Americana aesthetic, and young rebellion. Many claim her music glorifies abuse and pedophilia because of her connection to Lolita, but few realize the depth of these references. Vladimir Nabokov’s Lolita (1955) and its film adaptations, specifically Stanley Kubrick’s 1962 version, tell the story of a twelve year old named Dolores Haze who is manipulated by an older man. Critics claim Lana’s use of Lolita romanticizes the novel, but a closer look shows her music tells a complex story mirroring Dolores’ progression from infatuation to disillusionment to escape. Through a meticulously structured narrative spanning fourteen songs (six released and eight unreleased), Lana’s Lolita inspired songs critique, not glamorize, the disturbing dynamics at play.
The first set of songs include “Queen of the Gas Station”, “This Is What Makes Us Girls”, “Lolita”, “Lucky Ones”, and “1949”. These songs introduce the Lolita character as fully enamored with her older lover, blind to the warning signs. “Queen of the Gas Station” references gas stations as a significant location in Lolita where Dolores has minor connections to the outside world. In “This Is What Makes Us Girls”, the retrospective lyrics describe young rebellion and vulnerability from the beginning of the relationship. “Lolita” itself uses childlike language from the protagonist, while “Lucky Ones” builds on the illusion of “star-crossed lovers.” The last song of this set, “1949”, references a scene from the 1997 Lolita adaptation and emphasizes an uneven power dynamic. This first section reflects an early stage where the protagonist is lost in her romantic delusions, much like Dolores’ early view of Humbert Humbert.
As the narrative continues, the songs take on a darker tone with this set including “Diet Mountain Dew (demo)”, “Every Man Gets His Wish”, “Diet Mountain Dew”, “Off to the Races”, “Fake Diamond”, and “Carmen”. The “Diet Mountain Dew (demo)” is the first to hint at any discomfort, where Lana’s character acknowledges fear but misinterprets it as attraction. “Every Man Gets His Wish” still romanticizes the relationship but introduces subtle bitterness, foreshadowing deeper disillusionment. The released version of “Diet Mountain Dew” continues the self-deception with the protagonist questioning but staying trapped in her fantasy. “Off to the Races” uses references to possession and control, showing an intense form of dependency where the character views herself as being owned. “Fake Diamond” and “Carmen” further explore this idea, with “Carmen” marking the turning point where Lolita fully acknowledges her self-deception, mirroring Dolores’ awareness of her situation in the novel.
“Butterflies”. Here, the Lolita character fully understands the reality of her abuse and finds the strength to leave. “Put Me In A Movie” explicitly calls the older man a predator, highlighting his objectification of a twelve year old girl. “Butterflies PT.2” takes this further with the protagonist recognizing the manipulation and calling him a “sicko.” “Butterflies” shows her escape, reflecting on the past with a confusing mix of nostalgia and regret but ultimately confident in her decision to leave. This ending directly goes against the misconception Lana glorifies Lolita when instead she presents a psychological progression mirroring Dolores’ own journey from manipulation to
awareness.
Lyrics:
“…I don’t care
What they say about me, what they say about me
Because I know that it’s L-O-V-E
You make me happy, you, you make me happy
And I never listen to anyone” (Lolita)
“Hit me and tell me you’re mine
I don’t know why but I like it
Scary? My God, you’re divine” (Diet Mountain Dew (demo))
“My old man is a bad man
But I can’t deny, the way he holds my hand” (Off to the Races)
“Come on, you know you like good little girls
You can be my daddy” (Put Me In A Movie)
“He thinks that little girls are butterflies and clips their wings
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