Member Since: 11/21/2010
Posts: 34,957
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FROM TIme Out London
Quote:
It was disappointing to see you describe Rebecca Black’s ‘Friday’ as genius.
‘[Conspiratorially] I hadn’t even heard the song.'
Oh. It was self-evidently awful.
'Here’s what I will say. I hadn’t even heard the song; I was merely commenting that she had been trending on Twitter for seven days, that she had all these hits on YouTube. But I hadn’t actually heard it. I hope that soothes your sadness.’
There's a lot of religious imagery on your album. Who or what do you think God is?
‘I see God in my fans. I worship my fans. I don’t believe we know what God looks like, but you have faith in what He, or She, or It looks like. I have no scores to settle with Christ. That’s not at all what this is about.’
What is it about?
‘It’s more about my relationship to being taught something pretty vigilantly for years – being taught that God looked a certain way and did certain things and should either be loved or feared.’
What don't you like about your own work?
‘I can’t even watch the “Telephone” video, I hate it so much.’
What's wrong with it?
‘Beyoncé and I are great together. But there are so many ****ing ideas in that video and all I see in that video is my brain throbbing with ideas and I wish I had edited myself a little bit more. It’s funny because I know a lot of kids on the Popjustice [the interviewer’s music website] forum didn’t like the “Alejandro” video, but that was my favourite of all my videos.’
Because there's a lot less going on in it?
‘[Nods] It’s not busy. But maybe that’s my own monster. People love the chaos in my brain, but I’m terrified of it.’
Perhaps you're not the best judge of your own work.
‘I’m certainly not the best judge. I know when I do my best, though.’
It seems, as she plays us song after song in the studio, that Gaga’s best may be on the album that is finally released worldwide this week. ‘Americano’ is about Mexican immigrants (‘told in the metaphor of a lesbian love story between myself and a girl I meet in East LA’); ‘Marry the Night’, Gaga says, is ‘a very pure, unmediated love song’. She talks me through each track in extraordinary, passionate detail and seems frustrated when her manager suggests that it might be time to wrap up.
‘We need some BOOZE,’ Gaga decides. ‘I’ve poured my heart out to you. Let’s have a drink and pour it back in again.’
This has – we say – been an unusual sort of playback session from such an established artist. Most advance album listening opportunities tend to happen in airless label offices, any song descriptions courtesy of a few sanitised quotes on a photocopied press release. ‘You get everything you want today,’ Gaga says. She pauses for a beat, then roars dramatically: ‘Tomorrow… NOTHING!’
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and yes nothing beats the vma dress.
