On Nov. 6, amid the kind of hype not seen since Michael Jackson floated a statue of himself down the Thames River, Lady Gaga released her third studio album, “ARTPOP.”
And not since Jackson has such a globally famous, white-hot pop star had such a rise and precipitous fall: “ARTPOP” is on track to lose $25 million for her label, Interscope, prompting *rumors of imminent layoffs.
w/e i've accepted everyone hates her for now.. gonna need her to go record a new era now and REALLY show the haters. she better be taking classy notes from Bey
Once that work results in great success, he says, the artist invariably believes they are solely responsible. “Time and again, they feel like they could have done it themselves, and if they had done it their way, it would have been even bigger,” he says. “So they jettison the people who helped them get where they are and hire people who are less powerful, who let them do what they want. I think that may be where Lady Gaga is.”
When it debuted in late 2011, “Homeland” was a wild and unlikely hit, a thriller about a brilliant, bipolar CIA agent who falls in love with the Marine-turned-sleeper terrorist she’s tracking. Like Gaga, “Homeland” was a surprise: culturally relevant and super weird, electrifying in its warp-speed approach to burning through story.
But after that first season, it became clear that the writers had no idea where to take their narrative, and the show’s once-organic outrageousness curdled into patronizing gimmickry.
With her first record, Lady Gaga, too, burned through story — the outsider artist who crashed through popular culture, the “Mother Monster” to all the world’s freaks — and she clearly had no sense where to go next.
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she began to feel like the guest who just wouldn’t leave.
