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Charts Discussion Thread,


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Pop-a-911-ster 26,625
On 4/2/2023 at 4:47 AM, Andreu said:

We need all the big accounts tweeting something like 'remember when Gaga dropped Judas in the middle of the Holy week/easter holidays' and I think we can easily get a viral tweet, and hopefully this will translate into streams.

Can we get alluregaga to do this?

music video mv GIF by Lady Gaga

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Popster to Popster 3,903
On 4/1/2023 at 6:39 PM, Fame Romance said:

At 13 weeks on the Hot 100 Bloody Mary ties NRO with no MV etc :ally:

Also it has spent more time charting that all Katy Perry songs this decade combined :katy_pie:

LMAOOOOOO IJBOL

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ARTPOPster 1,880

My review of Born This Way for my project

Spoiler

"I'm gonna marry the night / I won't give up on my life"

A ten-year-old boy hums these lyrics to himself, dejected after bearing the brunt of yet another name-call, insult, or outburst. He has found solace in the soundscape of those lyrics, that melody, that bliss of hearing a life-altering work of art for the first time. Having discovered his sexuality only weeks before, he knows he is not alone. There is a powerful figure of global stardom, and though only five-foot-two, she rules the world as the goddess she is. She represents him and all others like him, who struggle with their identity and worth. Her name is Lady Gaga.

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Lady Gaga knew she would be the next pop phenomenon, to be broadcast on radios around the globe, blasted in clubs for patrons to dance to, and for her most devoted followers to idolize as their savior. She had accomplisheed those first two hallmarks of iconography with her debut and sophomore albums, The Fame and The Fame Monster, released in 2008 and 2009, respectively. Dancefloors were awash in the bombastic production of producers RedOne and Fernando Garibay, and she knew that for all the superstardom and the paparazzi and gawking eyes that accompany, she owed it all to her most loyal fans. Lady Gaga is Mother Monster; her fans are Little Monsters, and they have created over the years the most dedicated pop music fanbase in existence. Gaga never marketed to the masses, rather, the general public flocked to her with eager eyes and ears, anticipating the next outrageous haute couture she would don, and the newest revolutionizing sound she would bestow upon the airwaves. When the time came for her third album, she wasted no effort in ensuring that it would enshrine LGBTQ+ culture for generations of the community to follow.

Marketing Born This Way as the "album of the decade" was a daunting task to live up to, and in some ways it did not quite succeed, but one is left to wonder if that even matters. The record opens with the church bells that cascade into raging synths on "Marry the Night", with Gaga declaring that despite her failures and the ruin that she might have made, she will embrace the dark as a part of her life story, her past irreversible. The track is immaculate, and it was Gaga's intention that it serve as the lead single. Interscope was more keen, however, on pushing the album's title track, which is admittedly overproduced and even cheesy by some accounts, but that does not matter when it is followed by bangers such as rough-seduction-laden "Government Hooker", and the belts of agonizing love on "Judas", where she plays the part of Mary Magdalene and Jesus tranasfused into one wretched soul, torn apart by loyalty and sin. If you think Gaga is easy to swoon, you are wrong, as she rebuffs the patriarchical structure of society on "Scheisse", an electro-house club smasher where her faux-German serves as camp galore. "Bloody Mary", perhaps the most experimental in her entire discography, contains elements of darkwave and even Gregorian chant as Gaga bathes in the lifeblood of religious elements, screams and distorted vocals included, culminating in a rapturous final chorus cascading with vocal belts. For as much as the campiness shines bright on the lyrics of "Hair", the faux-mariachi of "Americano", and the cheesy rocker aesthetic of "Bad Kids", the dark pulses and sexual throbbing of electro-house on "Heavy Metal Lover" and "Electric Chapel" overwhelm that goofiness, paving the way for anthem after anthem after anthem of confidence, self-worth, and sexual discovery. The penultimate track on the over-an-hour long release is "You and I". Featuring new guitar from none other than Brian May on a Queen sample, the country-rock rager screams out Gaga's wrenching heartache for her former lover and his home state, as she swears on heavens above that she will not leave this world alone. And she will not: the saxophone solo bridge on closer "The Edge of Glory", an ode to bearing witness to her grandfather's final moments, solidifies her repertoire of creating poignant tracks that reflect the best of our deeds on this mortal Earth: kindness, empathy, love.

It is with those attributes that Gaga has built a community. As the very last person to stand down from a fight for equality, she has united LGBTQ+ individuals and their allies from around the world to fight against intolerance, one pitch-perfect note at a time. Detractors and naysayers will claim that by making the album 99 cents for purchase, she cares too much about success. Well guess what? Gaga IS success, personified. No matter rage and fury, attempts to have us buried, you can't force us down. In a world alone, we will hold our own, and you will never stop us now.

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The 22-year-old man lies awake at night before descending into slumber, initially unable to do so, as he reflects on all he has done wrong in the past. But as his eyes fail to stay open, he finds quiescence in the reassurance of his idol, his savior, his hope. Music is his lifeblood, and Lady Gaga is the nurse administering the IV. She found the vein, she puts it in, and he lives for the way she cheers him on. He falls asleep, dreaming a menagerie of scrambled reckonings. He awakes to start a new day, as a loser, as a winner, and as a human being deserving of all the love and compassion he gives the world.

Paws up forever!

5/5

 

  • paws up 1
  • yaas, gaga 1
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