Lady Gaga Gets Swallowed By A Wolf

On left: Alex Noble Outfit. On right: Lady Gaga wearing Alex Noble outfit during a performance of "Monster."

You may have thought that Lady Gaga’s song “Monster” was about a wolf swallowing up Gaga as if she were Little Red Riding Hood, but truly it’s about mirrors.

Pay close attention to “Monster” and you’ll realize that it’s autobiographical like all of Lady Gaga’s music. “Monster” is about Gaga looking in the mirror and seeing her reflection, and wanting to become the reflection. When Gaga performed “Monster” in Stockholm, Sweden on May 8, 2010, she gave a clue of what the song is really about.* Watch the performance
^[FOOTNOTE]


The intro to “Monster” is the main clue to understand the song’s meaning. It starts out:

Don’t call me Gaga
I’ve never seen one like that before
(she giggles)
Don’t look at me like that, you amaze me
Hook: He ate my heart, he a-a-ate my heart
You little monster)
He ate my heart, he a-a-ate my heart out (you amaze me)

By saying “don’t call me Gaga,” she is saying that she wants to be someone different, which is the person she sees reflected back at her. Now, you might wonder who’s the “He” that ate her heart, and that He would be her, meaning Gaga. In other words, the reflection Gaga sees is aggressive and masculine, so when she becomes her reflection she becomes like a man. Likewise, in an interview, Gaga explained that “Monster” was about “a guy with a big dick,” and that the song reflected her experiences with bad boys who she knows will only end up hurting her. As a result, Gaga said she would lose sight of her womanhood by becoming more like a man. So when Gaga starts singing the first verse, she sings “Look at him, look at me,” what she's doing is creating a visual of the reflection (“Him”) looking back at her. Further, she sings “He’s a wolf in disguise/but I can’t stop staring in those evil eyes,” and she creates two more visuals: Firstly, the wolf is a man disguised as Gaga in blond hair and makeup, and secondly, Gaga stares into the mirror looking into her reflection’s “evil eyes.”


During a performance of “Monster,” in Stockholm, Sweden wearing an outfit designed by Alex Noble, Lady Gaga reinforced the mirror reflection concept, by making her hand into her trademark Monster Claw and turned the Claw inward in front of her face as if her Monster Claw was a mirror. Accordingly, she sang “Could I love him?,” translating into “could I love this new transformation of myself?”


All in all, Lady Gaga made “Monster” a song about transforming into a person she doesn’t recognize, and it becomes a loss of identity. As you know, Gaga’s songs are always adaptable and easily interpreted in many ways, and one obvious way is the way it also functions as a love letter to all you Little Monsters out there believing that she’s talking to you, especially when she says “I’ve never seen one like that before, you little monster, you amaze me.” What beautiful words, and knowing Gaga, she has said these words to thousands of her fans.



*FOOTNOTES

Gaga's performance of "Monster" in Stockholm, Sweden.
http://www.youtube.com/watch?v=uyLUP4S0jJQ

Link to more information at Gaga's Outfit:
http://gagadaily.com/fashion/2010/02/alex-noble-for-monster-ball-tour/





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Lady Gaga Eats With Her Eyes

Whether you’re a Little Monster or a religious fanatic, you probably have your own thoughts on Lady Gaga’s song and video “Telephone.” Is it about making phone calls or about eating food? Actually, it’s about both.

If you’ve found yourself learning the dance moves to Gaga’s songs, did you ever realize that the dance moves mean something? Just like sign language, Gaga’s dance moves are communicating many messages to you, reflecting the song lyrics. Also, the song lyrics reflect you, and the world we live in.

First off, the song "Telephone" is a poppy song that makes you hum it no matter who you are, but there's a deeper meaning. The dance moves or choreography are clues that help you figure out what the lyrics mean. I'll break down the lyrics for you with corresponding pictures. Below, during a live performance of "Telephone," Lady Gaga wears futuristic glasses and a black coat like something out of The  Matrix.

Next, her black coat symbolizes suffocation, so she takes it off. Now Gaga makes the sign for a telephone with her hand. The black glasses blocking her eyes and the top of her head symbolize numbness and losing touch with reality. Gaga is telling you that the media (television and movies, etc) make people less human. She's warning you that if you watch too much television, you'll become a machine, disconnected from reality. Just think of the concept from The Matrix. Then, she starts to sing the first verse of "Telephone" taking off her glasses in the process.

Next, she looks more like a human, like Madonna from her "Vogue" days.

 "Hello, hello, baby you called, I can't hear a thing/I have got no service in the club you see, see/what, what, what did you say, are you breakin' up on me/Sorry I cannot hear you, I'm kinda busy"

Again, Gaga is talking about disconnection from herself and reality when she sings the above words. For instance, “Are you breaking up on me" means that she's breaking up from herself, separating from the media information stuck in her brain.

Shortly after, she sings:

Just a second, it's my favorite song they're gonna play.

Although the above lyrics seem direct, it's indirect. Gaga is not talking about hearing her favorite song to dance to in the club, but instead she's talking about the symbols in the media that advertise products that they want you to buy. Therefore, "they" is the media, "song" is the product, and "Play" is "advertise." Then Gaga sings:

I cannot text you with a drink in my hand.

Again, it seems like she is talking about the most simple thing, but she's not. She puts two clenched fists up, which symbolizes freedom and unity. She’s saying she can’t fight for freedom if she has products being shoved down her throat by the media. “Texting” is a metaphor for fighting.“Drink” is a metaphor for product “Hand” is a metaphor for “brain” or “psyche.” Below, you can see a picture of the dance move.

Next, Gaga sings:

“You should’ve made some plans with me, you knew that I was free”

Before the media altered her mind with its images and opinions, Gaga was a "free" bitch with pure, unadulterated thoughts. Below, the picture shows Gaga drawing attention to her head with her hands symbolizing that her brain has been taken over. Now the food metaphor is approaching. Above, you can see a picture of the Gaga drawing attention to her head with her hands.

Then Gaga sings “Now you won’t stop calling me, I’m kind of busy.” the media won’t stop feeding her, so then she’s choking. “calling” means feeding and “busy” means choking. Below is a picture.

Following that is the song's chorus. “Stop calling, stop calling, I don’t wanna think anymore”:

Here, she's telling the media to stop feeding her because she doesn’t want to choke anymore. “Think” means “choke.” She makes the “ok sign” with her fingers, which also signifies the “all-seeing eye." In addition, the all-seeing eye represents God watching over humankind. Therefore, Gaga wants to reach a more spiritual place closer to God. Also, the hand sign symbolizes eating a sandwich, like when someone has a big sandwich held up to their mouth with both hands and then they chomp down on it. People chomp down on the media through advertisements. They’re eating the media with their eyes and they digest the media with their brains. She also claps hands symbolizing putting two slices of bread together to form a sandwich and eats the media's food. Right below is a picture:

Next, Gaga sings:

“I left my head and my heart on the dance floor”:

Now, she's turned a part of her brain off, because her head and her heart are containers of information fed to her by the media and she dispenses of the containers filled with the information. Further, by leaving her head and heart on the dance floor, she is fighting against the media, which is why she clenches her fists in resistance. Above is a picture of Gaga being militant, and below is of Gaga again making the "ok sign" with her fingers. Again, it's the all-seeing eye. The dance floor is a spiritual place where Gaga feels closer to God. Then the choking begins:

“eh, eh. Eh. Eh eh, Stop telephoning me”:

Likewise, the eh eh eh sounds are symbolic of choking. “Stop telephoning me” again means to stop calling her or stop feeding her. After that, she sings:

“Can call all you want, but there’s no one home”:

Here, Gaga is saying no matter how many advertisements they shove down her throat, she’s not there to see them. She’s blinded herself from it. “Home” is a metaphor for “brain.” Next, the word “phone” or “Telephone” is a metaphor the part of her brain where the media’s information is stored. Also, “and you’re not gonna reach my telephone”means the media is not going to choke her anymore because she’s removed it from her brain. Then she sings:

“Out in the club and I’m sipping that bub”:

Now the “club” is a place to escape the suffocating media and its advertisements. Next,“sipping that bub” symbolizes getting drunk literally and figuratively. In the figurative sense, it symbolizes getting drunk or high from peace, love and unity and most importantly freedom.Soon Gaga gets some company to escape the media with.

Immediately Beyonce comes in with a rapid-fire verse full of venom. Beyonce has never performed "Telephone" with Gaga live, so there are dance moves to go along with Beyonce's lyrics, however Beyonce's lyrics relate perfectly to Gaga's performance. Next, Beyonce sings:

“boy, the way you blowin’ up my phone won’t make me leave no faster” She's saying the media bombards her brain, but she won’t make her leave her place of peace where she escapes to, the “club.” The “club” can be literally a night club to go dance the night away or anywhere you feel safe and happy. Consequently, the black Matrix coat that Gaga wears in the first picture above finds its way into Beyonce's verse. “Put my coat on faster." The "coat" represents suffocation and death and she refuses to suffocate and die from the media's pressure.

Soon thereafter, Beyonce sings: “I should’ve left my phone at home ‘cuz this is a disaster”: remember the “phone” is the part of her brain where the media’s information is stored. The “home” symbolizes her brain. Beyonce's friend Gaga returns, so she and Gaga can go to the club.

Then Gaga sings: “It’s not that I don’t like you, I’m just at a party." Although Gaga may like the media sometimes and has an appreciation for it, she doesn’t like its dark side. As a result, her “party” is her peace of mind and her freedom. Nearby, dancing is on its way.

During the bridge, Gaga and Beyonce feel like they're in heaven tearing up the dance floor. “I’ll be dancing”: Gaga and Beyonce will be free from the media and the evils of the world. Below, one of Gaga's female dancers makes a halo symbol with her arms on the word “I’m dancing.” The halo symbol refers to finding a higher, spiritual place, refereeing God.

Lastly, Gaga's female dancer also makes the all-seeing eye sign with one hand and a clenched fist with the other hand. These signs symbolize that by dancing Gaga is being militant and spiritual at the same time. Below is a picture.

Now you should have a better understanding of what Lady Gaga is all about. Her performances are much more than unusual outfits and amazing dance moves, they make you think about life and the world you live in.

Lady Gaga Gets Catholic Defense

Lady Gaga in her "Alejandro" video

 All of you who have seen Lady Gaga’s controversial “Alejandro” video know that it’s been getting strong reactions from so many different people. Some say Gaga copied Madonna and some say Gaga’s a Satanist, but Catholic writer and college professor Mathew N. Schmalz disagrees. His defense of Gaga actually explains the meaning of Gaga’s art.

Schmalz says Gaga and Madonna are “flip sides of the same coin” meaning they’re similar, but slightly different. He says there are two types of religion: the religion of the healthy-minded, which means everyone who serves God is happy, and the religion of the sick soul. The sick soul is about the tragic and painful parts of life. Can you guess which type of religion Schmalz said Gaga is, and what type of religion he says Madonna is? Healthy-minded or sick soul?

Further, Schmalz recognizes that Gaga’s style is exaggerated and she wants to shock you. Madonna does too, but Schmalz said Gaga is focused more on the dark side of religion and how it can really confuse people if they feel the religion rejects them. In other words, Schmalz is on Gaga’s side.

All in all, the article is satisfying because of its ending. Schmalz ends it with a lyric from one of Gaga’s most famous songs. He calls the lyric one of the most Catholic lines he’s heard in recent years. Before you read the article, can you guess which song lyric Schmalz used?

READ THE ARTICLE FOR YOURSELF: http://newsweek.washingtonpost.com/onfaith/panelists/mathew_n_schmalz/2010/06/mark_judge_deserves_credit_for.html

Mike Silas A Star Of Warholian Proportions

Mike Silas ready to firefight and cool the bad.

I believe the reason why Gaga hired Michael Silas was because she saw the Andy Warhol in him. Anyone who knows about Warhol knows that one of the biggest superstars he created was Joe d’Allesandro. Joe was a muscular Italian-American actor with golden skin and he looked like a softer, sexier version of movie star Robert DeNiro. He was a star of indie/art house films during the 1970s and ‘80s. Joe’s screen presence is what made him special. He appeared confident at some moments, yet sensitive and shy at others. This also describes Mike Silas who owns a quiet confidence. He’s heavily tattooed, yet he doesn’t look rough. There’s a mysterious look in his eyes. Mike sort of has that Joe d’Allesandro/DeNiro look, a reluctant mouth that rarely smiles. The eyes are innocent and soulful, yet intensely sexual. He has the type of eyes that can undress a person, a peanut butter-colored beauty with a trim, athletic body, full of sculpted muscles.

So who is this sexy dance prince named Michael Silas? Well, he’s a German-born dancer who has competed on the Bravo television show Step It Up And Dance and after dancing for artists as diverse as Christina Aguilera, Kelly Rowland and Hilary Duff, Mike is currently a dancer for Lady Gaga. He’s danced with her for almost two years evolving with her style and becoming a major part of her Performance art. Mike brings an intensely masculine aura to Gaga’s stage shows, yet he performs all of the sassy choreography like someone out of the ballet Giselle. (Read: graceful).

He seems like a hustler who will do all he can to get money (except crime). He’ll use his body because he’s knows it’s a gift from God. Being a dancer, he knows how to move his body, which is a skill not many have. It’s clear that he likes to be watched. He likes to put on a show, perhaps an exhibitionist to a degree. Just check the passionate kiss of French nationality between him and fellow Lady Gaga dancer Asiel Hardison at the conclusion of an “Alejandro” performance in Japan. The kiss is at the 2:47 mark.

In many ways, Lady Gaga fashions herself after Warhol, discovering and developing talent. Back in the late ‘70s and early ‘80s, there was something called the Warhol Superstar, which was a person Warhol discovered and developed. His Superstars accompanied him in his social life. Mike has been in Gaga’s circle for almost two years, so in that sense Mike is like a Warhol superstar, except he’s a Gaga Superstar. He has thousands of fans around the world. Never has there been a time when a backup dancer has gotten so much recognition.

Mike is a performance artist as much as Gaga is. For each song he dances to he plays a different role, wears a different outfit with different makeup and therefore gives a different performance. On November 25, 2009 when the 2009 American Music Awards aired, Lady Gaga performed her song “Bad Romance” for the first time on television. Choreographer Laurie Ann Gibson’s dance moves were fresh and kinetic, sexy and artistic and other worldly. The expressions of the dancers are pretty much detached, which is the intended effect of most of Gaga’s Performance art, like her idol Andy Warhol. Like Warhol, Gaga is preoccupied with mirrors and how mirrors can reflect distorted images.

The song “Bad Romance” is itself about Gaga looking into a mirror and seeing all these strange versions of herself, from a leather-clad S&M maven to a murderous Norman Bates. The Performance art communicates the mirror concept in the choreography. The slender, yet muscular dancers line up each of their palms with the each other and create an image of a reflection, as if they’re looking into a mirror.

Part of being a dancer is about always having the ability to play the role given to you. Mike does this well. The female dancers start out the show and then the male dancers come in like wolves pawing the air and stomping their feet. The Gary Card-designed bone masks and accessories that all the dancers wear mean more than affection for the movie A Night at the Museum. Instead, it’s a commentary on self-identity and how humans have to look inside themselves all the way down to the bone, hence the translucent bones. By looking in the mirror, a human should be able to see through to their soul. Mike and the rest of the dancers play the roles of distorted images, which represent their true souls, their essences.

It’s clear that Mike listens to the style of dance that is aesthetically best for a song he will dance to. He doesn’t only perform dance moves choreographed by others, but he teaches Master classes where he creates his own choreography for students to learn. For instance, Mike interpreting 1981 Hall & Oates hit “I Can’t Go for That” as homage to Michael Jackson’s Thriller era choreography.

He opens up the song by performing a graceful, well-balanced arabesque position from ballet, with one leg on the floor and the other leg extending back. His arms open up like a bird in flight. The Mike morphs into a monster making his hands into claws thrusting his body up, reminiscent of Michael Jackson dancing as a zombie with his iconic red leather jacket from the “Thriller” video. As the Hall & Oates’ synthesized violins soar beautifully Mike moves with them, opening up his arms at full extension like some beautiful creature whose found comfort in his own body. He glides back, gliding each foot against the floor like a figure skater. When Daryl Hall starts singing the first verse, singing the lyrics “You got the body, now you want my soul,” it’s clear how Mike’s mind was working. He saw the concepts from Jackson’s “Thriller” about the creatures taking over the bodies of humans. Mike honed in on the supernatural element of Hall & Oates “I Can’t Go for That.” The song also has a percussive bounce similar to the bass on Jackson’s “Billie Jean.”

A true choreographer is the equivalent of a songwriter who creates melodies and lyrics. A dancer/choreographer speaks the lyrics to a song with his body. His body does the talking. Mike says it best: “Life is my canvas, the beat is my soul, crank it up and watch me roll.”

Cassidy Noblett Is A Handsome Example Of A New Breed of Dancer

Usually, the backup dancers of a solo pop star are in the background and all the audience cares about is the pop star. It wasn't until Lady Gaga that I paid attention to the backup dancers, who in reality weren't in the background. They were major players in her show who had as much stage time as Gaga did. Over the past year, I've developed crushes on some of Gaga's dancers and I wondered why is it now that I'm paying so much attention to backup dancers? The reason is Gaga showcases them, she even gives her dancers cheeky nicknames. Perhaps, the spotlight that Gaga's dancers receive is the basis of her dancers' brand. She turns her dancers into more than just props and instead into personalities.

Two of my favorite Lady Gaga dancers left from Gaga's tour at the end of last April. The dancers were Mark Kanemura (of So You Think You Can Dance fame on the Fox Network) and Jeremy Hudson (who appeared as a dancer in the movie Fame). Mark and Jeremy performed with Gaga for the last time for her American Idol performance of her single "Alejandro." Surprisingly, none of the other dancers from Gaga's tour were there, but instead there were plenty of male dancers I didn't recognize. However, there was one male dancer who was shirtless and barefoot in shorts and a tuxedo cumberbund. His name was Cassidy Noblett.

I had no idea I would see Cassidy dancing again with Gaga because I thought he was only a fill-in dancer. When I watched a YouTube clip of Gaga performing "Alejandro" in Stockholm, Sweden on May 7, I saw Cassidy again. He was a permanent dancer touring with Gaga. He wore his hair in the same style he wore on American Idol, slightly long almost to his shoulders with the top layer of his dark brown hair in a ponytail. He was shirtless in cutoff shorts and boots. When I finally tore myself from his good looks, I realized he's a great dancer.

There's a point in the choreography when Cassidy and the other dancers shroud their arms around their own bodies, cocking their hands upwards to the side when the word "Fernando" played from the speakers during the chorus of "Alejandro." At this moment, no one else but Cassidy reminded me of a Roman statue posed gracefully.

While performing with Lady Gaga on the song "Boys, Boys, Boys" in Nottingham, England May 27, Cassidy showed off a raunchy side of his dancing. He had showed me the romantic side on "Alejandro." In various poses, Cassidy mimicks the campy poses bodybuilders make when in competition. In others he looked like the confident stripper with a heart-of-gold. I couldn't help looking at his body. Like most dancers Cassidy is fit. He's got the pecs, the pronounced biceps and triceps, the sculpted abs and a killer butt like a pound of meat.

The way Cassidy was dressed accentuated his beautiful anatomy. He wore white spandex pants, white Doc Marten boots, and an appendage on his crotch intentionally to make his "package" look big. It's exaggeration and over-the-top, which is typical of the Lady Gaga brand. I could tell that Cassidy and his fellow male dancers were wearing jock straps underneath their spandex because their butt cheeks looked squeezed.

Little did I know, the North Carolina-born Cassidy has been around the block dancing for some of the biggest stars in the world. Already trained in classical ballet, he's danced for Janet Jackson, the Spice Girls and he wrapped up Beyonce's I Am... Tour last March. In fact, he's worked with Lady Gaga before, on the set of Beyonce's video clip for her song "Video Phone." Gaga appeared as a guest in the video. Cassidy was one of the men who danced around Beyonce with a computer-generated camera piece replacing his head.

Cassidy informed me that he did appear in Lady Gaga's highly-anticipated video "Alejandro" directed by famous fashion photographer Steven Klein. With Klein at the helm, there's sure to be lots of erotic scenes with Cassidy in them. There is a God!! Life is good for these moments when there are ridiculously handsome men like Cassidy who can dance as good as they look. Cassidy brings back the time when dancers actually smiled, like in the 1990s. I haven't seen a dancer with a more infectious smile ever. Check out his performance with Lady Gaga in Nottingham, England of "Boys, Boys, Boys" below:

Lady Gaga's Songs Are Like Big-Budget Movies Destined For Box-Office Millions

The thing Lady Gaga does so well is making everything she does a spectacle. Every single she releases is like a big-budget movie destined for millions of box office dollars and product tie-ins. Gaga and her marketing team know how to generate interest and they continue to do so with Gaga's latest hit "Alejandro."

"Alejandro" is a song from Gaga's The Fame Monster released last fall in November 2009, but 7 months later, the song is ubiquitous. It's currently the No. 6 song on the Billboard Hot 100 chart. Aside from its catchiness, "Alejandro" is mainly a success because of Lady Gaga's brand. If anyone else had released an ABBA song filtered through Ace of Base, it wouldn't be anything special, but the public has come to expect stimulating visuals from Gaga that cleverly connect to her songs. With the presence of a still from Gaga's "Alejandro" video that leaked to the Internet several weeks ago and an appearance on Larry King Live last night, featuring a sneak preview of the video, Gaga has been promoting "Alejandro" smartly. With the June 25 release of products sold on her online store (ladygaga.com/store), consumers can buy a $50 gift package of Alejandro-related products.

The gift package consists of a T-Shirt, a candle in the style of the Our Lady of Guadalupe candles popular in Mexico, a red-rose ring, a CD featuring the Alejandro remixes. Smartly, the original version of "Alejandro" that's heard on the radio and the video is not on the remixes CD, which encourages people to buy The Fame Monster album, whether the standalone album or the deluxe version sold with The Fame album. All in all, the inclusion of the remixes CD leads to more profit.

The T-Shirt has Gaga's face on it looking upwards cropped in a heart design. Her image is surrounded by a tapestry-like border with a red cross at the tip of Gaga's head in the image. Gaga's image, the border and the cross are all colored in red. Under the border, it reads the text "Lady Gaga Alejandro." At the top of the border, it reads "No Llame Mi Nombre, Alejandro," which is one of the hooks on "Alejandro" that means "don't call my name, Alejandro" in Spanish. The red coloring of most of the graphics represents blood, which is a common theme in Gaga's visuals and music. The rest of the T-Shirt is black, representing death and mourning, which is another one of the themes of "Alejandro."

The candle  modeled after the Mexican Our of Lady of Guadalupe candle reinforces Gaga's brand. The image on Our Lady of Guadalupe is of the Virgin Mary. It's a huge part of Mexican Catholic culture. Our of Lady of Guadalupe was also a symbol used by the Mexican armies during battle, during revolutions. Gaga said on Larry King Live that "Alejandro" is about her admiration for gay love and  how gays fight for their right to be happy. The image on the candle modeled after the Virgin Mary symbol is obviously Lady Gaga. It's a play on the Our Lady of Guadalupe, and it's another example of Gaga making spectacles out of official figures, just as she made spectacles of Barbara Walters and Larry King. It's part of her art, it's part of the Lady Gaga brand.

The rose-ring has the face of a rose bloom. Like the images on the T-Shirt, the rose-ring is colored in red or rather plated in red. One side of the rose-ring has the word "Lady Gaga" engraved, and the other side has the word "Alejandro" engraved. The roses represent the romantic tone of the "Alejandro" song and the recent performances of the song.

There's no doubt that Lady Gaga loves her art more than anything else, but there's also no doubt that she loves to make money. Who doesn't? Loads of money will be made from the online purchases of the "Alejandro" gift package. Lady Gaga's consistent brand of ideologies is inserted even deeper in the pop culture conscience. Interestingly, Gaga hasn't mentioned the gift package in any of her media appearances, yet I don't think she needs to.

The Lady Gaga Brand Stays Strong On Larry King Live

The Lady Gaga brand was dressed down considerably on Larry King Live Tuesday night. Gaga wore no wigs showing her platinum blond bob, making her look like Virginia Madsen in the film Candyman. She wore a simple satin dress shirt, suspenders, black tie outfit and wristwatch. Black shades adorned her face. She seemed tired, but still playful. None of her usual outrageous outfits were on display. Gaga was just answering the questions Larry King asked her.

Larry King and CNN built up the sneak preview of Gaga's "Alejandro" music video to be something substantial, but instead it was only 19 seconds. It was a tease, but not really. CNN aired the sneak peek at the end of the show for the sole purpose of ensuring people watched the entire interview.

The interview was good, albeit via satellite  from London since Gaga is currently on the UK leg of her Monster Ball Tour. Gaga recently conducted a two-hour long interview in London for ShowStudio.com answering endless questions posted by fans online. The things Gaga does for her fans is astounding. Many of the answers Gaga gave in the Larry King interview were from the ShowStudio.com interview. There were highlights to the Larry King interview, worth noting.

Gaga cleared up the questions surrounding her about her testing for lupus, and she says she doesn't have lupus, but she's borderline. She has to take care good care of herelf in hopes to not get the disease. Gaga also revealed that her mother worshipped Princess Diana and cried when Diana died. Gaga also admired Diana's beginnings and how she was a woman who changed society and was adored by it.

She mentioned that she was going to open for Michael Jackson during his This Is It tour. In a thoughtful moment, Gaga said Jackson is an example of a fame martyr, just like the ones she mentions on her song "Dance in the Dark" (which also includes mention of Princess Diana). He's a fame matyr because he was "show biz" and even when he was rolled onto the stretcher in the ambulance after his hair caught fire in the '80s, he raised his sequin-gloved hand up high. According to Gaga, Jackson was also one of the icons she heralded and he was destroyed, whether by himself and/or the media.

There were many soundbytes from the interview that reinforce the ideologies that Gaga represents. She says her shows are a rejection of insecurities. She says her outrageous outfits that distort the human body not for sexiness, are meant to be a rejection of the way people view women. She said she has no interests in being a "placid pop star who looks good in a bikini" and is plastered on every gossip magazine.

One of the best examples of Gaga's brand was her love for dressing like the people she holds in high regard. Via satellite, Gaga was dressed in a long-sleeved dress shirt and suspenders looking like Larry King. She even hunched her shoulders a bit to imitate King's trademark posture. Gaga has imitated official figures she's met in the past before, like when she was interviewed by Barbara Walters dressed as Barbara Walters and met Queen Elizabeth II dressed in a red-latex dress that was a parody of the farthinggale dresses Queen Elizabeth I wore in the 16th and 17th Centuries. When she collaborated with Beyonce for Beyonce's "Video Phone" video, Gaga dressed as Beyonce. As doctorate student Meghan Vicks said in the Salon.com article "Get your Ph.D in Lady Gaga," Gaga presents to these official figures a spectacle of themselves.

Gaga made sure to acknowledge her fanbase, which prominently includes the gay community. She thanked them for their concern about her lupus scare. She said that her latest video "Alejandro" is a celebration of gay love. The sneak peek of the video showed a military theme, so maybe Gaga sees the bravery that many gays display as militant and empowering.

Overall, Gaga achieved three things appearing on Larry King Live. She reached her fans, she reached a new audience (the older demographic that watches Larry King Live and CNN in general) and gave her fans a very small taste of her newest music video.  The Lady Gaga brand strikes again.