WTF is Bloody Mary about anyways?

[Buddy 5,686]

It's about Luc

[bxr 1,016]

1 hour ago, the Devil of Pop said:

I think this song has two meanings. On the surface, it is about Mary Magdalene and her suffering for Jesus. But I think it is also an expression of Gaga's commitment to her fans.  Hopefully u enjoy reading this

 

I'll dance, dance, dance/with my hands, hands, hands/Above my head, head, head

Like Jesus said

I'm gonna dance, dance, dance/with my hands, hands, hands/Above my head, head, head

Dance together forgive him before he's dead because...

(This is the least meaningful part of the song IMO, just a nice poppy pre-chorus. Maybe Mary is picturing how she will continue on being strong even after her love Jesus dies)

 

That's my interpretation! I love interpreting songs and poems, especially Gaga's because they always have 2 or 3 meanings about love, fame, and a reference to culture!

 

 

Stellar duality on the collective analysis (in the most biblically cultural sense)  brava

On the dance, dance, dance lyric, though … just imo, it felt like it echoed jesus’ testimony on behalf of john the baptist 

Spoiler

 

Who Gaga later referenced in her collaboration with robert wilson

 

 

Truly I tell you, among those born of women there has risen no one greater than John the Baptist. Yet even the least in the kingdom of heaven is greater than he. 12From the days of John the Baptist until now, the kingdom of heaven has been subject to violence,d and the violent lay claim to it. 13For all the Prophets and the Law prophesied until John. 14And if you are willing to accept it, he is the Elijah who was to come.

15He who has ears, let him hear.

16To what can I compare this generation? They are like children sitting in the marketplaces and calling out to others:

17‘We played the flute for you,

and you did not dance;

we sang a dirge,

and you did not mourn.’

18For John came neither eating nor drinking, and they say, ‘He has a demon!’ 19The Son of Man came eating and drinking, and they say, ‘Look at this glutton and drunkard, a friend of tax collectors and of sinners!’ But wisdom is vindicated by her actions.”

but, it’s all interpretive, and this could be so wrong … so, just random aside for the sake of general musing

[JazzGa 14,586]

38 minutes ago, bxr said:

 

Stellar duality on the collective analysis (in the most biblically cultural sense)  brava

On the dance, dance, dance lyric, though … just imo, it felt like it echoed jesus’ testimony on behalf of john the baptist 

  Hide contents

 

Who Gaga later referenced in her collaboration with robert wilson

 

 

Truly I tell you, among those born of women there has risen no one greater than John the Baptist. Yet even the least in the kingdom of heaven is greater than he. 12From the days of John the Baptist until now, the kingdom of heaven has been subject to violence,d and the violent lay claim to it. 13For all the Prophets and the Law prophesied until John. 14And if you are willing to accept it, he is the Elijah who was to come.

15He who has ears, let him hear.

16To what can I compare this generation? They are like children sitting in the marketplaces and calling out to others:

17‘We played the flute for you,

and you did not dance;

we sang a dirge,

and you did not mourn.’

18For John came neither eating nor drinking, and they say, ‘He has a demon!’ 19The Son of Man came eating and drinking, and they say, ‘Look at this glutton and drunkard, a friend of tax collectors and of sinners!’ But wisdom is vindicated by her actions.”

but, it’s all interpretive, and this could be so wrong … so, just random aside for the sake of general musing

Thanks for participating in some nerdery with me!  So perhaps Gaga is saying that she is not like those non-believers who cannot be moved to dance. Like a good follower of faith, Mary dances when Jesus calls her to. 

On the Gaga side of the coin: the media will criticize her whether she comes eating and drinking (or dancing) like a human or if she does none of those like a "proper" popstar, so she might as well disregard them and dance.

I love this analytic cryptic sh*t, it's so much more fun than dissecting tweets for hints about LG6.

[Nicklev 993]

I think is about idealize someone and loving him with the same devotion of this different Mary's figures, like living a fantasy. But is someone who does not deserve it, hard reality. That's the reason why many of the references doesn't mean anything literal. 

[bxr 1,016]

32 minutes ago, the Devil of Pop said:

Thanks for participating in some nerdery with me!  So perhaps Gaga is saying that she is not like those non-believers who cannot be moved to dance. Like a good follower of faith, Mary dances when Jesus calls her to. 

On the Gaga side of the coin: the media will criticize her whether she comes eating and drinking (or dancing) like a human or if she does none of those like a "proper" popstar, so she might as well disregard them and dance.

I love this analytic cryptic sh*t, it's so much more fun than dissecting tweets for hints about LG6.

ah, massive brilliant haha glad it made some sense — education is the motivation, all about that symbolic discourse interpretation ⚡️

Hm … good question … I haven’t given it a whole lot of thought, but that sounds quite aligned … tbh, BTW, had heavy “Next Testament” undertones, if that makes any sense?

Spoiler

Like, there’s the Old Testament (which in the immediate would be circa John the Baptist, like post-Genesis and BC), and then there’s the New Testament (so, the Son of Man, post-Nativity and AD), and then BTW felt like it was maybe a humanist hybrid or an evolution or continuation from the New Testament foundation …

So, maybe it’s almost like a hybrid of the children in the Gospel marketplace, and Gaga (as a kid, leading her audience brigade) in the modern entertainment / media industry marketplace …  playing the flute, just dancing to their own tune, in kind of that divine providence I guess, and simultaneously mourning their own dirge (which is quite BTW as a thematic motif on the album, and marginalized “subway kid rejoice your truth, in the religion of the insecure, be myself, respect my youth” and such) … all in the kind of electric chapel of that halogenic haus of worship that is the religion of “you” (the fans and whatnot … but, tbh, this is all just stream of consciousness tangential based on immediate considerations given the question at hand — so none of this could make sense, and I might actually have a completely different interpretation in three minutes …)

This also stuck out on the re-read though:

(9) The Son of Man came eating and drinking, and they say, ‘Look at this glutton and drunkard, a friend of tax collectors and of sinners!’ But wisdom is vindicated by her actions.”

Which is also quite BTW … like everything from Marry the Night through to TEOG feel like it’s about (within a capacity of “abouts”) bathing in conventional / apparent sin, heralding that bond of the oppressed, and then finding salvation in that, and eventually making it to the glorious edge on the wise wings of actively sapient vindication … so like, that Next Testament scenario maybe

Buuuuut, tbh, I never really know, I just word associate for the most part — but thoroughly enjoying the dialogue

[Chromaticunt 5,529]

6 hours ago, Enzo said:

About how she's ashamed she ever made Scheisse and put it on Born This Way 

What the f*ck is wrong with you?

[TheAlienatedNYC 619]

i always took it as:

a woman that loves a certain man who put her through so much stuff and is finally ready to let him go or stop caring way too much about him. when she says "i won't cry for you / i won't crucify the things you do" i understand that she is already used to the **** she pass and that she won't care anymore, it doesnt affect her.

idk

[theahsfan 13,811]

I thought it was about Bloody Mary (the urban legend)

http://omgfacts.com/the-terrifying-true-story-behind-bloody-mary/

[TheBigBrain 4]

“Love is just a history that they may prove
And when you're gone I'll tell them my religion's you
When Pontius comes to kill the king upon his throne
I'm ready for their stones”

Gaga assumes the allegorical voice of Mary Magdalene, a Biblical figure who, in this song, describes the uncontrollable and evanescent Eros between her and Jesus Christ. 

The first line manifests the level of intimacy in their relationship, one that whilst profound, is nevertheless appraised as a mere spectacle to the outsiders who will scold them, and rebuke its authenticity and prevalence. After Jesus’ crucifixion and ascension to heaven, Gaga will declare herself as an apostle of Christianity, and a worshipper of Jesus. Mary Magdalene was perceived to be the most unquestioning devotee of Christ, and her willingness to remain loyal to him, even after his death, is a testament to her adoration for him. 

Gaga courageously embraces her death after Pontius Pilate commands the crucifixion of Jesus; she labels Christ a “king” and in accordance with the teachings of his gospels, humbly prepares to confront the inescapable criticism that has burdened her canonically ‘sinful’ life. Gaga is stoned to death for not only adultery, but also for her intimate association with Christ – it is a fatal act of defiance against Jesus’ opponents, but more significantly, her final gesture of loving fidelity.  

“We are not just art for Michelangelo
To carve. He can't rewrite the agro of my furied heart
I'll wait on mountain tops in Paris cold
Je ne veux pas mourir tout seule”                               

(French for: "I don't want to die alone”)

This is Gaga’s most poignant verse in the song; illustrating how the love shared between Mary Magdalene and Jesus Christ was incomprehensible - the ferocity and heartache cannot be glimpsed by outsiders to the relationship. The first line is Gaga chastising Michelangelo; she claims “we are not just for Michelangelo to carve”. She declares no artist could encapsulate the passion between them - No carved marble could ever reify the overwhelming sense of desperation that dominated the two of them. To Gaga, the letters, words and sculptures are inadequate in denoting the all-consuming fury and rage of those moments between her and Christ, which will forever remain misinterpreted or underestimated. 

In this verse, Gaga places a focus on the importance of feminine energy in the cycle of life. In reality, Bloody Mary centre's on the frustrations of a woman who is unable to demonstrate her value and worth, and is thus cast asunder by both God and society. She castigates Michelangelo in the first line for his romantic objectification of her; she values herself as something greater than art in a museum – she is antagonised by the treatment of women as little more than physical objects of possession. Gaga asserts her female agency by berating Michelangelo, an artist who was labelled as antifeminist and a believer in male supremacy. He is undermining/romanticising the narrative of a woman who is tortured by a love that is compromised by not only her promiscuous reputation but by the impossible expectations set for women. When Gaga claims Michelangelo cannot rewrite the “agro”(rage) of her “furied heart” she means he cannot edit the paroxysm of her romance for easy consumption, or for the eyes of men easily intimated by powerful women. 

The final two lines demonstrate Mary’s craving for Christ as a companion; Gaga/Mary’s insecurity lies in being alone and she will continue waiting in places of sorrow and loneliness just for her saviour to return and live the rest of their lives together in harmony. Dying alone is not a possibility. Gaga then juxtaposes the recognised image of the warmth of Paris as the “city of love’ with the coldness of her heart; her life remains stagnant in French museums, in sculptures that do not communicate the full aggravation of her limited time with Christ. 

“I’ll dance, dance, dance
With my hands, hands, hands
Above my head, head, head
Like Jesus said
I'm gonna dance, dance, dance
With my hands, hands
Hands above my head
Hands together
Forgive him before he's dead because…”

This finally depicts how Mary Magdalene/Gaga is going to commemorate her love before Jesus is dead, precisely like he commanded his followers to do. She shall forgive Christ for leaving her so soon just as he pardoned her, and instead keep dancing in cherished moments prior to his tragic end. Though Jesus encourages Mary to relish in the waning time they have left together by enjoying her freedom, her dancing is, in reality, a ritual of loss, agony and despair, as opposed to a creative expression of her feminine energy that Christ wishes for her. “Hands together” is the final image of communion between Mary and Christ. 

“I won't cry for you
I won't crucify the things you do
I won't cry for you, see
When you're gone I'll still be Bloody Mary”

Ultimately, Gaga/Mary realises that Christ’s place lies in heaven, accepting his death. She shall nonetheless adopt a brave façade for Jesus’ sake whilst he is suffering – she won’t chastise Christ for departing her, rather appreciating the prophetic design of his fate. When all is said and done, she reaches an incredibly bleak realisation that she shall always remain “Bloody Mary”. She employs “bloody” not in reference to Queen Mary I, but in denotation to epithets like “dirty”, “filthy” “sinful”. Mary acknowledges that her career as an impoverished prostitute has led to rampant critique and revolt from all sides of ancient Israel, and, in an act of self-empowerment, reclaims the title “Bloody Mary” for her own. 

Hope that helps. 

[not a french fry 1,565]

12 hours ago, gabrielflorin01 said:

I believe that Mary Magdalene was both fully divine and fully human. She has to be strong when Jesus fulfils the prophecy to die for everyone’s sins, but she still has the moment of humanity where she’s upset to let him go. She had to be a superstar, but she must have cried too.” —Lady Gaga

Welcome to bible studies!

[bxr 1,016]

22 minutes ago, TheBigBrain said:

“Love is just a history that they may prove
And when you're gone I'll tell them my religion's you
When Pontius comes to kill the king upon his throne
I'm ready for their stones”

Gaga assumes the allegorical voice of Mary Magdalene, a Biblical figure who, in this song, describes the uncontrollable and evanescent Eros between her and Jesus Christ. 

The first line manifests the level of intimacy in their relationship, one that whilst profound, is nevertheless appraised as a mere spectacle to the outsiders who will scold them, and rebuke its authenticity and prevalence. After Jesus’ crucifixion and ascension to heaven, Gaga will declare herself as an apostle of Christianity, and a worshipper of Jesus. Mary Magdalene was perceived to be the most unquestioning devotee of Christ, and her willingness to remain loyal to him, even after his death, is a testament to her adoration for him. 

Gaga courageously embraces her death after Pontius Pilate commands the crucifixion of Jesus; she labels Christ a “king” and in accordance with the teachings of his gospels, humbly prepares to confront the inescapable criticism that has burdened her canonically ‘sinful’ life. Gaga is stoned to death for not only adultery, but also for her intimate association with Christ – it is a fatal act of defiance against Jesus’ opponents, but more significantly, her final gesture of loving fidelity.  

“We are not just art for Michelangelo
To carve. He can't rewrite the agro of my furied heart
I'll wait on mountain tops in Paris cold
Je ne veux pas mourir tout seule”                               

(French for: "I don't want to die alone”)

This is Gaga’s most poignant verse in the song; illustrating how the love shared between Mary Magdalene and Jesus Christ was incomprehensible - the ferocity and heartache cannot be glimpsed by outsiders to the relationship. The first line is Gaga chastising Michelangelo; she claims “we are not just for Michelangelo to carve”. She declares no artist could encapsulate the passion between them - No carved marble could ever reify the overwhelming sense of desperation that dominated the two of them. To Gaga, the letters, words and sculptures are inadequate in denoting the all-consuming fury and rage of those moments between her and Christ, which will forever remain misinterpreted or underestimated. 

In this verse, Gaga places a focus on the importance of feminine energy in the cycle of life. In reality, Bloody Mary centre's on the frustrations of a woman who is unable to demonstrate her value and worth, and is thus cast asunder by both God and society. She castigates Michelangelo in the first line for his romantic objectification of her; she values herself as something greater than art in a museum – she is antagonised by the treatment of women as little more than physical objects of possession. Gaga asserts her female agency by berating Michelangelo, an artist who was labelled as antifeminist and a believer in male supremacy. He is undermining/romanticising the narrative of a woman who is tortured by a love that is compromised by not only her promiscuous reputation but by the impossible expectations set for women. When Gaga claims Michelangelo cannot rewrite the “agro”(rage) of her “furied heart” she means he cannot edit the paroxysm of her romance for easy consumption, or for the eyes of men easily intimated by powerful women. 

The final two lines demonstrate Mary’s craving for Christ as a companion; Gaga/Mary’s insecurity lies in being alone and she will continue waiting in places of sorrow and loneliness just for her saviour to return and live the rest of their lives together in harmony. Dying alone is not a possibility. Gaga then juxtaposes the recognised image of the warmth of Paris as the “city of love’ with the coldness of her heart; her life remains stagnant in French museums, in sculptures that do not communicate the full aggravation of her limited time with Christ. 

“I’ll dance, dance, dance
With my hands, hands, hands
Above my head, head, head
Like Jesus said
I'm gonna dance, dance, dance
With my hands, hands
Hands above my head
Hands together
Forgive him before he's dead because…”

This finally depicts how Mary Magdalene/Gaga is going to commemorate her love before Jesus is dead, precisely like he commanded his followers to do. She shall forgive Christ for leaving her so soon just as he pardoned her, and instead keep dancing in cherished moments prior to his tragic end. Though Jesus encourages Mary to relish in the waning time they have left together by enjoying her freedom, her dancing is, in reality, a ritual of loss, agony and despair, as opposed to a creative expression of her feminine energy that Christ wishes for her. “Hands together” is the final image of communion between Mary and Christ. 

“I won't cry for you
I won't crucify the things you do
I won't cry for you, see
When you're gone I'll still be Bloody Mary”

Ultimately, Gaga/Mary realises that Christ’s place lies in heaven, accepting his death. She shall nonetheless adopt a brave façade for Jesus’ sake whilst he is suffering – she won’t chastise Christ for departing her, rather appreciating the prophetic design of his fate. When all is said and done, she reaches an incredibly bleak realisation that she shall always remain “Bloody Mary”. She employs “bloody” not in reference to Queen Mary I, but in denotation to epithets like “dirty”, “filthy” “sinful”. Mary acknowledges that her career as an impoverished prostitute has led to rampant critique and revolt from all sides of ancient Israel, and, in an act of self-empowerment, reclaims the title “Bloody Mary” for her own. 

Hope that helps. 

[KatieJudasGaga4 67,907]

15 hours ago, Enzo said:

About how she's ashamed she ever made Scheisse and put it on Born This Way 

[Nikolai Barrow 1,337]

15 hours ago, Ambra said:

You'll seriously haven't been in high school? It's about the REAL Bloody Mary AKA Mary I of England. It's about her story and toxic religion that existed in her times that convinced her to do all the terrible things she did.

This was always my thought too. 

[homomo 23,847]

It’s about living halfway between reality and fantasy. Same with every other BTW song  

If any of you remember, that saying is basically the equivalent to “ARTPOP is about possibilities” or “I’ve been -insert task- since I was 13”, or “There could be 100 people in the room...”

[Gagaloo911 12,959]

It's about stuff. 

You know... Things..