What if WE are the Perfect Illusion?

[SlaeUrAnus 15,955]

But yet we are still here, but Gaga is not all innocent in all this 

[Jonathanholland 5,320]

I've been thinking this too, it makes sense tho after all the meltdowns about ARTPOP 

[GardenPantee 51]

   On 9/19/2016 at 5:21 PM,  FinnishGypsy said: 

Personally, here is my interpretation: Fame. With Gaga, it always comes back to fame:

1st album--TF: Whole persona was pure satire, mocking the absurdity of fame. From her "gimmicks" to the song/MV for "Paparazzi," she perfectly demonstrated the predictability of the general public, getting them to eat up her formulaic pop music while failing to demonstrate her remarkable vocal/artistic abilities.

2nd album--TFM: Continued theme, now more explicitly showing the dark side of fame, except now she has become so entrenched in her own satire that it has become difficult to separate her persona from her actual identity. "Bad Romance" was a song which brilliantly depicted her internal struggle at this time: the dichotomy between seeing the ugliness and disease of celebrity whilst simultaneously craving it more and more.

The dual EP covers validate this further: one side depicting the blonde pop persona of Gaga, while the other revealing the brokenness and internal darkness of Stefani. This brilliant EP always brings to mind the following quote by Nietzsche: "He who fights with monsters should look to it that he himself does not become a monster...when you gaze long into the abyss, the abyss also gazes into you."

3rd album--BTW: Beyond the obvious support for the LGBTQ community, many missed Gaga's attempt to also illustrate the underlying statement represented by the much-ridiculed album cover, wherein she is no longer a separate entity from a commercial product (as she had previously been able to keep separate with the dual covers of TFM): She, herself, now believes she was "born this way,"--half human (Stefani) and half commercial product/machine (Gaga). She can no longer distinguish the two identities.

This is further highlighted in the music video, wherein she herself is a skeleton--dancing and celebrating despite the death of her humanity. "Judas" was essentially BR 2.0--she's still in love with the fame that continues to betray her. Releasing "Marry the Night" as her final single for BTW was no mistake either--the music video, at last, showed fans a glimpse of how profoundly Stefani had been broken to become Gaga. And the lyrics, again, reaffirm how she had decided to embrace this change. 

4th album--AP: Gaga herself described the album as having "a lack of maturity and responsibility." She, after having displayed her vulnerability through TFM and BTW, essentially (intentionally) went back to square one, mirroring TF thematically. Hence, the songs largely returned to the general pop format as seen in her first album: with overarching superficial themes of sex, and leaving the listener to distinguish whether or not there was a deeper underlying message (which, of course, there was--particularly through "Aura." She is asking her audience: "Do you wanna see the girl who lives behind the aura?" She doesn't know anymore if even her fans care to see who she really is inside, buried beneath her public persona).

Then, "Applause" is essentially the sequel to "Paparazzi," and illustrates her pop entity's need, beyond all else, to be famous--receiving attention was her lifeblood. 

And now--PI: During her break from pop music, I believe Stefani the individual re-emerged, and realized that her love affair (or "bad romance") with fame wasn't real. The "love" she thought she was receiving from the general public, media and even many of her "fans" was inauthentic, as she eventually realized they did not care to see the real girl behind the aura--only the global superstar dominating charts.

However, once allowing herself time away from the haze of pop superstardom (I.e. "somewhere in all the confusion") she had an epiphany, and no longer cares to live for the applause. Hence she so clearly states: "I'm over the show, yeah at least now I know." That's why the single cover is, for the first time, back to basics for Stefani the artist, rather than Gaga. It is just her performing--and we can take her or leave her. She no longer desires to live in an illusion, no matter how perfect it may have seemed.

 

[Joshie S 6,056]

holy ****ing crap i love this i connect with every word you wrote so well

this is it, this is the truth

[KleinGa 18,177]

Yup, exactly what I got from the video.

 

Gagz doesn't love us anymore.

 

We're done.

#ItWasn'tLauuuuv

 

 

[GANGIE 5,420]

5 minutes ago, GardenPantee said:

   On 9/19/2016 at 5:21 PM,  FinnishGypsy said: 

Personally, here is my interpretation: Fame. With Gaga, it always comes back to fame:

1st album--TF: Whole persona was pure satire, mocking the absurdity of fame. From her "gimmicks" to the song/MV for "Paparazzi," she perfectly demonstrated the predictability of the general public, getting them to eat up her formulaic pop music while failing to demonstrate her remarkable vocal/artistic abilities.

2nd album--TFM: Continued theme, now more explicitly showing the dark side of fame, except now she has become so entrenched in her own satire that it has become difficult to separate her persona from her actual identity. "Bad Romance" was a song which brilliantly depicted her internal struggle at this time: the dichotomy between seeing the ugliness and disease of celebrity whilst simultaneously craving it more and more.

The dual EP covers validate this further: one side depicting the blonde pop persona of Gaga, while the other revealing the brokenness and internal darkness of Stefani. This brilliant EP always brings to mind the following quote by Nietzsche: "He who fights with monsters should look to it that he himself does not become a monster...when you gaze long into the abyss, the abyss also gazes into you."

3rd album--BTW: Beyond the obvious support for the LGBTQ community, many missed Gaga's attempt to also illustrate the underlying statement represented by the much-ridiculed album cover, wherein she is no longer a separate entity from a commercial product (as she had previously been able to keep separate with the dual covers of TFM): She, herself, now believes she was "born this way,"--half human (Stefani) and half commercial product/machine (Gaga). She can no longer distinguish the two identities.

This is further highlighted in the music video, wherein she herself is a skeleton--dancing and celebrating despite the death of her humanity. "Judas" was essentially BR 2.0--she's still in love with the fame that continues to betray her. Releasing "Marry the Night" as her final single for BTW was no mistake either--the music video, at last, showed fans a glimpse of how profoundly Stefani had been broken to become Gaga. And the lyrics, again, reaffirm how she had decided to embrace this change. 

4th album--AP: Gaga herself described the album as having "a lack of maturity and responsibility." She, after having displayed her vulnerability through TFM and BTW, essentially (intentionally) went back to square one, mirroring TF thematically. Hence, the songs largely returned to the general pop format as seen in her first album: with overarching superficial themes of sex, and leaving the listener to distinguish whether or not there was a deeper underlying message (which, of course, there was--particularly through "Aura." She is asking her audience: "Do you wanna see the girl who lives behind the aura?" She doesn't know anymore if even her fans care to see who she really is inside, buried beneath her public persona).

Then, "Applause" is essentially the sequel to "Paparazzi," and illustrates her pop entity's need, beyond all else, to be famous--receiving attention was her lifeblood. 

And now--PI: During her break from pop music, I believe Stefani the individual re-emerged, and realized that her love affair (or "bad romance") with fame wasn't real. The "love" she thought she was receiving from the general public, media and even many of her "fans" was inauthentic, as she eventually realized they did not care to see the real girl behind the aura--only the global superstar dominating charts.

However, once allowing herself time away from the haze of pop superstardom (I.e. "somewhere in all the confusion") she had an epiphany, and no longer cares to live for the applause. Hence she so clearly states: "I'm over the show, yeah at least now I know." That's why the single cover is, for the first time, back to basics for Stefani the artist, rather than Gaga. It is just her performing--and we can take her or leave her. She no longer desires to live in an illusion, no matter how perfect it may have seemed.

 

WOW... I'm shook... 

I'll take her! I fell in love with her when I had no idea about charts and so on... and guess what? I don't need them. All I need is her, even if I'm not always satisfied (I am now tho)

[Sorcerer 12,487]

12 minutes ago, GardenPantee said:

   On 9/19/2016 at 5:21 PM,  FinnishGypsy said: 

Personally, here is my interpretation: Fame. With Gaga, it always comes back to fame:

1st album--TF: Whole persona was pure satire, mocking the absurdity of fame. From her "gimmicks" to the song/MV for "Paparazzi," she perfectly demonstrated the predictability of the general public, getting them to eat up her formulaic pop music while failing to demonstrate her remarkable vocal/artistic abilities.

2nd album--TFM: Continued theme, now more explicitly showing the dark side of fame, except now she has become so entrenched in her own satire that it has become difficult to separate her persona from her actual identity. "Bad Romance" was a song which brilliantly depicted her internal struggle at this time: the dichotomy between seeing the ugliness and disease of celebrity whilst simultaneously craving it more and more.

The dual EP covers validate this further: one side depicting the blonde pop persona of Gaga, while the other revealing the brokenness and internal darkness of Stefani. This brilliant EP always brings to mind the following quote by Nietzsche: "He who fights with monsters should look to it that he himself does not become a monster...when you gaze long into the abyss, the abyss also gazes into you."

3rd album--BTW: Beyond the obvious support for the LGBTQ community, many missed Gaga's attempt to also illustrate the underlying statement represented by the much-ridiculed album cover, wherein she is no longer a separate entity from a commercial product (as she had previously been able to keep separate with the dual covers of TFM): She, herself, now believes she was "born this way,"--half human (Stefani) and half commercial product/machine (Gaga). She can no longer distinguish the two identities.

This is further highlighted in the music video, wherein she herself is a skeleton--dancing and celebrating despite the death of her humanity. "Judas" was essentially BR 2.0--she's still in love with the fame that continues to betray her. Releasing "Marry the Night" as her final single for BTW was no mistake either--the music video, at last, showed fans a glimpse of how profoundly Stefani had been broken to become Gaga. And the lyrics, again, reaffirm how she had decided to embrace this change. 

4th album--AP: Gaga herself described the album as having "a lack of maturity and responsibility." She, after having displayed her vulnerability through TFM and BTW, essentially (intentionally) went back to square one, mirroring TF thematically. Hence, the songs largely returned to the general pop format as seen in her first album: with overarching superficial themes of sex, and leaving the listener to distinguish whether or not there was a deeper underlying message (which, of course, there was--particularly through "Aura." She is asking her audience: "Do you wanna see the girl who lives behind the aura?" She doesn't know anymore if even her fans care to see who she really is inside, buried beneath her public persona).

Then, "Applause" is essentially the sequel to "Paparazzi," and illustrates her pop entity's need, beyond all else, to be famous--receiving attention was her lifeblood. 

And now--PI: During her break from pop music, I believe Stefani the individual re-emerged, and realized that her love affair (or "bad romance") with fame wasn't real. The "love" she thought she was receiving from the general public, media and even many of her "fans" was inauthentic, as she eventually realized they did not care to see the real girl behind the aura--only the global superstar dominating charts.

However, once allowing herself time away from the haze of pop superstardom (I.e. "somewhere in all the confusion") she had an epiphany, and no longer cares to live for the applause. Hence she so clearly states: "I'm over the show, yeah at least now I know." That's why the single cover is, for the first time, back to basics for Stefani the artist, rather than Gaga. It is just her performing--and we can take her or leave her. She no longer desires to live in an illusion, no matter how perfect it may have seemed.

 

I could pass this to my professor and get a grade of A. 

[StarryNight 10,106]

16 minutes ago, GardenPantee said:

   On 9/19/2016 at 5:21 PM,  FinnishGypsy said: 

However, once allowing herself time away from the haze of pop superstardom (I.e. "somewhere in all the confusion") she had an epiphany, and no longer cares to live for the applause. Hence she so clearly states: "I'm over the show, yeah at least now I know." That's why the single cover is, for the first time, back to basics for Stefani the artist, rather than Gaga. It is just her performing--and we can take her or leave her. She no longer desires to live in an illusion, no matter how perfect it may have seemed.

 

Oh my

[Denys 848]

I already said this long b4 the mv came out 'trying to get control' continues struggle to make her art as she wants 

'pressure taking its toll' pressure from the constant complaining from fans and sometimes the record label 

'stuck in the middle zone' she has to look for away to please everybody including herself, therefore she can not fully birth her ideas like she wants (she's always compromising) 

'i just want you alone' she doesn't want the fame or the celebrity she wants ur attention. 

'My guessing game is strong way to real to be wrong' she's guessing what the fans want, her label l, and even herself and she usually turns out right 

'caught up in ur show ya, at least now I know' she got caught up trying to please us and probably the label that she was almost loosing her vision as an artist and know she has realized and is probably following her vision 

'it wasn't love it was a perfect illusion' fans where just here for the hits and the world domination not for the actual music or the artistry.. 

This has been my take on the song that's apart from her failed relationship.

[Quartz 12,518]

This just means no more CrazyGa. She will be strictly about the music moving forward

[Monster Voices 1,024]

I hope it is not so honestly. Cause there are many many fans that have been here for her since the beginning and have given her nothing but love all those years! So it does suck for her and for us to think she doesn't notice it. 

[kizurl 1,801]

I've been thinking this was secretly what she meant this whole time..

PI is about her relationship with her 'little monsters' no doubt.

[Kenji 90]

I was thinking the same thing ,watching the video.

It´s been a week ago when i asked by sending an email to Gaga Daily to delete my account and i´m still waiting. I just felt that this place is full of negativity against Lady Gaga,and has nothing to do with fans.

Moderators here may found it amusing or claiming speech freedom blah blah blah..... .

The truth is that everytime i´m coming here to see updates and it´s gettings pretty spooky by only seeing the titles of the treads.

I won´t lie ,i´ve loved it here before the single come out,but after it´s release made me feel  sad.

 

 

[Mees 269]

"My fans think everything is cryptic." - Lady Gaga on Little Monsters at 97.1 AMP Radio

[ARTPOPNick 3,486]

Yep got the same vibes, like "in the end, my fans were a perfect illusion" lol