sparklrtrailrheaven

Okay, I'll do this track-by-track:

Honeymoon: I've heard Lana criticized as having too slow of a sound/too disinterested of a voice, etc. (for ex. I read some review comparing Lana's style to her being on cough syrup), and the title track seems like she's playing on that. It's one of Lana's longest released tracks (I can't speak for the unreleased), and to me, it seems intentionally drawn out, and intentionally repetitive. ("Dark blue", "Our Honeymoon", etc.) In the bridge, it goes into flowery (literally!) prose that uses classic Lana-stock: blazing guns, roses, the "mob-moll/dangerous girl" image. Basically, I think this song is Lana's summation of how the critics simplify her style-- melodramatic, slow and emotionless, repetitive, playing on cliches.

Music To Watch Boys To: I'm not completely sure what to make of this one yet, but I'll give it a shot. With MTWBT, I think Lana gets broader with her focus, and starts critiquing "ready-made" singers-- people who pay their way into becoming an artist, something Lana has been accused of. The lyrics border on being vapid, and to me sound like they're trying hard to sound "cool"-- referencing Pabst Blue Ribbon (I know Lana's referenced it before, but shut up), which has been referred to as a "hipster" beer, and "soft grunge". (In the case of soft grunge, it's often referred to as being a pretentious term, such as its' definition on Urban Dictionary) It's like a teenager's inflated diary, comparing a concept as heavy as love to lemonade and summer, or boosting her own ego and reputation by painting herself as manipulative and "set to destroy". (HALSEY DISS TRACK CONFIRMED jk)

Terrence Loves You: No idea, tbh. Input welcome as to how this could fit into my theme.

God Knows I Tried: I think this is universally accepted (and pretty obvious for the most part), but this is Lana's response to the critics. She's saying that she's really been through struggles, she's not making up an image. She's trying her hardest, and still gets criticized-- it makes her sick of fame, hence the reason she "feel free" when "nobody knows [her] name".

High By the Beach: I honestly feel like this pairs with GKIT as another response to the critics?? This opinion was kind of influenced by the annotations on Genius, but I agree. Lana's expressing this desire to get away from all the fame and the "bullshit", and telling the critics how she never even bought into it when they "pay tribute to [her]" because they're hypocrites. The "lights, camera, accion" bridge doubly means that she hasn't bought her way to fame like some would guess. She'll "do it on her own", and doesn't need "your money"-- she's worked for this, and the reference to PMIAM is like a reference to AKA, showing that she was making music before the instant success of Video Games. As for the verses, I feel like they could actually be addressed to the fans and the critics-- maybe? The first verse refers to the fans: we're "looking at [her]", "[knowing] how [she] feels"-- we really "get" her. However, her fame is becoming "surreal" and too much to stand. She loves us, but can't handle the pressure. The second verse takes shots at the critics, telling them that they "don't understand", and tells them that their position of power ("bad motherfucker") doesn't "make them a man". In other words, they may think they've got the upper hand because of their power, but she knows that they really don't mean a thing. Now they're her "problems" because they "got out of hand"-- made too many assumptions, got too personal, etc.

Freak: While GKIT and HBTB show the true nature of fame, Freak is like the idealized version of fame-- a typical dream of California: an "endless summer", a constant party, where your past is forgotten ("stranger than a stranger" still kills me).

Art Deco: I think Art Deco could be Lana's idolatry of the woman she wishes she could be sometimes: this "club queen" embraces her fame, "stay[ing] in the light". She ignores those who bother her, and "put [her] life on the line". In other words, fame has caused this ideal woman to prosper and has led her to the party lifestyle envisioned in "Freak". Art Deco is like "Freak" pt. 2-- Lana's dream of idyllic partying in California is accompanied by a dream of the woman who thrives in this lifestyle.

Burnt Norton (Interlude): This is the track to me that ties it all together, explaining that she's in somewhat different personas for the album, but my idea is too messy to even post, haha

Religion: In my theory, Religion is the piece that ties the GKIT/HBTB and Freak/AD pairs together. F/AD are Lana's dreams of what fame would be like before she had it, but GKIT/HBTB are the realities. In Religion, however, the now-jaded Lana returns to dreaming. She dismisses the idealizations of F/AD ("It was never about the party or the clubs") and creates a new dream for herself: a perfect lover guides her out of the troubled world she's in now, into an almost childishly perfect land of beauty and happiness, where she can "leave it all behind, let the ocean wash away".

Salvatore: See "Honeymoon". I think Salvatore could be a similar lampooning of Lana's supposed style, this time addressing the "mob moll/bad boy" personas in more detail. The similar melodrama of Honeymoon is here, along with what could be Lana's parody of claims that she has been guilty of cultural appropriation-- she almost mindlessly rambles and jumbles Italian iconography in the song (limousines, cacciatore, Salvatore, ciao amore, etc.)

The Blackest Day: I don't want to be too quick to say anything about this song, but for now, I'm putting it in the "subtle parody" category with HM and Salvatore, as a play on Lana's "sad-core" image. (blackest day, deader than ever, darker and darker, etc.)

24: Bond song, plain and simple. Lana's been compared to Bond singers for years, so she took the jump and did an explicitly Bond song.

Swan Song: Think Religion, pt. 2. Another dream of what she could have, except this one is not as tinged in unbelievability as Religion. Sure, she's still wishing she could get away from fame, but this time it's attainable.

Don't Let Me Be Misunderstood: A final plea to the public explaining that she has worked, she is honest, and she is human. Although, this one is pretty self explanatory!

So, I think Honeymoon can be split into a few 'parts':

Part 1: Freak and Art Deco: Lana's dreams of fame and celebrity, before ever having it.

Part 2: GKIT and HBTB: Lana has fame, but is overwhelmed by pressure and criticism.

Part 3: HM, MTWBT, Salvatore, TBD, 24: Lana subtly parodies the stereotypes (cough syrup-y chanteuse, ready-made daddy's girl pop starlet, culturally appropriating bad-girl wannabe, sad-core siren, and Bond singer, respectively) and criticisms placed upon her by making them into actual songs.

Part 4: Religion and Swan Song: Lana dreams of what life could be like without fame.

Part 5: BN and DLMBM: Lana firstly ties it all together with a discussion on how her past, present, and stereotyped selves all have the potential to exist and all exist within her, and then gives a final plea to understand the parts of her and what she has brought forth on the album.

Where does TLY fit in??!!!