Lady Gaga and the Knights of the Golden Circle
I couldn't make this stuff up if I tried.
Caveat Lector
CCC
I couldn't make this stuff up if I tried.
Caveat Lector
CCC
Further Studies: Lady Gaga’s "Marry The Night"
Video And The Lincoln Assassination
BY: JT LANGLEY
BY: JT LANGLEY
EXCERPT: “Our existence is best marked in an
odious coal-black on the totemic notch-post by the emergence of clandestine
occurrences and the prevalence of tragedy throughout sectional controversies and
hazardous progressions (quotation attributed to Historian Dr. Chevard Potrois II
of the French Undergraduate Chronicle and Katalogue) and (the author will now
continue) it is only through the interpretation of these cantles of our human
tome that we may rationalize the affluent absurdities syncopating our modern
American homeostasis. The paramount cultural lapse by an individual is our
capital affliction; yet, it is our principal aid in rejuvenating the ills of our
national impasses.
A most prominent “aesthetical distortion,” a term
created by author Jim Horntonson in his novel The Roulette of Noon, of the
moment is Lady Gaga’s visual set for her composition “Marry The Night,” and the
included vignettes--though preliminarily labeled amateur avant garde artistic
expressions detailed by obvious Freudian motifs—are a topic for the most careful
of academic analysis.
I was first struck by the phrase “Marry the Night”
when Gaga’s motorbike long-play (known as an LP in most circles) was released,
not for the obvious metaphors behind the action of eloping with the “night,” but
for the spellings beneath the words. “Marry the Night” may mean little; however,
“Mary the Knight” speaks much more into the factual, tapping into associations
involved in the assassination of President Lincoln on April 14,
1865.
Mary, Mary, Quite Contrary
American history is riddled with federal justice by
the implementation of judicial punishment by death, and a most interesting
occurrence tied to the assassination of Abraham Lincoln is that it birthed the
first execution of a woman by the United States federal government. Mary
Elizabeth Jenkins Surratt, owner of a boarding house in what is now the
Chinatown sector of Washington D.C., was convicted on May 22, 1865 as a
conspirator in the assassination of President Lincoln, and it is her name that
acts as the skeleton key to unlocking the Lady Gaga association.
The Surname “Surratt” is of French origins, thus
explaining the Parisian mentionings in the opening monologue of the “Marry the
Night” music video (see An Autobiography Biography of Mary Surratt by Michelle
Michelle Lawson), and correlates into the later mentioning of fame, which, by
obvious association, speak to primary assassin John Wilkes Booth and his famed
acting career prior to his crime.
A Knight to Remember
A long-dismissed essay by Hominid Anthropologist
Richard Normandy titled A Simple List: The Assassination Unknowns details many
aspects of the Surratt boardinghouse often labeled esoteric by mainstream
academia, though a particular statistic (see page 35, article 7a) recounts a
legally attained roster of the tenants staying in the Surratt dwelling in the
plotting hours prior to Lincoln’s assassination, one of them being M. Knight
Marmalande, which, upon simple logical supposition, is in fact a moniker placed
by John Wilkes Booth. The tie within is his association with the Baltimore sect
of the Knights of the Golden Circle, a secret society supposedly involved in
clandestine plannings to attain and convert Caribbean, Mexican territories, and
Central America into United States slave states. Notable members, though not
proven, include Jesse James, Sam Houston, and Franklin Pierce (see Daryl
Wallace-Steven’s essay Golden Nights: The Truth Behind Lincoln’s
Assassination).
It is historically proven that the influence by the
Knights of the Golden Circle’s idolatries is a primary aspect in the development
of Booth’s intention to kidnap President Lincoln, as well as a key negotiator in
Mary Surratt’s convincing to participate, and instances of this can be seen in
the running motifs of mental stresses and instabilities throughout the “Marry
the Night” vignette. They are an impressionistic reenactment of the cognizant
evolution in Booth’s vision, the vision of his “Knighthood,” and his promise
that Mary Surratt could earn her Knighthood in the Golden Circle upon successful
capture of Lincoln. They are a flesh depiction of morality’s turbulence—“Mary,
The Knight,” a dream deferred.
“I'm gonna marry the night. I won't give up on my
life. I'm a warrior queen. Live passionately tonight… I'm a soldier to my own
emptiness…I'm a sinner… Come on and run…” – Lady Gaga
The end result here is that the plot in Lady Gaga’s
“Marry the Night” music video is an interpretation of the failed attempt to
kidnap Abraham Lincoln, she being a primary character in her imaginations on
participating in the odious event. It seems in hopes that Gaga and her
production crew attempted to craft an enigma, something that would come to
puzzle academics, fans, and desperate undergraduate film students for years,
though it only takes a simple readjustment of angle to fully decipher the truths
of the piece. “Mary, The Knight”: it echoes oft like Kurtz’ final breaths in
Conrad’s Heart of Darkness.
JT Langley
“Lady Gaga: Recollections of an Assassin’s
Reincarnation”
Musicians Fiend Magazine
December 2, 1987
Musicians Fiend Magazine
December 2, 1987
