Tag Archives: The Fame

LFR&B: Lady GaGa – “Born This Way”

… and on the fifth day GaGa unleashed the beasts, saw everything that she had famed… and behold: it was very good

February 11, 2011

SnappIt: Well look who just got a job at the electric company… bringin’ the sweatglam-seventies-borderline-aerosol-eighties club scene back with more flamboyant fervor than the lil’ tranny train that could work a runway: girl paws yes please.

#inanutshell: Just as big as before, but a more detailed, well-composed, worldly, optimistic “Bad Romance.” Very “After getting best undressed senior in high school, I went to Cal Berkeley, hung out in the Haight and now I’ve expanded my rainbow horizons.” That big sister. …. that Dennis the Menace to Madonna’s Mr. Wilson “I love you and all but, the what are you doing on my lawn – all the tick-tock time?!”

140 or less: Merry Neo-Disco Christmas! Open your heart, enjoy the holiday; don’t be drag, be a queen – and lay off the dirty ice cream

Verdict: Two Snapps A Whirl A Twirl and Circle Around

It’s a wrap; somewhere, Ronald Reagan is crying on Basquiat’s shoulder #postpostdiscodemonic #allsmileshere This is what some would call a “Game Changer,” this is what lil’ monsters would refer to as a “GaGameChanger” – before underwriting “AND IT WAS BORN THIS WAY, BABY!” for a quick fix good measure – either way, this matters. She’s been saying it all year, but it’s a bit different when it happens.

“Ugh swiper… but how does it soundddddd – what does it all meannnnn?”

Let’s find out together, shall we…

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re:mind : on brief behalf of Pop music

In a brief defense of Pop music, I would just like to say…

Pop music is here to elevate you. Pop music exists to channel transcendence. Pop music is not relegated to a single frame of performance or musicality. Pop music is the amalgam of experiential sonic rhythm, crafted and delivered for and to the contemporary body. Pop music is founded upon Pop musicians.

The contemporary is inundated with “new” media. The contemporary is a global marketplace. The contemporary is spectacular. Pop musicians, as such, are here to reciprocate and satiate said contemporary. The contemporary is a stage, the contemporary are performers – the audience are exhibitionist voyeurs and the actors are voyeur exhibitionists, we’re all in this Factory frame together.

And so, we dance, we sing, we get up, we do our thing, we put on a show tonight, do whatever the collective they like – for the fame, so they see our face and know our name. So, know this space. Know that the ones in the brightest lights push hardest in the darkest nights, know that the ones who do it endlessly – the ones who first trigger the reflexive ennui – do it for you.

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Never Be Low Brow: Pop Canons.

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EP. 27.6 : when i trance

Feel alive.

Pulse the signature sound as apropos a sonic aesthetic as any you could possibly fathom. Be the rainbow coalition rallying cry emerging as the pulse of the marginalized and socially-oppressed communities. The uber-derivative genre infusing indigenous sounds with new synth technology. The cultural anomaly with which to be reckoned, that self-contextualized subculture hidden-in-plain-view.

Be the rainbow-haired bad romancer emerging as the pulse of the Generation Don’t Ask, Don’t Tell fringe networks. Bathe in uber-derivative artistry. Pull identity from Lorca, Queen, Motley Crue, In Living Color, Peggy Bundy, Kardinal Offishall, Stanley Kubrick, Yoko Ono. Wear it. Infuse influence with modern Pop veneer. Bear the cultural anomaly with which to be reckoned, that self-contextualized subversive supernova hidden-in-plain-view, the bleeding red corpse of American celebrity hanging from the rafters.

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The Prophiles: Lady GaGa

March 28: 1,771 years ago today De Pascha Computus commemorated the Nativity, birth of a man – son of God – who brought mankind from the darkness of sin; today, we commemorate the birth of a woman – deity of Pop – who brought a generation from the dark ages of social oblivion. On this day, ancient Romans celebrated the production of the Sun and the Moon; today we celebrate the personification of The Fame and The Monster. In the midst of a generation described as Godless, artificial, celebrity-obsessed, and lost, emerges a renaissance artist who gave you freedom in the music – found your Jesus, and your Cupid. Happy Birthday, Lady GaGa.

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Unforgettable, Vol. 21: Lady GaGa – The Fame

Pop: grab your old girl with her new tricks, if this was GaGa’s first and last album it would be just as complete as it is in context as a dynasty starter.

The Fame is nothing more and nothing less than a perfect Pop debut through and through. Visceral, catchy, panoramic, reflective, progressive, chock full of hit singles, formidable filler, and fun; foreshadowing or foreboding depending on how you look at it – and yet, so very simple. The Fame is merely a skeleton, and the beats are nothing more than an atmosphere. In Britney’s wake we saw a sea change: where Spears’ story was plot-driven – a tale of a singer at the whim of heavy production, and a girl at the whim of a weighty world – GaGa’s voice is the fuel behind The Fame. She gives life to the beats, as much as she injected the joie de vivre back into Pop’s consciousness.

The sound is underground and mainstream, simultaneously past and present. “Just Dance” couldn’t be more straightforward as it rips the disco skeleton from the past, fleshes it out with simple synth layers, and slaps an electro-futuristic veneer on for 21st Century tech propulsion. The beat is a night out: airy synth, simple percussion, minimal layers, basic four-count – nothing crazy, nothing coercive, just dance music. The lyrics are universal: just dance, gonna be okay – and repete after moi. GaGa is “that girl” from the club. This is the first step of the journey through a tumultuously memorable relationship between lovers, the celebrity and the scene, the artist and the industry, the author and the audience. It all starts with “Just Dance.” You just dance to get to know their name, you just dance to get on Page Six, you just dance to get that record deal, you just dance for reassurance that it’s going to be okay – and this is The Fame.

Beyond that, at first listen, “Just Dance” is any other Pop track, a brilliantly choreographed debut. It couldn’t be more literal, and at a time where the world is a collective skeptic for good reason – the truthiness behind WMDs – that clear transparency was a trailblazing mindfreak in and of itself. Everything the track is not makes it everything it is. It is not new, it is not groundbreaking, it is not particularly deep or profound – and yet, coming from a world of life under-rug-swept it was that very transparency that broke America out of its shell. Just. Dance. No more, no less, no hidden agenda. Before auto-tune and vocoders, before ice and chains, there was lighthearted, carefree disco – the most basic, infinite, constant, life stream of music by method.

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