LADY GAGA - "The Fame Monster" dans les bacs [Memorial CB (page 10 to 19)]

youss a écrit:

Je la préfère mille fois à Bad romance, :boum*: :boum*:

Bee Boi a écrit:la tournée est apparement un flop niveau créativité et contenu, les critiques sont mauvaises pour le premier show :

www.gagavision.skyblog.com

Queen--Beysus a écrit::HAHA:

On bodily reactions to stress: “I get all the symptoms of a pregnant woman. I get headaches, I get tired, I get blurred vision sometimes during a really intense session with [her creative team] the Haus.”
On a recurring theme in her work: “I feel that if I can show my demise artistically to the public, I can somehow cure my own legend. I can show you so you’re not looking for it. I’m dying for you on domestic television—here’s what it looks like, so no one has to wonder.”
On being a former waitress: “I was really good at it. I always got big tips. I always wore heels to work! I told everybody stories, and for customers on dates, I kept it romantic. It’s kind of like performing.”
On using her sexuality: “My album covers are not sexual at all, which was an issue at my record label. I fought for months, and I cried at meetings. They didn’t think the photos were commercial enough…The last thing a young woman needs is another picture of a sexy pop star writhing in sand, covered in grease, touching herself.”
On her romantic future: “In eight to 10 years, I want to have babies for my Dad to hold, grandkids. And I want to have a husband who loves and supports me, just the way anyone else does. I would never leave my career for a man right now, and I would never follow a man around.”

Let’s just get this out of the way, shall we? About 99 per cent of pop is drudging twuntery assembled by blank-eyed robots who are unjustly rewarded with mountains of cash, while all my favourite bands languish and die in places like Tacoma, Washington. As someone who believes hardcore punk to be mankind’s highest artform, Lady GaGa is the antithesis of my fucking soul: she eats diamonds marinated in the tears of seraphim, I eat week-old misery on toast. I’d despise her… but she is that remaining one per cent.

It’s because she’s baffling. ‘The Fame Monster’, being eight new tunes welded to last year’s ‘The Fame’ (where most pop muppets would tack on a tossed-off remix or two, La Gaga delves into her paranoid soul and constructs a thematic collection around new demons that have invaded her life – monsters representing her fear of, among others, sex, death, loneliness and alcohol) is as pristine as you’d expect, but has a sub-zero core of isolation and fear. In the same way as Radiohead battle computers and learn new instruments to hew their sculptures while Fuck Buttons and HEALTH discover new sonic languages, she uses pop, its producers and masks and all its artifice, as her tool of self-expression.

‘So Happy I Could Die’ perfectly evokes the feeling of being alone in a crowded room with its icy beats, suggesting Gaga takes refuge in masturbation as the only way to retain control, while ‘Bad Romance’ would be hateful if it didn’t have a chorus so wonderfully big it dwarfs the industry of a million angry dudes with guitars. Next to the light-hearted ‘Alejandro’, the jagged ‘Teeth’ and ‘Speechless’, an old-fashioned torch song that sounds like it was recorded with the sole intention of being sung while Gaga sprawls hungrily over a grand piano, are proof of her range and depth of talent. And in an ecstasy of look-how-fucking-gargantuan-we-are-as-icons, Beyoncé appears on ‘Telephone’ to effectively say cheers for Gaga singing on her ‘Video Phone’. Coincidence? This shit’s as organised and potent as a North Korean military parade.

Those new songs are fine, even though ‘Dance In The Dark’ and ‘Monster’ are slightly too disposable, but considering the likes of the stone-cold stunner ‘Paparazzi’ and of course ‘Poker Face’, pretty much the one song 2009 will be remembered for, are included on the original album, this becomes essential for anyone who even remotely likes pop. For the rest of us, it’s the moment Gaga cements herself as a real star. Damn.

8/10

Ben Patashnik

Iceberg a écrit:


Résumé en Français :

"Haïssez la, mais il devient de plus en plus difficile de nier qu'elle est devenue une maîtresse de son art. [...] 'Teeth et 'Speechless' sont des preuves de la profondeur et l'étendue de son talent. [...] C'est aussi organisé et puissant qu'une parade militaire nord-corénne. Ces nouvelles chansons sont bonnes, bien que 'Dance in the Dark' et 'Monster' fassent un peu trop kleenex. [...] Le moment est venu pour Gaga de s'établir en tant que vraie star. Nom de Dieu."

8/10

Kévin a écrit:Ok ok je l'avoue, je stan pour Bad Romance :tongue:

Work-work fashion baby
Work it, move that bitch crazy
Work-work fashion baby
Work it, move that bitch crazy
Work-work fashion baby
Work it, move that bitch crazy
Work-work fashion baby
Work it, I’m a freak bitch baby


:MUSIC*: :*#*: