested in esoterics, metaphysics and philosophy in general, since highschool. And those fields of human knowledge and experience are much easier to understand when compared with something familiar, something that we love and appreciate and are fascinated by, and is also a part of popular culture.

Hmmm... Kill Kill, Serial Killer, Mermaid Motel, Put Me In The Movie, Maha Maha, Pretty Baby, A Star For Nick (maybe), Yayo, Trash Magic, Get Drunk, Disco, Pin Up Galore, Playing Dangerous, The Man I Love, Velvet Crowbar, Off To The Races, Ride or Die (She's Not Me), Burning Desire, Million Dollar Man, Cola, Body Electric, (Gods & Monsters), West Coast, Shades Of Cool, Ultraviolence, Money Power Glory ( ), Sad Girl, Fucked My Way Up To The Top, Florida Kilos, Flipside, Freak, Art Deco.... a whole boat of them.

For some reason I believe in reincarnation, so both

Yes! She looks like well-groomed, beautiful, radiating sicilian matron or dominatrix, maybe unbridled mafioso widow ready for new criminal excitements, even juicier and prettier version of Monica Belucci, bathed and baked in hot mediterranean sun scattered with crickets.

Don't put yourself down, all of us have to learn through the whole lifetime.

Thank you so much , but sirs above me have much more knowledge and they handle with more informations. I kind of summed up part of my knowledge on the theme in more poetic than factic way, plus, I actually didn't make so much reference to esoteric teachings, but more to mythology. But still

Thanks Thank you I guess it comes subconsciously (I love dark and seedy side of Hollywood glamour)

I have noticed a pattern in Lana's work that repeats, considering exchange between young lover and old caregiver: women have two kinds of animus, that haunt them in their dreams. These are the excerpts from the essay about my work, since I deal somehow with psychoanalysis, and partially with esotericism – I am not an expert - (some lines I remolded, and accentuated the examples of Lana's work or stages of progression on wavy spiritual axis, since her and my work overlap in some spots and knots): The main characters of my (and sometimes her) psychodrama are animus and anima, plus carnivorous demon or notorious double, and central actor, myself, with all aspects and archetypes of feminity and psyche. I found an interesting notion about how animus works inside the woman; he is either young, mad and bad rebel (tattooed, temperamental and wasted, with his gang, „you were a dick with your crew“ - Lana) that through visions and dreams reminds overly independent, busy, strong, stubborn amazonian superwoman that she needs to loosen up, or the old, scary, monstruous man (ancient sugardaddy with goldmine and thick cigar, mafioso or tutor/manager - Lana) who is after puella aeterna to face her with neccesity of taking responsibility for herself and to grow up, to face her demons and to resolve sexual ambuiguity, frustrations, fears, dependency to kindness of strangers, and playing victim. Puella aeterna is in Lana's case Lolita lost in herself, seductive, provocative, teasing, manipulative, naughty girl, unaware of her intoxicating sexual effect on men and of her psychic core, and she is doing all sorts of acrobacies to rest in that blessed state of being taken care off, because she, with her non-sublimated desires and youngster inner flames and hurricanes, represents certain danger mostly to herself. Then - when woman is daydreaming while doing random things, it is the devil's playground and the perfect surrounding for animus to become malignant, terrifying and paranoia-inducing, so she must harness her intellect and creativity and do something concrete, build something lasting, perennial and precious that will reflect her soul and affirm her identity, and maybe be valuable for society (or change other people's lives with her vision and creation). Lana greatly captured that danger of adverting her precious attention of her greater, sublime mission by citing verses about Lady of Shalott, who loses sight off her weave and looks down to irresistible knight, who symbolizes fatal distraction, and she loses focus and sacred mission. And before, she was split between puella aeterna and amazonian, because both young enfant terrible and corrugated father figure were after her (she was obsessed with them, because they assaulted the fortress of her mind and emotional chambers). Now, when she approaches her individuation, situation is reversed, she is, as a ghost, after them: she represents their conscience, sometimes bad, because they realized they treated her poorly and stabbed her heart to pieces (in videos like „West Coast“ and „Shades of Cool“). But there she is also beautiful, yet melancholy reminiscence, a fatamorgana that is like god's miracle, or good hearted and platonic succubus, not black as vampire, but white as angelic creature. She is mature enough not to take nightmarish revenge. She played with various stages and roles of feminity, from a fragile, porcelain doll that stands for innocence, tenderness and being lost in the world, that is, the puella aeterna (a girl that hesitates to grow up, has daddy issues, is helpless and searches for her prince on the white horse – all those idealistic features), to the grown woman whose psyche and social conditioning is forcing her to change masks and personas; in other words, from doll and nymph, to virgin, whore, amazon warrior, vamp, femme fatale, empress, priestess and magician. Lana searches for her holy grail of identity (ok, you've also said something similar); the aim of that expedition is spiritual androginy, or masculine reason married with feminine emotions, intuition and wisdom that is tightly connected with wilderness and power of nature. Masculine also represents civilisation, and feminity vulcanic and oceanic instincts, unstoppable and transformative. Hollywood is masculine for its ambition and structure of power, but feminine because of decadence, chaos, voluptusity, passion and dreams that are coagulated there. As far as mythologic creatures go, I am as equally enchanted by Hecate, three-faced goddess, and Lilith, first Adam's wife, because the latter is one strong and independent woman that refused to subdue to man, but she also has her dark side, living at the bottom of the ocean and killing and eating children of married women. She fights against the system and is revolutionary, subversive element, thorn in the eye of patriarchal society, and also represents sexual freedom and confidence, and being in charge of her own body and sexuality (which facet of herself Lana started to welcome in Ride already; she showed it in Ultraviolence songs tinted with rage, fury, revenge and pride – „so happy now you're gone“, „I want money, power, glory“, „you should run, boy, run“, „I'm a dragon, you're a whore“). And Hecate is female magician that has active impact on reality. She is also a creature of the night and moon (Honeymoon), from the dynasty of chtonic goddeses, related to secrecy, magic, darkness and descent into downward spirals of lower astrals, so to say (correct me if I am wrong about astrals – I know by now that lower ones are the dark and dangerous place when soul can loose its grip and person can descend to insanity if he or she is not ready to face demons or darkest and most hidden aspects of themselves). Feminity is still territory that appears as a dark jungle of irrationality, capriciousness, elusiveness and mystery, as in famous Freud's question, „What does a woman want“ that perpetuates the enigma of feminine soul. Because, female sexuality is a „dark continent“. And Lana's repetitive chanting „dark blue, dark blue“ and involving moon in the title of her album can be accepting her feminity, strong, integrated one, in totality: she is now her own and everyone else's mother, lover, child and sister. Oceanic depths and magnificent vastness of the harmonies and her return to chtonic, aquatic and lunar empire of goddess qualities are a sign of her curing from horrific turmoils from the past and skeletons in the wardrobe: she is lulled in the honey craddle of the night system of imaginative (Gilbert Durand), vs. day system. Second is schizoid, phalic, black and white, ambitious, controlling, rigid, stubborn, warrior-like and unapologetic, first is dark, soft, vividly colored in all tones of gems, fertile and soothing. It alchemically turns toxic spikes of depression into tender, balming, fructiferous feathers and furs of melancholia, which also contains sorrow, but that sorrow doesn't have destructive, but integrative quality. And it incites profusion of creative juices. Also, Melusine is one of the water creatures, and one of her incarnations is Lady Of The Lake, which is connected with the time of Sir Lancelot, the same knight that Lady Of Shalott looses her mind and life upon. And Lorelei is also one of the water/river nymphs ( ) - it is a name of the character Marilyn Monroe, Lana's mother, played in the movie "Gentlemen Prefer Blondes" (ok, the color of the hair is here irrelevant). And, Lana went a long road from sirens, also naiades and ondines, that have their master, Greek god of the ocean, Poseidon, therefore, are in the lower row, to eternal, comprehensive and supreme mother of the whole Ocean (High By The Beach might associate to the Queen by her Kingdom, and swelling ocean tide, which is the culmination of her feminity and feeling secure and magnificent in her own skin, needing nobody). - "Leave me alone, you phalic, penetrative, flashing, bullet-like paparazzi, I want to indulge myself in my soft, warm, delightful nest, which is a womb I came from, I am and I will be for more enchanting hymns of surf noir sadcore." She is now female Poseidon. I have also read that in gnostic cults there were orgies were many men and women were indulging sexual activities, but that sex was depersonalized (in contrast with egotistical sex between two romantically involved individuals or procreative sex with purely biological purpose) – it was an orgiastic, ecstatic tool to reach the contact with God and celebrate metaphysical myth; therefore, I would describe Lana's viscose and versatile sexuality in Ride with a bunch of free spirited bikers as her aim to transcend her lower being through sacred sexual submission to those masculine compadres and cock sparrows. Lana's ambiguity between fanatic devotion to her object of unconditional love ("you are my religion, you're how I'm living") and resurrected, magically transformed, wide-winged supervixen ("I'll do it on my own/I don't need your money") reminds me of Persephone and her double life/dual nature (one part of the year she spends with Hades, darksome and occult god of Underground/Hell, where she is entrapped and sacrificed, dependent and addicted - boyfriend, sugar daddy, cult leader; the other on the surface with her mother Demeter, goddess of fertility and harvest, i.e. with her grown up, autonomous self. And, concerning polarity between male and female in one person: Lana is a serial dater (as far as I remember from everything I've read, she always had long-term boyfriend, shorter adventure or fuck-buddy). As long as she will search resolving of her inner conflicts, excitement, fulfillment and protection in other people, i.e. men, she will never attain perfect balance of male and female energy inside herself. As visual artist and performer Marina Abramovic said in her manifesto, artist must spend a lot of time alone, in the house, on the top of the mountain, in the forrest, by the ocean, nevermind, but alone and contemplating, in the deepest contact with his or her innermost and truest and barest self and elements of nature and the universe. Nevertheless, there are different approaches, and Lana operates differently than Abramovic, but significant moments of solitude and absolute independence are crucial for one's integration and individuation, in Jungian and in mundane terms. These are just my amateurish musings.

Demons - Chelsea Wolfe Ghost - Sky Ferreira Bang Bang - 2Cellos ft. Sky Ferreira

I really worship our elusive siren, but excessive tankers of flowers again (in the booklet) give me pollen allergy. Too busy, cluttered, dappled, patchy, tricked and arabesque-like. Too claustrophobic. It would be refreshing if she continued that oceanic, navy, captain-like, peeping-tom, beach and salty breeze, minimalistic aesthetics, something that softly opens to vast infinity. Or, since she promised surrealism with diamonds in the skies, more exotic, monumental, enigmatic or strange looking plants. Lush underwater bodies, orgy in the cult, rainbow waves, violet haze, optical illusions and neon letters and traces would be a step into yet unknown dreamlands. I wished for psychedelic and unknown over muggy and sticky floral bushes in my granny's garden. They remind me of ornate living wall she wants to surronud herself with, like Norma Desmond in her desolate residency, and become totally invisible, sinked in her own private quicksand of imploding emotions.

Edited: wrong topic.

Thanks Can you post your men? (if you wish, of course)

I suppose I can when I make an effort, but I mostly draw women, because they are like my alter-egos. Men always come off as skinny and sinewy, and somehow all the same. (Maybe my first boyfriend set an ideal) Here is one very old drawing of an Indian guy, but the image is blurry and he has huge nipples (it is called "Soulmates") And he is not anatomically perfectly correct. [content removed] And here is Klaus Kinski (stills from movies), I made him with make-up (I guess I like feminized men, or guys in drag). His right shoulder is a bit fucked up. (I draw quickly) In this orgy ge has huge eyes, but I accentuated them to get that lunatic, dangerous, wasted-glamrock-star look. And he looks distorted (his arm, his muscle) because this is from my drawing book (page split is guilty). And his physique is tiny (but explosive). [content removed] Do criticize me if you think there are noteworthy mistakes.

Thanks so much! It could be gargantuous clit, teasing, devouring pussy (slimy version of vagina dentata) and dismorphic phalos (the ambiguity of it is what I like) Or anything else the viewer sees

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