American singer Lady Gaga, born Stefani Joanne Angelina Germanotta (Francois Berthier) Image from Sunday Times article

Certainly Gaga was ripe for this sort of critique. When someone puts herself — or a persona — out there as much as Gaga does, criticism and discussion is (or should be) the point. And, Gaga is less of an easy target to call out than say Taylor Swift.

I really like a lot of Gaga’s songs for a fun pop danceathon, but I do think she takes herself a little too seriously. The first interview I read with her she talked a lot about how it was all performance art. As Paglia points out:

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.

Where I wish Paglia hadn’t gone was to insult Gaga’s appearance. True, when one’s appearance is a big part of the act, it, too, should be up for critique. But Paglia goes beyond questioning the choices that Gaga makes (“For Gaga, sex is mainly decor and surface; she’s like a laminated piece of ersatz rococo furniture”), and insults her directly:

Drag queens, whom Gaga professes to admire, are usually far sexier in many of her over-the-top outfits than she is.

Gaga may indeed favor style over substance, but I would hope a leading critic would focus on substance and comment on that — or lack thereof.

We both agreed it’s a very powerful song, especially Rhianna’s crystal clear voice. She was uncomfortable, though, with some of the lyrics. In particular the end where he says that if she tries to leave again he’ll tie her to the bed and set the house on fire. She wondered if it was irresponsible, especially given that his his audience is largely teenage boys.

My point of view was that it’s an honest portrayal of domestic abuse and that we shouldn’t shy away from these things in art. Music, books, movies, etc. allow us to see something as it really is without experiencing it. I think it’s a very honest song from both the male and female perspective in that it shows just how difficult the cycle is to break when love and anger are so intricately tied together.

As for who this song is appropriate for, well, as always, I think that decision rests with parents. When my two year old son is in the car, I switch stations when the song comes on the radio. My co-worker had a conversation with her upper elementary aged son about where Eminem was coming from, as well as Rhianna’s own past in an abusive relationship. In the end, I think such a discussion proves the value of art about difficult subjects.

Love Letters at Boston.com: a relationship advice column

Jezebel

Social Q’s from The New York Times and Miss Manners from The Boston Globe Magazine

Last week, I really, really wanted to see this video:

After a tough chapter, it was a great reward.

Incidentally, I thought her name was La Rue and I thought “The Street” was a great name for a performer. Turns out it’s La Roux, or “The Red One,” and they’re a duo.

Racculia’s irresistibly charming debut is an artful mix of genres: oddball domestic (set in a boardinghouse, characters named Desdemona and Oneida), coming-of-age (high school loves and teen angst) and literary women’s fiction (love, loss, and friendship)….With its happy ending and rich trove of Gen-X references and humor, this is a thoroughly enjoyable first novel, both accessibly absurd and quite touching.

And from that Kirkus review:

The author brilliantly captures teenage angst and uncertainty as she conveys some very grown-up truths about the choices we make and the prices we—and others—pay for them.  Intelligent, warm-hearted and tough-minded—Racculia is a talent to watch.

Kate and I were in a writing group together when we both lived in the Boston area, and I got to read some early chapters, and then was lucky enough to read a draft. I love books that sweep me up and make me feel like I’m in a different place; I especially like them if they take place in quirky small-towns with smart, witty characters.

Last Thursday I went down to the launch and there were cupcakes!

I am not too proud to admit that I went for a cupcake before I bought my copies of the book. You should go get the book, and then get yourself a cupcake to eat while reading. I promise that the descriptions of baking within will induce cravings and you will be glad to have a sweet or two on-hand.

Anyway, Kate has been running a series on her blog about music that inspired her and/or her characters.

From the title of the book, which comes from a Talking Heads song, to personal anthems, to Foreigner Kate drew on a wide-range of 80s and 90s music while writing this book. In the posts, there’s even a screenshot of Damon Albarn from a Blur video that makes me giddy every time I look at it (yes, I, too, have a thing for “disaffected British dudes with beautiful eyes and hollowed out hearts”). So here’s some more Blur for your enjoyment — I think Wendy would like it (once he got past all that w00-hooing).

Of course he’s singing about DVD commentaries, but it pretty much summed up my ambivalence about writers being expected to reveal so much online, especially teen authors.

When I first heard this song by The Avett Brothers, I was rocketed back several years. I used to live in Brooklyn, and when I lived in New York I was sad. Sad and lonely and aching and longing for something else. I know it wasn’t the borough (though New York City as a whole isn’t off the hook), and never in my life since have I lived in the same place as so many of my dearest friends. It was just the time in my life. It was during and after college, and I wanted to be home, but my own home wasn’t really mine anymore.

I also love the ambiguity of the line “Three words that become hard to say: I and love and you.” It’s such a sad sounding song, that I wonder if I am being too hopeful to read two interpretations into these words. Because saying I love you is hard at two specific times: the first time, and when you don’t mean it anymore.

He was also a member of the hottest ska band ever to come out of New Hampshire.

Plus he was a hockey star.

Given this range of talents, it’s perhaps not surprising that he’s gone on to craft a career in music for himself. He’s recorded with his band the mammals, solo, and now is touring and recording with his wife Ruthy Ungar. I’ve mentioned Mike before, and how cool I think he is. Ruthy is super cool, too. See for yourself:

I’m always impressed with people who take the risk to make their art their life. Mike & Ruthy tour as a family, and are making it work, and for that as much as their musical talent, I am in awe.

Now here’s the weird part. Often, I am true to my New England roots (that is to say, cheap frugal) and I don’t actually buy the song. It probably stems from being burned one two many times by really loving a song, buying the CD, and realizing that all the other songs are pale imitations of the one I loved. Now that we’ve entered the brave new world of being able to buy just one song for only 99 cents, you’d think my habits would have changed. And I do tend to buy my obsession songs more often; I couldn’t resist “Single Ladies” earlier this year.

But I also love turning on the radio and hearing one of those songs I just love. Since I can’t go and play it when I want, it’s this wonderful happenstance. It’s like an indication that everything is fine, good even.

I am very much obsessed with “Say Hey” by Michael Franti and Spearhead. It makes me want to dance, and I love to dance.

Finally, in keeping with Music Monday, Jordyn and Ten Cent Notes is having a really fun contest for playlists of songs key to 09 Debs’ books. Bet you can guess which one I picked!

I love that there is a show in which characters break into song to express their emotions, much like I would like to do on a daily basis.

I love that your characters are all stereotypes pushed beyond the breaking point, each with nugget of something pure within them.

I love that I get to watch Jane Lynch every week.

I love that you brought on Kristin Chenoweth as a guest star.

I love that you handled Kurt’s coming out so sensitively that I cried when he told Mercedes that he was gay.

I am less enthralled with your depiction of women in their thirties as overbearing and/or desperate for marriage/babies.

But I do love that you seem to also love eighties music.

I love that even though everyone has satirized “Single Ladies”, yours was so funny I laughed so hard I couldn’t sit up straight.

Yes, Glee, you have my heart!

P.S. Saundra Mitchell is inviting people to trick or treat on her blog. You can win awesome books. Authors and others have been stopping in all month with their true ghost stories. Head over today to read mine.

First Weezer’s new song “(If You’re Asking if I Want You To) I Want You To” is so good! I can’t find a legal video, so no linkage, but trust me, it is good. The DJ mentioned that Rainn Wilson (from The Office) interviewed Rivers Cuomo on his webiste, SoulPancake. I haven’t had a chance to watch the interview yet, but it’s on my to do list. And you can watch them singing Joan Osborne’s “One of Us”, which is quite good (even if it takes a little while to get going).

Second, one of the local stations interviewed Adam Lambert, and they talked about him being gay without ever using the word gay — or any synonym. It was odd. They asked him some pretty awkward questions, but he responded with grace and enthusiasm.