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Lady GaGa Atomic Erotic Symphonic Bi-Sonic Genius! (Part TWO of FIVE)






By Ann Powers

____December 13th, 2009

Los Angeles Times


____Part TWO of FIVE

____Links are in GREEN


Grand declarations

Her new songs address serious

themes like women’s shame about
their bodies and the need for open
communication in relationships;
her often physically distorting
costumes show that the pursuit of
the feminine ideal is far from natural.

Her commitment to confront the
changing notion of what’s “natural”
puts Gaga on the same road traveled
by artists she admires,
such as the photographer
Cindy Sherman.

Her frank talk about how female
artists aren’t expected to write their
own songs or about how young
women are afraid to ask for what
they need from their sexual partners
inches her toward a new
articulation of feminism.

“If you ask somebody
where you see sexism
in your life,
all they think of
is the old stuff,”
said Nona Willis Aronowitz,
co-author of the new book
“Girldrive: Criss-Crossing America,
Redefining Feminism,”
by phone.

“Equal pay,
that’s not really on their radar.
Domestic violence and rape
aren’t necessarily in the forefront.”

“But you ask about double
standards or restrictive gender roles,
they don’t think of that as sexism;
they think of that as the way it is.”

That’s kind of like what
Lady Gaga is talking about.”

Gaga does view her
music as a liberating force.

“When I say to you,
there is nobody like me,
and there never was,
that is a statement I want
every woman to feel and
make about themselves,”
she continued.

“I don’t make it
as a defense.
I make it as,
OK, guys, it’s been
two years,
and I’ve made a
lot of music,
and I know my greatness
is individual.
And I want every woman
to be able to say that.”

This is one of Gaga‘s gifts,
maybe the one that most distinguishes
her from the other talented women
directing the pop zeitgeist right now,
her fellow couture hound Rihanna
or her rival in redefining blondness,

Gaga makes outrageous declarations —
when you break them down,
actually make sense.

And then she backs them up,
not only through her now famously
provocative interviews but in her videos,
her collaborations with designers
and artists,
her live performances and those
infernally catchy hits.

Upending genres

As good a game as she talks,

Gaga‘s real language is visual and,
of course, musical.

Discussing videos like the one for
which she says is about
“how the entertainment
industry can,
in a metaphorical way,
simulate human trafficking –
products being sold,
the woman perceived
as a commodity,”
or the Ace Bandage-adorned costume
she wore at the American Music Awards,
which she said was
“meant to be feminine,
bondage gothic,”
she sounds more like an art critic
than an evolving club kid.

“It’s a feeling,”
she says of the way she builds
these little horror musicals.

“There is a narrative,
but the narrative isn’t
nearly as important
as the images are,
sewn together.”

As for the songs that serve as the
foundation for all of her other
forms of expression,
Gaga says she never wanted them
to be anything but massive hits.

“I don’t want to
make niche-oriented music,”
said the songwriter,
who entered the music business
writing hits for other artists,
including Britney Spears.

“I don’t like it!
I don’t mean that to
be in a rude way.
But my taste is
not there.”





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