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• W2597311852 abstract "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?-- Camille PagliaPop time, would argue, is cyclical, rather than linear. Yet if there is a characteristic of our age of fast capitalisms and critical modernities, then it is that these pop cycles are increasing in speed. This paper investigates ageing and the speed at which new pop becomes old pop. Women are a canary in the mine of such a process. The brightest and loudest of these contemporary tweeters is Lady Gaga. She has compressed Madonna's two decades of fame into five years. She wears the pop history of Elton John, David Bowie, Donna Summer, and Debbie Harry on her sleeve. Her use of inversion creates a new bundling of radicalism and commercialism, old and new, ageing and youth. Our goal in this article is to track how and why Lady Gaga has compressed the cycles of pop and ageing. We argue that Gaga is Baudrillard in drag. Jean Baudrillard committed to shallow ideas, to banality, very deeply. So does Gaga. Using surprise and shock to create disturbing visual and sonic moments for the enabling of difference, Gaga deploys the full palette of pop. Pop history is her paint box.Our work opens this paint box to develop a model of pop time and how theories of culture are transforming the concepts of both popular culture and popular memory. In probing such questions, also answer Camille Paglia's inquiry and show why her disdain for Gaga misreads (post) youth culture and (post) popular Lady Gaga is more than a case study. She is a metaphor, metonymy, and model to think about how new theories of speed are activated on popular culture.Pop TimePop history seemed, for some commentators at least, to have stopped sometime in the late 1980s. This was the so-called moment for many critics and fans, although it would be better to label it as a pivotal point in the development of contemporary mobile accelerated culture. Indeed, we have never been postmodern (Redhead, We Have Never 1). History as a whole, not just pop history, was about to be reversed, or wiped out, so that nothing done previously was of any authentic value. Since the late 1940s and early 1950s, pop history had seemingly unfolded, scene on scene, genre on genre, layering itself into a rich cultural tapestry worked over and over by music journalists, academics and fans. From the 1950s to the late 1960s, the change was relatively leisurely given what was to come.Then various splinters followed in the early to mid-1970s: psychedelic rock, progressive rock, glam rock, punk rock. In a parallel pop discourse, soul in various guises (Motown, southern, Philly), ska, reggae, and disco unfolded from the 1960s onwards, fully fledged by the time of punk in 1976 and 1977. As this time stretched out, starting from the 1950s and ending in the mid to late 1970s, the pace of change in terms of genres sped up considerably by the period's end. There was much less space and time for a scene or a genre in the late 1960s or 1970s (compared with 1950s or early 1960s) to grow from underground to overground. Therefore, it was difficult to remain distinct from the pop mainstream. The same was true of its move back again into obscurity. Compare the gestation period of rock and roll, which took several years in the 1950s, with punk, which had approximately six months in 1976.A subcultural history of popular music was also written along similar modes. In Britain, for example, the youth subcultures organized around the figures of rockers, mods, skinheads, rastas, bowie boys, and punks. All boasted homologies to music, drugs, and fashion styles and were observed by cultural studies scholars to have unfolded in linear fashion from the late 1950s to the mid-1970s. After this date, subcultures were seen regularly to be revived (mod revivals, ska revivals, skinhead revivals, glam revivals, rave revivals, and so on) though at a quicker pace over the next thirty-five years. …" @default.
• W2597311852 created "2017-03-23" @default.
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• W2597311852 date "2013-10-01" @default.
• W2597311852 modified "2023-09-24" @default.
• W2597311852 title "Baudrillard in drag: Lady Gaga and the accelerated cycles of pop" @default.
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