Lavish Worlds, and the Headwear to Match

“She’s mad but she’s magic. There’s no lie in her fire.” A phenomenon in her own, Lady Gaga came out of nowhere in 2008 and took the world of entertainment by storm with her debut album, “The Fame.” At the Radio City Music Hall, the mega star urged her fans to take her picture, saying, ‘I want to be a star.’ To an addition to her talent in arts, the author improvises on ‘her fascination over dressing up’ considering it a sort of “freaky”. However, the message has been bluntly delivered with quotations in brackets which indeed has an implied meaning to the author’s behavior. “The Fame”, insists the audiences that Lady Gaga is personally engaged towards her reputation by using fashion as a tool.

“As the author claims, ‘She is (A star) a combination of well-planned outlandishness media exposure and catchy, stuttering choruses — “pa-pa-pa-pa-paparazzi,” “p-p-p-poker face” — has made Lady Gaga a multimillionaire selling, Grammy-nominated star in less than a year and a half since the release of her debut album.” She has a larger than life persona, with actual musical gift behind the glitz of her extravagant stage presence and dressing. With back to back hits, her much talked about stage antics, dressing, and charity offerings, she seemingly has the author under her mystic spell just like everybody else.

The author endeavors with a banging expression “larger than-life style”; an aspiration to parallel Lady Gaga to other great stars, ‘Madonna and David Bownie’. The comparison is an implication compelling the general audience to accept that she is a better performer in music and art. Affirmed, with excitement to finer musicians, the reference to a female Elton John puts forward the authenticity and talent of Lady Gaga, and the author’s familiarity on the subject. Regardless of those not involved in the specific genre, associating the above popular artists illuminates the content to be comprehended by a greater audience. “The Egyptian-deity golden armor”, “the exoskeleton like helmet” and “the red chauffeur’s hat” blurs the author making the connections “cryptic” between Lady Gaga’s performance of music and fashion after the comparison he had made with dedicated musicians and artists. Pareles ends with hesitancy to the fiction consideration of Lady Gaga to be “Tinker Bell”, now isn’t that desperation “needing applause to live”?