Thanks to Lady Gaga, quality pop music is still alive in the 3rd millennium. If you are an anti-radio purist who claims that pop perished sometime in the 90s, there’s now a way to redeem yourself—for Lady Gaga has resurrected pop in the form of the macabre and the uncanny, the oversexed and yet threateningly asexual.
And while she may not be restoring life to popular music, Lady Gaga is instead drawing on our fear of its demise by taking what is passé and reanimating it as the culturally undead.
If you were to ask me what I mean by “uncanny,” I would ask you to hit up YouTube and watch Lady Gaga’s “Bad Romance.” That shit is FREAKY. If you want a definition of the “undead” in Gaga’s work, just watch the video of her sanguinary performance at the VMA’s, in which she looks like Sissy Spasek in Carrie and eventually hangs herself from the ceiling.
Just as she writes and produces all of her own music, Lady Gaga herself choreographed this figurative murder and rebirth of Pop. She later commented to shocked reporters that to the performance was a way of “say[ing] something honest and real.”
Amidst Lady Gaga’s cryptic responses to news reporters—she told one that the only thing she looks for in a man is “a big dick”—and rumors of her being a hermaphrodite, you can’t help but wonder if she is hiding something.
When an MTV reporter commented on her heavily stylized persona and asked her if he was speaking with “Lady Gaga the person or Lady Gaga the character,” she passionately responded, “For the last 10-15 years there has been an absence of theater in Showbiz.
There is an assumption that unless I am showing you myself with no makeup and a t-shirt on, doing no dance moves and strumming on a guitar … that I am artificial, and I’m not. I am simply a performance artist … and my life is my art.”
As for her being a hermaphrodite, the sources of those rumors have all been proven unsubstantial, though Lady Gaga has not commented on the issue. All publicity is good publicity, as they say.
Yet if Lady Gaga’s untamed art is her life, then we should also assume that her life is her art. But what is the life of Lady Gaga like?
Well, a starting point may be what Lady Gaga claims as her deepest conviction and primary inspiration: the gay community. According to Gaga, the single most important moment of her career was when she spoke in Washington D.C. for the National Gay Rights Rally. As usual, though she has refrained from any comment on her sexual orientation.
Then there is Gaga’s method of work. The so-called “Haus of Gaga” is the nexus of all production and collection of props, sets, and clothing Lady Gaga uses in performance, and everything is manufactured there, in-house, by Gaga and a team of close friends. In a warehouse reminiscent of Andy Warhol’s “Factory” (admittedly, Warhol is one of Lady Gaga’s main influences), Gaga evades the limelight in order to focus on her creative endeavors. The Haus of Gaga, given its self-referential and self-aware concentration of creativity, is likely one of the keys to Gaga’s success in a world of otherwise impersonal collaboration.
Considering even this romantic image of Lady Gaga as a rogue, anti-social burlesque-dancer-gone-celebrity, there are still many who believe she is undeserving of both critical and mainstream attention. She possesses neither the sex appeal of Britney Spears nor the vocal chords of Celine Dion, so what is it she has—beyond pop-art savvy and a derivative, self-conscious public image—that no one else has?
The answer is this: Lady Gaga is a mistress of covert suggestion. Take a closer glance at her music videos and lyrics (which, I am ashamed to admit, I have done obsessively), and you will notice a slew of hidden linguistic, visual, and formal meaning. I am no psychologist, and certainly don’t find Lady Gaga to be all that attractive, but perhaps that detachment is exactly why the red flags go up so easily for me.
To highlight what is going on beneath the surface of Lady Gaga’s work, let me point out a few things that require no embarrassing Lady Gaga YouTube sessions. Some background: the two events that first catapulted Lady Gaga into stardom were her hit singles “Poker face” and “Just Dance.” The pronunciation of this former song’s title is essential; if you listen to phrasing of “p-p-p-poker face, p-p-poker face” when sung, it sounds exactly like “fuck her face” the second time.
During the bridge of the song “Just Dance,” the lyrics “half psychotic, sick, hypnotic, got my blueprint, it’s psychotic” sound exactly like the words “have sex” repeated over and over when she says them. During this sequence in the music video there is also a clip of Lady Gaga humping a whale and a flash of the word “join” for no apparent reason.
To be fair, Lady Gaga does not necessarily hide the smoke and mirrors, and she may consider subconscious influence a part of her art—something half-concealed that lends entertainment value and intrigue. In an another interview with MTV, a reporter suggested that the death of Princess Diana was a direct result of her fame (“the fame” was the name of Gaga’s first album) and that fame may place Gaga in a similar position of undoing. Gaga calmly responded, “You know, it’s actually interesting you say that, because I speak that way too.”
If Gaga is so keen to recognize and critique an attempt at unconscious emotional persuasion, we can imagine the role it might play in her work.
Sometimes Lady Gaga’s attempts at leading her audience into a trance take the form of explicit, self-conscious comedy. In the music video for the song “Paparazzi,” one scene has Lady Gaga falling into a whirling black-and-white spiral while a voice in the background says the word “beautiful” repeatedly.
Maybe it’s just me, but Lady Gaga’s absurdist and deliberately derelict style reminds me of Mugatu from Zoolander, only instead of getting you to relax, she just wants to turn you on.
Any critique of Lady Gaga’s powers of suggestion begs the question of whether she is really something unique, or if she is just a more “manipulative” version of countless other musicians in the past.
After all, there will always be verbal ambiguity when words are spoken instead of written—we have all gotten song lyrics wrong before. And doesn’t music, by pairing sound with the written word, inherently imbue words with extra-lingual meaning?
At its end, music is about making the listener feel a certain way. How, exactly, that feeling comes about isn’t always relevant to the person experiencing it.
So, if you are a born-again conservative, Lady Gaga is probably what you would call (as many bloggers have) the “antichrist.” However, if you are an intelligent person who is willing to look deeper into the inspiration and methods of her work, you will notice that she is, quite likely, a genius with an overactive sex drive.
Go Lady Gaga!






hat if there were a new energy source, one that had no harmful emissions and boundless availability? Instead of curtailing our oil consumption and starting wars in the Middle East, imagine if we could simply snap our fingers and have almost an unlimited source of energy at our disposal. Would this not render superfluous all of our current huffing and puffing over saving the world? Will the search for the ultimate energy source play out as a tragedy or comedy? I argue for the latter.
f you have been reading the headlines recently—“Time is running out for Mumia Abu-Jamal”, “ Economic Downturn”, “Somalian pirate scourge”, “Deepening Crisis …”—you have probably experienced severe boredom or, if the article is at all substantive, a brief moment of surprise, closely followed by an urge to set fire to the newspaper. But then, just before burning the American media in effigy, you read on a little more, entertaining your suspicions of the world at large and hoping to fuel an idealistic fire that never ends up burning.
wo weeks ago, my article reflected on an interview with Virginia Beahan and expressed our mutual frustration with the Cuban government. The article cast a slanted light on the contradiction, the paradox, and the utter nonsense that is Cuba. After rereading that article, I was panged with regret for my bitter disposition. I guess I thought it would be more interesting for readers to hear me rant about “who stole my goddamn Nutella.” When we discussed capitalist calamities in Cuba, we were not trying to prove that Cuba—or socialism for that matter—is a broken system, but simply that Cuba has been forsaken by tourists (a group, of which I must admit, I was a member).
art 1: The Revolution: For this segment of my continuing series on Cuba, I took the opportunity to interview a fellow member of the Dartmouth family with strong ties to the island. Virginia Beahan, a senior member of the Studio Art department , recently published a book entitled Cuba: Singing with Bright Tears, based on photographs from her travels in-country. Singing with Bright Tears is a poignant and moving glimpse into the world of Cuba in the aftermath of the’59 Revolution. Both the photos and the two included essays by John Lee Anderson and Pico Ayer emphasize what Ayer describes as the tension between Carnival and elegy, “the ramshackle glamour of an abandoned stage set” together with “that sense of wistfulness, of a life arrested in mid-breath.”

