GaGa about women

Lady GaGa has had sex with women but has only ever been in love with men, she revealed in a new interview.

The pop icon appeared on US TV as a guest of Barbara Walters this week, where she asked about her private life.

She confirmed that international chart smash "Poker Face" was inspired by her fascination with same sex relationships.

"That's really what the song was all about - why when I was with my boyfriend was I fantasising about women?!", she told the chat show host.

When asked by Walters about her lesbian flings, she explained: "I've certainly had sexual relationships with women, yeah".

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Frank Talk with Lady Gaga - LA Times interview

Reporting from Boston – Almost immediately after she deposited herself in a corner booth at L’Espalier, the restaurant at Boston’s Mandarin Oriental Hotel on the December afternoon after the first American date of her Monster Ball tour, Lady Gaga made a confounding statement.

“I don’t see myself as ever being like anybody else,” said the 23-year-old known to her mom (eating lunch nearby) as Stefani Germanotta. “I don’t see myself as an heir.”

Yet there she was, in a blond Hollywood bob and black tuxedo-bra combo much like the costumes Madonna wore 20 years ago, discussing a show that conjures the spirits of Michael Jackson, David Bowie and the punk-rock drag queens of downtown New York and promoting music — the newly expanded edition of her 2008 debut album, “The Fame,” greatly enriched by eight new songs and repackaged as “The Fame Monster” — that pays blatant homage to ABBA, Queen, Eurodisco and Marilyn Manson.

Gaga doesn’t care. She wants you to trace her references. ” John Lennon talked about how with every song he wrote, he was thinking of another artist,” she said, making a less expected connection to a pop deity.

She’s yet to attain the status of the Beatles, but in the ever-accelerating pop cycle, Gaga is a top sensation, and many people’s vote for the most exciting artist of 2009. “The Fame” has sold nearly 2 million copies in the U.S. and reportedly double that internationally; her album and the single “Poker Face” both made the top three on the year-end tally of top iTunes downloads.

“The Fame Monster” continues this sales sweep, but it also considerably advances Gaga’s artistic project with some of her strongest songs yet, including the earworm-infested “Bad Romance” and the sumptuously emotional ballad “Speechless.”

The world is responding. She’s made friends with Madonna, been interviewed by Barbara Walters and met the Queen of England at the annual Royal Variety Performance. The Monster Ball has sold out multiple nights in major cities including Los Angeles, where it comes to the Nokia Theater at L.A. Live for shows Dec. 21-23.

This is all happening not because Gaga is cute or takes off her clothes but because (to use one of her favorite words) she is a monster — a monster talent, that is, with a serious brain.

During nearly two hours of conversation, she not only reiterates her assertion of total originality but also finesses it until it’s both a philosophical stance about how constructing a persona from pop-cultural sources can be an expression of a person’s truth — à la those drag queens Gaga sincerely admires — and a bit of a feminist act.

“I’m getting the sense that you’re a little bit of a feminist, like I am, which is good,” she said. “I find that men get away with saying a lot in this business, and that women get away with saying very little . . . In my opinion, women need and want someone to look up to that they feel have the full sense of who they are, and says, ‘I’m great.’ ”

Gaga’s casual use of the term “feminist” was interesting; like many female pop stars, she’s rejected the term in the past. But she’s evolving. She is growing “more compassionate,” she says, and focusing more on ideas of community, especially the one formed by her core fan base, a mix of gay men, bohemian kids and young women attracted by Gaga’s style and her singable melodies.

Grand declarations

Her new songs address serious themes like women’s shame about their bodies and the need for open communication in relationships; her often physically distorting costumes show that the pursuit of the feminine ideal is far from natural. Her commitment to confront the changing notion of what’s “natural” puts Gaga on the same road traveled by artists she admires, such as the photographer Cindy Sherman. Her frank talk about how female artists aren’t expected to write their own songs or about how young women are afraid to ask for what they need from their sexual partners inches her toward a new articulation of feminism.

“If you ask somebody where you see sexism in your life, all they think of is the old stuff,” said Nona Willis Aronowitz, co-author of the new book “Girldrive: Criss-Crossing America, Redefining Feminism,” by phone. “Equal pay, that’s not really on their radar. Domestic violence and rape aren’t necessarily in the forefront. But you ask about double standards or restrictive gender roles, they don’t think of that as sexism; they think of that as the way it is. That’s kind of like what Lady Gaga is talking about.”

Gaga does view her music as a liberating force. “When I say to you, there is nobody like me, and there never was, that is a statement I want every woman to feel and make about themselves,” she continued. “I don’t make it as a defense. I make it as, OK, guys, it’s been two years, and I’ve made a lot of music, and I know my greatness is individual. And I want every woman to be able to say that.”

This is one of Gaga’s gifts, maybe the one that most distinguishes her from the other talented women directing the pop zeitgeist right now, such as her recent collaborator Beyoncé, her fellow couture hound Rihanna or her rival in redefining blondness, Taylor Swift. Gaga makes outrageous declarations — which, when you break them down, actually make sense. And then she backs them up, not only through her now famously provocative interviews but in her videos, her collaborations with designers and artists, her live performances and those infernally catchy hits.

Upending genres

As good a game as she talks, Gaga’s real language is visual and, of course, musical. Discussing videos like the one for “Bad Romance,” which she says is about “how the entertainment industry can, in a metaphorical way, simulate human trafficking — products being sold, the woman perceived as a commodity,” or the Ace Bandage-adorned costume she wore at the American Music Awards, which she said was “meant to be feminine, healing, bondage gothic,” she sounds more like an art critic than an evolving club kid.

“It’s a feeling,” she says of the way she builds these little horror musicals. “There is a narrative, but the narrative isn’t nearly as important as the images are, sewn together.”

As for the songs that serve as the foundation for all of her other forms of expression, Gaga says she never wanted them to be anything but massive hits. “I don’t want to make niche-oriented music,” said the songwriter, who entered the music business writing hits for other artists, including Britney Spears. “I don’t like it! I don’t mean that to be in a rude way. But my taste is not there.”

At a time when pop genres are colliding and collapsing, Gaga is contributing to their downfall. She notes that “Boys Boys Boys,” the first song that she wrote with her main producer RedOne, is a club track that borrows its “gang chorus” from the hard rock of AC/DC. “I told him, I want to make pop music that my heavy metal friends will listen to,” she explained.

“Aside from her few piano ballads, which are like early 1970s Elton John, her dance music is pretty much on-the-money current Euro dance,” said her recent collaborator Adam Lambert in a separate interview. “But she’s a rock star in her mentality. [Her attitude is] like, ‘I hope this makes you look. I’m going to be subversive and out there because it makes me feel good and liberated to be that way.’ ”

It’s arguable that Gaga could only realize her artistic vision in the center of the pop mainstream. Her critical supporters laud her for reconnecting pop to other cultural forms and for revitalizing the stream of art-into-pop first opened up by bands like Roxy Music and the Patti Smith Group.

But she’s not alone in that effort. Kanye West played a gala at the Museum of Contemporary Art before she did; Beyoncé referenced Bob Fosse. Go a notch lower in visibility, as Gaga’s critics point out, and examples abound of rock and club kids with art connections, from Karen O to Alison Goldfrapp.

Gaga has done something more specific: She’s tapped into one of the primary obsessions of our age — the changing nature of the self in relation to technology, the ever-expanding media sphere, and that sense of always being in character and publicly visible that Gaga calls “the fame” — and made it her own obsession, the subject of her songs and the basis of her persona.

“Celebrity life and media culture are probably the most overbearing pop-cultural conditions that we as young people have to deal with, because it forces us to judge ourselves,” she said. “I guess what I am trying to do is take the monster and turn the monster into a fairy tale.”

That stars embody the social concerns of their age is a pop-culture truism. But only rarely does an artist dig beneath the dermis of our shared anxieties, exposing the liquid matter that runs through the shared fantasies and delusions of a particular moment.

“It’s kind of like a crusade in its own way,” she said. “Me embodying the position that I’m analyzing is the very thing that makes it so powerful.”

Owning her image

Since the release of “The Fame,” Lady Gaga has been uncovering new layers within her basic themes. At first she just seemed like the most pop savvy of the clever young people using club beats as a basis for music that could be both cerebral and cathartic — the way indie rockers used heavy guitars a generation before. It was easy to dismiss her as no more than a well-educated New York girl with a gift for pop hooks and self-marketing.

But then her public appearances began to not simply provoke but disturb. She made a video for her song “Paparazzi” that had her in gilded crutches and a leg brace. She turned that vision of crippled glamour even bloodier on the MTV Video Music Awards, an appearance she described as “my first truly original moment.”

She’s worn costumes that recast childhood icons like Kermit the Frog and Hello Kitty into ingénue’s pelts. (The Kermit dress was designed by Jean-Charles de Castelbajac, who’d previously adorned Madonna in teddy bears; the kitty couture was the brainchild of Gaga’s main creative partner, Matthew “Matty Dada” Williams.) She’s painted her eyes to look like an anime heroine. In the climactic dance sequence from Monster Ball, she adorns herself in the black feathers of a vulture and the yards-long blond braids of a victimized princess.

“I had a different vision for it in the beginning. Dada thought it should be braided, and I said, ‘I never wear my hair braided.’ He said, ‘I know, but it’s so Rapunzel, and it’s something people deeply understand. And when you’re wearing sunglasses on a scaffolding piece with a giant alien dancing behind you, I promise you it’s not going to look like Rapunzel.’ ”

The hairpiece does look like something concocted by crafty kids in a basement; it reflects a key element of Gaga’s aesthetic, the do-it-yourself spirit that contrasts with her taste for million-dollar couture. She works with major designers such as Alexander McQueen, who created many of the Monster Ball costumes, but also with newcomers like Gary Card, who made the skeletal headgear she and her dancers wore on the AMAs.

“The great thing about Gaga is she always want to push for the most extreme option,” Card said. “She’s brave enough to let herself be a canvas for a designer to go and really express themselves. Nothing is off limits! With Rihanna and Beyoncé there is an end result of desirability and unattainable sexiness, whereas Gaga is a really interesting bridge between the desirable and the grotesque. She’s not at all worried about looking ridiculous or hideous; actually, I think she thrives off it.”

If Gaga is to maintain her distinctiveness, she’ll need to preserve her orientation toward art as kids putting on a show. It’s what connects her performance of fame to Andy Warhol’s vision instead of Simon Cowell’s. She’s been derided for constantly citing the Pop pioneer, but the connection is real.

Having gotten her start in the bohemian enclaves of downtown New York City, Gaga is deeply indebted to Warhol’s “Superstar”-oriented Factory scene and its aftermath, which produced drag performers like Candy Darling, artists such as Robert Mapplethorpe and streetwise rock stars including Lou Reed and Patti Smith, who declared glamour accessible to anyone with a Polaroid camera, a glue gun or a cheap guitar.

“The idea is, you are your image, you are who you see yourself to be,” she said. “It’s iconography. Warhol and I both went to church when we were younger. That’s how I see things. I don’t want anyone to feel trapped by their own lives. That to me is more dangerous than anything.”

On fantasy island

In Gaga’s movie, she is both Andy and the Superstar. Warhol supported and exploited a coterie of outsiders who likely would never have emerged from their corners without his help. Gaga takes control but also shows herself losing it; she blurs the lines between self-realization and self-objectification, courting the dangers of full exposure for a generation of kids born with camcorders in their hands.

Though she talks nonstop about liberation, Gaga’s work abounds with images of violation and entrapment. In the 1980s, Madonna employed bondage imagery, and it felt sexual. Gaga does it, and it looks like it hurts.

She says she wants her fans to feel safe in expressing their imperfections. “I want women — and men — to feel empowered by a deeper and more psychotic part of themselves. The part they’re always trying desperately to hide. I want that to become something that they cherish.”

But what is this freakishness, which she hopes to nurture? In songs like “Poker Face” and the new “Speechless,” Gaga focuses on women as unreliable narrators, misunderstood or even unable to speak. When she presents herself as a cartoon character or a space alien, she explores old questions about gender, artifice and “reality” using the new language of social media, body modification and transgender sexuality.

These deep issues are her tools, as important to her art as the glitter and latex in which she shrouds herself. “If you’re on an island, stranded, and all you have is sticks and leaves and pineapples, you’re gonna make a boat out of sticks and leaves and pineapples,” she said. “I view glamour and celebrity life and these plastic assumptions as the pineapples. And I spend my career harvesting pineapples, and making pies and outfits and lipsticks that will free my fans from their stranded islands.”

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Lady GaGa’s Royal Variety Performance!

Her Ladyship met Her Majesty last night, as Lady Gaga was politely asked “what do you do?” by Queen Elizabeth at this year’s Royal Variety Performance in Blackpool. In a surreal fashionista nod to the monarch’s ancestor and namesake – but in a less flesh-flashing manner than is her norm of late.

Lady Gaga wore a red PVC dress complete with enormous ruff and puffed sleeves, together with some bizarre jewelled red eye shadow. Maintaining whatever dignity you can when playing piano suspended 20 feet above the ground, Gaga was ultra-careful in offering the Queen the deepest curtsey her outfit would allow, both after her performance and during the traditional face-to-face meeting all performers have with Her Majesty – she was also well-versed in knowing not to speak until spoken to and to address the Queen as “Ma’am.”

However, the US singer-songwriter, aka Steffani Germanotta, was specifically banned from performing in front of the Queen her now standard ’suicide’ stage routine of stabbing herself and releasing fake blood.

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ELLE Makes A Lady of Gaga

Vainstyle was anticipating the calm after the Gaga fashion storm and after a few recent hints, its finally here. A toned-down, but certainly fashion friendly Lady Gaga graces the cover of the newest ELLE Magazine. Gaga is seen in a simple black lace ensemble and allows her entire face to be exposed with very minimalist make-up. It’s even rumored that she has even had some cosmetic work done to her face.

On bodily reactions to stress: “I get all the symptoms of a pregnant woman. I get headaches, I get tired, I get blurred vision sometimes during a really intense session with [her creative team] the Haus.”

On a recurring theme in her work: “I feel that if I can show my demise artistically to the public, I can somehow cure my own legend. I can show you so you’re not looking for it. I’m dying for you on domestic television—here’s what it looks like, so no one has to wonder.”

On being a former waitress: “I was really good at it. I always got big tips. I always wore heels to work! I told everybody stories, and for customers on dates, I kept it romantic. It’s kind of like performing.”

On using her sexuality: “My album covers are not sexual at all, which was an issue at my record label. I fought for months, and I cried at meetings. They didn’t think the photos were commercial enough…The last thing a young woman needs is another picture of a sexy pop star writhing in sand, covered in grease, touching herself.”

On her romantic future: “In eight to 10 years, I want to have babies for my Dad to hold, grandkids. And I want to have a husband who loves and supports me, just the way anyone else does. I would never leave my career for a man right now, and I would never follow a man around.”

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Lady Gaga “LoveGame” Music Video

Lady Gaga - LoveGame Official Music Video!

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Lady Gaga feat Beyonce “Video Phone” Music Video

Lady Gaga feat Beyonce - Video Phone Official Music Video!

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Lady Gaga “Bad Romance” Music Video

Lady Gaga - Bad Romance Official Music Video!

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Lady Gaga - PokerFace Lyrics

Poker Face Lyrics

Mum mum mum mah
Mum mum mum mah

I wanna hold em' like they do in Texas Plays
Fold em' let em' hit me raise it baby stay with me (I love it)
Luck and intuition play the cards with Spades to start
And after he's been hooked I'll play the one that's on his heart

Oh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-oh
I'll get him hot, show him what I've got
Oh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-oh,
I'll get him hot, show him what I've got

Can't read my,
Can't read my
No he can't read my poker face
(she’s got to love nobody)
Can't read my
Can't read my
No he can't read my poker face
(she’s got to love nobody)

P-p-p-poker face, p-p-poker face
(Mum mum mum mah)
P-p-p-poker face, p-p-poker face
(Mum mum mum mah)

I wanna roll with him a hard pair we will be
A little gambling is fun when you're with me I love it)
Russian Roulette is not the same without a gun
And baby when it's love if its not rough it isn't fun, fun
[Poker Face Lyrics On http://www.elyricsworld.com/ ]
Oh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-oh
I'll get him hot, show him what I've got
Oh, oh, oh, oh, ohhhh, ohh-oh-e-ohh-oh-oh,
I'll get him hot, show him what I've got

Can't read my,
Can't read my
No he can't read my poker face
(she’s got to love nobody)
Can't read my
Can't read my
No he can't read my poker face
(she’s got to love nobody)

P-p-p-poker face, p-p-poker face
(Mum mum mum mah)
P-p-p-poker face, p-p-poker face
(Mum mum mum mah)

I won't tell you that I love you
Kiss or hug you
Cause I'm bluffin' with my muffin
I'm not lying I'm just stunnin' with my love-glue-gunning
Just like a chick in the casino
Take your bank before I pay you out
I promise this, promise this
Check this hand cause I'm marvelous

Can't read my,
Can't read my
No he can't read my poker face
(she’s got to love nobody)
Can't read my
Can't read my
No he can't read my poker face
(she’s got to love nobody)

Can't read my,
Can't read my
No he can't read my poker face
(she’s got to love nobody)
Can't read my
Can't read my
No he can't read my poker face
(she’s got to love nobody)

Can't read my,
Can't read my
No he can't read my poker face
(she’s got to love nobody)
Can't read my
Can't read my
No he can't read my poker face
(she’s got to love nobody)

P-p-p-poker face, p-p-poker face
(Mum mum mum mah)
P-p-p-poker face, p-p-poker face
(Mum mum mum mah)

P-p-p-poker face, p-p-poker face
(Mum mum mum mah)
P-p-p-poker face, p-p-poker face
(Mum mum mum mah)

P-p-p-poker face, p-p-poker face
(Mum mum mum mah)
P-p-p-poker face, p-p-poker face
(Mum mum mum mah)

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Lady Gaga - Paparazzi Lyrics

lady gaga paparazzi lyrics

We are the crowd
We're c-coming out
Got my flash on it's true
Need that picture of you
It's so magical
We'd be so fantastical

Leather and jeans
Your watch glamorous
Not sure what it means
But this photo of us
It don't have a price
Ready for those flashing lights
'Cause you know that baby I

I'm your biggest fan
I'll follow you until you love me
Papa-paparazzi
Baby there's no other superstar
You know that I'll be your
Papa-paparazzi

Promise I'll be kind
But I won't stop until that boy is mine
Baby you'll be famous
Chase you down until you love me
Papa-paparazzi

I'll be your girl
Backstage at your show
Velvet ropes and guitars
Yeah cause you'll know
I'm staring between the sets
Eyeliner and cigarettes

Shadow is burnt
Yellow dance and return
My lashes are dry
But with teardrops I cry
It don't have a price
Loving you is cherry pie
'Cause you know that baby I

I'm your biggest fan
I'll follow you until you love me
Papa-paparazzi
Baby there's no other superstar
You know that I'll be your
Papa-paparazzi

Promise I'll be kind
But I won't stop until that boy is mine
Baby you'll be famous
Chase you down until you love me
Papa-paparazzi

Real good
(We dance in the studio)
Snap, snapped
(That shit on the radio)

Don't stop boy, rewind
We'll blast it but we'll still have fun!

I'm your biggest fan
I'll follow you until you love me
Papa-paparazzi
Baby there's no other superstar
You know that I'll be your
Papa-paparazzi

Promise I'll be kind
But I won't stop until that boy is mine
Baby you'll be famous
Chase you down until you love me
Papa-paparazzi

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Lady GaGa and her Style influences

Ok so first it was Christina Aguilera and now it’s Paris Hilton? When will this doppelganger game ever end? Since the word spread of this certain Lady GaGa, tabloids were quick to compare Miss GaGa with Miss Aguilera in terms of their fashion sense- the make up, the lipstick, the blond platinum hair and the clothes. Personally, I feel Aguilera has more or a acceptable, 50s look to her clothes whereas GaGa is more techno and new age. But why on earth would anyone want to compare her with Paris Hilton- the party princess with the girly clothes and sugar and spice all over?

Most Lady GaGa fans would now that the popster studied at the Convent of the Sacred Heart School in New York but did you know that the Hilton sisters went there too? The 22 year old Lady GaGa admits that the sisters made a huge impact on her appearance. According to GaGa, she was attracted to their cleanliness- their clean and pretty disposure and still continue to influence her dressing till today.

Whether rain or shine, Lady GaGa is known for her No-Pants showdown at glitzy, glamorous and elegant events in the U.S. Recently, GaGa, who’s real name is Stefani has been spotted painting the freezing London town red in skimpy hot pants and corsets while promoting her chart busting single ‘Just Dance’.

Of Italian lineage, GaGa is the daughter of internet entrepreneur dad and business partner mom. At 17, GaGa left school to work as a burlesque dancer in an underground club scene before gaining entry into the Tisch School of Arts. Before you know, this talented performer scored big by becoming a song writer for big names like Britney Spears and the Pussycat Dolls. Two years later and the world has Lady GaGa streaming out of their iPods.

Among friends and her social circle and anyone else who come into contact with her, GaGa is known as a chatterbox a show-off who comes out with the most extraordinary phrases and quirky actions. Writing and performing her own songs, Lady GaGa is set to become the best Madonna and the world better be ready for her. GaGa, knowing that she was affiliated with Madonna, quoted as saying that the both of them have many things in common such as their American-Italian lineage, the fact that both started out in New York and in the underground scene and the became famous after going blonde.

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