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Abra did its best having under consideration the Kendrick bomb and how music was charting at the time. Her team actually planned things well. Lol.

"I wont wait another 11 years next time I promise" She's got her fingers crossed in her pocket thinking "it'll be 15 next time you ungrateful bitches"

Hot take: Gaga could score 0 commercial hits going forward and I'd be absolutely content. As long as she keeps delivering phenomenal works of music like REQUIEM, HARLEQUIN, MAYHEM BALL then we're good. Plus in the end she'll always have baseball stadiums..

I mean, if she released Abra on Friday, she would’ve missed out on the Grammy release promo. The only real error as far as I see it is the lack of physical copies and maybe remixes.

I'd put Glamorous Life on ASIB, I agree with you on the rest

This is the scene I imagine with Paul and his wife when one of these girls approaches Paul to say hello.

Release physical copies and also release the video and song on the same day, that day being Friday. None of this mid week stuff.

I don't think she'd want any of her albums to miss #1

not even classical music is safe from her sampling claws

“Obsession” is, well, the obsession of the box office. That’s after the low-budget horror film earned $22 million from 2,655 North American theaters in its second weekend and a projected $28.2 million through the Memorial Day holiday. Those ticket sales are 30% above its debut (an impressive $17.2 million from 2,615 cinemas) — a virtually unprecedented increase for a movie that was already in wide release. It’s especially uncommon for horror, a genre that’s notorious for falling sharply after opening weekend. So far, “Obsession” has generated $58.5 million in North America and $74 million worldwide. It was produced for less than $1 million and will easily become one of the year’s most profitable releases. Read more: https://variety.com/2026/film/box-office/obsession-box-office-breakout-hit-horror-1236757946/

One of the funniest fan interactions Gaga’s had that I think about all the time starting at 6:35. *fan mimes feeling up Gaga’s t*ts* “You love my boobs? Okay, go ahead.” *fan feels Gaga’s boobs* ”Good job. Is that your mom? Was that okay, mom? She’s like, ‘Not really, but…’ *laughs* No, just said, ‘NO, I SAID I LIKED IT!’”

Me when I lie

date: may 25 It was a very busy day for her. in 2009, she performed live at the chapel. wore a bubble dress, newspaper dress , hairbow , was holding her tea cup etc personally, this was my first time seeing the full thing full show: https://youtu.be/Mu7ZWT4m9gc thanks to gagamediaarchives in 2011 she was promoting 'edge of glory' on the season 10 finale of American Idol 2014 she was on tour with the artRAVE in Toronto, Canada. earlier that day (another day, another slay) in 2015 lady vancouver gave us this look. and she was also in the middle of the Cheek to Cheek Tour in that city. in 2018 she served 2 vintage looks while arriving at and leaving Electric Lady Studios probably to record her album with Tony today in 2020 only 4 days remained until Chromatica’s release 2 years of Gaga's chromatica ball being available on hbo max and the beggining of the mayhem era that's all this is really fun to do I could call it my new hyperfixation. It also shows just how much Lady Gaga has evolved and how much we’ve experienced as fans throughout the years.

Despite what some might say, Gaga is an incredible place right now in the mainstream. It's very hard for newer material to stick the landing with the insane flood of nostalgia type tracks from tiktok. However she had an impressive moment with MAYHEM era, DWAS and Abracadabra.

gaga is hugely and massively successful, the chart run of a single really means absolutely nothing she had over 2 million people turn up for her concert, why does Abra or Runway's chart run matter if she has that kind of massively profitable reach more money is made in touring than music sales so her team has no cause for concern until she starts struggling to sell out arenas her team and the movie studio putting no effort beyond a music video into promoting Runway just makes it obvious they didn't care for its chart run, it was just a fun single to promote the movie yet people still put it in the context of a pop single released by a new, upcoming artist

I still think these looks were for the original music video

Little did she know that one of her biggest opps was in the crowd that night. Peter should’ve sniped you out right then and there.

you? again?

Taylor rn: TS13, Reputation and Debut TV getting mastered as we speak.

The Legendary royal albert hall and She was able tò book there?? Jesus i feel so elitist but this Is such a disgrace, having her in such AN important place doing that... Also poor musicians

Brown made the announcement in a post on his Instagram page, simply commenting "I DID A THING!" His diploma is pictured in the post. Awarded to him by Harvest Christian University, the honorary degree was a Ph.D. in visual and performing arts. Harvest Christian University gave Brown the award to celebrate Brown's contributions to the music industry as one of the most successful and influential R&B singers the past two decades. Harvest Christian University (HCU) is an unaccredited private institution. It lacks accreditation from any agency recognized by the U.S. Department of Education or the Council for Higher Education Accreditation, which means its degrees may not be legally recognized for certain professional or academic purposes. x

DWAS: Proof she can have a smash with success out of this world if it’s radio friendly, of course the collab didn’t hurt Debra: Proof she can release whatever the hell she wants and it can still be a hit, against all the odds

not everything she releases is going to be a smash, and that's fine

Say her name, she is more popular and wealthier than him #FxckPatriarchy

why would i do that

Well she just released two

Leave it to a religious institution to honor a terrible pos man

Disease, Abra, Garden Of Eden, Perfect Celebrity, LoveDrug, SOAM and Zombieboy stems have leaked

lol ok this time, take all 3 of the songs, and put each one of them on a Gaga album. For me, Runway - Chromatica Shape of a Woman - Mayhem Glamorous Life - Joanne

The music video by far

I only found out about this movie/actor yesterday... but since then, I have been staring at his face for long enough that I feel like I could draw it from memory 🤤

I've compiled all available stems into one zip, all 7 GB of them, and uploaded on non ruskie site. https://www.swisstransfer.com/d/7ff3a534-700a-426f-a1f9-07d42cc0b360

Why do we hate her THIS much though? a lot of white women (including Madonna) have done EXACTLY what she did. why are we laughing at the black woman over some petty nonsense? I actually am still kinda gagged that people actually cared that much.

Highway Unicorn is one of the best tracks and I’ll die on that hill.

So obviously many people (both fans and the general public) frequently praise and highlight Gaga's versatility now, especially because of her Sound Of Music tribute, her jazz albums and her acting. But I recently listened to some 2000s pop albums (Kylie Minogue, Gwen Stefani, Katy Perry) and it got me thinking about how musically diverse and versatile Gaga was even in her earlier years. I mean she had electro/synth pop songs (Just Dance, Lovegame, Paparazzi, Money Honey, Boys Boys Boys, I Like It Rough), euro pop/darkpop (Bad Romance, Alejandro, Dance In The Dark, Teeth), EDM (Applause, Swine, Donatella, Aura), retro/funk/disco (ARTPOP, Beautiful Dirty Rich, Fashion!, Disco Heaven), rock (Electric Chapel, Hair, Highway Unicorn, Speechless, Marry The Night), industrial (Scheibe, Government Hooker, Judas, Bloody Mary) and even within some of these songs they contain elements from different genres added in as well besides the main one. Also song to song on her albums each one contained different genres as well. Even her ballads were not all the same, Brown Eyes was more soft rock, You And I was country/rock and Dope was an electronic ballad. She also showed how her voice suited jazz music and that she could sing it back then as well (The Lady Is A Tramp cover, White Christmas and Orange Coloured Sky renditions, You And I jazz version, Someone To Watch Over Me cover) and we saw how she was able to transform her upbeat dance pop songs into ballads or more stripped down/jazzy versions at the piano (Poker face, Just Dance, Applause, Bad Romance, Telephone, Marry The Night, Paparazzi) whilst altering the melodies and sometimes making up new lyrics on the spot as she played. My point is I don't think Gaga's versatility back then is/was highlighted very often (especially compared to some other pop albums from the 2000s like I mentioned before) and I assume that was because people (especially the GP) couldn't see past Gaga's "crazy outfits" which is a shame but just thought I would share my thought here that I had about that.

Seriously tho, name one artist with more iconic remixes

Skeleton guns appear to be either one of two things: a caulking gun used for the application of sealant or a single shot rifle. Given that she and Luc used to do a lot of plinking (iirc she posted some pictures of them shooting beer cans on Twitter back in the day), she’s probably referring to the rifle. With that in mind, saying they’re “wedding bells” (in the context of “marrying the night”) is just turning firing those guns into a metaphor for one of the ways that she has embraced living on the edge with him and as Gaga more broadly.

Runway: Chromatica SOaW: ARTPOP (fits right with Donatella and Fashion!) Glamorous Life: Harlequin (Happy Mistake vibes) or MAYHEM

Omg I forgot about that ad!! I watched it so many times when it came out. It hit so hard. Seeing all these people all over the world and Gaga's posting "stay strong little monsters" I heald that close

… and to cross radar consciousness on the Feast of the Pentecost, no less—the timing, how Kairos! The understated impeccable … and from the “camp becomes camp over time” lens, this somehow echoes an undercurrent bible campground throughout her career … from zeitgeist theology to a makeshift zeitgeist ministry … founded upon the embodiment of this heretofore imagined music community … arguably an emergent structure of feeling en route, as we speak (namely, in thread context of a latin high mass-adjacent requiem liturgy) evolving into a social formation … this new pop parish … “explicit and recognizable in specific types of art, which is different from other social […] formations by its articulation of presence” What an era for interviews … this, I don‘t know … it just registers with such an odd precision in context … but almost maybe somewhere between this musical government and the messianic zeal (of an effectual fantasy bubble dream world, that just happens to operate at the nexus of pop culture) … the graduating groundswell of a de facto renaissance humanist revival spiritual revolution Also … “There is a maintaining of the synthetic and electronic quality of the previous two albums but an evolution in the soulfulness of the vocal, mixed with the electronicness … It shows much more of my abilities as an artist—both as a songwriter, and as a vocalist, as a pianist The lyrics take you through this journey of the psychology of my life, and my belief that birth is not something that happens once; it’s something that happens over and over again throughout your life; that you can be reborn, and that your identity is something that you can put on and decide for yourself.” Something about the “maintaining of the synthetic and electronic quality … but an evolution in the soulfulness of the vocal, mixed with the electronicness” … feels like such a signature sonic aesthetic, something about the merger of the “synthetic,” which at once means ersatz or artificial, but/and the synthesis of … and then to blend that (along with the tantamount electronicness) with the soulfulness of vocals, in particular, is just … I don‘t know something very inherently native to the frequency or identity … it feels like the primordial sonic structures of a harmonic paradigm … one that sounds like this kind of subcultural sanctuary in progress Marvelous share

Last track every time so I can just turn the album off before it starts

I don't know much about dance and choreography, but do the dead dance

When I was transcribing the Hall commentary, for some reason, that passage in particular just felt somehow intrinsically your hermeneutic frequency—I think, as I was transcribing, my mind read it in Gaga‘s “Notes on…” Met Camp cadence—but/and/so … vibes and tribes, how the tempos they do align How you explore the postmodern paradox within that capacity shed light on this sort of range / scale / spectrum of postmodernity as a “discourse” (or, beyond the word / phrase / concept itself, postmodern(ity), as a discursive formation roots its function in its cultural identity and social significance … almost, how this word / phrase / concept actively engages or presents itself in culture and society … how it emerges in expression and embodiment (primarily, through how its power is defined / prescribed by the dominant or ruling class … its hegemonic presence, possibly)) … where on the one hand, there is the Warhol postmodern ideology (the former, almost nihilist—“if anything can/does mean everything, and everything means anything, then everything means nothing, and nothing means anything, etc.”) and on the other, the Stuart Hall postmodern ideology, which you articulate with astute lucidity, that operates from postmodernity‘s necessary nascency—not that it locks the fixture of historical consciousness in a mausoleum of moral levelling, but rather that this postmodern dynamic is definitively catalytic in its necessary transformation. Oh, the postmodern adaptive Reverse Warholian echoes lingering just beneath the surface … I‘m also reminded of Howard Zinn‘s A People‘s History of the United States … as a kid it always registered as a complete cultural reset … but, that consensus speaks to your point, to where, that this decentering of the historical narrative felt like such a paradigmatic shift (in the 1990s no less), means that even then, within the mainstream (or Western realm of residual mainstream modernity), it was a novel concept to consider that history might have always been a record of formal flux and conditions in perpetual caprice Okay, this … so much thus. precisely because it is meaningful in a way that feels as though we have no agency over, which only reinforces the ways in which Gaga (and many others) iconic iconoclasm is so potent: it serves to destabilize enforced or dictated meaning as a way of reopening “the flow,” allowing for collective discourse, conversation, and new understanding to emerge. This is crucial … this feels inherently, iconoclassic … or manifesto of the iconoclass … This was one of those scenarios where details and empirical nuance would surface throughout the commentary, but then by the conclusion, I stepped back and was like, maybe focus on one point that incorporates relevant nuance … so, this, admittedly still stream-of-consciousness ramshackle, a brush with thus … How you unravel and interpret this interactive practice of iconographic agency … it sort of illustrates this iconoclass model and metamorphosis … the icon itself as a discursive form is essential in relation to identity and agency, and it definitively yokes the secular and sacred / culture x religion discursive communities … cultural icons and religious icons are foundational emblems within their respective realms, if not necessarily polarizing and paradoxical at times … iconography also materializes the abstraction of material and mystical, and so, for instance, when the icon is a living being—whose significance is predicated upon fluctuating interpretations / projections / ideological constructs—how does their expressed experience / articulation of presence / lived performance exalt, empower, liberate, suppress, marginalize, or destroy the authority or significance of their personal identity or very existence? For instance, when the artist icon consumes the rosary … does this signify iconoclastic desecration or an emergent iconoclassic transubstantiation adaptation, so to speak … and further … to revisit the effigy aspect … here, the artist or human icon, in sacrificing their cultural identity to the court of public opinion, lives the development and destruction of that external / material / cultural self that was introduced to the shown world from the dominant frame of industry fame … and so, to your point, The Fame is almost an electronic blueprint symphonic on that alchemical process … defining, dismantling, and rediscovering your identity through expressed / articulated presence or your own certain curation of the raw materials of contemporary culture … which is where the original (pre-corporate entity, LLC, Inc., etc.) Haus was crucial as a makeshift creative collective separate from the label (within a capacity) … there was that balance in expressed iconography … I‘m reminded of … and maybe this is a sort of prototype of iconoclass anatomy or evolution … but again, how you work your way through the reflection, reminds me of interpretive communities, imagined communities, and structures of feeling (namely, [W]hen a formation appears to break away from its class norms, though it retains its substantial affiliation, and the tension is at once lived and articulated in radically new semantic figures. Any of these examples requires detailed substantiation, but what is now in question, theoretically, is the hypothesis of a mode of social formation, explicit and recognizable in specific kinds of art, which is distinguishable from other social and semantic formations by its articulation of presence.) … like this iconoclass, or this community of denizen icons, evolve from the shared interpretation of the icon / discourse as text (interpretive community), to the shared imagination of the icon / discourse as terrain itself (imagined community), to the shared inhabitation of the icon / discourse as institution (structure of feeling) or the shared identification of the icon / discourse as enclave (subculture, callback to Hebdige) … something within that interdisciplinary trajectory felt somewhat symbiotic with your interpretive tapestry There … might have been more (or less) to this stream-of-consciousness (if any of the aforementioned communicated a hint of legible sense) … but denouement for now … Genuinely appreciate your presence!

DWAS reached 3.7billion streams on spotify, coming to surpass Closer by mid of June 2026 18. The Chainsmokers - Closer - 3,728,905,084 (+1,390,151) 19. Lady Gaga - Die With A Smile - 3,700,137,203 (+2,651,376)