Wednesday, October 18, 2017

Wide Awake in Royal Albert Hall

It has taken me a while to collect my thoughts after Friday's amazing concert. On Friday the 13th of October, 2017, we witnessed pure musical and performance magic in the Royal Albert Hall. Below will follow not so much a review but more an attempt to describe the emotional journey a concert like this takes its listeners on. Something completely beyond words and description occurs, and this is what I will try to find the words to convey.

The regular readers of my blog will remember that I have told you about the wonderful Marillion before on many occasions. Their music has been an inspirational backdrop to my life for several years. Here we go again. 
         When the band announced that they were going to perform in the enigmatic Royal Albert Hall, I just knew I had to get tickets. That in itself was not an easy task as the tickets sold out incredibly fast (I have heard that most of the tickets were ripped away in less than ten minutes, but I could be mistaken here…). But at last, with the help of a link from Stephanie (Marillion management, thank you x), I managed to get three tickets (and at that point I didn't care where we were seated, as long as we got tickets), one for my twelve-year-old son, one for my partner and one for me. We were going to see Marillion in the Royal Albert Hall!

We travelled from Leicester, the city of the successful UK Marillion convention this year (the one I sadly missed because I was in the finishing process of my Master thesis), to London. We quickly maneuvered towards the iconic venue. The closer we got, the more Marillion T-shirts and happy faces we saw (and pubs so full that the Marillion fans were practically pouring out of the doors onto the pavement). We could even smile to people and get a smile in return…not a usual thing in London J And there it was…
Royal Albert Hall has been the epitome stage of musical and cultural expression since 1871. And for that reason it is not difficult to understand why playing there is considered a massive honour and a high point in one's career. Marillion definitely deserve to finally grace this classical venue with the music that, in my opinion, is a ticket to a better life. I want to keep them to myself, but on the other hand, the whole world should know the songs as I do...the world WOULD be a better place, of that I have no doubt. 
So, the concert...on the way in we were given finger lights for audience shenanigans for the song GO! which was one of the things my son was looking forward be honest, so was I. We found our seats, and felt the magic descending just by sitting there in the iconic hall, surrounded by the echo of history. We looked around and could see familiar faces in every direction, smiling, anticipating what was about to bring us together, the music and lyrics, and musical and vocal deliveries of world class. Among the 4555 people there, I was first of all ecstatic to share this experience with the two favourite people in my world, my boyfriend and my son. Smilingly we looked around, our finger lights ready for later, now the concert could start. 

When Marillion walked on and started the concert by playing their latest album, FEAR, I was a bit surprised for a second or two. Not that I didn’t like the fact, but I thought, you are here, you have so many great, iconic and legendary songs you should be playing instead...but I was about to be educated. I finally understood FEAR (and obviously I know that the music you have to work to understand often ends up being the music you appreciate the most. I have listened to FEAR almost nonstop since I came home). Right there in Royal Albert Hall, I completely broke down. I see it now! With the help of the beautiful and sometimes disturbing films showing on the big screen behind the band, the songs from FEAR took on completely new meanings, and the lyrics stood out in a way that only a live delivery can provide.
What I take from their live version of FEAR is that the album is an important comment on the society of consumption and consumerism. Capitalism and Neoliberalism are definitely at the top of any political decisions made in the world, and these are matters we should and must address from a cultural perspective. Marillion have never been afraid of speaking up (for example, their last album, Sounds that can't be Made addressed the conflict in the Middle East), and FEAR is no exception. Artists and cultural commentators have been the legislators of the world through history, and I hope they continue to be. And just maybe their voices will make the moneymakers think...maybe? 
But FEAR is not only about the new kings of the world, it is also about how the life of a touring band really is. The Leavers 1-5, Wake up in Music, The Remainers, Vapour Trails in the Sky, The Jumble of Days tell the story of how overwhelming and beautiful, yet bittersweet and heavy the emotional journey of what life on the road is like. But The Leavers gets its fantastic finale with the amazing fifth song, One Tonight. It is a profound musical statement of what it is all really about, why they do what they do, why we love them so much, we come together in music and we’re all one tonight. When this pearl of a song came I was left in tears, happy, cathartic tears, and I really felt as one with the band, the fans, the venue, it was absolutely sublime. The rest of FEAR took our breaths away, and the anticipation definitely grew for the second part of the concert. 

This part started with Seasons End’s The Space. Now, on stage, were a string quartet, a French horn and a flute. The proper instruments played live sounds so much better than the sampled sounds (no offence x). There is a tangible and vibrant authenticity to the way a violin sounds in the hands of someone who knows how to play it. I grew up in a family where Mozart and Bach were daily musical backdrops, so I salute Marillion for putting these brilliant young musicians on stage.
Steve Hogarth confirmed his position as one of the best singers in the world of progressional rock today. The last part of The Space is in a high key where he sings with a full tone (not falsetto), difficult on a good day. But he completely nailed it. I can only imagine (being a classically trained singer) how he must have felt doing a song of that difficulty level in a venue such as Royal Albert Hall. If he was nervous about it, he hid it well, as his voice was pitch perfect, full toned, and just brilliant.
After a stop by the sun in Afraid of Sunlight, the band continued to play one of the most beautiful and emotional songs in their entire catalogue, The Great Escape/Falling From The Moon from their concept album, Brave. We all fell from the moon with the band...and we all rose stronger and wiser. 
But it was soon time for GO! we had to get our finger lights ready. Easter from Seasons End brought another moment of deep reflection concerning destinies around the world. What would you do, make a stone of your heart...? No, you can't make a stone of your heart when submerged in music the way we were in Royal Albert Hall. We breathed in syncronicity, we were one the whole night.
Then we GO! The light show was spectacular from the beginning, multicoloured lasers transported the audience to the inside of a dream, on a cloud, upside down…wide awake on the edge of the world.
We put our finger lights on, and started counting. It had to be correct; we were not going to be premature lighters…one, two, three, four…and then…had I not been singing with all the others at the time, I would have been left speechless. Even thinking about it now makes the hair on my entire body stand up. The picture below is from that exact moment (pictures from Marillion’s page), but the picture, though beautiful, does not give a fair representation of what it really was like to float on the fluffy clouds of light and music, to have the soft rhythm of Mosely’s drums beat with the rhythm of our hearts, to have the harmonies of Kelly’s keyboards flow through us like the blood in our veins, to have the deep notes from Trewavas’ bass touch every nerve in our body, to have the enigmatic guitar of Rothery help us see into heaven and then finally Hogarth’s velvet voice guide us safely towards the dreamy, otherworldly existence where the only thing is now.
GO! was a tough act to follow, but going to the best album of them all, This Strange Engine, they both succeeded, and made the roof of the hall lift a few inches with Man of a Thousand Faces. Then a soft stop at Waiting to Happen from Holidays in Eden, before the final song, Neverland from Marbles. Neverland is one of those songs they had to play when in Royal Albert Hall. It is, in music and lyrics, a synopsis of the whole concert, a journey from the hard and sometimes difficult reality, to the soft and fluffy dreams of a fairytale Neverland. The epicness of Neverland became a worthy exit, and when a million golden pieces of confetti rained on those who were close enough, we all agreed wordlessly but with cheers and standing ovation that it had been one of the most profound musical experiences of our lives. They reprised One Tonight and then it was over…

I imagine all the ghosts of great musicians and performers from the past were sitting on the gallery with their dangling feet and fluttering wings, letting these hours of heaven on earth reaffirm their trust in humanity.
         My son was, and still is in awe of his first proper rock concert experience, one that I think might be difficult to top...but we will obviously take him to see more Marillion for (hopefully) many years to come. We all had an absolutely amazing time. 
Marillion, for years you have been the voice that subliminally told me to hope when I thought there was none. For years you have been my inspiration to create and step up my game. For years you have provided me with courage and comfort to dare to believe in myself. For years I have been lucky enough to understand and completely love your musical expressions. I am so grateful I was there with you in one of your biggest moments. I am so grateful I can tell other people about what was the best concert I have ever attended. I am, forever, wide awake on the edge… x

Find a better life at

Saturday, August 5, 2017

Birthday sonnet for the love of my soul

One split in two, in the void before breath
Seeking the deep magic's union of love
A journey in awe, through life, towards death
Finding the one in the beacon above

The secret revealed in the first soft touch
Electricity when skin touches skin
The closeness they share is never too much
Where only the other half is let in

The love eternal touches time and space
The love eternal's guiding through life's mace
The path all enlightened by sweet love's trace
The sense of belonging shines in the face

Two souls reunited in deep love's kiss
Two become one in eternal love's bliss

Tuesday, February 14, 2017

My Valentine

You are magnificent.
Your compassion for your fellow man is admirable, and I sometimes wonder how you can look at people in the way you do, with interest and understanding. You admire people for their originality and eccentricity, rather than judge them for their otherness. I have not met anyone capable of this other than you. Other people, both people I know, and people we observe in the world, might believe they are capable of not passing judgement, but really most of us are narrow minded and judgmental, myself included. But not you. I would love to see the world through your eyes, I believe that is a beautiful world that has room for everyone, and definitely a world I love that I'm a part of. 
This compassion is also visible in how you treat everything non-human as well. Having observed you carefully catch an insect in your hands and release it outside, is nothing short of heartwarming and amazing.
You are curious. When you find something that is of interest, you research it, learn about it, and are capable of talking about it, passing on what you have learned. I love to listen to your little narratives about both the past, present and future, and I hope you'll always keep this curiosity in your life.
You are gentle. I have never heard you raise your voice and get carried away by negative emotions. You are absolutely amazing.
You are funny. Your quiet humour is one of your best qualities. Sometimes when you tell a joke, you tell it with a straight face, and I have to think for a bit. But then it dawns on me that it was a joke, and I realise how funny it was...And I love how your face always is ready to smile.
You are caring. You help me carrying my troubles with me rather than leaving me alone with them. When ever I'm in pain you know, almost before I do, and instead of going away and not deal with it, you wrap your strong arms around me and let me know (almost without saying a word) that everything is going to be OK. And when I get overwhelmed when, for example, writing a master thesis, then you have an ability to calm me down and make me realise that I'm actually doing exactly what I intended to do, working as I should, and figuring things out. You make sure I remember my qualities, and that is one of the most powerful gift you can give to another person.
You are generous. If it wasn't for you, the times we spend together, living in different countries as we do, would not have been as frequent as they are.
You are passionate. I have honestly never felt more loved in my life than I do with you. I hope I show you as much love as you show me, because you deserve all my love for as long as I can breathe. 

You are magnificent, you are a giant, a are man as he should be and I love you now, and for as long as our souls can cling on to each other x

Sunday, December 4, 2016

Christmas Sonnet

Dear Trevor

Crowded solitaire, felt lonely for years
Existing in chaos outside of time
Blind eyes in the void, then filling with tears
Softly hear distant Christmas bells chime

Ruined memories of a hollow vow
The wrong kinds of people bound by a ring
Absolution in sadness, in Death's bow
Their souls joined in love and now their hearts sing

Their journeys were testing, traveling far
Two parts of a whole, no longer apart
The universe sent them a Christmas star
The eternal beat of two lovers' hearts

Heartbeat of Christmas is vibrating sound
Their miracle, true love is what they found

Wednesday, August 10, 2016

Birthday sonnet

Happy birthday, my amazing man

Effortlessly they turn; universes
In this scale of things we are small
Your love reaches beyond the known blessings
Sublime state of mind where you are my all

Your mind awakened a feeling of pride
The time spent with you is ten times more worth
Our love is so strong it reaches outside
We will never be alone on this earth

The purr of you sleeping, comfort in sound
Erasing the decade of silence pain
Your hand in my hand when strolling around
Adoring the sun, embrasing the rain

Fluffy cirrus clouds floating high above
The soft giggles of our hearts deep in love

Thursday, March 17, 2016

Two years together

Pendulum of emotions when apart
The motion like a constant rhythmic beat
A level five tornado in its start
Leaving Kansas here, landing in your street

The wands of love in fairies' magic hands
Physical distance vanish with love's kiss
Magic brought us here - passion's hot glance
Bodies bound together - pure, naked bliss

Stepping out of time, dwelling in the now
Feeling every moment tells our story
Cooking, dancing, singing love, that's the how
Victorious in our strong love's glory

Your smile, your looks, your love, I know it's true
Amazing Trevor, know that I love you

Wednesday, March 16, 2016

A peek into the Gaga mind

My music interest normally includes the progressional rock landscape, and Marillion and Steven Wilson are closest to my heart. I haven't really lent artists like Lady Gaga my ear. But in a subject called Reading Verbal and Visual signs in the Master course at university, I had to. I now find myself quite fascinated by the kind of bravery she shows, and how she is just as much a critic and provocateur of society as she is an artist, maybe even more so. Anyone can be beautiful and sing like an angel, but not everyone would dare to be beautiful and yet play on the ugly. But sadly it is easy to miss her comments in all the 'originality' she flaunts around. Or maybe what it is, is that you only find the hidden meaning behind the crazy costumes and strange behaviour if you're really looking, or if you're prepared to see behind the hit song and the Hollywood glamour?
I think I will have to look into her musical and visual career a bit more in the future. She is definitely a great singer, and the more recent music dives deeper into both difficult and taboo topics, and I highly respect that. And the beautiful and important song, Till it Happens to You, is absolutely heartbreaking. This entry, however, will be about a song from an earlier stage in her rocket career.

There is a meta element in her career; she's using her magnificent fame to talk about magnificent fame. And we could just say lightly that she's original and special, or we could look deeper and see that there is a reason to the madness. This blog entry is the latter. I will look at Bad Romance as I would look at a poem. I will search for hidden meaning, I will search for the obvious and the obscure. And I might conclude with what others have concluded with before me, or I might have gone even deeper, let's see, eh?

I have read a few comments on Bad Romance, and I realised that I only partially agreed, so I will focus on my own thoughts and findings. And I will also add that the following interpretation is my own, and therefore very subjective. I won't claim to have the answer to what this is all about, as I am pretty sure I don't. My teacher in Reading Verbal And Visual signs said that the wonderful thing about interpretations is that we can have different meanings as long as we can back it up with some sort of theory. And it is in that spirit I write this analysis.


The first image is almost a still shot where all the people participating in the video are presented. They are all motionless, and Lady Gaga is seated in the 'throne' in the middle. She's wearing a gold robe, and strange looking glasses of razor blades in the shape of sunbeams. She's in charge of when the real song starts and the fake cembalo music stops, even motionless she owns the room, but at this point there is no interaction with the viewer yet. Even with a close up of her face we feel detached from her, she is looking away, or so it seems, and her eyes are hidden behind the dangerous razor glasses.
When Lady Gaga then unleash the song, she also wakes up the monster. She has on several occasions referred to herself as a monster of fame, and this parable is taken further in the first bars of this song and the first frames of this video, when she (and her gang) are awakened by the sun. And here it is wroth noticing the Egyptian element. The sunbeam shines in on a dark room, and when it hits the mirror, the room lights up completely. They crawl out of what looks like ski-boxes to my Norwegian perspective, but probably are meant to be coffins. Lady Gaga's coffin has a cross and the word 'monster' written in red ink.
The group are all in white spandex, and they are all wearing masks that cover their entire face. Only small openings for the eyes. Lady Gaga, on the other hand, has a mask covering her eyes completely, stopping her from interacting with the audience even though she is facing the camera, but her mouth and nose are free. All of them are wearing strange looking crowns. The crowns could be meant to look like mad scientist hair, or antennas. They are definitely helping obscuring the human body. Lady Gaga has a very visible, sticking out spine, like monsters from history, it could maybe even be a link to the devil.
When they start to dance, they are lit up from behind, making them seem very silhouette-like.

All of this is taking place in the Bath Haus oF GaGa, and historically every single culture on the planet has had some sort of bathhouse. It was known as a public bathhouse, but taking it as far back as the antiquity, to be a member of the public one had to be a citizen, and only few got that title. So the bathhouse in history was to the rich and powerful. It was seen as a place to meet and greet, both in a friendly capacity and in a political capacity. So with the setting of a Germanesque spelling of the bathhouse, we have our stage for the video. All the different scenes in this video are shot in the same room, this white, shower room, bathhouse, changing room of some sort, they just change angle, props and costumes. Even the scene where Lady Gaga is a distorted monster with a bat on her head, completely naked, with bones sticking out everywhere, she's in a dim lit shot in one of the stalls in the same room.

When the song starts, the lyrics that is, we get a shot of a wide eyed girl in a bathtub. Even though she is looking at the camera, her eyes have been altered, magnified, so it is also distorted and wrong. Her hair is pale red, and she is portrayed rather child like. The next shot we get is her looking at us through a mirror, and through black sunglasses. Here she's all in black, with a black crown on her head. The black crown is an opposite to the white crown in the monster scene. She's still a queen...

The first proper interaction we get with the artist is an extreme close up of her face, where she's natural looking, and her eyes are staring into the camera. But even in this shot we are tricked into seeing another truth than THE truth. It took me a while to actually see this detail, as I first mistook this for the 'honest' part, where she's looking at her audience, making them interact and maybe even get some sympathy for her. But then it struck me. The artist behind the character Lady Gaga has brown eyes. Her eyes in this close up shot are blue/green. So even in this show there is a veil of deception before the gaze hits the audience.  This could easily be interpreted to meaning that we shouldn't believe a single thing we see coming from the entertainment business, or news as such, that we never know the full picture. Which of course is the same when looking at a close up. A face can say a lot, but it cannot reveal whether or not the person is bound on hands and feet, or if they are naked or wearing clothes, if they are bruised or have scars, and things like that. A close up tells the truth, but only parts of the truth.
Another element to this is that she's probably, though beautiful and natural looking, the MONSTER in this shot, as she's actually wearing the albino bat on her head. We're only seeing the face, not the full picture.

Then she's dragged out of the bath house and 'drugged' (I read somewhere that the vodka the 'models' force her to drink is the MTV-approved drugging - forgetting that the most dangerous drug of them all is alcohol...long live double standards...), and dressed in diamonds to dance her Salome dance for the Russian audience. I was first looking for seven dances of seduction in this video, but realised she plays more roles than seven, a fact I will return to below.
They are all drinking a vodka that has cunningly been named Nemiroff, and I believe this is to make us think about Smirnoff. This Nemiroff vodka has been made by LEX, which is Latin for law. And many links could be drawn to these details.
Her saying she's a free bitch, and a close up of a Sphynx cat hissing, can be interpreted as yet another link to Egyptian mythology. We already have the link to Ra, the God of the sun, both in the first shots when she wakes up, and also in her words...'Rah Rah ah ah ah ah' But this could be a coincidence...Though I doubt that there are any of the sort. I think every step of the video, the song, the performance and the presentation are results of the bravery behind a creative process of this kind. And I think we, the audience, know so little about how this world really is, that we are ready to believe whatever we are presented with...And maybe most of us just think...well, that Lady Gaga sure is original...
The dance of the seven veils (Oscar Wilde - The Bible), could be present in the fact that we never see the artist as she truly is, we view her through her characters of various seduction, through different veils. There is also a madness element present throughout the whole video. The only rational character she portraits is the one who is meant to look natural. But then we can ask if she's mad because of the circumstances, or if she's mad because that's who she is? Or maybe the madness is a conscious choice? And then we can ask if it is madness at all?

The most interesting scene is the one that is the most obscure, I think. When she's naked in the shower...but she's hardly human anymore. She is a full blown monster with a spine that is sticking out, and her body has been altered to look more insect, or animal like. There is an albino bat on her head, and the shot is presenting her as a creature of the shadows. I am tempted to look at this from many angles.
It could be how she truly views herself.
It could be how she believes the world view her.
It could be how she believes men view her.
Another thing with this part is that because of the lack of lights she seems even more marginalised than any of the other characters.
If this is, in fact, the body of the close-up face, then she is playing even more on the beauty-ugly metaphor. And she's definitely toying with us. When we see a fragment of a whole, we still expect the rest of the image to correspond with the fragment...when it doesn't, we can almost not believe it. Also this took me a while to see ;)

At 3.16 or 3.18 something interesting happens.
Some have said that she's making the sign of a pyramid, and knowing that there is a definite Egyptian element in this video, that could be true...But I think she's making the sign of the cross. She is a Catholic after all...isn't she?
If it happens at 3.16 (as I think is the most likely, I just don't have the equipment to stop the video at the right moment), then this is probably a link to John 3.16 'For God so loved the world that he gave is one and only Son, that whoever believes in him shall not perish but have eternal life' Is she saying that she's got eternal life through her fame?
But her making the sign of the cross could also happen at 3.18, and if it does it could be the light and the dark within her fighting. The holy trinity at one side, and the number of the beast on the other.
Of course, having mentioned that I don't have the equipment to stop the video at the right moment, it could be happening at 3.15, in which case it might mean something different completely.
Also, Lady Gaga makes a triangle sign with her fingers framing her eye, and this is an element she adds in all of her videos...Some say it's Illuminati again...I believe there is a Christian element, the good girl vs. the girl who does exactly what ever the hell she wants...the light and darkness fight we all have within.

Then she's dressed in black lingerie surrounded by suspended floating diamonds. In front of her private parts is a diamond cross, and she's wearing a mask and has a harness on, that she's holding herself. The cross on her private parts could be there to shock and cause debate. It certainly doesn't look like it is because of her virtuous attitude. Maybe she's suggesting that she is innocent and virtuous to make the spectators think she's all that, when in fact she's on sale? This could be her contemplating the 'prostitution-part' of the business she's in? Of course, I am only speculating here, and my guess is as good as yours :)

The part where she's a freaky fashion diva, striking poses (with a clear Madonna link), I believe she's commentating on the non-free will of the business. Be here, stand there, do this, sing that, dance on that stage, wear that designer's dress on that award night, be what we want you to be, never what you want to be. And I think Lady Gaga is one of those artists in the business that is a free spirit, and that dealing with her is like dealing with a storm. I can imagine that she has only a few people she can trust, and that who she really is, is a well kept secret (as it should be. None of us really have any business digging in public figures' private lives...but we do, greedily as such. It has become a business of its own; to snoop around famous peoples' lives, and think that our opinion of their shape, clothes, lack of makeup or too much, is really any of our business).
This part portrays her almost statue like inside orbiting planets, or something. It could be a link to the Illuminati, with a Gaga-version of Da Vinci's Vetruvian Man, or it could be her as the centre of the universe. I think both interpretations can be valid.

She's wearing the fake skin of a polar bear when she's walking to the altar of love. Behind the bed are two gazelles, and their antlers could easily be linked to devil worshipping. But again I will disagree with the assumptions made previously, as the gazelles can be found in many of her videos. Certainly in Paparazzi. Though, having said that, she is 'killed' by a man under the gazelles in Paparazzi, so maybe it has a link to devilry. I believe it is more iconic. Horns doesn't mean devil. It can mean masculinity, it can mean phallic elements, it can mean something as benign as symmetry. And symmetry in a face means beauty to the human eye, and beauty is what Lady Gaga plays on in many of her videos, or diverge from.

At last she is 'waking up' on the floor, wearing a red costume reminding me a bit about the costume worn by Leeloo in The Fifht Element (if you haven't seen this film, then that is your homework for next time, as it is probably one of the best sci-fi films in the world...).
Here I think we meet the most honest Lady Gaga. She's looking directly at us with her own brown eyes, probably her own hair, and she's entering the part of the song where her emotions come through in her singing 'I don't wanna be friends'...meaning she wants a proper connection to audience and to her male companions. A proper connection with LOVE - LOVE - LOVE.
She's presenting herself on the floor, almost throwing a child like tantrum, 'I don't want to...'
I have read that Lady Gaga wrote this song, whilst in Norway actually, and that it is about how she finds it difficult to make proper lasting emotional connections with men...but I also think that once an artist has released a piece of work, that work takes on a life of its own, and can mean whatever the viewer (in this case) wants it to mean.

If you have been counting, I think you will see that she is in thirteen different costumes in this video (some of them have additions, and you could say that she's in more costumes, but I count 13 characters - even if the monster/close-up character is one and the same, but I think they are two different characters as they are meant to throw us off a bit...). The thirteenth being her smoking a post-coital cigarette next to her 'victim', almost like a human mantis, having bitten the head off her mate (though in this case she's stripped his flesh off...). She's the Judas of her Last Supper, sacrificing her own virtue and innocence in the name of fame (and having looked into the artist's career a bit, I know she's made a song called Judas, so I'm going to allow myself to draw this link...farfetched as it may be.)

Some think that the last scene, where the man is burning up, is him being sacrificed to the devil, and that this part is her disclosing her occult side. I, however, believe the symbolism is far more loaded here than just meaning devil worshipping. Twice in the song she sings, 'I'm a free bitch, baby'. She's not owned by a male dominated syndicate, and she never will be. She's not willing to be sacrificed for the sake of money or sex, and she's in charge of her own career and life. The fact that the man that 'bought' her ends up as a skeleton, protecting his private parts (a link to when she was protecting her private parts just before the dance of seduction started), is a reversal of the historic virgin sacrifice. Turning it completely around, making the female be in charge in a male dominated both business and society as such.
It is also addressing the fact that for a woman in her position it might be difficult to find a romantic connection with someone. How will she know what kind of intentions lie behind any kind of suggestion? I also think she's thinking about the honesty, or lack thereof, in the whole business.

Even though she is the one showing skin, and seemingly is objectified, in the end, the tables are turned. The male participants in this video, in this story, are shallow and undeveloped. They might want to come across as strong and masculine, but they are concerned with 'one thing only' and actually end up being objectified. She ends up being the character with depth. She's an innocent girl, she's a monster, she's a sex goddess, she's a distant public figure, she's an artist, she's a fashion icon, she's the sun in an entertainment solar system, and she's definitely not someone you mess with.