A Retrospective Review of Lady Gaga's Career

[NotMyFlop 1,979]

Over the past two weeks, I have been writing a multi-part essay that analyzes (and reviews) Lady Gaga's body of work in relation to Chromatica. I had originally broken them up into parts, but now I am putting the full 11,800+ word essay for everyone who hasn't seen it, or wants to see it all in one place.  I hope you enjoy!

THE FAME 

Lady Gaga is a cultural institution in 2020. Her chameleon-esque transformations from The Fame to Chromatica (with a whopping six albums and two soundtracks) is both awe-inspiring and ever-so-debated. Gaga's discography (especially singles) is widely-known. When Chromatica landed on May 29, it added yet another layer to her enigmatic (pun intended) persona. All of Gaga's bodies of work explore one idea: the complexities of fame. With her latest record definitely touching on the subject, alongside it's referential production to musical trends of the past and within her own works, it's almost irresponsible to review Chromatica without contextualizing the records that came before it. Therefore, we must begin where she began: The Fame. 

The Fame could be argued as gaudy; an over-analysis of the complexities of fame from a person who had yet to achieve mainstream relevancy at the time of release. The album's title track rapidly touches, but doesn't dig, on several issues regarding fame: materialism, addiction, excessive wealth and objectification. All while the song's bridge makes the bold announcement that this is Gaga's dream. It's an utterly cliché representation of what fame is. It sounds exactly like what anyone perceives as fame. With the lyric "All we care about is ****ographic girls on film and body plastic," almost immediately calls to Chromatica's Plastic Doll, in which this objectification is not a dream, but a soul-crushing reality. 

In fact, Chromatica is filled with melancholy (if not downright depressing) lyrics about fame. If one could argue The Fame is 'the dream', could Chromatica not serve as the warning against it? If Paparazzi equates a career to love, could Fun Tonight not represent a darker side to that? 

Obviously, Gaga's cliché commentary on fame clearly worked. The Fame became a global success, spawning two defining singles of the early digital era. It's hard to imagine the lead single, Just Dance, was as impactful as it was. Despite some campier, darker and more fun moments on the record, Just Dance torched the world. It threw away the rule book of current trends and ushered in a pop star that Ke$ha, Katy Perry and Carly Rae Jepsen could benefit from. Even withstanding legends of music were able to reinvent themselves in a commercial way that saw new career peaks. 

While Just Dance was a success, Poker Face was a magnum opus. It's not just a commercial juggernaut, the butt of several jokes and insanely recognizable to this day, it's the song that has defined Gaga's career. Every subsequent lead single has been measured up to this. Is it as catchy? Does it have the signature Gaga hook? Does it...? It goes on. While there is no denying the testament a song like that carries, it's oftentimes used against Gaga harshly and unfairly. When Gaga ditched the avant-garde pop music of her early days in exchange for the EDM-approached ARTPOP, how is it fair to compare two songs like Applause and Poker Face that are so dissimilar in style, approach and ambition? When Gaga proved she was ever-evolving with jazz, country-folk and singer-songwriter, why is one song used as the metric to discuss the quality of a song? Perfect Illusion, a song that was never trying to be a masterpiece, ended up being lamented for this. 

In relation to Chromatica, this is why Stupid Love was arguably the best lead single choice of the album. It was the kind of pop music fans and critics of Gaga had been begging for. It was instantly recognizable as classic Gaga, and made it feel ever-so-familiar. Despite it not being the best song on the album, any other song would have shied away audiences. With an unquenchable thirst for new Gaga music after the career-peak of A Star Is Born, she needed to reopen the doors to pure pop in a safe way. Thankfully, it worked. 

In retrospect, The Fame will obviously forever hold an important place in her career. It's still breaking records in 2020.  It's hard to imagine the album that sounded so new in 2008 would sound especially dated in 2020. With all of her records, it's aging the poorest. It might not be fair to say considering the sound was so heavily-replicated in the years to come that it's no wonder, but there is no denying Gaga's other attempts of describing the dichotomy of fame are more compelling. If Stupid Love was the safe choice to reintroduce longtime fans to pure pop, The Fame was the safest way for Gaga to introduce herself to the world. 

In pop music, safe oftentimes is synonymous with filler. Despite the one-two-three-four punch of Just Dance, LoveGame, Paparazzi and Poker Face, the rest of the album stumbles into the forgettable. With some fan-favorites aside, most of these never saw the light of cultural importance. Listening to this album from beginning to end is particularly mundane. For a woman who defined herself as never sounding sonically similar, this is the antithesis of that. There are so many production elements recycled throughout the album that it feels stale shortly after track 5. However, if listening to songs individually, most of them still hold up. 

Lastly, and thankfully, The Fame represents a groundwork for which her career would constantly improve on. From production, lyrics, hooks, verses, bridges and anything else, Gaga changed and improved on them. It's a good introduction, but her thesis statement would come later. What makes The Fame so good today is what made it good then: it's relevancy into the picturesque vision of fame that so many people relate to. Don't YouTubers and TikTokers also embody so much of what this record is about? If viewing The Fame as episode one in an eight-part examination of fame, at least this started on an impactful, happy note. For Little Monsters, it may be more bleak as Gaga has repeatedly discussed her issues (and regrets) with achieving this dream. However, if it weren't this perception, we would not have the woman who arguably gave a career-best in Chromatica. 

THE FAME MONSTER

Chromatica is being heralded as a "return-to-form" for Lady Gaga. While it does encapsulate a more audacious pop persona like her early albums did, calling it a "return-to-form" is extremely limited because what is she exactly returning to? Gaga has defined her career on reinvention; no two albums daring sound the same. In her later albums, songs even refuse to share auditory cohesion. In all likeliness, critics are recalling the darker, more bombastic days of The Fame Monster; the second effort in Lady Gaga's catalogue. 

Reinvention has always been a tool artists used when their narratives got dry, people were bored or their music began to falter. Female pop artists were able to coast off their images for years before radical reinvention; male artists are often awarded decades. Lady Gaga was barely on the radar of pop notoriety before she tossed the rule book. Just Dance reached the summit in January 2009, and she alloted herself a mere nine months before dropping the lead single of her next effort. During that time, she had three more highly-successful singles and a jaw-dropping VMA performance, just to name a few things. Gaga's image as a fame-obsessed performer wasn't even cemented when she dropped Bad Romance in October. 

Bad Romance, the lead single, changed pop music history forever. Essays could be written about the impact of that singular song and video alone. Nevertheless, The Fame Monster followed. While technically an extension (or EP) of her debut album, there is such a jarring juxtaposition in the music lyrically, thematically and sonically that it's not worthwhile to review it alongside her hit-or-miss debut. 

Largely, The Fame Monster, operates on the same motives as the predecessor. It explores the dichotomy of fame. Whereas The Fame represents a more cliché, mundane and inviting look at the subject, The Fame Monster invites us to look deeper. It takes us to darker places; manifestations of Gaga's fears of what will happen to her now that she's credible enough to talk about fame. Where LoveGame is a carefree approach to sex, the titular Monster boldly exclaims "He ate my heart," within the first few lines. Sex isn't much fun anymore, is it? 

In 2017's Five Foot Two, Gaga discusses her legendary VMA performance and briefly mentions how the world loves to see the downfall of the celebrity. Marilyn Monroe and Amy Winehouse are classic examples; Miley Cyrus, Demi Lovato and Justin Bieber are more contemporary ones. That VMA performance was simply foreshadowing what was to come. 

The Fame Monster clocks in at eight songs and just 34 minutes. It's a loaded effort though, each track represents a 'fear': fear of love, men, sex, alcohol, ego, suffocation, death and truth. If any of her albums still hold up, it's this beast. It's coaxed in elaborate production, all-too-daring and not dark enough for the mainstream to turn away. The accompanying visuals are equally as thrilling. If looking at The Fame as the idealism around fame, The Fame Monster is the anthesis. Together, they form a powerful truth that is represented in the names listed above: Fame is great until it's not. Interpret that as you will. 

The Fame Monster is wildly addicting; almost too easy to listen to from beginning to end. It's a pure shot of catharsis and adrenaline, and in 2020, nostalgia. Despite being released a decade ago, the embodiments of these fears are almost more relevant in the 'influencer' age than they were upon release. It somehow makes The Fame Monster both perfect for the times and way ahead of its time. Despite it refusing to be a cohesive effort (something Gaga has always struggled with), it's forgivable because it's so concise.

However, and possibly a negative, The Fame Monster works on a wide-sweeping level, instead of the wholly specific approach of Chromatica. In broad strokes, painting these fears works as a good social commentary. It leaves one to wonder why Gaga had so many fears of being famous when she just earned it within that same year. Gaga uphending her image removed her chance of telling her narrative, and instead left listeners perplexed and willing to fill in their own conclusions. (Could that be why so many people believed she was a man?) 

It becomes increasingly hard to critique The Fame Monster since it's intentionally so vague. Maybe the genius lies in that. Within the decade of release, Gaga has revealed several personal stories of her life as Stefani that helps contextualize what exactly she is talking about. With her owning more of her narrative, the pieces of why exactly the effort exists is answered. In life events not even she could have predicted, The Fame Monster also almost sounds like a warning to her future self. 

In Chromatica, she discusses her relationship with fame in a somber, depressing way. Plastic Doll, 911, Fun Tonight and 1000 Doves are just a few examples of her fears answered. She now has had failed loves, manipulative men, sexual assault, addiction, an ego, etc. Chromatica is a "return-to-form" to The Fame Monster because it arguably acts as a third act in "The Fame Saga"; The Fame being her dream, The Fame Monster being her fears and Chromatica as the explanation how both her dreams and fears have affected her. Chromatica's specific approach works because we understand what she is referencing, whereas The Fame Monster arguably was not allowed to be specific because Gaga herself was too new. It begs the question, how would The Fame Monster work in 2020 and how would Chromatica have worked in 2010? 

Lastly, The Fame Monster's biggest impact was the introduction of an 'era'. What is now commonplace for reinvention with every album cycle, it was this that started the contemporary approach to reinvention. It's a standard that Gaga placed on herself that has benefitted and worked against her. At the end of this era, she was a global superstar, etched into the history books. She was at the height of influence, power and status. She was now able to see how her dreams and fears played out, and how they would all influence her next record, Born This Way... 

BORN THIS WAY 

Since the dichotomy of fame was explored (both figuratively and very literally), there was a lot of pressure for Lady Gaga to release her sophomore record and expectations were immaculate. There was a common thing people wanted to know: Who is Lady Gaga? Despite being a major artist, not much was known about her. The figure of "Gaga" was just as much of an artist as it was a performative statement of the celebrity. There was a sense that her music, videos and performances lacked authenticity, in trade for social commentary. 

Naturally, when Gaga donned her infamous meat dress and announced her next song (and record) was named Born This Way, no one quite knew what to expect. If you followed her online (and, at the time, she was the most liked person on Facebook), you knew this record was equally personal as it was political. The lead single was pro-LGBT+. While not the first celebrity to be friendly with the queer movement, she was arguably the most prolific to risk her career so early to support it. While we know the anthem was highly-successful, more eyes turned to her over-the-top music video, in which she opens by saying "This is the manifesto of Mother Monster." 

It's important to emphasize just how powerful Gaga was in this era; a pioneer of the online fandom(s), more popular than government figures and any message was received instantly by the masses. Any video she released was viral; any single was a hit. Any performance was discussed; any outfit was anticipated. There was nothing that could stop her, and the record that was eventually presented reflected this. Gaga was an artist whose ambitions were so high that it often became convoluted in execution. It worked because she was so excited. Born This Way, the song, was her longest-running #1 hit to date and really kickstarter conversations around LGBT+ issues. 

If Born This Way was her manifesto, it tackled quite a bit: politics, representation, love, sex, faith, etc. When Judas was released as a second single, and then The Edge of Glory and Hair as promotional singles, there was nothing that connected them. They all sounded as though they belonged on different records. It doesn't make them bad songs, but it leaves the listener to wonder what exactly Gaga is aiming for; what does Gaga stand for? 

When her 17 song (deluxe edition) record dropped, it reflected the same: Marry The Night was a deeply personal song (and video) about her getting signed to a record, Americano was a Spanish-inspired take on a lesbian wedding, Scheiße is about women's rights, Heavy Metal Lover is about kinky sex, Yoü and I is a Queen-sampled Americana song; The Edge of Glory was a song about death. 

Simply Put: It was overstuffed. It wasn't that political, it wasn't that much about her story, it wasn't that sexual or sensual. While there are threads of narrative cohesion throughout, you leave the experience barely knowing more about the artist behind it than you went in. Outside of her diehard fandom, a 17-song, 74 minute album was always a bargain to listen to in full. When there are so many sonic detours (club, rock, pure pop, etc) it's hard to even stay focused. However, the same has to be said about the singles: none of them are horrible songs. 

It's no use wondering if this would've worked better as a The Fame situation, in which additional songs could've been added in an EP; or if they should have formed two records entirely. Interestingly enough, despite a "flop" with Marry The Night, an exhaustive 90+ stop tour and promotion overload, most songs have found life of their own outside the record. The Edge of Glory and Yoü and I are bonafide Contemporary Adult classics, Scheiße is the fan-favorite deep cut and even Americano has found a life after being covered on Glee. 

While Born This Way still holds up as a fan-favorite record, it hasn't earned much of a reputation beyond that. It's not bad enough to be as reviled as ARTPOP, but not assertive enough to hold a candle to the success and reputation of The Fame and The Fame Monster. In relation to Chromatica, however, it may represent a lesson learned. Chromatica is a laser-focused record that flows together from beginning to end. There are no tracks that even get an extra second to be overstuffed, and it's both personal and campy. It's what Born This Way could have been if someone was willing to stop her. While there are several songs on Born This Way that are entirely better than anything found on Chromatica, you can't help but feel slighted that an artist who prided herself on being an "album artist" hadn't produced an album worth listening to from beginning to end multiple times sooner. Like The Fame, and arguably The Fame Monster, the album is defined by the pop masterpieces littered throughout (and there are plenty). 

If you're a Lady Gaga fan, you know what era comes next; ARTPOP. It's bleak to think about, but it's crucial to know. There were signs in The Fame Monster and definitely during Born This Way that she was headed for a pitfall. While no one could have predicted how bad it was going to get, it's interesting to discuss in retrospect.

THE FALL BEFORE ARTPOP 

It's been articulated by Lady Gaga that people love the fall of a celebrity; she performed that notion in 2009 and discussed it multiple times since. It was prophetic, in a way, that she experienced one of the most brutal pitfalls in the social media age. ARTPOP, for better and worse, was a disaster. In the seven years since release, it has become so synonymous with "flop" that it sprung a new life as a verb. How many times have people called someone's work their "ARTPOP Moment"? In truth, the music doesn't hold up in quite the way her previous albums had (more on that tomorrow). However, it would be completely unfair to dismiss the failure of ARTPOP exclusively of the quality (or lack thereof) of the music. 

When Applause debuted at #4, that was the result of a lot more than just a sensationalized feud with Katy Perry. It was a moment that was inevitably coming and had much more to do with her persona than anyone's opinion of the song. While some may paint Marry The Night's failure to catch momentum as the beginning of the end, there were signs that "Gaga fatigue", coined by @ARTGOD, had started in June 2010. It may say drastic to point to three years in the past, during her peak, but think about it. In a career so jam-packed with high-profile moments, the success of Alejandro and the subsequent video is a blink-or-you'll-miss-it moment. 

Alejandro as a song is catchy, classic Gaga. Not exactly the most radio-friendly single, it came in a time everything Gaga touched was successful. Her artistic liberties hadn't met any restrictive boundaries from her management or the general public abroad. Gaga could literally do whatever she pleased, and it was that power that led her to create the infamous music video. 

Gaga always relied heavily on the visuals of her works. As the budget increased, the campiness of the videos increased. Most, if not all, of her videos had flirted with the art of darkness, but done so in a sleek way. It wasn't morbid or overtly shocking. Within the first few seconds of the Alejandro video, you knew that style was a thing of the past. It was very shocking for the general public: explicitly queer in a way no other of her videos had been, "satanic" imagery throughout and darker settings were enough to send people into overdrive. 

With Gaga's platform being so extremely large, and covering every corner of the internet, the immediate concern was that this was not safe for children. To be fair, it's not exactly an invalid criticism. 2010 was too new into the social media era for companies, parents and kids alike to figure out methods to filter content to be age-appropriate. It could be shared, sent and viewed at any second. However, there were very few hyper-concerned about their children. That excuse was oft-used as a way to blanket homophobia, or people scared that a sacred institution could be challenged. There was a lot of ignorance surrounding the criticism of the video; people pretending that art isn't allowed to be shocking. While it's easy to dismiss the ignorance, the impact it has is very real. 

For the next two years, controversy followed: the meat dress, Born This Way (song), Judas, speaking out against Obama and don't ask don't tell, asking Russia to arrest her, etc. The same naysayers from the Alejandro video followed, collecting followers as she broke too many unspoken conservative rules about music. Women are supposed to be sexual or empowering; any other lane was not allowed. Despite being able to maintain her stratospheric success, too many people felt alienated by her presence and turned off. 

Even if you were an admirer of Gaga, or at least believed in her art and wasn't detracted, it was hard not to feel exhausted by her overwhelming presence. From January 2009-January 2013, she had amassed a whopping 16 entries into the BBH100, several of which became classics and household songs. She had a huge online following, every talk show wanted her, every award show praised her. If she didn't have a successful single at the time, her over-the-top antics, political stances and fashion kept the headlines geared towards her. It's a stroke of brilliance to keep people interested for so long, especially when attention spans online are proven to be small. 

But eventually, the attention span fades. 

When the aforementioned Marry The Night failed to catch momentum in comparison to her other singles (It peaked at #29 in December 2011), it was a sign that things were slowing down. Despite receding (slightly) into the limelight, it wasn't much later that she began to tease a new record was coming. Speculation began to build, even though she was still on tour promoting Born This Way. Some leaks, some unreleased songs being performed on tour and some discussions later, there was proof Lady Gaga was not done being as ambitious as possible. 

Gaga's work ethic was very obviously in overdrive. When concerns rose about her physical health, they were very quickly validated by the hip break heard around the world. It could've - and maybe should've - stunted her career permanently. Instead, she went to the campy with a 24k gold wheelchair (becoming eerily similar to the Paparazzi video). Despite the foreboding war with management and stories that would eventually come out, nothing behind the scenes could stop the fact that people had too much of Lady Gaga. 

As she's mentioned, the plight of the celebrity is the most fascinating to watch. Since The Fame and The Fame Monster explored this; and the Paparazzi video showed it, there is a wonder if some of the more head-scratching decisions were intentional. With the narrative-rebranding and reputation-redeeming arc that defined the post-ARTPOP era (and again, shown in the Paparazzi video), maybe every record and decision she made all still was a commentary on fame. Since Born This Way isn't overtly about fame, maybe it all symbolized what celebrities do with their platforms - go too far, push too many buttons and risk too much. Despite Gaga never being "cancelled"; she was as close as you could get in 2013. 

This is important to discuss because Gaga undeniably reflects on the pain she's experienced as a celebrity on Chromatica. There is speculation that Fun Tonight is about her former manager. 911 is clearly about the mental health issues she's oft-discussed. These experiences couldn't have influenced without her radical high, and slow dismantling that occurred between 2010-2013. If looking at her career and music as a performative commentary on fame, it earns Chromatica as a pure stroke of brilliance. 

Now that the narrative of her career had begun to shift, it was time to see how it would affect a new project. Enter heavily-misunderstood and unfairly-criticized ARTPOP...

ARTPOP 

ARTPOP is the epicenter of Lady Gaga's career. In retrospect, every decision (and controversy) was seemingly building to a brutal pitfall of the world's most prolific celebrity; and her stunning reclamation of her reputation post-ARTPOP almost feels as if the failures were intentional. If the slow-burn approach to releasing this album was her method, it was utterly misguided. In 2012, tweets began to solidify that her ideas were fermenting. It would take over 1.5 years until the ambitious concept haphazardly landed in November 2013. 

In 2012, that wasn't the only thing fermenting: an overly negative narrative was designed; built on overexposure, low-performing singles and controversies. People seemingly wanted the fall. When Applause debuted at #4 on Billboard Hot 100, it was deemed a "flop". Instead of people discussing the concept of fame and validation as was very explicit in the single, it was instead lamented for being a petty shot at Katy Perry's very-anticipated lead single. As sexism in the industry goes: two powerful women can't exist at once. 

Gaga was unfairly treated post-Applause. While there is no denying Roar, it's competition, was more empowering and fit the times better, the outright dismissal of Applause's more ambitious, honest and creative premise was dubious to the success of the album. It would eventually become her longest-running Top 10 on the chart and was fairly successful, but the subtext surrounding its "failure" was too potent. We'll call that a motif for the ARTPOP era. 

Gaga relies heavily on the conceit and pathos of her albums. What is exactly the record about and what does she want us to feel? For her previous entries, they were very straightforward. ARTPOP and the infamous "reverse Warholian" ideology was too confusing for the general public. To be frank: what the hell does it even mean now? To bring "art into pop music" sounded too pretentious. On technicality alone, any music is art. It was no doubt extremely campy, extremely Gaga and extremely ambitious (even for her standards). Gaga had built her fame off of incredibly catchy music that was simple enough to understand. No one wanted something dense. 

In September (two months before the album) she performed a whopping six songs off ARTPOP (and one scrapped song). Shortly after, as was typical at the time, there were a slew of promotional singles (Dope peaking at #8 for it's emotional vulnerability unseen in any of Gaga's previous efforts). If you were a Little Monster, the name "Boris" should mean something: it was Gaga herself leaking her own material. It was an extremely messy, inconsistent and hard-to-track release trajectory. 

By the time ARTPOP dropped in November, fans and the curious public could only be disappointed as there wasn't much "new" to listen to. It was dead-on-arrival (as coined by @PerfectGUY) because there was nothing to be excited about. Most people had formed their opinions on the offerings given to us, and there wasn't enough material (good or bad) to sway opinions. 

As for ARTPOP itself: it's actually a solid EDM record. It's both clever in lyricism and production. It has a contagious, explosive energy compared to her previous entries (and, arguably, one that has been unmatched since). Despite operating in more abstract ways, there was still "classic" Gaga written all over it. Aura, Venus, G.U.Y and Sexxx Dreams is her strongest one-two-three-four punch since The Fame, and Dope, Gypsy and Applause all close out the album in such a clever narrative way that you can really tell an effort was put in. 

ARTPOP is messiest at its center, both figuratively literally. Besides MANiCURE, none of the middle songs really capture the magic that the rest of the album has. It's hard not to think Fashion!, Mary Jane Holland and Donatella are one massive song when listening casually. Where Jewels N Drugs, Swine and ARTPOP will at least capture your attention, it's hard to think they are top-tier songs from the album.

In reality, the worst part about ARTPOP is the way Gaga tried to convince the world it is deeper than it was. It's not extremely deep, besides Swine, but that's okay. Pop music doesn't always need to be deeply personal or philosophical. These songs all loosely tied to how fame was affecting her, in a clever narrative build from The Fame and The Fame Monster. They're fun. It's what pop music is and sometimes needs to be. 

When Gaga tried to sell the world something so deeply conceptual, they looked and judged the album for it. While some keen listeners and dedicated fans could draw deeper meaning from the lyrics in relation to her experiences, most people aren't dedicated fans. It built reviews that the album was pretentious, confusing and downright bad. In all reality, if you were to strip subtext from the record, it's actually one of her most rewarding. 

Unfortunately, the subtext surrounding it was too potent... remember that motif? On the second week on Billboard's Hot 200, it began it's rapid descent. Enter the angry mob that will never forgive it for being a "flop". 2.5 million records, three Top 15 hits and millions of singles sold couldn't even redeem it. To make matters worse, two more massive controversies (that now are unspoken about) were brewing. 

Do What U Want, the ill-advised collaboration with R.Kelly was slowly climbing the charts. While his vocal talents definitely suited the bonafide hit, you just couldn't remove the potent subtext around him. Accusations (and now, proof) that he was a sexual predator were not uncommon. Instead of forgoing promoting the single, the duo doubled down with some raunchy performances. With snippets of an unconscious Gaga in the music video being touched began swirling around, it was the guillotine. Despite being one of her best collaborations to date, and pure electric to listen to, it was the black sheep of her catalogue. In January 2019, over five years after release, the single was wiped from existence on streaming platforms. 

To (somehow) make matters worse, there was the ARTPOP app. Promised to a revolutionary tool in music consumption, Gaga had equally ambitious plans there. Most notably, releasing unheard songs from the album. If you wondered where "I Wanna Be With You" from the iTunes Festival went, this was the likely destination. Songs like Tea, Brooklyn Nights, Stache, Princess Die and Partynaseous were either confirmed to exist on the app or were performed live. Since the era was sideways in virtually every possible way, the countdown hitting 0:00:00 and nothing happening was equally heartbreaking as was expected. 

As those songs (except Tea) leaked (or performed) over the years, the heartbreak from the failed ARTPOP  app was more realized as they are some of the best, most unique songs to date. Her final single, G.U.Y., was released in March 2014 (five months after the album) and it's failure to break ground despite the song and video being some of her best work, was the final nail in the very condensed era. Within the same month, her extremely controversial SXSW performance in which she made a model stick their fingers in their mouth and puke on her, was the final nail in her reputation. 

ARTPOP  was undoubtedly a cursed era. Even her most supportive fans couldn't defend how bad she had fallen. A promised "ARTPOP Act II"  seemed about as ill-advised as anything from this era. This was her last era with her former manager, Troy Carter. Her entire management had a radical shake-up. Instead of attempting to propel herself to new heights, Gaga needed to do the least-expected thing: recede from the spotlight for the first time in nearly five years. In what could be viewed as a failure of a celebrity who was obsessed with the idea of the celebrity, it ultimately was closing the door on the first half of her career.

If there is a "Lady" and a "Gaga" side to this performer, the end of this brutal era represented closing the door on the "Gaga". If viewing her career into two halves, this was the end of the first half. Now it was time to introduce the "Lady" to the world. If you were to define a "reverse Warholian" experience as "putting art into pop", then the "Lady" half of her career is the true reverse Warholian experience. By stripping her persona down to the skin and bones, proving her artistic merits, building momentum and eventually steering back into pop music in celebratory fashion on Chromatica, then maybe the pain of ARTPOP was worth it. Where "Gaga" represents starting at the top and gradually decreasing, the "Lady" represents starting at the bottom and gradually re-preaking. 

It's always been one to question: was all of this intentional? Is her career an overarching statement on the celebrity? Her ability to get to such bleak lows, and her ability to re-peak is one for the history books. How does a star make herself born again (as she did in 2018; pun very much intended)? 

Lastly, ARTPOP represents what Chromatica is about: how being a celebrity has affected her. Whereas Chromatica is very personal, deep and specific, ARTPOP is not. Chromatica was once described as "ARTPOP's little sister". The statement holds true in several regards, even if Chromatica is answering more of the manifestos presented in The Fame and The Fame Monster. Most of the lyrical content; the pain, anxiety and sadness can all be traced back to this infamous record. While it may never have the best reputation for the music, ARTPOP will forever remain the most important era in her career for a million other reasons. 

Now, it's time to introduce the "Lady"... 

CHEEK TO CHEEK 

2011 - in Lady Gaga's hyper-sensationalized era Born This Way - she was working behind the scenes working on her most "experimental" material yet. When she dropped The Lady Is a Tramp in October of that year, the sultry-smooth jazz cover with Tony Bennett flew largely off-the-radar. In times when she would make international headlines for dressing "normal", this was completely unexpected. It could've never been predicted that this cover was foreshadowing something bigger, crazier and the most unexpected. 

2014 - in a time where Lady Gaga's career and reputation became stalling to a brutal halt - she needed to recede from the spotlight. Space was needed for Gaga to both heal herself and find a track for artistic growth. In true Gaga fashion, this refused to be done in a typical way. Instead of social media absences and extended hiatuses, she instead released a lead single for her next project a minimal four months after ARTPOP's last music video. There must have been solace in Tony Bennett and jazz music -- or solace in an artistic path that won't have many followers, as proved in 2011. 

Gaga, who established and operated her entire career around exploring fame, couldn't just stop being famous. Instead of truly receding from the spotlight, she just refocused it. Cheek To Cheek, the subsequent record, was arguably the most unexpected move she could've made. It introduced her to a much older, conservative audience. Being self-described as a passion project, this was something that made Gaga happy. From a business perspective, it was a brilliant move. As Chromatica is currently being celebrated around the world and her reputation is intact, it's Cheek To Cheek that has become her ground zero to build from. Without this record, would Chromatica have been as successful or artistically liberating?

Cheek To Cheek is difficult to critique on the basis that none of the music is original. That in itself forces the music to tumble into the forgettable, or at least destined to not be everyone's favorite version. While Anything Goes, Cheek to Cheek, It Don't Mean a Thing (If It Ain't Got That Swing) and Bang Bang (My Baby Shot Me Down) all shine, the rest are just perfectly acceptable. Don't mistake: that it doesn't make them bad. It just makes for a record that doesn't have a discernible identity. 

It's brilliance lies in emphasizing Gaga's pristine vocal range. Where The Fame, her most recognizable record, subdued her vocals under layers of editing, Cheek to Cheek let them shine in all their vocal gymnastic qualities. To onlookers, especially of the younger variety, this came as no surprise. For that much older, conservative audience, this was just as shocking as anything else. From the tour and uber-popular PBS special, she courted a new league of fans. In expanding her genre palette, she did what she could have done best: let the world build respect to her as an artist, not just a performative persona. 

It's equally brilliant that an album full of covers of antiquated songs was able to feel fresh. When has a major artist (in the leagues of Taylor Swift, Rihanna, Beyoncé, Shakira, etc.) radicalized the approach that much? It was experimental in design, while still being entirely safe. It was exciting to watch in pop culture, especially when the success repeatedly proved itself. It didn't sell much - in terms of albums, tickets or merch - nor was it streamed well. It proved that music doesn't always have to be popular to be interesting. 

Touted as a back-to-basics approach, there was something disingenuous about how Gaga presented herself. Instead of a more natural aesthetic, she brought in her defining dark brown wig. If she was channeling something, there was no proof it needed to be channeled. In stripping the avant-garde from her first four efforts, there needed to be something more natural. There always needs to be camp in a Gaga record, but it could have been done differently in this era. 

Since no one has replicated a moment similar to this, it remains remarkably unique six years later. With rumors of a follow-up album floating around, there is an anxiety that it could strip what made Cheek To Cheek so special. It wouldn't have the same effect with Gaga on a ravishing high, compared to a definitive low. Gaga has mentioned how this era has saved her life a multitude of times. Could a follow-up hold a candle to that? Would a sequel become more a business move instead of a passion project? 

Cheek To Cheek is her least-promoted record. Since Interscope knew it wouldn't turn a massive profit, they released the brakes and let the music guide itself. With Gaga being able to drop her guard, she could go on and experiment with other ideas brewing her head. Instead of having an anchor to contractual obligations, she was allowed to experience a slice of freedom that would propel the latter-half of her career. It would follow a motif that was established in this era: she will dominate whatever she wants to do. 

At the end of the day, it comes down to one question: Was Cheek To Cheek worth it? It may not be saved in your library, or you may have never listened to it in full. No matter what you believe, there is no denying this is her most symbolic record. By stripping her persona down and relying on the old-school basics (both literally and figuratively), she was able to find the truest form of herself and work back to a more campy place again. Building off this album, another pop record wouldn't have made sense. Gaga needed to explore her identity without Tony, and that is where Joanne comes to play. 

JOANNE 

Coming off her transcendental era of Cheek To Cheek, Gaga was at an awkward fork in the road. In a bold move - if you could say that - she decided to lend her talents to the prolific anthology series American Horror Story: Hotel. It was another venture that avoided releasing a solo record; arguably still too hurt from the ARTPOP era. While there was never true album avoidance, the career liberation awarded from her new management proved that any new path beyond pop music could be a fruitful endeavor. 

American Horror Story, as it turns out, would establish the notion as a pattern. Earning a Golden Globe for her role as The Countess, she forayed into territory with shocking ease. As it turns out, Gaga refocusing the spotlight on what she could do was equally as exciting as the persona that donned a dress made of Kermit the frogs. On the same night as her Golden Globe win in early 2016, she touted that a new album was forthcoming. Promised to be inspired by The Countess, Gaga explained it would really dig into her fascination with the art of darkness, as if she hadn't done that before. 

For veteran fans, this return-to-form was going to be monumental. Instead of reveling in the excess teases that dominated the pre-ARTPOP era, there was a cold silence from anyone in her team. This isn't an issue per se, as the unknown definitely works in favor of albums, but it revealed that the rules of this album cycle would be different than what fans had come to expect. In a broader schism, a reputation was brooding; her Sound of Music tribute the prior year, Cheek to Cheek, tribute performances and even something as small as attending a NASCAR proved there was a palpable Americana image that could be attained. 

Shortly after, it was revealed eight songs produced by Redone had been scrapped. Devastation aside, this was the first sign that something had radically changed in terms of approach. Bloodpop and Mark Ronson were soon brought in, rumors swirled of a Florence Welsh collaboration and Father John Misty all but confirmed that this was not going to be standard pop. As an artist who operated on being unconventional, this was both promising and daunting. 

After a grueling seven months of virtual silence, the Joanne era was born. Perfect Illusion, the lead single, was a sonic explosion. It's catchy hooks and chorus begged audiences to scream; but there was no denying this was radically different than the highly-favored Born This Way. Instead of clever lyricism and eye-raising production, it was exchanged for on-the-nose lyrics and straightforward production. This isn't inherently bad; it makes the music clear in its intention and ambitions, but Perfect Illusion, and the subsequent second single, Million Reasons, relied too heavily on repetition of lyrics. 

Had listeners not catched on to the Americana-influence that would dominate Joanne, her insanely unique and ever-so-clever Dive Bar Tour would establish that. There was something personable and somber about seeing one of the largest stars in a cramped bar. Debuting Million Reasons, A-Yo and Sinners Prayer all helped establish those influences and helped really let audiences grasp what she was entering: the stripped-back "authentic" era. 

Minimalism was the driving force here, and you would oftentimes see Lady Gaga in a t-shirt, shorts and her signature hat. There was nothing campy about the presentation, and the pathos of the album being about generational trauma through the use of her dead aunt was compelling and emotional. It's a somber theme that most families could relate to, but quickly the same pathos people had clung to unravelled itself in presentation. 

Joanne, as a whole, is an extremely impressive body of work. The raw (or minimally edited) vocals soared on each of the tracks, showcasing Gaga's very impressive range. Beyond the single choices, the lyricism was both deep as they were unique. John Wayne and Dancin' In Circles showcased a balanced approach to pop and country. Sinner's Prayer, Come to Mama and Grigio Girls were very compelling listens. Just Another Day, a sonic outlier on the album, had so much fun sonically referencing The Fame and Cheek To Cheek that it became forgivable. 

Had it not been for the confusing pathos, this would've solidified at Gaga's best album. As we learned with ARTPOP, albums are immeasurably affected by the exterior (or presentation) of them. When Gaga started clinging to the catchphrase "Call me Joanne," it came across as gimmicky, and oftentimes creepy considering the moniker was supposed to be about how she is Joanne. While it is her middle name, that's not what she clung to. She is not her dead aunt, and the homages to her beyond the title track were slim. 

If Gaga was aiming for a self-titled moment, she knew calling the album Lady Gaga and having that sound would not match up. Joanne is more personable and had the ability to strip back any connotation her stage name had. Even more, as she doubled down on the ideology that she was her father's daughter, mother's daughter, sister's sister, etc, it began to beg the question where Dancin' In Circles, a climatic song about masturbation, had a place on an album about her family and dead aunt. 

When discussing authenticity, there was scrutiny of the idea Joanne was wholly authentic. It became trendy to lean back to a country, more conservative style to showcase your natural self (Miley Cyrus, Justin Timberlake are just two examples). In all reality, this album represents a transitional era in her album; Joanne linked to the desire to heal her family, Dancin' In Circles represented a sexual desire all humans have, Grigio Girls honored her terminal friend Sonja. The music itself is personable, very good and something that is just as universal, if not more so, than The Fame. 

Joanne helped widen her audience appeal. While pop music oftentimes appeals to teens and young adults, and jazz to the older generations, this all-American appeal showed her colors to that same conservative audience who wrote her off after Alejandro's music video or Judas. As if oftentimes overlooked as themes explored in her albums, religion was dominant. It was a strong juxtaposition to who she was, and as if she was an onion, it peeled yet another layer. With the praise she earned from Cheek to Cheek to now, this only accelerated it: she landed the superbowl. 

Even if she wanted over-the-top antics, it was well-known it would be a disaster. When she sang God Bless America and This Land is Your Land at the top of her show, it was a powerful political statement and showing an impressive self-awareness to what her image had morphed into. Despite ignoring most of her current Joanne album, the safe choices in her music, outfits and everything else made for one of the most well-received performances in quite a bit of time. This was no mistake. She was already coming into it as the most well-received pop artists of the time. 

As revealed later down the line, Bradley Cooper personally wanted Lady Gaga for the role in A Star Is Born as soon as 2015. The Joanne era may not have made it possible, but it sure as hell helped convince the general public she could assume a leading role in a surefire attempt for Oscar glory. In truth, as most of her albums are, the legacy carries lies outside of the music. Where ARTPOP destroyed her career, Joanne was good enough to restore - but not entirely fix - it. 

Whether or not Joanne was just another (successful) gimmick or was actually genuine is up to personal opinion. The same specific, on-the-nose lyricism that was offered here would become the new standard that would be seen on Chromatica. While there is no denying Chromatica is a different beast, there were lessons learned about singing specifically; making sure everyone knew what you meant. Would the pain in Fun Tonight or 1000 Doves have translated as well if she used more conceptual lyrics as she did in The Fame Monster? 

Joanne would go on to be a short-lived favorite amongst the general public before A Star Is Born's ruthless power was unleashed into the world. It helped continue her rebranding that Cheek To Cheek started and the fantastic - but sometimes confusing - music helped solidify Gaga as a truly well-rounded performer. Lastly, and most importantly, the surrounding "activities" that Gaga did all worked in cohesion to help strip-down her image further to leave her in a quiet position before her next movie/soundtrack era. Five Foot Two showed her in a more wholesome light, her collaboration with Metallica showed her versatility and her Coachella performance showcased how she would forever love her roots. 

A STAR IS BORN 

Five Foot Two's introduction showcased Gaga discussing how she was recently cast in Bradley Cooper's upcoming movie, A Star Is Born, the stripped-back, oft-somber documentary showcased Gaga coming into her record Joanne and climaxed at her legendary superbowl. While both anecdotes are crucial in her career, Five Foot Two ended up operating as a liaison between the "Lady" and the "Gaga". Expertly dismantling her larger-than-life persona with universal themes of heartbreak, health complications and resilience, it was the perfect accompiant to her Americana image she earned during the aforementioned Joanne era and deconstructed who she was to the point her role as Ally Campana would be believable. 

After the first few months of the jam-packed 2017 came to a close, there was virtual silence. It was the first time we overtly knew what was coming. Her next era had a name, and we know there was a movie. Besides a minor leak of what would become Heal Me, we had nothing. Needless to say, the morbid curiosity of the general public if she could pull this off and the slow-burn approach of information being released steadily built anticipation. Early screenings started in late 2017, and either misleading reviews or silence aside, no one knew exactly how that went. The coming announcement that A Star Is Born was going to be delayed from May 2018 to that October sent shockwaves through film critics; it was vying for festival season and coming for the Oscars. 

There was so much unknown about A Star Is Born that when the first trailer dropped in June 2018, it caused a frenzy. It was extremely well-done and the vocal stylings of Bradley Cooper stunned the world and that iconic riff done by Lady Gaga capitalized on the public's newfound respect for her vocal talent and foreshadowed the karaoke classic to come. In a questionable move, there came more silence. There was no immediate single release, no immediate promotional tour and nothing that seemed to want to build off the hype. 

Warner Brothers clearly were multiple steps ahead. Despite some minor droppings here and there, the hype was able to coast until September when it premiered at its first film festival in Vienna. The overwhelmingly positive reception sent fans into overdrive; her aesthetic was stunning, the chemistry between Bradley and her was clear. The public was invested, interest was building and signs pointing to a global phenomenon were revealing themselves. When they dropped Shallow, the public ate it up. 

A Star Is Born was released in theaters (and the soundtrack) at the beginning of October. While it was never the #1 movie in the world (by numbers), it arguably did something more impressive: exceeded expectations and stole profits from a ever-so-profitable superhero movie. It was the first project released by Lady Gaga that received overwhelmingly positive praise. Nearly everyone loved it. It did something rare; transcended the screen. The love story of Ally Campana and Jackson Maine was so palpable, so raw and so real that millions raised Bradley Cooper and Lady Gaga on a pedestal of Hollywood's in-demand couple. When both Bradley and Gaga went through highly-publicized breakups, a frenzy ensued. 

Soundtracks are more open-ended than albums; where would a traditional album have both Shallow and Why Did You Do That? In truth, the soundtrack was extremely sophisticated in showcasing what the public loved the most about Gaga: catchy pop songs, a voice made for a piano and the ability to be extremely versatile. A silky-smooth vocal performance in French for La Vie En Rose, an epic with Shallow, a somber Always Remember Us This Way, a vintage-influenced Look What I Found shouldn't have worked together. With the accompanying movie and the context surrounding them, it works effortlessly. 

There is a meta quality to making a movie about a pop star starring a pop star. The commentary offered on how shallow pop music can be felt like a stab as Lady Gaga's actual career, and an examination of the state of pop music as a whole. It looks at mental health, drug abuse and the pressures of fame in ways that are both signature Lady Gaga style and completely darker than anything she has ever released. It feels as though it could be a true story about the woman we have come to love. 

Red and Blue, a pre-Fame album from "The Stefani Germanotta Band'', had arguably deeper songs than anything found on The Fame. Despite the movie being about someone entirely different, there are scary parallels to her actual career. While no one would argue The Fame was a shallow record, the movie begs us to ask that question. It's this parallelism that helped make Lady Gaga so believable in her role, which would land her many acting nominations and wins. There aren't many who could earn an Oscar nomination in their first role. 

If the movie wasn't transcendental enough, the music definitely was. Shallow became an immortal hit; one of the longest-running #1 on worldwide iTunes, the most-awarded song of all-time and had a fascinating run on worldwide charts that resulted in her first #1 hit in eight years. This was four whole months after it dropped. Always Remember Us This Way, I'll Never Love Again and Is That Alright? all made splashes across the world, despite minimal promo. 

It was a record-breaker. When Gaga reached her lowest during the ARTPOP era, every move she made felt designed so she could re-peak years down the line. The treatment of female celebrities is excruciatingly harsh. Gaga dodging the fate of so many female artists before her was stunning. It shouldn't have happened. However, as someone who has examined the conceit of fame since her early days, it seemed only natural. Her music video for Paparazzi seemed to foretell a brutal fall of a celebrity and a massive comeback -- remember the "We Love Her Again" headlines? 

A Star Is Born opened the doors wide for Lady Gaga to explore whatever she wanted for her next record; it dropped the idea of business strategy and a need to rebrand her reputation. Lady Gaga cemented herself as a legend within this era, and no matter what would happen in the future, it would be a bonafide success (as we are seeing now with Chromatica). 

A Star Is Born, in several ways, felt like the ending of the second-half of her career. If 2009-2013 was her "Gaga", or more ambitious and creative side, then 2014-2018 was her "Lady" side; one that was more mature and vulnerable. It was the perfect narrative: the rise, fall and rising of the modern celebrity. As Gaga made very abundant, A Star Is Born was also the gateway for her to bust back into the pop scene that had sorely missed her...

ENIGMA 

In late 2017, Lady Gaga began to tease studio sessions with her fans; after a jam-packed year of the Superbowl, Coachella, filming A Star Is Born and embarking on the Joanne World Tour, the teasing was met with solid confusion. It couldn't have been for A Star Is Born, which was in the stages of early screenings, but a new record wouldn't entirely make sense. Perhaps, as several speculated, a small body of work could accompany the hype surrounding her and help merge the gap between Joanne and A Star Is Born. 

Instead, as should've been expected by the star who lives for the unexpected, she dropped a bombshell: she earned a lucrative $100 million residency in Vegas. Residencies, mixed in their reputation, had been steadily becoming a more profitable revenue for artists after Britney Spears changed the game. Lady Gaga, who was gradually re-peaking, was the most dominant star Vegas had nabbed. The impact was almost immediate: major artists started flocking to Vegas for small stints. While the announcement was met with excitement, it was quickly clouded by A Star Is Born. 

As anticipation steadily rose for the movie throughout the year, Enigma (which wasn't named until summer), was not discussed. In August, a bizarre, weirdly-dark series of Instagram photos began to be posted. While fans adored them, the outside public was confused by the "natural" approach of A Star Is Born. The series of photos abruptly stopped after A Star Is Born's festival premiere. The rest is history: A Star Is Born was an overwhelming success. Arguably, the movie and soundtrack was much more successful than Warner Brother's anticipated. 

It was shown in the promotion for Enigma; which was virtually nonexistent besides a few (confusing) teases. Enigma would eventually also be a song title on Chromatica, which easily begs the question: Was Chromatica supposed to be the representative album for the residency? 

In short, no one will ever know besides Gaga's crew. It became clear once A Star Is Born reached stratospheric heights that it was put to the backburner. By the time it debuted in December 2018, it was filled with signature Gaga songs and some deep-cut fan favorites. The concept of a robotic persona taking us somewhere is eerily close to Chromatica's concept. Fans, however, had complaints that the production seemed rushed and not executed well. Interestingly enough, with the world obsessed with A Star Is Born, it was chosen only to perform one song from the movie. 

The existence of both Enigma and A Star Is Born seemingly contradicted the other; and with the residency being designed for multi-month breaks, it would fade into the background even more as award season came around and Shallow began to sweep. However, rather smartly, there was the second residency: her Jazz + Piano show. This show was more intimate, stripped back and showcased Gaga at her vocal prime. It flowed better with A Star Is Born, despite no songs from the movie being performed. 

On social media, there was oftentimes no mention of the performance except during corporate gigs (such as Super Saturday Night) and when she returned from an extensive break. If Chromatica was supposed to align with the residency, it was smart to withhold it: there was no reason to cross Shallow and A Star Is Born, and doing so would've severely hurt an album. 

In truth, had everyone been aware of what was coming, Enigma likely would've not come or come at a much later date. Had A Star Is Born been a moderate success, as was heavily predicted, a residency would've been able to exploit both the movie and new solo music perfectly. Instead, it ended up being a weird juxtaposition that Gaga herself didn't seem interested in. 

As the final scheduled shows of May 2020 were cancelled due to COVID, it has fallen into the subconscious as fans as now we are interested in Chromatica (more on that tomorrow). While there are still contractual dates that she is obligated to do, there is a chance she may never go back. The Chromatica Ball would serve well to any dates, but that is going to be rescheduled as well. 

With Chromatica now out, how will it affect Enigma...

CHROMATICA

"I'll keep looking for Wonderland," soars Lady Gaga within her opening lines of Chromatica, her sixth studio album. At face value, the reference is extremely recognizable; she is falling into the self-described planet of Chromatica. Metaphorically, however, it enhances a notion she has been exploring since 2009 - fame. Chromatica is an intimate look at the psyche of who Lady Gaga has become; deeply complex, tarnished by the wear and tear of fame and immeasurably vulnerable. If her career can be condensed into a singular theme, it's stardom. 

The Fame, as we know, is a deluded commentary of what endures as a celebrity. It's an unrealistic fantasy that refuses to address the monsters that come with the burden of greatness. The Fame Monster, however, is the ultimate juxtaposition: a reverse expedition on what everything means. Gaga had realized her devil-may-care approach of her previous record was fundamentally false, so she let us stroll in the opposite direction. The darkness is what made Gaga's career move from pop culture sensation to something much more palpable; it's the same darkness that Chromatica stems its inspiration from. 

911, a song about taking antipsychotic medicine, is one offering from Chromatica that is hyper-specific to Lady Gaga. "This is biological stasis. My mood's shifting to manic places. Wish I laughed and kept the good friendships," her manipulated voice cooly says in the first verse. Because of this, she needs to "pop a 911." The closest song on The Fame Monster to mirroring this is So Happy I Could Die - a song roughly about the fear of substance abuse. As the latter album has aged 10 years, the vagueness is increasingly becoming its biggest weakness. The lyrics, at casual listen, could be about a friendship. There is no denying what 911 is about. It's in-your-face because it needs to be. 

The Fame Monster, unlike Chromatica, operates on an abstract level; these songs, or manifestations of her fears, are not allowed to be specific because they carry the responsibility of being a social commentary on fame, to keep the thematic cohesion from The Fame. Lady Gaga was too new onto the scene to project her specific pains onto the world. In 2020, after a boisterous career re-peak, we care about what she has to say. Chromatica never shies away from what is the driving force for all of her raging battles; it's the fame. On 911, even, she muses "Holdin' on so tight to this status. It's not real, but I'll try to grab it," she still wants her dream from 2008, but her dream is also the thing that is tearing her apart. 

Gaga's "Wonderland" metaphor then becomes something much more sinister. In the famous cartoon "Alice In Wonderland," the titular character falls into a world where common rules and customs are Earth and forgoed. It operates on an entirely different plane. In her GagaVision #47, she discusses heavily how Chromatica is driven by the kindness of punks and the idea of peace within tribes. There are complications, as we see in the Stupid Love music video, but the concept is very sweet. It also works (as The Fame Monster does) as a particular social commentary. In her home country, ravaged with COVID-19, a historically unpopular President, years-long protests, her "Wonderland" must mean that kindness is not a driving force here. Since Chromatica is more specific to Lady Gaga, it must be taken a step further and realizing that her "Wonderland" is still the idea that she can have a traditional, easy-go-lucky, romanticized vision of fame as she bolstered in The Fame. 

Chromatica, in turn, is a world where she can achieve that sort of self-peace with her actual situation. It's an album full of self-exploration so she is a changed person at the end of the record. It's a beautifully clever narrative, and one that ties to her records beyond The Fame and The Fame Monster. In the closing moments of Chromatica, we hear Babylon. It's a record about the power of gossip, and how it stems back to the earliest times. It's full of biblical references and also showcases an acceptance that gossiping is a universal truth. In her real life, gossip has also been the backbone of her career: she had a penis, her lost engagements and never ending comparisons to Madonna are just as crucial in her career as her albums. It could be why Babylon sounds exactly like a circa Madonna song; it's a self-serving meta narrative that is immensely clever. 

It also becomes an extremely empowering song, if you have been following Gaga for years. The gossip that sensationalized itself during her infamous ARTPOP era had quite literally destroyed her career. On Joanne, she uses songs Perfect Illusion and Million Reasons as vehicles to explore how it has affected her, the latter songs saying she wanted to "let you go" and "quit the show", indirectly referencing her fame. On Perfect Illusion, a song that could easily read about a former lover, easily translates to a double entendre about how her fans abandoned her during the ARTPOP era. What makes Babylon so brilliant is that it's not specific. In fact, it's the least specific song on Chromatica. It helps build the theme that this gossip doesn't matter; Lady Gaga is confident enough to follow her own path now and do it however she feels and no one can say anything that can stop her. 

Releasing Chromatica, a pure pop record, comes after a six year stint of a reputation-rebranding. By flaunting her genre-fluidity by delving into jazz, metal, soul, rock and a host of other genres (mainly through collaborations), she was able to build the respect she lost during ARTPOP, and arguably never had prior to that. As a woman who professed to the world she wanted to be seen as an artist, this was the best way to do that. Of course, this peaked during A Star Is Born, when she became the all-American woman. 

For everything above, it explicitly and subconsciously makes Chromatica such a fantastic effort because it combines all of those elements of previous albums and makes it work. As referenced above, it draws its greatest inspiration from her first two albums. Chromatica is the third act in that trilogy; something ARTPOP wanted to be. Where The Fame represents her clichéd dream,The Fame Monster  represents her fears, and Chromatica showcases how both her dreams and fears have affected her. 

There is no more perfect example of that fusion than in Plastic Doll. The abstraction that female celebrities are objectified and fit into a box (ala Barbie) is utterly cliché; it's such a paper-thin idea that comes with stardom, which makes it something she could have easily explored in The Fame. Since the song talks about her pain, you realize that was a fear that has come true. "Don't play with me! It just hurts me," she screams in the chorus. It's something (a fear) that has manifested itself and is affecting her. It's a fear that would've fit into The Fame Monster, but this more emotional approach makes it perfect for Chromatica. Even more sinister, is the layers of vocal effects - does it represent that she doesn't feel she has a voice? If you look at the album from beginning to end, you realize there is tons of vocal editing. Interestingly enough, as it goes on, there becomes less and less in each song. A subtle narrative that she is finding a voice in "Wonderland" is deeply inspiring, meaning that she has been able to take her dreams and fears and overcome them, something she couldn't have done on The Fame or The Fame Monster. 

Born This Way, ARTPOP and Joanne are oft-discussed by their central weaknesses: being overstuffed, conceptually incoherent and pathos lost in translation respectively. With 16 tracks (13 without interludes), Chromatica is her shortest album to date at 43 minutes. It could've been a streaming move, sure, but in reality it works so well because there isn't a second that isn't maximized effectively. To argue anything is overstuffed would be lying. There are songs that are not fully-realized (Sour Candy), but it's forgivable because it fixes the ultimate Lady Gaga weakness: cohesion. Chromatica is relentlessly cohesive compared to all of her previous efforts. You can breeze through the album beginning to end and not think anything of it, where her other efforts can feel like a chore to listen to. Take, Born This Way for example, which has one additional song (technically four) and gives us an additional 31 minutes. With so many sonic detours in that album, it's hard to really get through. 

Chromatica was once described as "ARTPOP's little sister," and it's easy to see why: the thumping bassline and boosted energy (with elements of electronic music littered throughout) this is most sonically similar to ARTPOP. ARTPOP was supposed to explore how fame was affecting her in a "reverse warholian" adventure; which famously backfired and was lost in total translation. Chromatica fixes this, however, because the music is much easier to understand. Despite having a "planet" concept, Alice introduces this rather cleverly. While there is no song that explicitly shows her "exit" from the planet, there doesn't need to be because the Wonderland metaphor showcases how this planet is just a fantasy of Gaga's. 

Joanne, on the other hand, was praised for so much but confused fans alike by how "authentic" it was. An album whose pathos were built around generational trauma in a family should not include songs about masturbation. In short, the album just seemed more oddly performative than anything of substance. Chromatica showcases yet another lesson Gaga has learned from her stint in solo albums and offers nothing that gets lost in translation. Chromatica is definitively her most personal album. 

This all seems to beg the question: is Chromatica her best record? On the whole, it very much is: it's Gaga after a decade of learning. It's a sonic tour-de-force and embodies everything she has built during her career. While none of these songs are her best, emotional or memorable, compared to the rest of her discography, it arguably is done by design. Chromatica is a singular idea, and should be viewed as such. 

Chromatica tells a layered story, both explicitly in songs and abstractly in production choices. "I'd rather be drunk, but at least I'm alive," some argue to hear on Rain On Me. It's one example (of several) of misheard lyrics on the album. Hearing these lyrics tweaks the meaning of the songs ever-so-slightly that makes them much more compelling narratively. This was practically confirmed in the Zane Lowe interview to be intentional as Lady Gaga discusses how Rain On Me could be a double entendre about drinking. In Replay, the official lyric is "damage is done," but some hear "that bitch is done," which then begs the question: is the person (or thing) torturing her close to killing her? 

From her dreams, her fears and everything else in between, Chromatica is the artistic liberation of Lady Gaga. It's a freedom in her music she has chased or built up to. It proves, as she aptly puts, that she is an enigma. She is an artist you can never pigeonhole or expect to follow the rules. While Chromatica is being celebrated around the world, and selling impressively all things considered, it proves she has earned her place in pop music legend. Her career path is unique and will likely never be replicated again, and that is for the best. If she has finished a decade-long experience exploring the central conceit of fame, there is one last question to ask: What is coming next...? 

 

[RRR 3,996]

[Pop Music 20,540]

PERIOD 

[NotMyFlop 1,979]

50 minutes ago, LadyGoo said:

[SamJ 8,008]

That was a really good read! @NotMyFlop I liked the idea of her finding her voice in Wonderland as the album progresses with less vocal editing. And yes i like how she is to the point with lyrics on Chromatica but is dabbling with the same themes as TF and TFM and uses a sound that imo is closest to ARTPOP. This album excites me a lot because its such a long awaited return to dance music, but this is a Lady Gaga who has grown over time and has shook off the mystery of the early years because it feels like we know who she is now, and to hear her being so honest lyrically but over the dancefloor beats is something really special as a fan and i love everything about the Lady Gaga of now and of the past.

[NotMyFlop 1,979]

4 hours ago, UK Monster said:

That was a really good read! @NotMyFlop I liked the idea of her finding her voice in Wonderland as the album progresses with less vocal editing. And yes i like how she is to the point with lyrics on Chromatica but is dabbling with the same themes as TF and TFM and uses a sound that imo is closest to ARTPOP. This album excites me a lot because its such a long awaited return to dance music, but this is a Lady Gaga who has grown over time and has shook off the mystery of the early years because it feels like we know who she is now, and to hear her being so honest lyrically but over the dancefloor beats is something really special as a fan and i love everything about the Lady Gaga of now and of the past.

Thank you! I agree 100%. I just hope her future endeavors are this rewarding.

[Franch Toast 26,430]

This was extremely well-written and interesting. Thank you so much for linking the eras together and reflecting on them both individually and within the context of her larger career. You're a very talented writer! 

Just one teensy thing: ASIB premiered at the Venice Film Festival, not Vienna. 

[NotMyFlop 1,979]

35 minutes ago, Franch Toast said:

This was extremely well-written and interesting. Thank you so much for linking the eras together and reflecting on them both individually and within the context of her larger career. You're a very talented writer! 

Just one teensy thing: ASIB premiered at the Venice Film Festival, not Vienna. 

I AM SUCH A FLOP.  

But thank you 

[Franch Toast 26,430]

1 minute ago, NotMyFlop said:

I AM SUCH A FLOP.  

But thank you 

Not a flop. Easy mistake to make, and it doesn't negate the brilliance of your piece.