Lady Gaga's next album discussion

[Ursula Buffay 73]

If she sings about her marriage I'm out of here

[Dorothy Gale 7,575]

If she sings about her marriage I'm out of here

It's pretty likely

[nickyB 1]

DANCE.TECH.ART.ROCK

[heavyMetalGAGA 65]

Nice play on words, I guess. Would love if she delved into redefining what it means to be a wife, her opinions on the institutionalization of marriage, what it means to be a modern woman, how wife doesn't equate to subjugation, etc.

 

That would be awesome! I feel like people would just consider the title of the album on a literal/surface level instead of the redefinition though :/ But I would absolutely love for her to take a shot at that very important subject!

[Silver 47]

If she sings about her marriage I'm out of here

I'm here for a cute love song thoo 

[PopBitch 1,218]

Get her mind back on straight about cohesiveness in her art and music.  Go back and re-read the time period of Bowie's greatness and remember, no matter what he did, it was always above all to make "great music" inspired by his interest in so many things   Gaga is better than some of the bland pop on ARTPOP and such a messy campaign.  Stop talking about it.  Go into her mind and create and then deliver and make people think, not give long dissertations in interviews what it is supposed to mean and not measure up.   Go wild but bring it back ultimately to the music better songwriting and melodies and hooks and use whatever muse Gaga is hooked into.  I don't care about sales.  I would like to see Gaga get critical acclaim for her songwriting and musicianship on the next album and visuals.  I find Gaga closest to Bowie in merging art and music.  I don't want '80s power ballads.   I want avant garde, experimenting, but never to the detriment of losing the melodies, losing the hooks, the things that make a beautiful song.

 

"One reason for this undying fascination is that at a time when many feel that pop's past is a great deal more compelling than its future, Bowie's 70s career represents the white-hot thrill of innovation. The Beatles may have shown that it was possible to reinvent your music with every album but Bowie went one better by reinventing the whole package.

In the early 60s, the teenage David Jones spent a year as a "visualiser" at a Bond Street advertising agency and learned the dark arts of brand communication. His first album, David Bowie, was derivative, theatrical and easily ignored; even the chart-topping success of 1969's Apollo 11 cash-in Space Oddity made him look like an opportunistic one-hit wonder.

So, frustrated by the failure of even 1971's brilliant Hunky Dory to give him the stardom he craved, he remade himself as Ziggy Stardust, described by Peter Doggett as "the perfect rock'n'roll star… male and female, king and queen, alien and human, transcendental and sublime". While many rock musicians were sprouting beards and moving to the country in search of something "real", he was fabulously other: a physical realisation of his audience's most outre pop fantasies.

Most artists would have considered this a job well done and kept on going, but Bowie soon believed that Ziggy had mutated from liberator into jailer and killed him off after just 18 months. With each subsequent album, he became someone new: "cracked actor" (Aladdin Sane), apocalyptic seer (Diamond Dogs), "plastic soul" star (Young Americans), frozen-hearted Thin White Duke (Station to Station) and, on his trilogy of albums recorded in Berlin with producer Tony Visconti and new pal Brian Eno, the pale grandmaster of art-pop alienation. The philosophy is right there in many of the song titles: Changes, Station to Station, Move On.

 

His restless hunger made him one of the few 70s stars whom the insurgents of punk admired rather than mocked, while the sounds and themes of his Berlin period inspired every synth-pop act worth its salt. More broadly, his self-refashioning and magpie eye define pop stardom to this day. For each new concept, he hoovered up raw material from cinema, theatre, fashion, literature and visual art; the V&A exhibition takes in everything from kabuki to German expressionism to the Theatre of Cruelty.

 

 

Crucially, his shrewd pilfering was rooted in ceaselessly great songwriting. Tony Visconti recently talked about Bowie's unnerving habit of coming into the studio with mere sketches for songs and finishing them on the hoof. "It's a scary situation," the producer said. "I was never comfortable with it but I didn't have a choice. If this is the process, you go with the flow. Bowie remains to this day the most extraordinary person I've ever worked with in the studio, on many levels. He's always full of surprises. You can never predict what he's going to do."

 

Of course, this kind of creative velocity doesn't stem from contentment. Bowie could be anybody except, it seemed, himself. "Sometimes I don't feel as if I'm a person at all," he confessed in 1972. "I'm just a collection of other people's ideas." In 1997 he told Q magazine: "I had enormous self-image problems and very low self-esteem, which I hid behind obsessive writing and performing… I was driven to get through life very quickly… I really felt so utterly inadequate. I thought the work was the only thing of value."

 

In some ways, he was a weathervane for a decade in which many people were fearfully searching for answers – he was far from the only confused soul in the 70s to acquire an interest in the occult or an ambivalent fascination (later regretted) with fascism. But in his recent book The Man Who Sold the World: David Bowie and the 1970s, Peter Doggett suggests that Bowie was driven by a terror of losing his mind, as his older brother, Terry, had done.

In 1993, Bowie told the BBC: "I felt that I was the lucky one because I was an artist and it would never happen to me. As long as I could put those psychological excesses into my music and into my work, I could always be throwing it off."

He came closest to unravelling himself in Los Angeles in 1975 while making Station to Station, an experience he claims he can't (or chooses not to) remember in any detail, although he has admitted to living on a diet of c-----e, Gitanes, peppers and milk. This is a cherished bit of trivia because fans generally prefer self-destructive genius to well-adjusted mediocrity: never mind the life, give us the work."

 

Excerpt of article on Bowie

 

http://www.theguardian.com/theobserver/2012/sep/09/observer-profile-david-bowie

[Fame Romance 10,517]

She must hurry up and announce the release of the album now that she's on the spotlight 

[Monzter 182]

I think maybe a song like Fighter by Xtina would be nice on the album 

 

but hopefully not so dark videos and not that way in fashion tbh

[Bad_kid 43]

an album that ****s all charts    

[blacklistedd 599]

I still want an album where her darkwave influences come out full force with mature lyricism and visuals. Less DIY than ARTPOP and more editorial. Idk, just give us great melodies, good voice, and dope looks. Im not about her axing her conceptual nature so much as refining it.

[caseymonster 424]

she should just listen to her heart and not to sell herself. not to try getting them#1s but actually work on something interesting vocally, lyrically and musically. i want something a level above taylors shake it off and katys generic ****. something that will be true to herself..

[Whis 2,920]

ARTROCK

[Dorothy Gale 7,575]

She must hurry up and announce the release of the album now that she's on the spotlight 

This is what I'm thinking too. 

 

 

 

I want songs like these... 

 

 

https://www.youtube.com/watch?v=26sP2WsA5cY

 

https://www.youtube.com/watch?v=w4m-TpUhOHg

[hausofgay 558]

Collab with Kylie Minogue, Cher and other big names, and make music videos with professional directors like Francis Lawrence, Jonas Akerlund or Joseph Kahn and leave these amateours like Inez and Vinood. And leave DJWS and jazz music. 

[VTV 12,842]

still waiting for Ð°rtÑ€op act II