...FIREWORK...
(special thanx to "Life Cubed" for the suggestion I look at this media)
Here, a list of keys, the order cryptic, to this mystery as I see it now.
1. Bill Schneoblen
2. Jimmy Eat World
3. Christina Aguilara
4. Hesse by way of Steely Dan
5. Clotillard Rapaille
6. Midnight Velocity (the movie within a movie "Lost In Translation")
7. The Flaming Lips
...and as the Octave...
8. The "Firework" video, lyric and live performance on David Letterman's gig.
1. Bill Schneoblen is a name to rightly prick up the ears of the deep-field conspiracy hobbyist. His personal account of rising through the ranks of Freemasonry includes the outlandish claim that at a high level, the Freemason must choose the Vampire Path or the Werewolf Path, a claim that is bolstered by the content of "Underworld" film ouvre. As a point of interest Bill adds the morsel that most prefer to go Vamp because the Way of the Werewolf is feared, to quote, "...too painful...". Schneoblen's lectures are out there, mixed in with over 1000+ Prophecy Club presentations. Easy to find and must see.
2 and 3. The video and overt thema of "Firework" is drawn from selfsame spring, methinks, as Jimmy Eat World's "The Middle" and Agui's "Beautiful". I propose that the Perry version depicts the Vampire Path, the JEW version shows the Wolf Path, and that "Beautiful" in fact represents the remaining mass of the unwashed horde -- little people. Moreover, as every kiddie must sure realize -- that Soylent Green is indeed People -- the Monster Class championed by Christina proves to be the dread Zombie, or more acutely, the Cannibal Consumer. Mmmm, mmmm good...!
4. Donald Fagan is a Steppenwolf, and choosèd the name of his band Steely Dan most wisely. Take a look at some live footage of the man as he performs, all ragged skin and teeth and bone. A werewolf, I reckon. Hesse's novel "Steppenwolf" is the story of one soul plunging over and again into the depths of psychotic despair and inevitable Buddhistic Illumination. The music of Steely Dan tells the same story, well seasoned with a yearning to the Eastern Gates of the Bodhisattva, and a deep sentiment for the Golden Age of Middle Class Teenage Utopia, where you are young, sexy, with a handful of cash and a reliable dealer. A little liquor and its off, wild driving night roads, the music loud, Little Stevie, howling at the moon. This meticulous portrait of Hormonal Romanticism fits perfectly with the metamorphosis of the Were-man into Werewolf, which is in its essence, the teenage growth-spurt packed into 1480 frames of Lunatic Agony.
To contrast, KP can be held at bay by a clove of garlic. Even cursory experience of KP's M.O. just reeks of kiddie porn. Now, I do not wish to offend here. Truth is, I like the "Firework" video. I like it alot. The child within my bosom is stirred by its sentimental message of hope. Also, I think it is an opus of Serious Alchemical Mastery. But there can be no doubt it is to the child that Katy's voice is beamed. The Vampire is the child because, though shapeshift she may, it is but the mask of a terror, while she remains trapped in state of ageless and unreflected memory. Quite literally the emotional state of the quintessential 7 year old who wants to stay up late. Bored, beautiful, blind and oh so dangerous. To yer beds, then!
5. Clotillard Rapaille is a legend in the Ad Biz. 60 Minutes did a story on him some years back and I'll never forget it, or the man. He made no bones that "adults" (rare these daze) do not buy but that "adolescents and children" do buy. He goes on to explain that the overwhelming majority of advertisement is directed at the kiddie/teen marketplace, to which I would add is also aimed at the kid and/or teen locked within each living soul.
I add him to the list of keys because his edifying admission adds a reflex to the theory of the Vampire/Werewolf Child/Teen Nexus proposed herein. I hope it goes without saying that "Fireworks" is 110% Advert, baby. But what is the selling point?. We'll get there.
6. Katy has purple hair. On live w/Letterman, the Lavender is prominent (the drum trap). One in situ poster for "Midnight Velocity" is emblazoned by a swath of Deep Purple. At the end of Coppola's "Lost In Translation", Bill Murray whispers something to Scartlett Jo. What he says is '...I know you are a Vampire, thanks for not killing me...' or words to that effect. She does not kill him because the relationship that they share does not enter into the sexual realm. To her, Bill Murray's boozy rat-packer is in fact her spiritual father -- and she loves him as only a little girl can love a father or little boy his mother. LIT is an earlier version of Vamp flick "Let The Right One In". This media, like all cinema funded by the Vatican, is a Vampire Movie. "Fireworks" imitates the same knotty pattern. We all know the church loves the little children to suffer unto it.
To add another layer, I proffer that the party Katy attends at the beginning of the video is the same party attended by Bill and Alice Harford in the first act of "Eyes Wide Shut", or as I like to think of it, the "Funniest Vampire Movie Ever". And again, the same party is described, moving always westward, ahead of the Sun, toward Ventura Boulevard, by Tom Petty in "Freefalling", which I believe is the story of Werewolf Love and the challenge to be free.
7. I am immediately stricken by the all whites of Katy and her Band on Letterman. The Flaming Lips used the same as they peddled their Death Culture hit "Do You Realize?" I think there is another Vampire link lurking hereabout. Flaming Lips call my middle aged grey cells back to "The Rocky Horror Picture Show". Tim Curry plays a fellow from the auspicious Transylvania. At a leap, I translate this data as follows: "Do You Realize" is a song written by and for Vamps, as an artistic probe into the question of burning up when Jupiter or Saturn or whichever becomes another Sun. The new answer is "Fireworks", vis, that by a limited exposure to light (say a firework or a fire-working), the Vampire can be cured of its affliction -- a notion at the heart of the recent film "Daybreakers".
Now the Octave.
8. Let's start with some lyrics from "Firework".
Do you ever feel like a plastic bag
Drifting through the wind
Waiting to Start Again?
...and later...
...Six Feet Under...
These lyrics set up a double cross. The floating plastic bag is the same as "American Beauty", which film is a boilerplate for the explosion of Homoerotic Narcissism, a critical facet of Vampire aesthetics. "American Beauty" was penned, I would propose beyond brilliant, by openly gay screenwriter, producer and director Alan Ball. Ball is the creator of the cable dramas "Six Feet Under" and not too obviously... "True Blood". Are you getting this peep-holes? cuz it goes deeper "American Beauty" is directed by no other than The Son of Sam The Goat of Mendes. Sam Mendes. Too fuckin' munch!
The second cross is the crypto-homoeros of the same lyric. The plastic bag is a condom used to protect anal sex (...drifting through the wind... ). This motif extends throughout the song, which by and large, is about being cleansed of sin.
The lyric:
...like a house of cards
One blow from caving in...
A reference to the feeling of transgressive emptiness that follows oral copulation.
The entire second verse is a tightly wound catechism of the conspiracy theory now called Project Lucifer, which imo is a terrible misnomer. Keyword hijack includes a reference to space, a doorway, a hurricane, and a lightning bolt. The lightning bolt/hurricane imagery reinforces my suspicion that it will be Jupiter and not Saturn that goes Solar, as per the clues of A.C. Clarke.
From the video.
In counterpoint to JEW's "The Middle", which is about being dressed after a Lunar Metamorphosis, "Firework" seems to infer being naked after a Solar Singularity. The Sun pattern of the dancers in the square shifts naturally into a swastika. The setting of the scene in London points the fickle finger of fate straight at the 2012 Olympics and the Crowning of William as King of the New World Order of Babylon. The term Babylon can be transliterated as Baby of L'On or Baby Lion or Sun Baby (On is the medo-persian therm for the Sun) or Sun King. I also deduce an oblique reference in the titular "Firework" to the Olympic mascots Wenlock and Mandeville, who are, as a fire-working, forged from molten steel. The animation introducing the pair uses the rainbow as a symbol of innocence and purification.
In "Firework" the role of the sick girl is also that of Vampire fixation. She is a child, she knows that at some time she will die, and the resulting fear is not of death but the longing to simply grow up and walk in the heavily advertised light of reason.
The crypto-catholic theme is found in the confrontation of the young magician and his would-be muggers. The scene vibrates in tune with the collision between Dr. Bill and the repressed homosexual letterman of Yale in "Eyes Wide Shut". The magic child in "Firework" stands crucified and puts on a magic show. Cruise's Dr. Bill just cowers against a parked car. The kid knows he can Shine. Dr. Bill does not know, but Shines just the same.
Summation.
"Firework" tells a story: the specific quality of the yearning of Vampire Children to be healed, and who can blame them, for verily I say unto thee, everybody wants to be healed.
It is worthwhile, I shouldn't wonder, to look at the "Firework" video and related media of Vampire, Werewolf and Zombie phenomena in the glare of Freud's Theory of Psychosexual Development. Proceed at your own pace. There's plenty of time.
Really!
