What if WE are the Perfect Illusion?

[RAMROD 97,605]

You were saying she finally realised some folks in her fanbase ain't that supportive afterall and rather bitchy?

[lego 44,165]

The MV just made it more clear what the song is about. She's so intelligent. 

 

And everyone was so convinced it has to be about Taylor and nothing else. 

 

btw why are people saying "I'm over the show..."; isn't it "caught up in your show..."? 

 

[What About Us 1,499]

10 hours ago, TheKillerQueen said:

If so, this would be the biggest betrayal cause how could she say such things about us? If it weren't for her little monsters she wouldn't be who she is today. I really think its about Taylor, she is just to stubborn to admit it.

Well, you don't know that. Some of her "little monsters" betrayed her and she's probably referring to THEM, not to the ones who are still there for her.

[mic 1,385]

But when she was going through tough times she was going into blackout. So there was no way to 'be there' for her.

there are so many fans who support her, it's when she started to get disconnected then the things started to get ugly.

she praised us as her family and now she avoids us. These are two extremes which are very unhealthy in both cases.

The truth is she doesn't need us anymore to be relevant, now she prefers to express her devotion to people from the industry.

this is how it is - next level.

[THE NlGHT 156]

6 hours 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.

 

This post is very well written and I agree with many of the points, but I can't say I love the recent trend of monsters putting down The Fame era gaga. Her music was still very high quality even though it was more mainstream pop, and her videos and live performances definitely displayed her artistry and talent. Remember her radio piano performances? It's not like we were stanning for a Katy Perry during those years.

[androiduser 7,123]

it wouldn't make sense

fans have been with her through tougher moments like ARTPOP

And how sad and self-absorbed  would it be to focus on a few fans that left and actually make a song about it??

[Letmelivemylife 8,715]

3 hours ago, YourSweet666 said:

 

I wish everyone here on GGD would read this and think about it for a moment. Well said. 

Exactly. I've been ripped apart for calling her "mom" and monsters my "family". The thing is, to me, she's my surrogate "mom" because she did all of the things that a bio mom is supposed to do and you guys are "family" because you've always been there when I needed you. You've taught me that DNA doesn't make you family. Being called family is a privilege that's EARNED by being there through thick and thin. I'll stand by gaga and monsters until the day I die because you guys/gaga have stood by me

[Haroon 49,685]

@Dangerous Man merged  

[TSUNAMI 20,209]

15 hours 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.

 

 

 

How can you be Newbie?

[Toph 374]

The fans that have abandoned her, that have harshly criticized her ("I WAITED THREE YEARS FOR THIS BITCH **** YOU"), they've taken a sizable toll. She realizes her potential now. That is not to say she does not care about her monsters. What I'm saying is now she has a feel for a real base: the Monsters that have stayed. Lovers of her music, everything about her. Not necessarily to a point of being unhealthy, but actually healthy enough to help us get through our own problems.

Monsters, Gaga never left and she never will. Her transition as an artist is a perfect illusion: she always loves us, and in the end she always strives to make us happy. It's always for us. 

Remember she actually said, "I THINK I know what my fans want." She is always trying to write songs that she loves to make with the hopes that because it is her creation, you hopefully love it too. She wants you to feel the love and work she puts into her music. Can you imagine how it makes her feel to see anything like what I posted above...

If you ever see this Gaga...I appreciate you for everything you've ever done. Please don't stop. Keep kicking ass and pushing the envelope. I love you. 

[ZephyrInTheSky 1,235]

16 hours 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.

 

This is great. Her life makes a great movie.

[stircrazy 86]

21 hours ago, Molly Aphrodite said:

I think she's saying that love period is the perfect illusion, whether it be friends or love or fame or fans, it's all a perfect illusion in the end when you're alone..

 

EDIT: even the imagery is illusion, the sunrise in the video/album art is a natural illusion, the sky makes a fake (yet beautiful) gradient rainbow. I think she means literally everything could be a perfect illusion lmao

Totally agree. 

Her perfect illusion could mean anything

[Lord Temptation 11,209]

Ex-Monster

A fan who is only there for the party. As soon as the party is over they will leave you out in the desert.

 

I just read that Reddit article and it hit the nail on the head.

During ARTPOP it was the ex-Monsters bashing the Monsters for loving and supporting Gaga.

Now it's the Joanne era and it's the non-Monsters (the straights and the general public) bashing the ex-Monsters for being disloyal and abusive towards Gaga.

I love that everyone acknowledges how hateful and hurtful the ex-Monsters were. And still are. 

I especially love that Gaga made a song about it, a song that non-Monsters and Monsters love (but of course ex-Monsters hate, because it's about them and their treachery).

[DeanWinchester 41,390]

Been saying this since her radio interviews so yes

[ReidOne 12,427]

18 hours 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.

 

This post belongs in the Smithsonian, seriously. Brilliantly stated.