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Attention Lady Gaga fans, the newly-crowned queen of Polaroid will be outing her first “creative” product next year, with a special Gaga-designed analogue camera destined to her specifications gracing stores near you. Looks like the Big P’s Creative Director is about to start earning her keep…
“Obviously, the design’s pretty wacky but it’ll definitely appeal to her fans, and with over 10 million of them on Facebook, we’re pretty sure this will do well.”
The, as yet, unnamed Gaga Polaroid will be one of the company’s analogue range in the style of the recently released Polaroid 300 which harks back to the old instant cameras. It won’t produce the much loved 4 x 4 prints the world knows so well, but instead will expose an ink-made 3 x 4 size with the traditional white border, the like of which can also be printed out from any camera using the most recent sized PoGo which will be available this Christmas.
Will you buy a Gaga Polaroid camera? It’s great to see the re-introduction of such a legendary camera!
Earlier this year, T.I. had jaws dropping when he announced that he’d recorded some 80 songs for his upcoming album King Uncaged, and that at least one of them was a collaboration with Lady Gaga.
“[She’s a] phenomenal talent. Extremely proud [to work with her]. She’s definitely that good. She knows what she’s doing. She knows exactly what she wants people to think and say,” Tip said of Gaga. “She does everything that she needs to be done to ensure it happens. I think she’s an entertainer, in all aspects of the word … a classic, all-around entertainer. A global star.”
A few months later, he continued to heap praise on LG, calling her “a phenomenal talent … that transcends through all genres, all races, all religions.”
But while T.I. was clearly enthused about the collaboration, he also stopped short of saying whether or not his song with Gaga would actually end up on Uncaged, joking, “I’m not gonna let no cats out of no bags.” And now, we know the reason why.
In a new interview with Rap-Up.com, TIP revealed that the song would more than likely be re-worked … or scrapped entirely. Why? Gaga insisted that she could make something even better.
“[Gaga] brought it to my knowledge that she would like to top what we already have,” he said. “That being said, I don’t know if that’s going to be a keeper or if that’s going to be one-upped or what not.”
So at the moment, the fate of the collaboration seems to be up in the air. But T.I. doesn’t seem to be all that upset … after all, he was thrilled just to work with the Mother Monster on a track.
“I begged on hands and knees [to work with her], ‘Please!’” he joked. “I worked with the producer RedOne and made it known that I was interested in working with her, and the enthusiasm was shared, and we were able to get it done.”
Kat Von D has recalled tattooing Lady GaGa before the singer became famous.
Speaking on Lopez Tonight, the LA Ink star revealed that GaGa had just moved to Los Angeles at the time and was still looking for her big break.
“I was tattooing this rose on her hip. I’m like, ‘Why did you move out here?’ She said, ‘I moved out here to make it big’,” Von D remembered.
“I was like, ‘Yeah, you and everyone else’ or whatever, and she’s like, ‘No, no! I’m here to make it big!’ The next thing you know, a week later, her face is everywhere and I’m like, ‘Dude, she did it! That’s awesome!’”
When George Lopez questioned if GaGa wanted the rose design coloured in at some stage, she replied:
“She just wanted simple black and grey… She was wearing this crazy wig and blue shiny pants. I was like, ‘I like you! You’re like a cartoon character!’”
Today marks the second anniversary of the first ever release of “The Fame”, Lady GaGa’s debut album! The album was first released in Canada on August 19th, 2008 where it hit number one and was certified three times platinum! In those two years since, she has broken numerous records, created some of the greatest performances ever seen and opened all of our minds to amazing creativity. She has also managed to create a family of “Little Monsters” and brought the superfan back! What an amazing two years it has been for Lady GaGa, and raise a glass to many more! Paws up!
As anticipation grows around the new album (which Gaga has asserted is her “best work to date”), so do the rumors. On August 12, 2010, celebrity blog Oh No They Didn’t posted a scan of a document which hinted that Gaga may have collaborated with David Bowie during a July recording session in Sydney, Australia in July. Bowie, however, quickly shot down the rumor, saying in a statement, “The suggestion that David Bowie is producing and participating in the production of Lady Gaga’s next album is untrue and a hoax.”
While he couldn’t reveal any specific information about the album, producer RedOne — the Moroccan-Swedish mastermind behind Gaga’s monster hits “Just Dance,” “Love Game,” “Poker Face,” “Bad Romance” and “Alejandro” — assures Billboard that the new material is worth waiting for.
“It’s going to be shocking, shocking, shocking!” RedOne says of Gaga’s new music. “You never want to go too far from your brand — people love you for a reason. But we still want to give them something with a kick, something that makes them say, ‘Oh my God! We didn’t expect this!’
“When you heard ‘Bad Romance’ after ‘Poker Face,’ it was like the best thing you’ve ever heard,” he continues. “We want that type of reaction. I think that’s part of my job and her job — to keep her evolving. ”
RedOne (aka Nadir Khayat) confirms that he has worked with Gaga on two tracks and describes both of them as “massive” hits-to-be. While RedOne and Gaga’s studio synergy has proven its platinum power (the pair collaborated on nine tracks on her first two albums), the producer says he encouraged her to add some new names to the production credits this time around.
“After ‘Just Dance’ and ‘Poker Face,’ ‘Love Game’ and ‘Boys Boys Boys,’ I got a sound out of her, and that made it easier for other producers,” he says, though he remains mum on naming names. “Her sound is so defined that no matter what people can follow it. That sound belongs to her.”
It’s this ability to reinvent herself without losing her sense of self that originally drew RedOne to Lady Gaga a few years ago. “When I met her I just felt her energy — and of course she was dressed in that special way [that] caught my eye,” he half-jokes. “She had this energy and was so knowledgeable of music. She makes an impression on you right away. Immediately I thought, ‘I can do something big with this girl.’”
That initial meeting took place very shortly after Lady Gaga was signed to Def Jam Records. RedOne saw so much in the up-and-coming singer — even at first sight — that even on the day she was dropped from the label just three months later, he joined her in the studio to hear the songs she’d already recorded. The music he heard confirmed his instinct about her talent. After listening, RedOne immediately realized her vast potential, especially since Gaga turned out to be a good singer and musician as well as a strong songwriter (“lyrically, it’s always interesting with her,” he says). The only thing that needed tweaking, he felt, was someone adjusting the arrangements and mix it to make it all sound more mainstream and radio-friendly.
“It was really good musically but it was a bit too left. I asked her if we could take it more to the middle, and she said, ‘I’m open. Let’s do it,’” he recalls. Once he was behind the board, he eagerly added “big drums, almost like a rock song with synths.” And the polished Gaga sound the world came to love began to take shape.
Now, with that early period of matching Gaga with the right sonic feel vindicated by a raft of hits, RedOne explains that the goal with her next album, as with any, is pushing the music to not only change but to grow. “We try to take the sound and make it bigger and more interesting every time,” he says. “And every time and era has its sound; you always want to be the first to jump on it.”
Propelled by his success with Lady Gaga and sure to influence his work on Lady Gaga’s new tracks, RedOne has been working hard with other artists. He recently completed Nicole Scherzinger’s upcoming album, with a single expected to be released by end of year, and he also just launched his own label, 2101, through Universal Records. 2101′s first artist is 23-year-old singer/songwriter, Mohombi. And just as in the case of Gaga, RedOne has stepped in to effectively launch the career of this already locally-praised artist.
Mohombi’s album doesn’t have a release date yet because they are still defining that sound — but it’s one of the lessons RedOne learned working with Gaga, and likely a factor in the patient timing of working on her highly-anticipated follow up. “That’s one of the things I really believe in — never give an album until people want it,” RedOne says. “Even with Gaga, the [first] album was released kind of early, but it wasn’t until ‘LoveGame’ that it took off and people realized she had talent. That’s when they suddenly paid attention. I think that’s important — to give them an album when they’re ready.”
If the recent reaction to Gaga’s every new bit of music — from her hit remix album to the massive fan love for her new tune “You and I” — is any indication, the world is more than ready.
San Jose doesn’t see many crowds like the one that turned out to HP Pavilion on Monday night.
There were plenty of fishnet stockings, hoochie-mama shorts, lacy lingerie and dangerously low-cut tops. And that was just what some of the guys were wearing.
The gals got really crazy for the occasion, dressing up in hats that could’ve doubled for bird nests, wild costumes and otherwise revealing outfits. There was even one young lady that showed up wrapped in yellow “caution” tape.
Caution, indeed. For this wasn’t just another concert — it was Lady Gaga’s “The Monster Ball Tour 2010.” And, fittingly, it felt far more like a true event than just a night of music.
At this point, readers can be forgiven for thinking, “Didn’t we just read a Lady Gaga concert review?” Well, yes and no. The last time I reviewed Gaga was back in December, when she brought her “Monster Ball” to the Bill Graham Civic Auditorium for a two-night stand. I also reviewed her show back in March 2009 at the Mezzanine, which was part of her “The Fame Ball Tour.”
I can’t think of another case where I reviewed a performer three times in such a short time period. But Gaga’s ever-increasing popularity — and the lightning fast way that’s she matured from hot newcomer to, arguably, the most popular entertainer on the planet — forced my hand, although not in a bad way.
Of the three Gaga shows I’ve seen, Monday’s HP date — the first of a sold-out two-night stand at the venue — was by far the most accomplished and rewarding.
It was amazing to witness what she’s done with the “Monster Ball,” changing it to a degree that, beside the song selection, only barely resembled what was seen back in December. The show, which is broken into four acts, now stands as a fully realized piece of conceptual pop art.
Even more surprising is the way in which Gaga has evolved. She wasn’t nearly as raunchy or vulgar in San Jose, nor was she hell bent on trying to come across as shocking or controversial. While she operated on pumped-up bravado in San Francisco, she exuded confidence this time around, both in her stage show and talent. She has strengths and weaknesses — her dancing, for instance, would number among the latter — and she’s become a great judge of what works best for her.
Yet, one gets the feeling that Gaga still has yet to peak as a performer, which is one of the reasons why fans should eagerly anticipate the star’s next stop in the Bay Area — March 22 at Oracle Arena in Oakland. Tickets are on sale for that gig through Ticketmaster.
Monday’s two-hour show, which is to be repeated on Tuesday, opened with “Dance in the Dark,” from Gaga’s second studio album, last year’s “The Fame Monster.”
Wearing the first of many wild outfits — a glitzy purple number with shoulder pads that stretched out further than they do in the NFL — the 24-year-old New Yorker worked a stage that was initially designed to look like a dingy back alley of a major metropolitan city. There were two levels, separated by something resembling a fire escape, and the cityscape was dotted with neon signs advertising everything from “good food” and “drugs” to “implants” and “dentistry.”
Donning a large spiky hat, the kind one might wear to do battle with a triceratops, Gaga shimmied through minimal dance routines accompanied by guys and gals that looked like rejects from the cast of either “Rent” or “Mad Max Beyond ThunderDome.” Thus began our wild ride in pursuit of the Monster Ball, which Gaga told us (and we believed) was well worth finding.
“The Monster Ball will set you free, San Jose,” she exclaimed.
Gaga would settle into the role of evangelist quite nicely — far better than she settled into her dancing shoes — and she sold the messages that filled her between-song banter like she was working a revival tent.
“It doesn’t matter how much money you have in your pocket,” said the woman who charged as much as $178 per ticket to see her in San Jose. “Because tonight, and every night after that, you can be exactly who you want to be.”
First, of course, we needed to find the Monster Ball. Gaga would lead us through two more set designs — moving from the cityscape first to a subway station and then an evil-looking forest — and along the way she treated the crowd to such hits as “Just Dance,” “Telephone” and “Alejandro.” Then we’d finally get to our destination: the Monster Ball (aka, Act IV).
We knew we’d arrived because, well, there was a monster — a hideous looking two-story-tall creature with the face of a piranha and long squid-like tentacles. Fortunately, Gaga was there to guide, performing the smashes “Paparazzi” and “Bad Romance,” and to battle the creature with a bra that doubled as a flamethrower.
And they saw there’s nothing new under the sun. Those people obviously have never attended a Lady Gaga show.