Olivarius: The greatness of Gaga

Culture Quotient

Over spring break, my mini-feed was abuzz with Yalies posting Lady Gaga’s latest music video “Telephone” featuring Beyonce. Comments like “have you seen this yet????!,” “BEST video ever” and “WTF!” abounded.

Since its release almost two weeks ago, “Telephone” has had over 22 million views on YouTube and has become an Internet sensation. With “Telephone” Gaga, as always, has taken performance to the next level.

No caption.
Madison Grinnell
No caption.

In a jet-lagged state, I watched it over and over. Sleep deprivation made the prison dance montages, lesbian make-outs, cigarette sunglasses and images of poisoned diner food interspersed with Americana feel like I was in an alternate universe. Gaga saturates her videos with graphic imagery that is simultaneously repulsive and aesthetically fascinating. There is shock value and beauty and ambiguity all in one 10-minute segment. Classic Gaga.

2009 was Gaga’s year. She blasted to fame, won a slew of Grammys, Teen Choice Awards and MTV Video Music Awards and sold over 8 million albums to boot.

Truth is, her music is pretty unremarkable: If Kelly Clarkson had produced “Poker Face,” it would have been a dud. Most of the awards she wins are for her videos and performances, not her lyrics.

Why do we love her so? She is the whole package — glamour, pop, scandal, fashion and rumor — in one tiny 5-foot-4-inch, 23-year-old form. She walks off airplanes in absurd architectural costumes, creates 10-minute-long high-concept videos laced with powerful Warholian imagery and doesn’t debunk rumors like “does she have a dick?” No one, not even David Bowie, does glamour and celebrity like Gaga.

Lady Gaga proved to be the Steve Jobs and Mark Zuckerberg of pop music all in one. She is a tycoon — redefining glamour, challenging convention and getting up in your face — she has made millions on the back of it. And that’s what makes her such a trailblazer.

The Tisch dropout is an ultra-savvy media manipulator engaged in an elaborate and complex project to re-glamorize the pop star. None of that is readily evident in her actual songs. But that might be part of the point. Regardless of whether you buy her pop-intelligence, you can’t deny that “Gaga” genius in one important sense. Timeless branding of things we don’t usually brand.

From dangling on stage in La Perla lingerie as fake blood gushes from her breast to wearing an orbiting head dress to an award show, every appearance she makes is worthy of the front page. Her image sells, whether you revere it or find it pretentious.

Virgin Mobile, Diet Coke, Wonder Bread, Polaroid and the dating Web site Plentyoffish.com all recognize this; the flagrancy of product placement in “Telephone” is almost distracting. How many other artists have companies vying for them to put arsenic in their Miracle Whip?

Let’s compare Gaga to someone even more successful in 2009: Taylor Swift, who made $18 million last year according to Forbes estimates and was listed by Nielsen SoundScan as the top-selling digital artist in music history. They are a bit different, you might say. Swift is the girl next door. Gaga is your parents’ worst nightmare. Gaga makes music videos with graphic death imagery. Swift sings songs about teen love and being “15.”

Parents love Swift because she spews morals they deem good for their daughters. They see her as a responsible big sister. The most controversial thing she did last year was host “Saturday Night Live” (and she was amazing). The least controversial thing Gaga did was meet the Queen of England in a red leather dress.

Admittedly, the pop stars have some similarities. Like Gaga’s music, the world could do without Swift’s. Swift’s career is based on a particular image and branding — tapping into the tween scene in a way that would make Britney circa 1997 drool. She has become the celebrity face of l.e.i jeans and Wal-Mart, and many companies are vying for her as well.

But Swift’s brand is a ticking time bomb. As we know all too well from the Spears, Aguilera, Moore, Simpson battle of the 90s, the girl next-door image has an expiration date. She turns 21 this December. Soon America will not buy into lyrics like “she’s cheer captain and I’m on the bleachers.” As precedent shows, she will either fade into obscurity or have to rebrand herself as a young sexually empowered woman, singing songs like “Dirrty” or “I’m a Slave 4 U,” struggling to find a new niche.

Gaga will not face the perils of musical puberty. As far as we are concerned, Gaga doesn’t have an age, sex or “innocent” thought in her body. Her burlesque film neon/noir videos might not be everyone’s cup of tea, but we have never seen anything like her. She is a novelty and will continue to be controversial, shocking us with images we seldom face in mainstream culture, like Butch lesbians and non-heteronormative sexuality. And power to her.

As Gaga said in an interview with Ellen DeGeneres, her music and performance is “all about letting people who don’t fit in know that someone out there is fine with who they are.” I guess America is a country of freaks then, and it is Gaga’s genius for getting us to embrace it — while making millions in the process.

Kathryn Olivarius is a junior in Branford College.

Comments

  • !!!

    Best column in the YDN for a very long time. Yay Gaga!

  • br2010

    I have always considered Gaga a freak in her style. Nonetheless this is an intelligently-written article that reminds me of her excessive yet ingenious individuality.

    Also, I would speak in favor of her music – they are pretty cool stuff.

  • little monster

    singlehandedly the most inspired article i’ve had the honor of reading not just in the yale daily news – but print media in general. i vote you intern at the haus.

  • Chase Olivarius-McAllister

    The author of this column must be commended. This jeremiad refutation of anti-Semitism and the music industry is written with tumescent sincerity, in Lincoln’s diction, and with a moral urgency so unprecedented that all Americans are persuaded to reevaluate the aims of or foreign policy in Iran, Iraq, and Afghanistan.

    In distilling the processes of American vision, cinema, and symbolic automatism, the author first exculpates Lady Gaga’s from the disgusting aspersions that PETA and Paul Needham have so cruelly cast upon her, and finally, us, her tearful readers, from the chains of our own alienation.

    What will come the nation, I know not: but it is certain that the jeopardy of its future is now less perilous. For it, and ourselves, may we all continue to pray: but let us, now, band together and commend the author for this Jerusalem of a column.

  • Egalitarian

    It’s empowering to be a slave? That’s news to me. If you read the two letters to the editor that were published last month, maybe you’ll see why many of us believe that Taylor Swift IS empowered. One can be strong and assertive without being provocative for provocation’s sake.

  • Yale 08

    You think Britney Spears was not a sexed-up tart from the beginning? “hit me baby one more time”???

    Lusty starlets tend to age horribly.

    Give me the timeless beauty and class of Swift any day.

  • dazed and confused

    when is chase om going to post?

    i need to know why this column matters to the country

  • webb
  • you forgot

    you forgot to mention that men are awful in this one

  • Jessica Svendsen

    Excellent editorial, Kathryn, as always.

  • love it

    I really like this a lot.

  • Britt (Columbus, OH)

    I think Ms. Olivarious did a excellent job of describing just how far ahead of the game for identification (i.e.fame) that Gaga is at currently. She has insulated any negativity against herself by being controversial from the get go and that anything less than controversial is only going to yield positive results.

    Personally, I think Lady Gaga is a fantastic performer in music, fashion, and possibly in the movie scene. She really has a hard edge, raciness and boldness to be herself, despite what others believe are definitions of success. Gaga is a gogo for more of the same.

  • tammy

    great article. My review of the video from a creative standpoint is genious…From a branding standpoint, Brilliant. Companies like Plentyoffish.com and Heartbeat Headphones are going to become far more recognizable. Before I saw this video, along with several others, Never heard of either companies

  • a month late

    http://www.dailyprincetonian.com/2010/02/17/25183/

    So, Kathryn, you jacked most of this from a kid at Princeton. Well done.

  • guh-guh

    I appreciate the pro-Gaga sentiment but give her a little more credit, musically. Unlike Swift, Gaga can actually sing. Also, her songs are pushing pop music in a new direction musically. And her themes/lyrics are much more inventive than the tired content of Swift’s songs.

  • @14… do you read?

    The article you posted is nothing like Olivarius’s article. You just posted an article about lady gaga and her videos. Olivarius’s article was about Gaga’s brand and the genius of it. And the only video it mentioned was Telephone which came out only a couple weeks ago.

    So good for you for totally missing the point of both articles.

    Go on google, type in “Lady Gaga.” There are thousands of articles about Lady Gaga that say different things about her. Just as there are thousands of articles about the War in Iraq, the benefits of ice cream, and colorful sweaters.

  • Yale 08

    Yawn.

    Gaga will be forgotten in 100 years, just like Madonna, Spears and the rest.

  • maddie

    taylor swift is laughing allll the way to the bank. who cares if her aesthetic has an expiration date? even as she keeps getting older, new girls are turning 13 and 14 and they will still love that music. if i were taylor swift, i’d take my $18 million and feel content with the fact that i’m not a psycho and therefore am doomed to at some point stop making headlines.

  • Y11

    This IS a lot like a Rolling Stone article from several months ago.

  • jakob

    I, for one, really dig a good share of Gaga’s music but find her image and videos to be pretty lame. “Telephone” is a weak track, too.

    But what the hell is comment 17 talking about? It’s not 2110 yet, and I sure hope you don’t only like things that have been around for a century.

  • FailBoat

    Lady Gaga’s fame comes with a price that becomes ever more evident with each “music video” she releases: her dignity.

    She’s an embarrassment to her own talent, and everyone’s watching the trainwreck.