That's a lot for someone who was unaware of bad romance

2:53 she says if she come to Europe she'll give a concert in Poland for sure That would be her first concert here in 14 years. Let's hope it happens!

I just know he sat through the entire album like

Bobby outside the room hearing about how he's got to plan a Chile x Poland tour all of a sudden

LG7 made him homophobic that's why he left the gay film

The Fame - LG1 TFM - LG2 BTW - LG3 ARTPOP - LG4 JOANNE - LG5 CHROMATICA - LG6 HARLEQUIN - LG6.5 DANCE IN THE SHADOW - LG7 It’s really not that hard

The older I get the more I appreciate Gaga's genre variety, if anything I'm grateful that woman has shoved us Joanne, Jazz and beyond down our throats cause If that has taught me anything is to expand my taste and appreciation to music and art consumption in general, I love music so much I live it, I'm also a producer and I thank that to Gaga as well. Thank you Stefani, I'll always believe in you

Spotify monthly listeners: 4 = Lady Gaga 99,101,651 (+341,451)

Spotify update: Happy Mistake +707.464 streams Moving up from 563,835 streams on October 1st

iTunes US #38 Happy Mistake (+22) AM US #16 Harlequin (+4)

I've always thought the phrasing of 'Best New Artist' needs to change because people will always argue if someone is 'new' or not. 'Best Breakthrough Artist' would be much better imo

Spotify, Die With A Smile +11,011,092M

She literally called it "LG6.5," why do we continue to have this conversation?

Gaga almost spits out the water Joaquin was asked about what he thought of the movie, and let's say Joaquin and Gaga's reactions were interesting

until they actually do it....it's just words, and I won't believe it will happen until it does. it's too easy for these predators to slide away somehow. just look at jeffrey epstein in 2008 getting a plea deal and day release when he was supposed to be in jail for being a paedo sex offender.

I know it’s not that deep but it’s kinda shitty that she’s even saying this, stop acting like he’s your best friend or remotely relevant in the lady Gaga universe your role in the film is done dear Gaga, move on already

they should just release it instead of doing press for it

Jay Z for sure Naomi Campbell 100000% since she always said P Diddy was her “chosen family”/brother lmao, let’s see if she can save herself this time

I just know they are doing this sequel cuz they need to say something about this mess

Sorry europe but this next tour Gaga owes her Latino and south east Asian fans dates …like lots of dates.

radio: 18 (=) Lady Gaga & Bruno Mars - Die With A Smile 37.36 (+0.55) biggest gain for the song this week~

when two social media interns reply to each other

Only LMs will get worried at the prospect of new music… I swear some of you should get off the internet more often and enjoy life.

nnnn she will surpass Ariana's peak in 2 days Bruno Mars now become the 2nd artist with most monthly listeners on spotify, surpassing Billie

This thread inspired by this post by the good sis @River where is panicking about LG7 era because of Joker and DWAS. I want to know if more monsters worried? This is what he said: "Joker 2 will hurt LG7. I'm sure of it. it's OVER. TOTALLY OVER. Bruno is rerecording DWAS with TAYLOR right now. Toad.. look what u have done!" I am not but I am worried she gonna treat it like Chromatica era where it was very big gaps between everything after the Rain on Me single release. Like after that she gave us 911 mv and chromatica tour and stuff but it was after big gaps. Yes due to pandemic but maybe Gaga gonna find some kind of excuse? maybe Richy Jackson gonna be fired so she gonna say he cannot choreo her so she have to pull plug of era? Or maybe after Joker 2 she will star in Hallmark movie? what are your thoughts?

HELP

happy MISTAKE 💜

Tell me who hurt ya

She said that so we would go after him lol

"The gravity of this ROCK is pulling me"

Die With a Smile officially entered the Billboard Rhythmic Chart at #40. It’s Gaga’s first entry in the chart in more than 10 years! Here is a list of her previous peaks: Just Dance #3 Poker Face #5 LoveGame #7 Chillin #26 Paparazzi #7 Bad Romance #6 Telephone #8 Alejandro #11 Born This Way #12 Judas #36 The Edge of Glory #27 Applause #19 Do What U Want #8 Die With a Smile #40

https://variety.com/2024/music/concert-reviews/lady-Gaga-secret-concert-belasco-harlequin-joker-1236167691/ Can a set of show tunes and Great American Songbook standards, rendered with a healthy measure of respect and virtuosity, also be a punk-rock show? Or at least something that kinda/ sorta feels like one? That basic question arose over the course of seeing Lady Gaga’s secret post-midnight performance at downtown L.A.’s movie-palace-turned-music-club, the Belasco. There are surely a few performers out there who have a feel for both the classics of the Broadway/movie-musical era and raw-power rock ‘n’ roll. They just don’t exist at anywhere near the superstar level, and even in a more niche world, they probably know better than to try to combine these extremely different ethos. Lady Gaga, thankfully, does not know any better. After catching Monday night’s show, I’m happy to report that she is the woman who can marry the controlled genius of Tin Pan Alley and the wildly performative id of punk’s chaotic spirit… if only for one extremely memorable late night (or early morning). The show had her and a truly crackerjack six-piece band barreling through her new “Harlequin” album in its entirety, with the energy level turned up to 111, well beyond any recorded versions. No one should imagine that she will stay in this mode for very long (she already characterized the current record as “LG 6.5,” with a straight modern-pop album 7.0 to follow in four months). She’ll probably never even do another gig like this, with or without the strange set dressing at the Belasco that further pinned this as a unique moment in time. But as a one-off, it was glorious. I’ve been on record as being high on Gaga shows in the past, including her Dodger Stadium gig, her Chromatica residency and, especially, her Jazz & Piano shows in Las Vegas — to which the “Harlequin” stuff bears at least superficially a black-sheep-cousin relation. Having seen all those, I’m here to tell you her Belasco performance was utterly bonkers but also one of the best things she’s ever done. I’d say you had to be there to get it, with the cone of silence that was placed over the show, including the pouching of phones and watches and no photography released. (The photos seen accompaying this piece are from her Kimmel performance the following night.) But perhaps you didn’t have to be, assuming the cameras and cranes and waivers to be signed assured that there is some intended release, yet to be announced. Maybe it won’t transfer to whatever screens it ends up on; maybe you’ll be looking back on this when you see it in two weeks or six weeks or a year and thinking: What was he on about? That’s the risk in raving about something destined to be seen sooner or later on a small screen. But in the room, at least, it felt as galvanizing as, say, the tour-ending show Jack White did in the same venue a couple of years ago. Which is not something I walked in expecting to say about a show that was destined to have “That’s Entertainment,” “That’s Life” and “Get Happy” on the setlist. Exactly what the show was meant to convey, on a psychological level, remained a little bit mysterious, and even unsettled, in a good way. The production design for the set couldn’t have been more striking, or further away from any show-biz norm. The stage was dressed up as a dimly lit, disheveled studio apartment that has seen better days — and whose inhabitant probably has, too. Light peeked in a window through throughly messed-up venetian blinds that looked to have never been repaired from damage suffered in some rage or raucous party. Gaga’s “bed,” which she occasionally jumped up and down on like an unrestrained child, consisted of unmade sheets strewn across a mattress laid out on the floor — and a pillow that the singer gleefully ripped to shreds, finally showering the audience with feathers that flew all the way up into the balcony. Was this set supposed to be the humble lair of Gaga’s not-quite-on-her-rocker character from “Joker: Folie à Deux”? This would be a reasonable interpretation, for an audience that hadn’t yet seen the movie, whose premiere the star had attended hours earlier. And certainly she danced her way through the show like a possible madwoman, or someone hopped up on coke. But actual insanity probably wasn’t exactly the idea. At one point in the show, Gaga stopped to talk to the audience about how this was about her getting back in touch with the unbridled joy someone might experience in music and in performance before the expectations of a career knock that out of ‘em. So maybe the messy apartment set was just meant to reflect the mindset of somebody who is just so completely focused on finding manic ecstasy through art that little things like housekeeping and home repair take a back seat. And maybe we’re rethinking it either way — but the design certainly added a level of irony and intrigue that wouldn’t have been there if she’d just been performing “If My Friends Could See Me Now” in front of a stock phalanx of bright lights. But in front of this ambiguous backdrop was the unambiguous sight, and sound, of Gaga seeming to have the manic time of her life. Anyone who’d heard a report that she was not unduly high-energy at the film premiere a few hours earlier had to laugh at how she seemed to be consuming a whole year’s worth of energy in one hour-and-a-half-or-so performance. (With smartphones locked up, it was difficult to know when the show actually started or how long it lasted, with about half of the songs getting a do-over — with no flagging effect on her pep or the audience’s deafening enthusiasm levels.) Gaga had a small rag doll she occasionally picked up off the mattress and used as a performing partner, and she treated herself with all the spontaneous malleability of a floppy effigy — combined with the lapses into sheer precision you expect out of somebody who’s been training as hard as she has all her life. Befitting the advanced age of some of the material she was performing, there were some flapper-style moves, when Gaga wasn’t transforming herself into a one-woman moshpit. If it felt like the show had a legit punk sensibility at times, that was only in the set dressing, energy and the star’s unbridgled performance style, not anything you’d hear in an audio-only soundtrack. There, her singing was as flawless as ever, despite her seeming to work off a week’s worth of calories with every number that proceeded. The phenomenally good band very much had a rock ‘n’ roll spirit, although stylistically only a few of the numbers fit directly into that vein. With both a trumpet and sax player in constant motion in the mix, the group often slid into New Orleans-style jazz — most obviously when they did “Oh, When the Saints,” in a rendering that did Louis Armstrong proud but also made it feel like Armstrong had always been a rocker. The show had instrumental interludes, presumably for costume changes — although each time Gaga reappeared, it was in a different outfit that was mundane by her standards, with glitz never threatening to intervene. The concert opened with the surreal appearance of a spookily lit barbershop quartet, who reappeared later to be accompanied by the band in singing “Love Will Tear Us Apart.” One of the interludes had the group playing a tremolo-guitar-filled instrumental that was identified on the setlist (which Gaga herself leaked on Instagram) as a Cramps song. It was that kind of night: rooted in the best that mid-century Broadway and movie musicals had to offer, but suitably genre-inspecific and weird around the edges. That’s why I give this show a slight edge over her Jazz & Piano residency in Vegas, which I liked quite a lot. Gaga was certainly able to make the nostalgia evident in that show into something… well, Gaga-esque, but there was undeniably an element of cosplay in stepping into the costumes and songs of another era. The catalog she is dipping into for her “Harlequin” era is similarly throwback, obviously — despite the presence of a bit of original songwriting, and selections from lesser-known, slightly more contemporary shows like “The Roar of the Greasepaint, the Smell of the Crowd.” (That’s where the song “The Joker” is derived from, though most people guessed it was a fresh original at first.) But it’s a real kick to see her roughly returning to America’s shared past of show tunes and taking greater liberties, making the vibe very much her own. You’d never doubt the reverence she has for these songs, but there’s liberation in her being able to treat them kind of like that unmade bed. This studio-apartment set had room for a grand piano, and Gaga calmed herself down enough to sit at it for a spell, singing first a solo rendition of her current hit with Bruno Mars, “Die With a Smile,” and then use that as a segue into (naturally) Charlie Chaplin’s “Smile.” This was more the elegant Gaga that the establishment has come to know and love — a Lady fit for a sophisticated concert hall. That was, literally, grand, but the best parts of the show came in seeing her turn into the rocker she’s always threatened to be… to the point of picking up an electric guitar during “Happy Mistake.” Her motivations for doing an album beyond the “Joker” soundtrack album aren’t entirely simple to suss, but the best possible explanation is that, having proven she’s a good collaborator, she wanted to do something that was purely her vision. If so, this further culmination of the project, as a filmed show, confirms her unfiltered take can be not just interesting in a conceptual realm but a real, visceral kick in the pants. And if this single performance is as close as she ever comes to doing a pure rock album or tour, it’d be enough. For those of us who love old-school Broadway, furious bands, and a singer who has what it takes to do any of these styles, who could ask for anything more than a “World on a String” that slams? TL;DR - They loved it

At least she did not consider Uranus Bloom

Why is Beyonce being brought up? Is there evidence or are people just reaching bc they don't like her for whatever reason?

remember when it was coming "soon" in may

Up to 70... which is the minimum she deserves, tbh Hopefully it will keep rising

Before Kesha got The Call, she was frolicking naked with her friends off the coast of Zihuatanejo, Mexico—a sun-kissed Lady Godiva on a jet ski, cutting through the ocean waves. Her entourage of 12 friends followed her lead, shedding their beachwear to evade tan lines as they scanned the water for sharks and manta rays. It was the pop star’s 37th birthday and the dawning of her most liberated year yet. “I got a big wake-up call to start living like a free woman,” she says of the divine intervention. “But I also got a literal phone call.” That one had happened three months earlier, when her lawyers phoned to say that it was official: On March 6, her birthday, for the first time in 19 years, Kesha would reclaim the legal rights to her own voice. Kesha was just 18 years old in 2005 when she first signed an ill-fated six-album deal with songwriter and music producer Lukasz Gottwald, better known as Dr. Luke. Nine years later, Kesha dropped a bombshell when she filed a civil suit against Dr. Luke for infliction of emotional distress, sexual harassment, and assault. After nearly a decade spent sparring in courtrooms through a procession of lawyers, in June 2023, Kesha and Dr. Luke reached a settlement that would dismiss Dr. Luke’s defamation claim against Kesha, which by that point was all that remained of their lawsuits against each other. (When announcing the settlement, both parties continued to deny any misconduct.) Since then, Kesha has gained full autonomy over her future music and recordings, allowing her to work freely with any producers of her choosing. In the months since, she’s founded her own label called Kesha Records, and released a new hit single, “Joyride.” She’s now hard at work on a new album, becoming the godmother of the next generation of pop stars, and has a 10-year plan to upend the industry. “The music industry should be ****ing terrified of me,” Kesha says. “Because I’m about to make some major moves and shift this ****. I really want to dismantle it piece by piece and shine light into every corner. I hope my legacy is making sure it never happens to anybody ever again.” On a sweltering August afternoon in Los Angeles, Kesha sits across from me on a leather couch inside the Village studios in West Hollywood, where Fleetwood Mac, Heart, and Whitney Houston once recorded legendary records. She wears a T-shirt promoting her new record label—“KESHA RECORDS, BITCH,” it reads in huge yellow letters—and a pair of seersucker overalls, bedecked with several smiley face buttons for flair. It’s here that Kesha’s been fine-tuning songs for her very first album as an independent artist. “I’m free and it feels good,” she says. “I have a reminder in my phone that says: ‘You’re free.’” Under the direction of trailblazing hyper-pop producers A. G. Cook (Charli xcx) and Zhone (Slayyyter), Kesha’s stadium-size dance-pop bombast is delicately imbued with the barbed metallic accents popularized by Cook’s label-slash-milieu, PC Music. Although she hasn’t named her record yet, three words cycle periodically like mantras throughout our interview: freedom, safety, and most importantly, joy. “This record is my little wild child,” Kesha says with an impish grin. “My last record that came out, Gag Order, was me giving the more painful emotions a voice. I was really vulnerable. Now I’m really trying to make way for the bad bitch. I’m giving her the moment—because we need the space to have all the emotions safely. I capture the empowered emotions, so that I can listen back to it when I’m not feeling that way.” Propelled by a taunting loop of polka-style horn samples, “Joyride” is a campy libertine dream transmuted into song. Lyrics like “Rev my engine till you make it purr” call back to the Kesha we met in 2009: a glitter-streaked weekend warrior with a party-girl ethos that verged on a death drive. “You know the Buddhist saying that life is pain? I found that to be very true in my life,” she continues, sipping on a paper cup of green tea. “Everybody knows me as a fun human being. My soul is very fun. My name means ‘innocent joy.’ But, you know, there’s only so much somebody can take before just feeling wrecked....My soul needs this album. I need to reclaim my joy. Because I fought so ****ing long and hard for it.” To Kesha, there is not only life after surviving a very public trauma, there is room for dessert. “I really think that my joy is such a feminist act of defiance,” she says. “And to everyone who has supported me, and to anyone who’s a survivor out there, know that the energy of support toward me also flows through me to them.” Released pointedly on Independence Day of this year, “Joyride” is a grown and sexy work of opera-pop that’s been brewing in Kesha’s brain since that divine call made its way to her in Mexico. “The second it came out of my mouth, I was like, ‘This is my first single.’ It was me busting the door back down and saying, ‘No, no, it’s time to party again!’ We’re going to start with having fun, and then I’m going to try to dismantle all the shady ****.” The song was written not only after her legal dispute had been settled, but also in the aftermath of her last relationship, which yielded fewer rewards for her than being alone. “I had a feeling that he was in it for the wrong reasons and was a bit of a star****er,” Kesha says of her ex. “I decided to test that theory and took one of my friends instead of him to Taylor Swift’s party. He came over the next day and broke up with me.” https://www.elle.com/culture/celebrities/a62470735/kesha-new-album-interview-2024/

“The sequel follows Miranda Priestly at the end of her career, facing the decline of traditional magazines. She must compete with her former assistant, Emily Charlton, now a high-powered executive at a luxury group, for crucial advertising dollars.”

Music videos trending worldwide (YT) | 2024-10-03 12:40 EDT 2+2 Lady Gaga - Happy Mistake (Jimmy Kimmel Live!)

OH NOOOO! He heard Harlequin during the London listening party… LG7 = Harlequin ConfirmedT….

Gaga: "Joaquin's heard my entire seventh album." Joaquin: "Have I.... wha-? Wait, did I?"

Gaga has always said that even though TFM is a kinda "deluxe version" of TF, she always viewed and treated it as it's own standalone album and that's why TFM = LG2

honey…I’m afraid the film itself is the director’s cut