LoreleiLee

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.  

There is certified theory in psychology that all addictions (so, also Lanas alcoholism, I suppose) stem from toxic relationships with parents, especially mother, who wasn't there in the earliest, more fragile and tender years of child's psychological developement, so that needy and helpless tiny child was not given enough love and care, wasn't nurtured and that kind of malnutritioning care, together with cold, controlling, possessive, but emotionally distant, unavailable and disapproving mother, creates enormous hole in child's being. That hole and perpetuating feeling of emptiness is later in life (unsuccessfully) filled with opiates and different substances that alter counsciousness and provide short-term escape from dark, painful reality (sucking elusive tit = sucking a bottle).That reality is conviction that you are not worthy of love (and you also desperately crave and yearn for that love, and alcohol warms your veins for a couple of hours, giving you false feeling of inner warmth - the real one can be provided only by love, of course). Also, addiction belongs to oral fixation, which is a part of oral character, formed in the first, earliest psychosexual stage of development. Others are: anal, phallic, latency and genital. Those who succesfully cross all traps of each phase and reach genital one, are the most developed and integrated, and oral types are the ones that have most wounds and complexes. I'm not saying Lana is a walking pathology, but I just find it interesting (yes, I'm nosy, but also interested in psychoanalysis) that she first tanked herself with liquor, and now is passionately engaged in chain smoking. That  is typical for oral constitution (I am exactly the same. I fought with alcoholism for about seven years, and I'm clean for about six, and I still miss my wild and escapistic life). As far as her mother is concerned, maybe she wasn't a witch, but if a father responds to daughter's attempts of seduction, she takes that as a signal that she possibly can replace mother and marry her beloved papa (Electra Complex, as someone said here). If daddy is especially fond of his little princess, she will develop strong attachment to him and view mother as a nasty rival. I think it is a normal phase in life, but it can lead to various tragedies if it is not overcome.
 
But, maybe I am all wrong about alcoholism and mother issues in her case.
 

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.  

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Silverscreen Bestiary:
 
   
 
 
  
 
 
   

"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

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.

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 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.

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

File has expired   I would need a gold gradient font for the whole alphabet, if there is one, please (my own gradients often look bad, wrong and sloppy).

I have read many times that female victims of sexual abuse tend to go into extremes: either panically running away from sex and intimacy, or becoming nymphomaniacs. Allegedly, the second is not that rare at all. And we all know that Lana likes to brag about her stunts. Ok, now I feel dirty mouthed.
But I think she just like to exaggerate everything in her manner of histrionic drama queen, as you said, because she knows that hot, spicy details, mysteries, teases, contradictions and controversies add to the grandiose image of a living legend.

There is certified theory in psychology that all addictions (so, also Lanas alcoholism, I suppose) stem from toxic relationships with parents, especially mother, who wasn't there in the earliest, more fragile and tender years of child's psychological developement, so that needy and helpless tiny child was not given enough love and care, wasn't nurtured and that kind of malnutritioning care, together with cold, controlling, possessive, but emotionally distant, unavailable and disapproving mother, creates enormous hole in child's being. That hole and perpetuating feeling of emptiness is later in life (unsuccessfully) filled with opiates and different substances that alter counsciousness and provide short-term escape from dark, painful reality (sucking elusive tit = sucking a bottle).That reality is conviction that you are not worthy of love (and you also desperately crave and yearn for that love, and alcohol warms your veins for a couple of hours, giving you false feeling of inner warmth - the real one can be provided only by love, of course). Also, addiction belongs to oral fixation, which is a part of oral character, formed in the first, earliest psychosexual stage of development. Others are: anal, phallic, latency and genital. Those who succesfully cross all traps of each phase and reach genital one, are the most developed and integrated, and oral types are the ones that have most wounds and complexes. I'm not saying Lana is a walking pathology, but I just find it interesting (yes, I'm nosy, but also interested in psychoanalysis) that she first tanked herself with liquor, and now is passionately engaged in chain smoking. That  is typical for oral constitution (I am exactly the same. I fought with alcoholism for about seven years, and I'm clean for about six, and I still miss my wild and escapistic life). As far as her mother is concerned, maybe she wasn't a witch, but if a father responds to daughter's attempts of seduction, she takes that as a signal that she possibly can replace mother and marry her beloved papa (Electra Complex, as someone said here). If daddy is especially fond of his little princess, she will develop strong attachment to him and view mother as a nasty rival. I think it is a normal phase in life, but it can lead to various tragedies if it is not overcome.
 
But, maybe I am all wrong about alcoholism and mother issues in her case.
 

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Silverscreen Bestiary:
 
   
 
 
  
 
 
   

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Two more collages:
 

 
 

My art is dark and macabric, but I am pure joy I just spit my demons out, and then all that is left is a reincarnated butterfly.
 
I know you won't like it, I kinda used to a taste of Lanaboards members.
 
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Inspired by "The Fearless Vampire Killers" by Roman Polanski:





Inspired by "Possession" by Andrzej Zulawski (with magnificent Isabelle Adjani in leading female role):




Marguerite Duras (writer) as a child in Indochine:





Audrey Horne:


 
 
Nico:
 

 
 
Something:
 
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Etc. I have hundreds and hundreds of drawings and photos, and many collages and paintings, maybe once I will put a link to one of my sites

Lolita again:
 

 
 

 

 

 
 

 
 

 
 

 
 

 
 

 
 

 
 

It is definitely not my favourite song, but the theme is taunting (the ornament drawing is mine, like previous surreal and other collages):
 
 

 
 
 

 
 
 

These are a bit restrained and not so playful  (but I am putting them here because I have to get rid of the addiction).
 

 

 

 

 
 

 

 
 

Hmm..
 
Raise Me Up - teal
Mermaid Motel – amethyst, lavender, silver
Get Drunk - grey
Disco – grey, black, purple
Serial Killer – orange, yellow
Kill Kill – orange, hot pink
Velvet Crowbar – magenta, red
Last Girl on Earth – turquoise, blue, dark grey, violet
Trash Magic – silver, pink (sparkling)
Put Me in the Movie – parisian blue, silver, gold
Pin Up Galore – deep oceanic blue, black, violet
Playing Dangerous – toxic/acid green, bright coral red
Maha Maha – deep crimson, violet, hot pink, fuchsia, tangerine, golden, turquoise (LSD-ish, fluid mixture of colors)
 
Born to Die – red, black, golden
Blue Jeans - aqua blue, baby blue, white  (off course)
Million Dollar Man – black, golden
Carmen – blood red, powder pink, black
Summertime Sadness – crimson, burgundy, maroon, sunset orange-pink, ruby red, smoky and watery
Off to the Races – turquoise, lime yellow, very light yellow, cotton candy pink
Yayo – grey, black, silver, golden
Without You – cherry blossom pink
 
Cola – red-brown, purple-red
Bel Air – sky blue, pink sprayed with gold
Body Electric – deep violet, indigo, long cold flames
Gods and Monsters – indigo, blue, violet, similar as Body Electric
Ride – teal, dark blue, orange, moss green, sand beige, red
 
West Coast – coral red, orange, yellow, gold
Shades of Cool – all shades of blue
Sad Girl – very light grey
Pretty When You Cry - grey
Black Beauty – black, indigo, midnight blue
Florida Kilos – turquoise, yellow, pink, white
Flipside – brownish grey
 
 

First three are brilliantly edited (Shades Of Cool is my favourite).