Friday, December 2, 2011

Lady Gaga and the Knights of the Golden Circle

Lady Gaga and the Knights of the Golden Circle
I couldn't make this stuff up if I tried.
Caveat Lector
Further Studies: Lady Gaga’s "Marry The Night" Video And The Lincoln Assassination
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