So many, over and over, coming in periods of greatness. As The Lady Twittered: вЂњSo many will try to destroy me. Gaga plays the roll of the Important Artist, making a вЂњstatementвЂќ and being misunderstood in the process.

So far, Gaga appears to be in for a mega-hit, as all the right voices are playing their roles in the PR Passion play.

The fascist imagery, religious symbolism, and sexual acting out are both provocative and a sure-fire formula for success in the pop music industry. A skipping record never sounded so awful.Lady GagaвЂ™s new video вЂњAlejandroвЂќ pushes all the right buttons for a full-on controversy. Diddy territory, listen to вЂњAlejandroвЂќ and вЂњDonвЂ™t Turn AroundвЂќ back to back. And if youвЂ™re not sure whether Gaga has crossed into P. But the similarities are too stacked, the borrowing too blatant to be anything but sarcastic.Дeciding where sampling ends and plagiarism beginsвЂ“where sincerity dies and вЂњironic enjoymentвЂќ re-animatesвЂ“is not an exercise in logic but taste. The Gaga-faithful would, of course, answer that the song is a вЂњtributeвЂќ or some kind of sample, where instead of culling actual sound bites, it borrows the style of the original. The song is not quite a cover of вЂњDonвЂ™t Turn AroundвЂќ though the differences would be defined only in terms of copyright legality. What is particularly maddening about вЂњAlejandroвЂќ is how deftly Gaga skirts between what would be acceptable methods of pop reference.

And of course, Gaga herself would own up to none of this, because when has she ever owned up to anything, even the most blatant of her farces? Her antics up to this point have ecstatically defied rules of logic and decorum to jaw-dropping effect, but apparently this flouting of rules has come back to haunt her. She blatantly rifles through the back catalog of a long since relevant dance group, creating an effect much more startling than any of the videoвЂ™s bumping and grinding or lamely un-holy genuflecting (the only redeeming quality of the video is the Karen O bowl-cuts of the dancersвЂ“now there is a reference at least somewhat unexpected). вЂњAlejandroвЂќ seems like the high school fake-out flirt of a pretty girl to an ugly boy, all for the benefit of an adoring pack of admirers somewhere off-stage. Gaga steals Ace of BaseвЂ™s вЂњDonвЂ™t Turn AroundвЂќ wholesale, making effective use of its dance beat while passing all the obviously cheesy parts off as satire. Her вЂњart as car accidentвЂќ experiment is unique for focusing on fame itself, tricking us into sensationalizing her and yet never letting us forget just how cheap and disposable that sensationalism is.Д«ut while the subject of her dual-purposed aesthetic thus far has been fairly generalized to the genre of pop itself, with вЂњAlejandroвЂќ she narrows her gaze with laser-like precision. She both dazzles us with her rhinestone brilliance and comments meaningfully on that blindness. Her intentionally gaudy aesthetic is not meant to shock but to self-immolate and, by so doing, highlight our readiness to gawk and warm our hands by her fire the point is not to push the boundaries of what repels but what attracts. GagaвЂ™s considerable artistic achievements are based in reflecting back our pop predilections in a super-stylized fashion. Sure, the song is catchy and danceable, but considering the level of work that came before it, a simple pop song is a letdown. A long string of cribbed beats and run-together pop references, вЂњAlejandroвЂќ is a song truly made up of nothing, not even bothering to revel in its vacuity. She not so much stands as stomps on the shoulders of giants like Madonna, ABBA, and lesser wits like Ace of Base. Lady Gaga has not even attempted this with вЂњAlejandroвЂќ.

Pop artifacts that borrow heavily from their forbears must contain some framework of originality a difference must coincide with the sameness so as not come off as plain stealing. Lady GagaвЂ™s вЂњAlejandroвЂќ is an artistic tailspin from the recent heights of singles like вЂњBad RomanceвЂќ and вЂњTelephoneвЂќ.

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