Caos: Lady Gaga: “Born This Way” / “Pushing Boundaries”:
Lady Gaga: “Born This Way… I´m a Superstar”.-
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Lady Gaga es uno de los íconos de la música electro/pop de la actualidad… Hace poco descubrí a Stefani Germanotta, más precisamente en ocasión del Monster Ball Tour At Madison Square Garden televisado por HBO Plus.
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♠Lady Gaga: “The Monster Ball Tour”. Trailer (HBO):
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Quedé particularmente atrapada por tres canciones del show, a saber: “So Happy I could Die” (la apertura del recital), “Alejandro” (un clásico electrónico y ultrapegadizo de Lady Gaga) y la versión final de “Born This Way”.
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♠Lady Gaga: “Alejandro”:
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Creo que a partir de esta primera aproximación un poco más personal rompí con prejuicios anteriores. Pensaba antes que Lady Gaga era una rubia obtusa, una muñeca plástica de apariencia andrógina a veces, estrafalaria otras, huecamente producida por un séquito de estilistas y maquilladores, siguiendo directivas de algún Gangsta Manager…
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Lady Gaga: Metropolis Version.-
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Lady Gaga Dixit:” I want your loving All your love is revenge You and me could write a bad romance” (Bad Romance).-
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Lady Gaga Dixit: I can’t believe how you looked at me With your James Dean glossy eyes” (Speechless).-
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En principio eso, después, un bagaje colmado de sepulcros y cruces invertidas, de paranoide adoración de lo oscuro y demoníaco (creo que esto alimentado por la canción “Judas”). En conclusión: una imagen estigmatizadamente versátil que representaba las expectativas de una inagotable demanda alimentada por la heterodoxia del pansexualismo politeísta actual.
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Lady Gaga: Evil side.-
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Puedo decir ahora retractándome que no hay nada más linealmente errado que pensar que Lady Gaga es una muñeca inflable rococó que carece de talento y que se desvive por las apariciones públicas con glitter, rimmel y pelucas extravagantes propias del estilo marioneta de las drags queens, a quienes Gaga profesaría admiración.
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Se empezó a develar para mí el por qué del magnetismo de Gaga, quien en Twitter tiene más de 18.000.000 de seguidores:
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Dixit: “I’m a soldier to my own emptiness, I am a winner”.-
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“Lady Gaga´s Rilke´s Tattoo on her inner arm”.-
Dixit: “In the most biblical sense I am beyond repentance”.-
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Los prejuicios que yo tenía sobre Gaga eran absolutamente errados. Así, en las últimas semanas vi nacer un tímido pero creciente apego por esta muchacha de clase media acomodada neoyorkina, que concurrió al mismo colegio privado y católico que Paris Hilton.
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La canción que significó el hito de la ruptura y consecuente subversión de mis ideas previas fue ”Speechless”, una balada perfecta.
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♠Lady Gaga: “Speechless” (Lyrics):
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Dixit: “I’m beautiful in my way, Cause God makes no mistakes” (Born This Way)
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Hay varios otros temas diríamos “suaves” (porque los lentos murieron en los ´90…), que permiten una aproximación menos abrupta pero mucho más profunda de Lady Gaga.
Por ejemplo: “Second Time Around , “Brown Eyes” y “You And I” ; así como la versión acústica de ”Poker Face”, con un estilo music hall innegable.
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♠Lady Gaga: “Second Time Around ” (Lyrics):
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Dixit: “No, he can´t read my poker face”.-
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Desde estos temas tenemos otro punto de fuga, y la perspectiva del universo Gaga se extiende y nos lanza a un plexo connotativo de sentidos que refleja una épica autobiografía a veces o un manifiesto de la joie o du mal de vivre, en otros casos.
Las canciones de Gaga son la impronta de su vida (presente y pasada también).
Me detengo en el pasado y destaco sobretodo la introducción de la canción “Marry The Night”…
En esta canción dice Lady Gaga: “Cuando miro atrás en mi vida, no es que no quiera ver las cosas exactamente cómo sucedieron, sino que prefiero recordarlas de una manera artística… Y verdaderamente la mentira de todo esto es mucho más honesta porque yo la he inventado. La Psicología Clínica nos dice que el trauma es una causa de “muerte definitiva”… Los recuerdos no se reciclan como átomos y partículas en la Física Cuántica… los recuerdos pueden perderse para siempre. Es como si mi pasado fuera una pintura sin terminar y que al ser yo la artista de esa pintura deba llenar los huecos desagradables y volverlos algo hermoso nuevamente. No es que sea deshonesta, es sólo que la realidad me oprime”...
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♠Lady Gaga: “Marry The Night”:
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Indudablemente, Gaga evita ciertos recuerdos, crea su propia realidad. Eso es parte de ser una superestrella, eso es: saber eludir la caída mortal en la gruta de “The Fame Monster ”.
Por otra parte, Gaga antes de ser una “superstar”, pasó por períodos de rechazo adolescente y en una entrevista llamada “Inside The Outside” de MTV , ella cuenta una anécdota de un episodio de “bullying” (burla) en el cual sus amigos la tiraron a un contenedor de basura una vez que habían ido a una pizzería. El impacto y la humillación de ese hecho dejaron una marca traumática en la memoria de la cantante que no contó nada a nadie de lo sucedido y que tuvo que soportar la humillación, conteniendo las lágrimas en esa lángida ocasión.
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Dixit: “I´ll chase you down until you love me”…
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Dixit: “I´m Gonna be a Star because I´ve nothing left to loose”… (Marry The Night).-
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En lo que alude a la formación católica, la ruptura con los votos de la liturgia cristiana se pone de manifiesto en “Judas”, en donde Gaga personificaría una versión apocalíptica de María Magdalena, enamorada del propio judas Iscariote.
Sin embargo, Lady Gaga se presenta en este tema como una “Holy Fool” (Estúpida Santa), por lo cual puede leerse esta frase como cierta alusión retrospectiva a su formación católica y en definitiva entenderse la canción como una oda expiatoria por la culpa consumada.
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♠Lady Gaga: “Judas”:
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En otras canciones asoma también la represión o el ocultamiento. El detonante culpógeno en este caso son los sentimientos sexuales ambiguos, vale decir, homosexuales o bisexuales. Ello es explícito en la canción “So Happy I could die”, en donde Gaga cuenta su frustrado amor por una mujer (“Lavender Blonde”) y cómo desafía sus límites, “tocándose” para no sucumbir a la posibilidad de confesar sus sentimientos hacia su “mejor amiga”.
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♠Lady Gaga: “So Happy I Could Die” (Lyrics):
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♠Lady Gaga: “So Happy I Could Die” (The Monster Ball Tour):
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♠Lady Gaga: “Poker Face” (Acoustic. Lyrics):
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En “Poker Face” aparece una nueva referencia a la masturbación en una estrofa evidentemente “slang” (I’m bluffin’ with my muffin ), con un sentido figuradamente fetichista. La frase en concreto es: ”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”.
Pero en última esta canción, a diferencia de “So Happy I could Die” , es Gaga el objeto amado y es ella la que desempeña el papel de Poker Player/Gambler, que se burla jocosamente de un hombre, que juega con el as de corazones de él y que hace de las intuiciones del amor un baraja de naipes, “calentando” (literalmente) al sujeto masculino para “mostrarle lo que (ella) tiene” y para dejarlo con ganas…
Las frases de “Poker Face” a las que hacía alusión antes son: “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. A little gambling is fun when you’re with me… Oh, oh, oh… I’ll get him hot, show him what I’ve got!!!”.
Lo que tienen en común “So Happy”… y “Poker Face” es que el amor se presenta como un juego de intuiciones y simulacros, pero además como una cuestión riesgosa, inevitablemente; pues como dice Gaga en “Poker Face”: “Russian Roulette is not the same without a gun. And baby when it’s love if it’s not rough it isn’t fun” / “La Ruleta Rusa no es lo mismo sin un revólver, y cuando se trata del amor, si no es riesgoso no es divertido”.
Por otra parte, un sentimiento equívoco y similar al de “So Happy I could die”, pero en este caso hacia un hombre se presenta en “You and I”. Acá está el video con subtítulos en castellano:
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♠Lady Gaga: “You And I” (Lyrics):
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En este caso, Gaga vuelve al pueblo de Nebraska, después de un largo tiempo a buscar a su amado-demiurgo y el video pasa por múltiples etapas de metamorfosis de toda índole, incluyendo la de la propia Lady Gaga desdoblándose en su alter ego masculino Jo Calderone, quien en el video besa a Gaga, la mujer, mientras ella toca el piano en un campo de espigas al estilo figurativamente literario de “The Catcher in the Rye” (Léase: “El Guardián entre el Centeno” de Salinger).
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Lady Gaga as her alter/male ego Jo Calderone.-
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Antes de que el video culmine en casamiento entre Gaga y el chico de Nebraska, la cantante “metamorfosea” en sirena en una bañera y es construída/ arreglada por su novio como si se tratara de una versión remixada y estéticamente mucho más mejorada que la de “Frankenstein”.
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Lady Gaga y su novio demiurgo Taylor Kinney en “You and I”.-
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Vale decir que el actor que aparece en el video de “You and I” es Taylor Kinney (“The Vampire Diaries”), con quien Lady Gaga estuvo saliendo hasta hace poco tiempo en la vida real (nueva duplicación realidad/fantasía).
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Lady Gaga and Taylor Kinney.-
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En “You and I”, antes decía que aparecía Gaga disfrazada de hombre (el seudónimo masculino de su alter ego, Jo Calderone) y esto se repetiría en otro plano como una nueva réplica de identidad en ocasión de la entrega de los Premios MTV 2011.
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Lady Gaga Performing Jo Calderone at The MTV Awards.-
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La cuestión de la “identidad en la diversidad” es un común denominador en la escala cromática de la vida pública de Lady Gaga. Al punto de que la cantante impulsó la derogación de la ley que prohibía la entrada de los homosexuales en las fuerzas armadas estadounidenses (denominada coloquialmente “Don´t Ask, don´t tell”). Dicha derogación se llevó a cabo durante la gestión de Obama (el mismo que celebró el triunfo de la justicia retributiva a raíz del asesinato de Bin Laden, sí; pero bueno…). Entonces, me parece oportuno cerrar con este epílogo: un video en el cual Gaga insta a los senadores a votar por la eliminación de este tipo de restricciones por razón de orientación sexual en las FFAA. El video fue difundido con carácter inmediatamente previo al tratamiento de la ley en el Congreso. La normativa “Don´t ask, don´t tell” fue finalmente derogada en diciembre de 2011; lo cual puede interpretarse como un importante paso de apertura en la política de no discriminación en la esfera de los poderes institucionales estadounidenses.
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♠Lady Gaga: “Don’t ask, don’t Tell” (Derogation of the Law):
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La tercera imagen de Lady Gaga es en el museo Gughenheim de Frank Lloyd Wright.
Se puede ver la antológica claraboya y en los laterales la rampa helicoidal.
Marcelo
Marcelo;
Gracias por el aporte.
Con Lloyd Right, On the edge of Glory…
Un abrazo; Aquileana
https://twitter.com/#!/aquileana/status/158330157722124288
Beyond The Borders
“Inside The Outside”. MTV Interview to Lady Gaga.
(Está en inglés, traducida al portugués, quees perfectamente compatible con el castellano, de manera que se entiende bien con los subtítulos… ¡Gracias a la gramática universal de Chomsky!)
Aquileana
Agrego el extracto de “Inside The Outside” en el que Lady Gaga alude al episodio de “Bullying” durante su adolescencia (al que me refería en el post):
Aquileana
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En relación a la entrevista de MTV, aclaro que en Youtube no la pude encontrar completa…
Faltan 2 partes.
Si alguien puede completar con otros enlaces, se lo agradecería.
Aquileana;)
dicen que es una mkultra (*) creada como objeto para el hipnotismo social y ritual.¿qué opinas?
(*) Nota de Aquileana al comentario. Sobre la Operación MK Ultra consultar el enlace debajo:
http://es.wikipedia.org/wiki/Operaci%C3%B3n_MK_Ultra
Es menos complejo y más allá de gustos (I Like) y disgustos (I Dislike) de la web 3.0. Lady Gaga es una muñeca no tan bella y ucrónica steampunk/ distópica cyberpunk. Las creaciones se editan, empaquetan y consumen desde los albores del Renacimiento a esta parte. Saludos.
Wachovsky;
En cuanto a gustos: Yo soy del bando “I like” ♥.
En cuanto al emplazamiento temporal/espacial de la figura y la producción artística de Gaga; creo que las expresiones vanguardistas en general son utópicas y/o distópicas… Y en definitiva Lady Gaga es eso.
Esas son las coordenadas de las que parten, ahora sí hacia dónde sólo lo define la capacidad de perpetuarse de la manifestación vanguardista, que en general suele ser reducida si es demasiado ambiciosa en sus alcances…
Saludos;
Aquileana
Off Topic: Barack Ogaga sings “Born This Way”. (LOL)
https://www.youtube.com/watch?v=AijEQN6AuRs&feature=player_embedded
o de como bajar las ambiciones para utilizando expresiones coloquiales permitirnos masivizarnos (fordismo, standarización y toyotismo mediantes) y renunciando a lo sublime alcanzar a ese vasto interlocutorio, el público, que sin carga cultural ni mochila de herramientas previas semióticas se deje llevar por la embriaguez de lo chato y que puede entender sin complicaciones (claro que todo eso no es la mejor expresión de vanguardia, sucede que las vanguardias ya no se proyectan como antes de la II y posterior Guerra Fría, los massmedia succionan todo lo que se difunde y solo queda internet, hasta que Ley Sinde/SOPA actuantes borren todo lo ilícito o contracultural). La resistencia y la desconfianza a quienes producen contenidos culturales, lo último de lo último que se pierde
¿y al negro ese para qué lo habrán votado? Es que necesitaban un cambio y lo seguirán necesitando cuando voten por Romney.
Wachovsky;
A propósito de tu reflexión final sobre las elecciones en EEUU me parece oportuno dejar el enlace de este artículo del NYT “What’s Race Got to Do With It? ( “The simple, impolitely stated fact is that Mitt Romney is the whitest white man to run for president in recent memory.”…)
http://campaignstops.blogs.nytimes.com/2012/01/14/whats-race-got-to-do-with-it/?emc=eta1
Gracias por el comentario y el video de C. Mansell, muy bueno;
Aquileana
Enma;
¿Decís que Gaga es producto de programas de investigación secreto de la CIA de Estados Unidos, con el objeto de encontrar métodos para controlar la mente?.
Yo creo que es más bien el arquetipo de una generación: la “generación Obama”, caracterizada por el despunte de nuevas idealizaciones post consumistas y por una progresiva apertura de la sociedad norteamericana hacia valores más panteístas y transigentes…
Reconociendo claro que el por qué del fanatismo que suscita Lady Gaga excedería con creces su iconografía estética y musical…
Y que este por qué resulta difícil de responder recurriendo a fundamentos estricta y excluyentemente racionales.
Un abrazo, my dear;
Aquileana
Check out this article:
http://www.thesundaytimes.co.uk/sto/public/magazine/article389697.ece
“Lady Gaga and the death of sex”:
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An erotic breaker of taboos or an asexual copycat? Camille Paglia, America’s foremost cultural critic, demolishes an icon
Camille Paglia Published: 12 September 2010
Lady Gaga is the first major star of the digital age. Since her rise, she has remained almost continually on tour. Hence, she is a moving target who has escaped serious scrutiny. She is often pictured tottering down the street in some outlandish get-up and fright wig. Most of what she has said about herself has not been independently corroborated… “Music is a lie”, “Art is a lie”, “Gaga is a lie”, and “I profusely lie” have been among Gaga’s pronouncements, but her fans swallow her line whole…
She constantly touts her symbiotic bond with her fans, the “little monsters”, who she inspires to “love themselves” as if they are damaged goods in need of her therapeutic repair. “You’re a superstar, no matter who you are!” She earnestly tells them from the stage, while their cash ends up in her pockets. She told a magazine with messianic fervour: “I love my fans more than any artist who has ever lived.” She claims to have changed the lives of the disabled, thrilled by her jewelled parody crutches in the Paparazzi video.
Although she presents herself as the clarion voice of all the freaks and misfits of life, there is little evidence that she ever was one. Her upbringing was comfortable and eventually affluent, and she attended the same upscale Manhattan private school as Paris and Nicky Hilton. There is a monumental disconnect between Gaga’s melodramatic self-portrayal as a lonely, rebellious, marginalised artist and the powerful corporate apparatus that bankrolled her makeover and has steamrollered her songs into heavy rotation on radio stations everywhere.
For two years, I have spent an irritating amount of time trying to avoid Gaga’s catchy but depthless hits Lady Gaga is a manufactured personality, and a recent one at that. Photos of Stefani Germanotta just a few years ago show a bubbly brunette with a glowing complexion. The Gaga of world fame, however, with her heavy wigs and giant sunglasses (rudely worn during interviews) looks either simperingly doll-like or ghoulish, without a trace of spontaneity. Every public appearance, even absurdly at airports where most celebrities want to pass incognito, has been lavishly scripted in advance with a flamboyant outfit and bizarre hairdo assembled by an invisible company of elves.
Furthermore, despite showing acres of pallid flesh in the fetish-bondage garb of urban prostitution, Gaga isn’t sexy at all – she’s like a gangly marionette or plasticised android. How could a figure so calculated and artificial, so clinical and strangely antiseptic, so stripped of genuine eroticism have become the icon of her generation? Can it be that Gaga represents the exhausted end of the sexual revolution? In Gaga’s manic miming of persona after persona, over-conceptualised and claustrophobic, we may have reached the limit of an era…
Gaga has borrowed so heavily from Madonna (as in her latest video-Alejandro) that it must be asked, at what point does homage become theft? However, the main point is that the young Madonna was on fire. She was indeed the imperious Marlene Dietrich’s true heir. For Gaga, sex is mainly decor and surface; she’s like a laminated piece of ersatz rococo furniture. Alarmingly, Generation Gaga can’t tell the difference. Is it the death of sex? Perhaps the symbolic status that sex had for a century has gone kaput; that blazing trajectory is over…
Gaga seems comet-like, a stimulating burst of novelty, even though she is a ruthless recycler of other people’s work. She is the diva of déjà vu. Gaga has glibly appropriated from performers like Cher, Jane Fonda as Barbarella, Gwen Stefani and Pink, as well as from fashion muses like Isabella Blow and Daphne Guinness. Drag queens, whom Gaga professes to admire, are usually far sexier in many of her over-the-top outfits than she is.
Peeping dourly through all that tat is Gaga’s limited range of facial expressions. Her videos repeatedly thrust that blank, lugubrious face at the camera and us; it’s creepy and coercive. Marlene and Madonna gave the impression, true or false, of being pansexual. Gaga, for all her writhing and posturing, is asexual. Going off to the gym in broad daylight, as Gaga recently did, dressed in a black bustier, fishnet stockings and stiletto heels isn’t sexy – it’s sexually dysfunctional.
Compare Gaga’s insipid songs, with their nursery-rhyme nonsense syllables, to the title and hypnotic refrain of the first Madonna song and video to bring her attention on MTV, Burning Up, with its elemental fire imagery and its then-shocking offer of fellatio. In place of Madonna’s valiant life force, what we find in Gaga is a disturbing trend towards mutilation and death…
Gaga is in way over her head with her avant-garde pretensions… She wants to have it both ways – to be hip and avant-garde and yet popular and universal, a practitioner of gung-ho “show biz”. Most of her worshippers seem to have had little or no contact with such powerful performers as Tina Turner or Janis Joplin, with their huge personalities and deep wells of passion.
Generation Gaga doesn’t identify with powerful vocal styles because their own voices have atrophied: they communicate mutely via a constant stream of atomised, telegraphic text messages. Gaga’s flat affect doesn’t bother them because they’re not attuned to facial expressions.
Gaga’s fans are marooned in a global technocracy of fancy gadgets but emotional poverty. Borderlines have been blurred between public and private: reality TV shows multiply, cell phone conversations blare everywhere; secrets are heedlessly blabbed on Facebook and Twitter. Hence, Gaga gratuitously natters on about her vagina…
To read the rest of this explosive profile, including Paglia’s debunking of comparisons to Madonna, David Bowie, Elton John and Andy Warhol, and to view a slideshow of photographs, visit the thesundaytimes.co.uk/magazine now
Aquileana
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http://vigilantcitizen.com/musicbusiness/lady-gagas-judas-and-the-age-of-horus/
Lady Gaga’s “Judas” and the Age of Horus: Link: http://vigilantcitizen.com/musicbusiness/lady-gagas-judas-and-the-age-of-horus/
By VC | June 2nd, 2011 | Category: Music Business | 919 comments
Lady Gaga’s “Judas” video is a modern retelling of biblical stories, where Jesus and his disciples are portrayed as a biker gang. But don’t mistake the video for a Bible lesson as it twists and turns important scenes to give them a very different meaning. In fact, it can be argued that the video symbolically describes an important aspect of Gaga’s work and of society in general: a rejection of Christianity in order to make way to what has been called the Age of Horus. This article will look at the origins and the symbols found in Lady Gaga’s “Judas”.
When I first watched Judas, I immediately told myself: “There is no use to write about this, it is simply too obvious”. I mean Gaga is in love with Judas … and Judas betrayed Jesus. It is a direct continuation of Gaga’s anti-Christian and pro-Illuminati theme through symbols, as described in previous articles. What can I add to it that hasn’t been said? So I ignored the video … until I began receiving e-mails. Tons of them. Many people did not understand the message of the video, some did not get the Biblical references and the way they were twisted to communicate a new message; other simply did not know who Judas was. As it is symbolic on many levels, I realized that decoding this video could help many readers — who I call my “Little Vigis” (No.). The video doesn’t only summarize the underlying spiritual message found in Gaga’s work, but it describes an important phenomenon happening in society in general – a phenomenon that is part of the Illuminati agenda: the “de-holyfication” of traditional religions.
In her recent interviews, Gaga has given several interpretations of the song. In an interview with E! Online she said that it was not meant as an attack of Christianity:
“I don’t view the video as a religious statement, I view it as social statement. I view it as a cultural statement.”
On Amp Radio Gaga explained that:
“It’s about falling in love with the wrong man over and over again.”
In another interview with Google, Gaga went deeper into the philosophical theme of the song, which is in accordance with the teachings of some occult schools we’ll describe later.
“The song is about honoring your darkness in order to bring yourself into the light. You have to look into what’s haunting you and need to learn to forgive yourself in order to move on.”
The videos for Gaga’s songs Alejandro (analyzed here) and Born This Way (analyzed here) communicated specific spiritual messages through meanings and symbols. Traditional religious symbols are stripped of their “holy aura” while other symbols, inspired by those of the Illuminati, are introduced and glorified to her young viewers. Of course, this phenomenon does not happen only in Gaga’s works, but is a trend in mass media in general. Aleister Crowley, an occultist who remains an incredibly influential figure in the entertainment industry, claimed the Age of Horus, a new stage in human history, would be defined by the abandonment of traditional religions in order to embrace a new kind of spirituality (read the full article on Crowley here). The same vision for a “new Aeon” is shared by the world elite, where its plans for a New World Order heavily rely on the existence of a single world religion, based on a specific set of values that are compatible with is Agenda. Mass media plays an important role in this paradigm shift – and the results are astonishing. In less than a century, the Western World has witnessed a drastic decline in religious faith, especially Christian. Never such a profound societal change happened in such a short period of time. Of course, Gaga herself is not responsible for this drastic shift, but Judas, in its meaning and symbolism, perfectly describes the transitional period we are going through, as society is taken to, in Crowley’s words, the Age of Horus.
It is therefore in this social and religious context that Judas was released. First seen riding with Jesus, Gaga goes into a transition and falls for Judas, the man who ultimately caused the death of Jesus. Gaga’s conversion is symbolic of society in general, where the altruistic tenets of Christianity have been replaced by a more “self-celebrating” philosophy – embodied in the video by the character of Judas. In short, the story symbolizes the passage towards Crowley’s Age of Horus, and Gaga’s “Eye of Horus” makeup effectively seems to emphasize this point. As seen in previous articles, Gaga is no stranger to Crowley’ philosophy (her Manifesto at the beginning of Born This Way is heavily inspired by his Thelema). This philosophy is, in turn, the basis of the new kind of spirituality that is sold to the masses through media.
To explain Judas, I need to “get Biblical” because the song and the video are heavily inspired by Biblical verses. So, before we get into it, let’s start by understanding the main character: Judas.
Who was Judas?
Judas Iscariot was one of Jesus’ twelve disciples. Due to his money-management skills, he was put in charge of the group’s money box. Despite having chosen him to become his follower, Jesus knew from the start that Judas would eventually betray him. At one point he even refers to him as “the devil”.
70 Jesus replied, “Didn’t I choose you, the twelve, and yet one of you is the devil?” 71 (Now he said this about Judas son of Simon Iscariot, for Judas, one of the twelve, was going to betray him.)
- John 6:70-71
During his time as a disciple, Judas had some “issues” with Jesus, causing him to stir up trouble within the group. An important event involving Judas happened during the washing of Jesus’ feet by Mary Magdalene using expensive ointments. Offended by what he called a waste of money, Judas protested and even caused other disciples complain. This is one of the Biblical passages that was recreated (with a significant twist) in Gaga’s video:
12:1 Then, six days before the Passover, Jesus came to Bethany, where Lazarus lived, whom he had raised from the dead. 2 So they prepared a dinner for Jesus there. Martha was serving, and Lazarus was among those present at the table with him. 3 Then Mary took three quarters of a pound of expensive aromatic oil from pure nard and anointed the feet of Jesus. She then wiped his feet dry with her hair. (Now the house was filled with the fragrance of the perfumed oil.) 4 But Judas Iscariot, one of his disciples (the one who was going to betray him) said, 5 “Why wasn’t this oil sold for three hundred silver coins and the money given to the poor?” 6 (Now Judas said this not because he was concerned about the poor, but because he was a thief. As keeper of the money box, he used to steal what was put into it.) 7 So Jesus said, “Leave her alone. She has kept it for the day of my burial. 8 For you will always have the poor with you, but you will not always have me!”
- John 12:1-8
Shortly after this incident, Judas meets with the chief priests of Israel – the ones who were trying to “bring down” Jesus – and strikes a deal. He would betray and hand over Jesus to the Pharisees and the police force in exchange for thirty silver coins:
26:14 Then one of the twelve, the one named Judas Iscariot, went to the chief priests 15 and said, “What will you give me to betray him into your hands?” So they set out thirty silver coins for him.
- Matthew 26:14-15
During the Last Supper, Jesus tells his disciples that one of them would betray him and reveals it would be Judas:
13:21 When he had said these things, Jesus was greatly distressed in spirit, and testified, “I tell you the solemn truth, one of you will betray me.” 22 The disciples began to look at one another, worried and perplexed to know which of them he was talking about. 23 One of his disciples, the one Jesus loved, was at the table to the right of Jesus in a place of honor. 24 So Simon Peter gestured to this disciple to ask Jesus who it was he was referring to. 25 Then the disciple whom Jesus loved leaned back against Jesus’ chest and asked him, “Lord, who is it?” 26 Jesus replied, “It is the one to whom I will give this piece of bread after I have dipped it in the dish.” Then he dipped the piece of bread in the dish and gave it to Judas Iscariot, Simon’s son.
- John 13:21-26
At this moment, it is said that Satan possessed Judas:
13:27 And after Judas took the piece of bread, Satan entered into him. Jesus said to him, “What you are about to do, do quickly.”
- John 13:27
Judas then leads the chief priests and the police to Jesus, identifying him with a kiss:
14:43 Right away, while Jesus was still speaking, Judas, one of the twelve, arrived. With him came a crowd armed with swords and clubs, sent by the chief priests and experts in the law and elders. 44 (Now the betrayer had given them a sign, saying, “The one I kiss is the man. Arrest him and lead him away under guard.”) 45 When Judas arrived, he went up to Jesus immediately and said, “Rabbi!” and kissed him. 46 Then they took hold of him and arrested him.
- Mark 14:43-46
After Jesus’ condemnation, Judas regretted his betrayal and sought to reverse his actions by returning the money, but it was too late and he commits suicide:
27:3 Now when Judas, who had betrayed him, saw that Jesus had been condemned, he regretted what he had done and returned the thirty silver coins to the chief priests and the elders, 4 saying, “I have sinned by betraying innocent blood!” But they said, “What is that to us? You take care of it yourself!” 5 So Judas threw the silver coins into the temple and left. Then he went out and hanged himself.
- Matthew 27:3-5
Most of the passages described above are recreated in the video, but they are given a twist, where roles and symbols are reversed, effectively changing the fundamental meaning of the Biblical stories. As a result, the video ends with a very different “moral of the story”.
Gaga as Mary Magdalene
The video portrays Jesus and his disciples as a biker gang riding around with skull-and-bone insignias on their backs (nice touch). Gaga is riding with Jesus, playing the role of Mary Magdalene.
Although it is not clearly specified in the Bible, Mary Magdalene is said to be the prostitute who was about to get stoned to death by an angry mob until Jesus came along and said: “Y’all country-ass, donkey-riding peasants better drop them rocks and go on home before things get REAL ugly up in here”. Wait, that’s what Samuel L. Jackson would have said. Jesus actually said: “Let he who is without sin cast the first stone”.
At the very end of Judas, Gaga is seen stoned to death, insinuating that Jesus was not there to save her.
Gaga as Mary Magdalene stoned to death. In Judas, Jesus has failed to save Gaga. Also, does this scene portray Gaga being persecuted by people who are offended by her music?
So Gaga plays the role of Mary Magdalene where Magdalene is not only the friend and disciple of Jesus, but his lover. This portrayal of Mary Magdalene as Jesus’ mate became popular in the past few decades with books such as The Jesus Scroll (1972), Holy Blood, Holy Grail (1982), The Gospel According to Jesus Christ (1991), The Da Vinci Code (2003), The Two Marys: The Hidden History of the Mother and Wife of Jesus (2007); and by films like Bloodline (2008). These alternative accounts on Jesus Christ’s life originate from modern interpretations of Gnostic and apocryphal texts (mainly the Nag Hammadi) where Magdalene is described as Jesus’ “favorite disciple” and “companion”. An interpretation of the apocryphal Gospel of Philip even alludes to Jesus “often kissing Mary Magdalene on the lips”.
Some occult circles believe that Jesus lived well beyond the age of 33 (a number they believed was selected for symbolic reasons). Some claim that Jesus married Mary Magdalene with whom he had a daughter named Sarah. Some even claimed that they moved to Southern France, where they started the fabled Merovingian Bloodline.
Judas therefore portrays Mary Magdalene from this angle, where Gaga is the wife of Jesus. However, she only has eyes for Judas.
The Video
The video begins with Gaga riding with Jesus, yelling in his ear “Judas Juda-ah-as”, almost as if it was an incantation. Usually, when your girl yells the name of some other dude right in your ear, it means something’s up.
From a spiritual point of view, Gaga was “riding with Jesus” – representing the embrace of Christianity – until she fell in love with Judas – a force that is opposed to it. But what kind of force are we referring to? Is it the elite’s peculiar brand of occultism, mainly represented by the symbol of the Eye of Horus?
Yes, as stated in previous articles, hiding one eye refers to the Eye of Horus. I don’t see how Gaga can make this clearer for you.
In the video, Jesus is shown doing good deeds and healing people while Judas is pretty much a douche bag, getting drunk and grabbing women all over the place. Yet Gaga is in love with him. The character of Judas is an embodiment of Crowley’s saying “Do What Thou Wilt” – or Lavey’s Church of Satan concept of hyper-egoism, where the fulfillment of one’s desires is seen as a basic requirement to true enlightenment. Gaga is seduced by and identifies with the values embodied by Judas’ and is therefore in love with him. By doing so, she turns her back on Jesus’ altruism and selflessness.
The recreation of Mary Magdalene washing of Jesus feet…with the addition of Judas drinking a beer with a non-approving look.
One scene recreates Mary Magdalene’s washing of Jesus feet which, as seen above, made Judas angry and jealous. In the video’s version of the story, Judas is however right there with Jesus, his naked feet next to his, apparently also ready to get this treatment reserved for great people. Judas is therefore not simply a disciple of Jesus, but his equal. Afterwards, Judas, being the self-centered jerk that he is, spills his beer on Gaga … but Gaga loves him that way. The first lyrics of the song describe this reversal from the Biblical story, where Judas is the one getting washed by Gaga.
When he calls to me, I am ready
I’ll wash his feet with my hair if he needs
Forgive him when his tongue lies through his brain
Even after three times, he betrays me
“I’m on your side Judas, you’re the best”.
Later in the video, there appears to be some kind of showdown between Jesus and Judas. Gaga – who is still Jesus’ lover – goes to Judas holding a golden gun, apparently to kill the one who would betray her spouse. Instead of a bullet, the gun “shoots out” lipstick. Gaga puts it on Judas’ mouth as if saying “go ahead and kiss Jesus, you have my blessing”.
Gaga does not simply reject Jesus, she is an active agent in his bringing down. One of her eye is hidden, confirming that this is part of the Illuminati agenda (bringing down religions).
The song also describes Gaga’s participation in “bringing Jesus down”:
I’ll bring him down, bring him down, down
A king with no crown, king with no crown
The “king with no crown” is more than likely Jesus, who is wearing during the entire video the Crown of Thorns. In Biblical accounts, that painful crown was put on his head by soldiers before his crucifixion in order to humiliate the one who claimed to be the “King of the Jews”.
Right after Gaga’s “official” taking sides with Judas, she is shown in a symbolic “cleansing” or “baptizing” scene.
Is this a reference to the great whore of Babylon who is said to “sit on many waters”? There is another reference to the Great Whore in the video.
So, despite Jesus’ virtuous deeds, Gaga is attracted to Judas. The Betrayer is portrayed as a rowdy, egoistical and devious being, which is not surprising since it is stated that Judas was possessed by Satan at the time he betrayed Jesus. Judas personifies the antithesis of Jesus’ selfless ways and represents the self-centered philosophy described by modern occultists such as Aleister Crowley whose philosophical tenets, describes the self as “the center of the universe”. Anton Lavey’s Satanic Bible describes the need for a “new religion” based on man’s earthly needs.
Past religions have always represented the spiritual nature of man, with little or no concern for his carnal or mundane needs. They have considered this life but transitory, and the flesh merely a shell; physical pleasure trivial, and pain a worthwhile preparation for the “Kingdom of God”. How well the utter hypocrisy comes forth when the “righteous” make a change in their religion to keep up with man’s natural change! The only way that Christianity can ever completely serve the needs of man is to become as Satanism is NOW.
It has become necessary for a NEW religion, based on man’s natural instincts, to come forth. THEY have named it. It is called Satanism.
- Anton Lavey, The Satanic Bible
Gaga, playing Mary Magdalene, is attracted to Judas’ ways. She not only “converts” to his side but also effectively brings Jesus down. This attraction to the “dark side” is summed up in these simple words:
I wanna love you,
But something’s pulling me away from you
Jesus is my virtue,
Judas is the demon I cling to
In Conclusion
Going beyond simple shots at Christianity for pure shock value, Judas summarizes the underlying spiritual messages found in Lady Gaga’s works which are, in turn, a reflection of the elite’s philosophy that needs to be taught to the masses. Whether it is intentional or not, Judas symbolizes the spiritual shift of humanity as it enters what is “the Age of Horus”. Crowley considered the last two thousand years to be the Age of Osiris, ruled by Christianity’s “emphasis on death, suffering, sorrow and the denial of the body”. He however considered this era to be necessary to give birth to the Age of Horus, whose Aeon would lead humanity to a new kind of spirituality. Other esoteric schools describe this shift in different words. Some describe it as the Age of Aquarius taking the place of the Age of Pisces, which was dominated by Christianity (they say Jesus was associated with the symbol of the fish because he ruled the Age of Pisces). Is this the reason Gaga’s words refer to the “future of culture”?
In the most Biblical sense,
I am beyond repentance
Fame, hooker, prostitute wench vomits her mind
But in the cultural sense
I just speak in future tense
Whether the general population subscribes to these esoteric predictions or not, it certainly is “following the script” that was laid out. The same way Lady Gaga was eyeing Judas while riding with Jesus, society as a whole has let go of the core tenets of Christianity to embrace a philosophy that is compatible with Crowley’s Thelema. Even if most people do not even know what is the Thelema, they live by it on a daily basis. That being said, organized religions and the elite are not necessarily opposite forces. Religions and religious sects have often been used as tools of the political elite to divide-and-conquer countries and to oppress and to manipulate the masses. Times have however changed and, today, the Illuminati is looking to unite the world under a single world government and a single world religion. This religion’s values are based on egoism, materialism and the sexualization of pretty much everything. Most music videos, movies and TV shows subtly celebrate these values. In other words, they want you to be in love with Judas.
Gracias Enma por el enlace muy bueno …
Agrego enlaces de la interpretación del video de “Alejandro”:http://vigilantcitizen.com/musicbusiness/the-occult-interpretation-of-lady-gagas-alejandro/
y de “Born This Way”: http://vigilantcitizen.com/musicbusiness/lady-gagas-born-this-way-the-illuminati-manifesto/
Saludos; Aquileana
The Occult Meaning & Symbolism of Lady Gaga
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http://vigilantcitizen.com/tag/lady-gaga/
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Aquileana
Sinceramente. Musicalmente me interesa muy poco esta mujer. Pero después de haber leído tu entrada me avergüenzo de ser tan superficial y prejuicioso. Has extraído todo un tratado biográfico-sociológico de lo que yo hasta ahora consideraba simple basura mercantil. Esa es la lección que he aprendido de esto.
Dear Cap;
Gracias por tus palabras… Y bueno, como decía en el post,
Gaga para mí fue también un ave que nació de las cenizas (de un infundado cúmulo de prejuicios)… Cité en los comentarios un enlace que me sugirió Enma (la página se llama Vigilant Citizen) que te recomiendo en el que se hace profunda alusión a la simbología esotérica/masónica de Lady Gaga en los videos…
Por si te interesa…
Saludos y los mejores deseos para 2012;
Aquileana
Hola, he dado con tu blog por casualidad buscando una cita de Walter Benjamin y me ha gustado mucho. Tratas temas y libros muy interesantes.
He hecho una pequeña reseña de un libro de Odo Marquard y te enlazo en ella:
http://espitolas.blogspot.com/2012/02/mi-contingencia-y-yo.html
Espero que te guste. Un saludo!
Como explica Félix de Azúa en su Diccionario de las Artes, en su caso refiriéndose a las Vanguardias, para hablar de éllas no es necesario (yo diría ni posible) usar ninguna valoración artística. Lo mismo parece ocurrir con la llamada, según una acepción muy laxa del término, cantante que usted reseña.
Así como en el arte actual el único criterio de valor es el precio de la obra, el el caso de esta mujer parece ser que vende muchos más discos que otros con igual o parecida descripción sociológica. Como decía el padre de un amigo mío: os podeis quedar con la sardina, que yo prefiero la langosta.
Hola Aquileana, loquísima la lectura que haces de la Gaga, lo digo con admiración. Nunca me imaginé tanto concepto y tanto tema. Me obligaste a escucharla…. y me gustó hacerlo. Tampoco creí dedicaras tantas letras a este tipo de música tan… ¿pop?
No has vuelto a escribir. Te sigo siempre. Hace un par de años.
Me encantaría visitaras mi blog
http://www.perdonamelatristeza.blogspot.com
Me gustaría mucho.
Germán
Enhorabuena por su blog y, especialmente, por su trabajo sobre Lady Gaga.
Saludos.
El Quicio de la Mancebía [EQM]
http://elquiciodelamancebia.lacoctelera.net/
Gracias quicio!!!;
Saludos, Aquileana 8)
ALEJANDRO BUENAHORA..SOY..TAN DESCENDIENTE DE ITALIANOS COMO GAGA..TENGO VARIAS COSAS QUE DECIR SOBRE ELLA..PRIMERO Y PRINCIPAL.QUE ES UNA BUENA CANTANTE Y COMPOSITORA..DIRIA QUE CANTA MEJOR QUE MADONNA.PORQUE TIENE LA VOZ MAS POTENTE…LO QUE ME HA SORPRENDIDO ,ES QUE SE LES OCURRIO UNA IDEA EXCELENTE PARA QUE GAGA EN LA MUSICA POP ,APARTE DE SER UNA FIGURA EXCENTRICA..PERO DE QUE ADEMAS..REALICE TRABAJOS ESTRAMBOTICOS Y DEMONIOLOGICOS ,ESTANDO TAN EXPUESTA EN LOS MEDIOS..YA QUE EL POP ES UNA MUSICA AMPLIA Y TRADICIONAL..YO NUNCA EN MI VIDA VI A ALGUIEN HACIENDO ESTOS TRABAJOS SOFISTICADOS EN ESTE TIPO DE MUSICA,MAS BIEN SENCILLA..PORQUE SOLO EN EL ROCK OSCURO SE INSPIRARON EN FILMES DE TERROR COMO POR EJEMPLO MARILYN MANSON,,ALICE COOPER..OZZY OSBOURNE..KING DIAMOND..ENTRE OTROS ROCKEROS..PERO JAMAS LO HABIAN HECHO FUERA DE LA LINEA DEL ROCK..Y CREO QUE LA IDEA FUE GENIAL…ADEMAS SE PRECISABA EL TALENTO QUE LADY GAGA TIENE PARA LLEGAR A TANTO..FUERON UN CONJUNTO DE FACTORES QUE DETERMINAN EL EXITO DE GAGA A NIVEL INTERNACIONAL..ES COMO UTILIZAR UN MARKETING PSICOLOGICO PARA LLAMAR LA ATENCION CON LAS COSAS RARAS QUE ELLA VIENE HACIENDO..AUNQUE,PRIMERAMENTE..TENIA UN ESTILO ARTISTICA Y MUSICALMENTE MAS COOL…Y SANO..POR ASI DECIRLO.SIN OFENDER A ELLA NI A NADIE..PORQUE AL FINAL LO QUE SE PUSO A HACER DESPUES,PARA MI FUE IMPENSADO…Y NO LA ACUSO DE SATANICA..PORQUE FRANCAMENTE NO DESCONFIO NI EN ELLA ,NI QUE PUEDA LLEGAR A TENER UN ENTORNO MALIDICIOSO….NO..YA QUE MUCHOS QUE PARECEN TENER CONOCIMIENTO AMPLIO DE ESPIRITUALIDAD..LA ACUSAN DE MARIONETA DE LOS ILLUMINATIS..DE SIMBOLOGIA HIPNOTIZADORA…Y MK ULTRA..NO RECUERDO BIEN QUE ERA ESTO..BUENO…EN FIN…YO LA VERDAD ES QUE ESAS COSAS NO ME CIERRAN Y NECESITO NO CREER EN ELLAS….EN POCAS PALABRAS ,Y PARA FINALIZAR..ES QUE ..CIERTAMENTE..EXISTE LO BUENO Y LO MALO…Y COMO ME COMENTABA UN TESTIGO DE JEHOVA…DE PROCURAR SIEMPRE HACER EL BIEN,,PORQUE HAY UN DIOS QUE ALGUN DIA ,NOS VA A JUZGAR POR NUESTROS ACTOS…EN LA CUAL..AL PADRE CELESTIAL NO SE LO PUEDE ENGAÑAR..Y, SUPUESTAMENTE,EN EL DIA DE JUICIO FINAL…TENGO LA CERTEZA QUE TENDREMOS QUE RENDIR CUENTAS CON EL…SALUDOS..ALEJANDRO.
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