He caters to a niche audience -the party circuit- and makes music for the clubs, bars, parties (for people with friends) which is quite lucrative in itself. He plays to his strengths and has a successful formula. IMHO, he'll have more of a legacy than all of the pop girls sans Rih/Katy/Bey/Xtina.
I can't actually ever recall laughing whilst listening to an album before but that's exactly what happened at points as I made my way through the 15 new tracks.
Its big downfall are the lyrics, which often sound rushed and nonsensical - but hilarious? Surely LOLing along to the album wasn't intentional?
He caters to a niche audience -the party circuit- and makes music for the clubs, bars, parties (for people with friends) which is quite lucrative in itself. He plays to his strengths and has a successful formula. IMHO, he'll have more of a legacy than all of the pop girls sans Rih/Katy/Bey/Xtina.
Because he's male. I've seen him live and his show was better than the one where the tranny dressed as Madonna WHEEZES out of breath as she tells lies about her past and makes everyone in the audience feel like they have two heads and a tail during her 20-minute "it's OK to be you" speeches.
It's hard not to feel underwhelmed by ARTPOP – but then, that's the danger of hype, especially hype allied to an artefact that's only partially about music. No other pop star has so completely understood and applied the post-modern theory of The Spectacle as La Gaga, but at the heart of her spectacle, the music comes a poor relation to considerations of design, and the manufacturing of ersatz outrage.
So it is that the most interesting aspects of ARTPOP are the extra-musical ones: the way that "Swine" roots between desire and disgust; the teasing reference to "behind the burka" added to the query, "Do you want to see me naked, lover? Do you want to see the girl who lives behind the aura?"; even, lord help us, the kitsch Jeff Koons sleeve design. Musically, it's pretty much the standard modern electro fare familiar from dozens of contemporaries, from Kylie to Britney. The dubstep riffs are more tortured in places, but when David Guetta and will.i.am are involved in a track's production – as with the bullishly shallow "Fashion!" – you're not straying from the mainstream.
The formula works best on "Swine", where the brutal utility of the twitching buzzsaw synth riff matches the visceral revulsion of the lyric: "I know you want me/ I'm just a pig inside a human body/ Squealer, squealer, you're so disgusting." It's the most interesting slant on the masturbatory eroticism trotted out in "Aura", "Sexxx Dreams" and "G.U.Y.", Gaga's robotic spoken section in the latter making sexual attraction seem grimly denatured. It's left to R Kelly, guesting on "Do What U Want", to supply a modicum of authentic romance.
One suspects it's the final two tracks, "Gypsy" and "Applause", that Gaga believes best represent her attitude – driven to wander, and slave to acclaim – but the title-track contains the real message of ARTPOP. "My art pop could mean anything," she sings – the corollary being that it could also mean nothing at all.
Because he's male. I've seen him live and his show was better than the one where the tranny dressed as Madonna WHEEZES out of breath as she tells lies about her past and makes everyone in the audience feel like they have two heads and a tail during her 20-minute "it's OK to be you" speeches.
Her BTW Ball Tour was full of those messes. She was even screaming them out
Because he's male. I've seen him live and his show was better than the one where the tranny dressed as Madonna WHEEZES out of breath as she tells lies about her past and makes everyone in the audience feel like they have two heads and a tail during her 20-minute "it's OK to be you" speeches.
There are plenty of artists who become staples in karaoke bars, and that's all they're really used in years later. But meh @ Pitbull having a "legacy." I guess everyone has one, but I don't think he will be considered important or anything.
There is no depth of feeling or spirit of experimentation on “Artpop” -- it’s all gimmicks, and half-hearted stabs at a variety of styles that others have already done far better. There is no cohesion, unity or purpose. There isn’t even much fun. It has a vibe of calculation and projecting an image or persona rather than of creating great pop music. And then there’s Gaga’s voice -- on several tracks her vocals sound remarkably thin and whiny.
If this album had been released by a no-name pop singer who wasn’t one of the world’s biggest stars it would be met largely with an epic shrug. Maybe Gaga can squeeze a couple hits out of this record, and her legions of die-hard fans will no doubt send it hurling straight to #1 on the Billboard Top 200 album charts. It will sell… but for how long? And what about the long-term? Will there be any reason to go back and listen to “Artpop” five months from now, let alone five years from now? No. “Artpop” is pop artifice without charm, wit or heart. Who knows, maybe that’s the point? Maybe it’s meant to be a sort of bizarre performance art experiment to see if massive fame and adulation are enough to compel fans to purchase an album that’s really average at best. Whatever the thinking behind it, “Artpop” is a major miscalculation from an artist that has been arguably the most dominant force in pop music over the last five years. It’s a shame because Lady Gaga has shown she can do much better. Let’s hope she finds her inspiration and direction on the next album. But hey, at least it’s better than that awful Katy Perry record.
BTW >>>>>>>>
