By Kris Milano
Lady GaGa gives an intimate interview and it is like Diva meets the Nerd. Very funny and telling and she tells you about her creative process. What she says about doing her own Twitter and the “what-if” scenario of what greats like.
View the on-demand footage of this exclusive broadcast from SHOWstudio alongside the real-time transcript edit created during the course of the interview process.
Q. SHOWstudio.com is a fashion website, first and foremost – Lady Gaga, we have asked you to be the tenth participant in our series of In Camera interviews because, more than any other contemporary musician, your work feels inextricably connected to fashion. What function does fashion serve for you? Do you use it to underline your musical themes, or is it another outlet for a different type of creative expression? Alexander Fury, Fashion Director, SHOWstudio, London
It’s all of the above, but I think more importantly on a cultural level I think music and fashion have always mirrored each other as part of a creative context. They cannot be separate. I need fashion for my music, and I need music for my fashion.
Q. You are such an inspiration, from what you wear to how you sing. But where do you get your inspiration from? Ricky White, New York
From capital HIM. I think there are two different kinds of artists. People who need to be plugged into a cultural movement, in music, fashion or the latest fishing techniques. But I think for some of us – and I would perhaps say the same about my friend Nick Knight – it’s a much more innate gift. A much more spiritual experience. We don’t have to be plugged into a particular movement to be part of it. It’s transcendent, it’s an inspiration that we’re born with. To be perfectly honest, right now my biggest inspirations are my fans. I feel they subconsciously submit their freedom and love and joy into me. It’s almost like we have our own little spiritual connection separate from anything else.
Q. Did Rainer Maria Rilke’s theory that artists should not accept criticism help you stay determined when you were starting out? Meadhbh Nic Nuadhait, Ireland
Yes. I love Rilke, it’s no secret that I live my life in almost utter submission to him. I think it’s important to be objective about your own work, and it’s important what I’ve learned from Warhol to use the people around you to feed your creativity. If you have an incessant need for validation from an outside place, that’s when criticism can be detrimental and even life-changing. You don’t want the world to dictate your work, you want to be a funnel. In short, I don’t give a fuck what anyone thinks.
Q. Do you find it difficult to deal with negative criticism in the media? Heather Hunter, Virginia
No. It can always be personal, because my work is personal. But you have to believe in yourself and what you’re doing, and almost refuse criticism and negativity. It’s like the wrong organ was given to you in an operation. You’ve got to reject it.
Q. Your little monsters know that when you began your career in New York City, the music you were making and playing was sonically very different from the music you make now. What was the shift for you? Why did you decide to start making dance music? Perez Hilton, Los Angeles
I started out when I was very young, playing classical music when I was four. When I turned eleven that’s when I started to write pop music, and I wrote jazz, and I got into ragtime. Then I got into sort of folky jam music, Bob Dylan, and then I got into Queen and Bowie. And then disco. It was my intellectual evolution, and my love of music started to change and form. When I was living downtown alone I was able to look into myself and ask myself if I must create music. And I must! And if I must, why? I resigned myself to make the kind of music I wanted to listen to, what I thought was great – what I thought would be groundbreaking where I was living. Indie music was the norm in New York, and pop music was seen to be corporate. And in true Gaga fashion, I decided to make pop music in a town where there was none.