"Moreover, you scorned our people, and compared the Albanese to sheep, and according to your custom think of us with insults. Nor have you shown yourself to have any knowledge of my race. Our elders were Epirotes, where this Pirro came from, whose force could scarcely support the Romans. This Pirro, who Taranto and many other places of Italy held back with armies. I do not have to speak for the Epiroti. They are very much stronger men than your Tarantini, a species of wet men who are born only to fish. If you want to say that Albania is part of Macedonia I would concede that a lot more of our ancestors were nobles who went as far as India under Alexander the Great and defeated all those peoples with incredible difficulty. From those men come these who you called sheep. But the nature of things is not changed. Why do your men run away in the faces of sheep?"
Letter from Skanderbeg to the Prince of Taranto ▬ Skanderbeg, October 31 1460

Lady GAGA: Death of morality!

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Lady GAGA: Death of morality!

#1

Post by Patush » Mon Sep 13, 2010 3:10 am

Image
American singer Lady Gaga, born Stefani Joanne Angelina Germanotta (Francois Berthier)

An erotic breaker of taboos or an asexual copycat? Camille Paglia, America's foremost cultural critic, demolishes an icon

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.
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…
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Re: Lady GAGA: Death of morality!

#2

Post by Patush » Mon Sep 13, 2010 3:11 am

ImageLeft, Gaga (or Lina Morgana?) thrown off balcony in Gaga video Paparazzi

Anyone versed in the satanic rituals of the music industry knows that super-stardom is reserved for those who murder or take part in the murder of a lover, parent, or sibling.



by Richard Evans



Lina Morgana collaborated with Stephani Germanotta [Lady Gaga] during 2007 until falling ten stories to her death in New York October 6, 2008 at age 19.

This wasn't a secret, though the media is broadcasting it now since the girl's Russian immigrant mother has come out saying, "Lady Gaga is holding Lina's soul, and I want her soul to be free."

Anyone versed in the satanic rituals of the music industry knows that super-stardom is reserved for those who take part in the murder of a lover, parent, or sibling. Lina 'Morgana' (a witch name) was on the verge of her own music career taking off. Lots of images and her music is available on youtube, so her mother's claim that Gaga took her blond look, makeup, stage act, and several songs when she was still just Stephani Germanotta holds up.

Lina's professionally shot portfolio shows she was corrupt as hell anyway. It was just a case of which witch would be Satan's favorite. Her association with Gaga was during Stephani's 'experimental' phase -- lots of orgies and drugs. Stephani became Gaga and her career took off one month after Morgana's death.

Image(Morgana, left)

When I compared Morgana's recording "Wonderland" with Gaga's "Wunderland" the rip off is obvious.

Lina Morgana


Gaga

This was a ritual sacrifice to make a superstar. That's not new - it's been standard in Hollywood since the days of Fatty Arbuckle and Rudolf Valentino. The difference here is the flaunting of it. They've been schooling the public for decades that they're Satanists, and their job is getting the stupid fans to imitate and emulate their beliefs and behavior.

--

Part Two:

Morgana took the plunge on Oct 4 (some articles say 6) which is between Autumnal Equinox and Samhain, in the month of Beltane.
Stefani embarked on her first tour as Lady Gaga October 9, 2008.

In the opening of the Paparazzi video, she is picked up by a man and thrown off a balcony, falls with a spiral spinning background 'derivative' of Alfred Hitchcock's Vertigo, and goes 'splat' on the concrete below.

This video also features many shots of dead models, and the finale is when she gives the man poison champagne, calls 911 and says, "I killed my boyfriend" , smiling.

This is a magnum opus of the music industry. I think they may be about to close down shop on the age of entertainment. My hunch is that we're going to see the time Frank Zappa predicted:

"The illusion of freedom will continue as long as it's profitable to continue the illusion. At the point where the illusion becomes too expensive to maintain, they will just take down the scenery, they will pull back the curtains, they will move the tables and chairs out of the way, and you will see the brick wall at the back of the theatre."

Not yet. Gaga is still planning her necrophiliac tour next year with the real corpses on stage...

after that, predictions are a 'gray area'. And that would be the big 2012 year they've been jerking everybody off about. I've heard it said somewhere that Obama is 'the last President'. Gaga may be the last American Idol.

They're pulling the plug on everything, striking the circus tents, and wrapping up the world as we knew it.

--
Part Three:

Bottom line is the Whore of Babylon role in our society serves to shapeshift behavior and life goals of children from toddler through teens. Having achieved their goal of scrambling social norms to the point where girls are turning to women at an early age, the Babylon is shapeshifting from the Temple prostitute of Ishtar archtype (Madonna) into Lilith (Gaga).

Death is all around Gaga and it's going to get much worse. Just wait till 2011's tour with the Faces of Death.. uh......I mean Body Worlds live show of real corpses (the bodies are Chinese political prisoners and slave laborers obtained from the Chinese government).

The lyrics of the song Lina performs in the video is contested. Gaga's lawyers and the Illuminati media say she wrote Lina's songs and let her sing them to make demo videos,. Lina's mother claims Lina wrote them and Gaga stripped LIna's lyrics and stage persona like flock of vultures.
As for the authorship of the lyrics of that song, Lina's mother claims Gaga and her then-music trainer/handler.

Katy Perry, another pop star, provoked Gaga's fans by saying,"Using blasphemy as entertainment is as cheap as a comedian telling a fart joke."

All this is fun but here's the simple deal. Babylon is raising the bar on moral decline and reverse ethics. She will do high profile horrors that would get anybody else in prison, but she'll magically be rewarded by media and courts. People like Perry will issue sound bytes of protest at her breaking taboos, and instead of coming to their senses her fans will rabidly defend and rationalize her behavior and actions.

A Polish psychology researcher who survived the Soviet occupation of Poland under the Nazis and Russians termed the process 'ponerization'. Psychopaths are put on top which becomes the role model for the rest of the society from the top down.
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