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Gaga refers to her music as “soulless electronic pop” and says things like “we’ve already killed everything” and “the apocalypse has already happened.” Her sensational aesthetic has a divisive effect and tends to generate one of two reactions: She is either the most awful, most infuriating cretin ever to crawl out of corporate entertainment, or she’s an ingenious Warholian synthesis of David Bowie and Madonna with admirable Jay-Z-style business savvy.
Both positions overlook why the Gaga “fame monster” is a significant development in pop culture: Her persona is so infectious because it is the most accurate reflection we have of capitalism’s mutagenic effects on the human form and psyche. Her music is just a pretense, a rationale for her celebrity. She is the bizarro Paris Hilton. The manipulation of capital is her true art, and the “Haus of Gaga” is not a fashion/performance collective but a new breed of PR firm.
1:34: Heartbeats earphones.
2:06: Virgin Mobile.
2:17: Diet Coke.
4:15: Virgin Mobile (again).
4:24: HP Envy ‘Beats Limited Editon’ laptop from Monster.
4:28: Plenty Of Fish dating site.
4:44: Chevrolet.
5:37: Polaroid.
6:24: Wonderbread.
6:36: Miracle Whip.
8:31: Polaroid (again).
Bit overwrought with Tarantino references, too. One day, I hope to live somewhere as glamorous as Gaga’s prison.
