Copy of Original Response to Advertising Gaga or Not?: Christianity and Popular Culture

Original post was made on March 3, 2012 on  Advertising Gaga or Not?: Christianity and Popular Culture's page.


Donna GMar 3, 2012 07:38 PM

The sentiments that you have expressed really get to the heart of Gaga's agenda and how her own anxiety translates into the freakish frenzy around the Gaga culture, as mentioned in the Victor Corona reading on Gaga. This culture of manufacturing and manipulation of media marketing houses has almost homogenized a basic infrastructure of what people need to do to "fit" in the music media realm. Personally, I think Gaga's outlandish outfits, while sometimes considered "art" and/or obnoxious to some, are just all apart of her eccentricity. Just like a reality television show, you get drawn into their (Gaga's) need to entertain you and the spectator is all too happy to take it in and consume the visual distraction/attraction.

However, there is so much more than Lady Gaga to subvert your attention and while looking for the meaning of spirituality within popular culture, media spin doctor's play their role in steering society clear of the now fabled sacredness of spirituality. The art of Gaga has also taken shape over the commodification of her voice value at times i.e. Gaga fashion influences. Being mindful of what makes one continually question how hard it is to isolate the amount of Gaga's images being presented in her videos, you can see how similar her path is to that of Madonna, Cyndi Lauper, and others in the 80's and 90's. Retro has truly made a cycle back I think through Gaga and her genre of marketing/advertising has further crossed over to isolate the theatrics in spirituality as well, in being just another entertainment tool to be used as a "add-on" in videos that she has created such as Judas. In listening to Lady Gaga's lyrics to the song Judas and then viewing the video, I note that she really de-constructured the narrative around the  Biblical story of Judas and Jesus in several ways. One such video example is highlighted wherein Lady Gaga and the man wearing the crown of thorns (appropriated symbol of Jesus) are either holding on to each other (motorcycle ride at the beginning where Lady Gaga is clutching around his waist on the bike) 

or reaching out to each other while they walk/dance and make their way to the platform. 

This representation of Jesus Christ appropriated by the man wearing the crown of thorns in illustrating society's relationship with Jesus, is articulating the association of Christ being either beside us, watching us or supporting us even when humans least deserve it as in the case of the Judas narrative, wherein Judas betrayed Jesus for a few pieces of silver. This symbolism also carries over into the appropriation of the foot washing in the hot tub, again the appropriated Jesus and Judas figures having their feet washed by Gaga, just like at the Last Supper where Jesus was betrayed by Judas, which further highlights the twisted way Gaga's narrative end the video by her falling on the ground.

 Ironically she is dressed as a bride, which can further be appropriated to the bride of Jesus Christ, his church and the fall from grace indicates society's fallen relationship with Jesus. 

Moreover, this is not the first time Gaga has exploited the Christian narrative for her own financial benefit as a  entertainer, commodifying and repackaging Christian stories and symbolism creates the dialogue for debate and controversy, giving her the free publicity that she seeks to indirectly/directly fuel her momentum to push the envelope further to push "traditional" video and artistic formats. The sacred and profane historical narratives must realize their position in the popular culture cue and understand that audiences crave a more apophatic genre.  Consumerism has displaced sacred roles, rituals and tools of religion, and are now utilized in a bevy of entertainment add ons, set designs and props to expand the framework of the evolving popular culture framework.