There are measurable symptoms of this disorder. Neal Postman attempted to enumerate these symptoms in his 1992 bitch-fest Technopoly but fell short due to his inability to equate technological advancement with progress (or maybe it was his inability to separate glory and antiquity, or perhaps a simple lack of articulation throughout). In essence, I disagree with Postman – but I see the merit in what he was attempting to say. So allow me, as someone who both observes and analyzes instead of just one or the other, to explain absent the tired social commentary of an aged zealot.
Level with me, virtual generation. Let’s be real with each other.
We value the instant. Things tend to change frequently in our world so we get used to adaptation. We reach out through social media to one another, spreading across countries by our fingertips. We’re living through screens, adopting avatars, calling texting “interaction” and dancing to the songs made from the fiber optic throats of robots. We bore easily and don’t apologize it. We are visually-oriented. We learn through video, through so-called “rich” media. However, we are bombarded by images, most of which are sexual in nature. Sex becomes ingrained in our everyday lives, accepted – normative. Because of this, we’ve been seen as a demographic lacking in…moral fiber.This is, of course, a gross generalization. There are elements of accuracy in this but my viewpoint and analysis is by no means all-encompassing. Bear with me. Sure, there are downsides to this way of life but technology is our revolution. We will be remembered (renowned?) for what the microchips we develop are able to simulate. The PlayStation was our Woodstock.
So when the fuck am I gonna talk about Lady GaGa, you ask?
Lady GaGa, since bursting into the mainstream with her 2008 electro-pop hit “Just Dance.” The smash-hit, which coupled a synthed-up back beat and eager lyrics glorifying the party lifestyle of the Y Generation, was well received globally, reaching #1 in six separate countries. GaGa (I believe that’s the proper capitalization), admittedly wrote the song in ten minutes while fighting a hangover. Four months later she released her second single “Poker Face” which achieved similar success.
From there it’s been a string of hits, one after another, including 2009’s “LoveGame” wherein GaGa proclaims her desire to “ride” a young man’s “disco stick (it’s my personal favorite, there’s just something in the way she grunts when she sings ‘with a smile on your mouth and a hand on your HUH!’ that makes my penis tingle with joy). She also made an appearance on Wale's single first single “Chillen” from the album ironically titled “Attention: Deficit.” Lady GaGa’s second album “The Fame Monster” is well on its way to permeating our airwaves with its catchy surges and harping melodies.
GaGa attested to writing “LoveGame” in only four minutes. She’s released two landmark albums and seven successful singles in less than two years. The beats, produced by RedOne, are robotic, a brilliant manipulation of actual sound that drives our hips into spasm. Her lyrics are vivid, brazenly sexual and magnetically simple. You like Lady GaGa. Even if you try to hate her. You know what, try to hate her…I’ll give you a moment…Didn’t work did it? You love the shit out of her and her silly dresses. She is everything you have asked for.
Lady GaGa was built to thrive in this generational atmosphere. She has kept us uninterruptedly entertained, finding her viability in the social/electronic media that defines our generation. Although some may label her as a tactless, uncouth, cock-worshipping troubadour of heathen sex (reference needed), we must stop and recognize her impeccable savvy. She has addressed our needs dually.
It’s that perfect combination of factors, that unmatched foresight for her audience that has us all singing along: “GAGA OOH LA LA.”
I promise I’m not gay.
JF
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