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    Lady Gaga graces the cover of V Magazine

    Lady Gaga is on the September cover of V Magazine with a brand new photo shoot by Hedi Slimane, the same who shot Lady Gaga's The Fame Monster album shoot. The full interview is available for you to read below. The issue is set to be available on Aug. 31st! Make sure to grab your copy.
    I keep seeing this girl. It’s in a dream. In the dream I’m playing at an amphitheater, outdoors, and beyond the seats there’s a field in back—it’s the cheap tickets. That’s where the girl is sitting, dressed in a Hanes sweatshirt, wearing her mom’s rolled-up jeans. She has three babies, two are running around her. There’s a cigarette in her hand, a glass of Pinot Grigio. She’s got on a lot of jewelry, mostly fake, but she also has on one heirloom piece. This girl is singing every word and she thinks, How is it possible that Lady Gaga understands how I feel? That girl—it’s me. She’s the one I’m writing to. With Joanne, I wanted to reach people, I wanted to bring all parts of the country together through this record.” —Lady Gaga
    As a reader of a “celebrity profile,” I want the dirt, the gossip. I want to know what makes someone tick. I want to delve deep and get at the heart of who they are. When the chance to interview Lady Gaga came up, I was curious to understand the source of her drive. Where did all that energy, enthusiasm, and ambition come from?
    My youth was spent in a New York reigned over by Andy Warhol, so I know a thing or two about superstars. Warhol would have loved Gaga. Had she been on the scene in the 1980s, Andy would have gone out with her every night, happy to take her places, to dinner, to art world events—someone to travel and spend time with. He would have been painting her portrait and collaborating on projects with her. Both Catholic, creative, ambitious, not nasty or grandiose—both lonely and both wanting to see the planet, explore, and grab the world. He would have been full of admiration for her.
    There’s always a buzz of excitement surrounding Gaga, and when I mention I will interview her, everyone from my 21-year-old daughter to my middle-aged friends instantly knows who she is. Even where I live—upstate New York, Schuyler County, where the usual radio stations are turned to country—Gaga’s instantly identifiable voice can be heard in Walmart. The people I know may not be listening to her, but everyone sure knows who she is. How has this happened? Gaga is barely over 30 and the world has become a place separated into small categories of personal interest. She has, in 10 short years, seemingly melted into the global consciousness. And as she readies for her upcoming Joanne World Tour from August to December in support of the album of the same name she released almost a year ago, Gaga is as much at the forefront of pop music as ever.
    The build-up before meeting her is dizzyingly complex. In the days leading up to the interview, numerous calls arrive: One moment the interview may take place on the 22nd, then the 23rd, and finally the 24th. The on-set time will be in the morning, then the afternoon, and on the date itself the shoot is moved from AM to PM, from five, then six, and so on. When I finally get the call to come to set, it comes with the caveat that the interview time will have to be pushed further back. Gaga, I’m told by one of her handlers, has decided to shoot a low-key video for one of her songs from Joanne. I wonder to myself, After a full day on set—endlessly exhausting!—which Gaga will I meet?
    Those who have achieved this level of success have often entered zombiehood, frozen in a space reserved for those who inhabit a glazed-over world of flashbulbs and handlers, unable to trust anyone outside other “equally important” celebrity acquaintances or their immediate entourage—P.R. companies who notify the press of the arrival and departure times of their flights, handlers, secretaries, stylists, people around whom they can act natural. These are their friends, all of whom are getting paid. They’ve been followed, photographed, maligned, sneered at, trashed, and they have had to develop a steel coat of armor. They are in a bubble.
    Even when I’ve gone to the homes of major celebrities to conduct interviews, the person will often have no interest, and perhaps no skill, in showing themselves as anything other than a well-rehearsed, inhuman star. By the time the public has gnawed off their shell, it seems there is nothing left inside to give.
    When I arrive at the studio, there is a phalanx of people: bodyguards, car drivers, studio employees. Then there’s an inner sanctum of magazine staff, and beyond that, surrounding the temple altar, are the lighting and sound guys, photographer, and stylists—with Lady Gaga at the center of it all, the nucleus around which a million frantic atoms spin, forever in orbit, held steadfast by some mysterious gravitational pull. She’s got a guitar and she’s strumming it casually, unable to get the F chord right. All the while, she’s fussed over by makeup artists and stylists making various adjustments to the clothes hanging off her body.
    There she is, Lady Gaga, the larger-than-life star, unbelievably tiny and luminously beautiful as she smiles and waves hello to me. She has more than $200 million to her name and has met, or so it seems, everyone on the planet. And yet, in that moment, in her cut-off jeans, white T-shirt, and cowboy boots, she appears to be just another person. Of course, it’s an illusion, because she is anything but. Even when stripped of all the heavy makeup, the enormous shoes, and costumes, even after a 12-hour day of what must have been hard, unending work, she’s encased in her own sparkling magic.
    I’m expecting someone ferociously ambitious, a petulant commander-in-chief, a force of nature that must achieve and succeed with such intensity that you can feel or sense it in the person. But from behind the lights and various rigs, watching it all unfold, the Gaga before me seems almost blithely unaware of the frenzy around her. She’s just sitting there, childlike and waifish. A man tunes her guitar and returns it. One of Gaga’s breasts is exposed, pressed against the guitar’s back. She’s beautiful in a wistful way. And while there is no denying that her vocal talent has propelled her to the heights she has achieved, it’s that mysterious quality, the one we all yearn to brush up against, that has provided the fuel for her rocket ride to fame’s outer limits.
    She launches into a song. It’s from her most recent album, Joanne, which is vaguely...country-western-ish. It’s very pleasing: the simple chords, the sad, plaintive singing. She’s clearly experienced sincere sadness and it comes out in the way she sings. I’m usually appalled at phony “artistic” emotion, but I’m not getting that sense at all. I sit on a barstool, watching—and waiting.
    Hours pass. I wander into the other rooms. I’ve been waited on by her assistant, her manager. They’ve procured champagne to tide me over and sent out for a bottle of Pinot Grigio (which is what I’ve requested). Apart from Gaga’s flickering light, you can
    feel, after such a long day, that the energy in the studio has begun to fade like a dying bonfire. By the time she’s done with a last-minute decision to record a song, alone, acoustic, it’s after 10 PM. The staff disappears. She bops around the studio, grabbing a hat and sunglasses for the picture of both of us I need so desperately to impress my friends with—particularly my 21-year-old (my status has gone up in big percentages by my meeting her). Gaga is dressed casually, but is practically naked, her tiny shorts revealing her plump derrière, her T-shirt cut so high that her breasts are exposed. I wish I had this kind of ease with my body. I have the feeling that, alone at home, she’s probably naked all the time. Gaga’s manager and I go into the makeup and dressing room. We sit on high stools in front of the mirror, the lights around them bright. I’m drinking the Pinot Grigio, she’s puffing on a clove cigarette.
    “For me, Joanne, in the simplest terms, it’s the classic stories of our lives that help us return to who we really are, no matter how lost we get.” She leans forward, eager to explain. “You can always go back to a loss, or the pain of a pending loss, or a challenging struggle in your family life, or your childhood. And when you go back to that place, it somehow brings you back to where you were in the beginning. And for me, that’s what writing this album was all about. Because after The Fame Monster and subsequent albums, I felt that there was a part of me that was connecting on a human level with the public and part of me that was connecting on a whole new level, one that I had been wanting to connect with them on, a sort of fantastic magical level. And now, I want more of that connection.”
    At this point, we’re gabbing like old friends and all my questions about what makes her tick somehow vanish. As the interview progressed, I wanted to protect her. Maybe it’s similar to the way people must have felt when they met, say, Audrey Hepburn or Marilyn Monroe, women who appeared fragile and damaged but who were, at the same time, extremely strong. It’s the same feeling, too, that I would have when I spent time with Andy Warhol. Back then, on nights when I would go out and hit the town with him, there was frequently an almost palpable anger and hostility in the crowds that gathered around him. Those of us who were with him made sure that Andy was whisked off into a quieter, more isolated room. But Andy did not seem to notice. He was oblivious, or perhaps even pleased with the attention.
    Bobby, her manager, runs to get a cassette player—Gaga wants me to hear her song about Pinot Grigio, which is what she and her girlfriends drink all the time.
    “I want to connect with people on a deeper level,” she tells me. “And I wanna be able to see all those other things I’m interested in, but slowly and differently. Joanne is about living every day as if it’s my last. My father’s sister died when she was 19—that was Joanne, my aunt. This was the center of the pain in my family. Growing up, I never understood what the tears of my family were about.”
    “How did she die?” I ask.
    “Lupus,” Gaga replies.
    “Oh. Like Flannery O’Connor,” I say, in reference to the brilliant writer who died from the disease.
    “It’s a terrible autoimmune disease. [Joanne] died in 1974, but they had no idea why she died. They didn’t know what it was. And so when she was really, really ill, she had these lesions on her hands and the doctors wanted to take her hands off. She was a painter, and she did needlepoint and crochet, and she was a writer and a poet. As Joanne neared death, my grandmother said, ‘I can’t let my daughter’s last moments on this earth be without her hands.’ The spirit of Joanne is very much alive within my family. My dad has a restaurant called Joanne, and for me, personally, it means I must live every day as if it was my last. Catholic guilt. It’s those stories, those classic stories, that made me tough.” Gaga’s sincerity—her openness and enthusiasm—are touching, seemingly at odds with the exhibitionist/provocateur/larger-than-life entity who can perform at the Grammys with Metallica or headline a Super Bowl halftime show.
    “Tell me about the horses,” I ask her instead, switching the topic to something I’d learned about Gaga, a passion of hers that honestly surprised me.
    “I guess, when I moved to California, the sunlight was really good for me—I was happy. The sunshine helped to keep an optimism in my music. And while out there, I developed a special connection to horses. It began when my record label gave me a horse for my birthday: an Arabian mare named Arabella. I had never taken a horse-riding lesson. I literally did not know how to ride a horse. But I just grabbed her by the mane and rode her bareback.” An avid equestrian myself, I was curious to learn more.
    “Was she very well-trained?” I asked her.
    “She’s so well-trained that when I was about to fall off her, she stepped to the side to collect me. I also got her a boyfriend, Trigger—a stallion—because I didn’t want her to be alone. With him, I have to ride with a saddle. When I ride him, it always makes me feel so powerful, because he is so powerful. There’s no pressure. I just get on the horse and go. It’s sort of a metaphor for all the guys I’ve been with.”
    “I still don’t understand how you can do this,” I say. I’m a rider, a trail rider. I have my nice American Quarter horse, but even after years of lessons, I can’t imagine getting on her and galloping off bareback. On the other hand, I couldn’t wear 10-inch platform shoes and not fall over, either.
    “My body’s been through a lot over the years. Riding has forced me to be fearless pretty quickly. It’s all about down here,” Gaga notes as she points to her crotch, “in that woman area.” She adds, “Balance, strength, persistence.” It’s a routine that Gaga seems to have found strength and inspiration from: “I go on trails, ride, gallop, I’m not a ‘planning’ type of horse rider. I wake up, write songs, go for a ride.” To be sure, it’s an existence that sounds divine to me, but also one I know is very much a fairytale for most of us, if not for the quotidian practicalities alone. Reflecting on her bucolic pleasures, Gaga pauses, noting, “It’s all so antithetical to the me when I’m in NY, having grown up here. I went out today in Manhattan. It was pouring, but with my newfound appreciation of the city, I said to everybody, ‘Hey, isn’t it great!’”
    “Who’s everybody?” I ask. “I was talking to my team,” she answers. “The girls that take care of me. I have these wonderful powerful women in my life. They wake me up every day and make sure I am powerful, feeling good and strong. And also the gay men in my life. I would be lying if I said there weren’t some straight men on my team, but to me it’s the women and the gay men around me who give me strength.”
    As the interview winds down, I’m curious where she’ll go after the cameras, stylists, and handlers disappear. “Are you going out?” I ask, picturing an exclusive, underground wrap party.
    “No, I’ll go home,” she replies. “I’ll listen to music, play the piano, probably stay up until around three. Normally, I wake up and go to the studio when I’m in NYC, but I happen to have the day off tomorrow.” As I’m about to leave, she presents me with a huge bouquet of beautiful hydrangeas and calla lilies. If I wasn’t won over before, I am now.
    Long after the interview, I miss her. I’m not trying to be gushy after hanging out with her, but I just have to admire this creature, the same as I would admire a brilliantly colored hummingbird or flower, a rose in full bloom, the petals not yet starting to droop. It’s the first occasion in a long time that I’ve wanted to make a new friend, to watch as her crazy life unfolds in front of me, to grab the tail of a comet and hang on for the slipstream ride. I still don’t know what makes her tick, but I can say—and with an acute radar for phoniness—I walked away from our interview with only praise and awe for Gaga.
    As I survey her trajectory as an artist, I wonder what it means in the bigger scheme of things when we encounter the sudden emergence of stars of this magnitude—say a Madonna or a Michael Jackson. In some cases, virtuoso talent ascends and fades rapidly, a burst of creative dazzle akin to a roman candle. While for others, their work, their reputation, outlasts their lives—Elvis Presley, perhaps. The Beatles. I’ve known many who have come to New York City, formed a band, played every gig in town, and made an album. For a moment, “success” must have seemed so readily within reach. But where are they now? Dig through the bargain bins at any of Manhattan’s dwindling number of music stores and you’ll find their albums selling for a dollar or two. But it seems unlikely that Gaga’s desire to consume the universe will be easily quashed, and her ambitious world tour this year is another expression of that passion.
    In many ways, Gaga’s stardom has moved her farther from the paradise that most of us already think she has achieved. Sure, she has her ranch to retreat to, but the arcadia of her own making, as in mythology, reminds us there are greater forces waiting at the gates. Gaga has rocketed to fame’s greatest heights and landed upon its Elysian fields. In so doing, she is, like the girl that she speaks of, alone in the distant field, wearing jeans and a Hanes sweatshirt.
    But Gaga is also gentle and brave, more resolute than any I’ve met before. I think—I know—the summits she has reached, while not removed from epic tribulations, are assuredly her very own Mt. Olympus, and she our bright-eyed Athena, a goddess to be admired—and protected.

    Lady Gaga Joins Tudor Watches Campaign: Born To Dare

    Astounding voice. Style icon. Awarded actress. Lady Gaga is all of this and much more. With her very own brand of theatricality, style and charisma, Lady Gaga keeps millions of fans and the fashion community on their toes.
    6 Grammy Awards. 1 Golden Globe. Countless MTV awards. 150 million singles and over 30 million albums sold. Lady Gaga has achieved a level of fame and respect few entertainers ever have. This is a result of her unique recipe for success: raw talent, hard work, bold choices and immense gratitude to her fans, her “little monsters” as she calls them.
    When you try and think of a daring individual in today’s popular culture, it is hard to find anyone more fitting the description than Lady Gaga. Behind the glitter and glam, her provocative style and political statements, she is about total showmanship. A singer. A composer. A performer. A dancer. She stages herself, crafting a revolutionary image as a way to reach the public through a comprehensive approach to art. Writing her own lyrics, playing the guitar, the piano, dancing, asserting her unconventionality, she raises awe, attention and awareness.
    Lady Gaga captures the current vibe with her mastery of all types of pop and her acute sense of style. Her amazing vocal abilities belong on every stage. From the little known NYC clubs where she made her debut, to the 25,000-seat arenas she fills to the brim with her current Joanne World Tour, to a jazz club, singing the best of the past standards with her full, warm tones.
    Lady Gaga is not just about entertainment and show business. She shakes things up. With undivided commitment she is a vocal activist. Her message takes many shapes and forms, among which music is the main but not the sole medium. Lady Gaga stands out in the way she dresses, but also with her charity agenda and non-profit work.
    Being in the public eye, supporting political and social causes against the political tide, demonstrating and championing charities requires facing her fears. Raising awareness, money and helping Haiti in 2010, Japan in 2011, she is a champion of the fight against fur, an advocate for the rights of the LGBT community. Yet she’s not poker faced about her religious beliefs.
    Her Born This Way foundation is committed to supporting the wellness of young people and empowering them to create a kinder and braver world. Leveraging rigorous academic research and authentic partnerships it provides young people with kinder communities, improved mental health resources, and more positive environments – online and offline.
    Lady Gaga is a global, leading fashion icon, mindful of everything she wears. She has turned celebrity into a comprehensive art form. She knows full well that an outfit is a powerful message, an art performance. Every accessory is a way to shape her image, a means to an end.
    Lady Gaga wears the Black Bay. This 41-mm automatic timepiece is the interpretation of a famous tool watch. Versatile, timeless and authentic, the Black Bay is Lady Gaga’s choice.
    You can find the promo picture in high quality here.

    Lady Gaga honors her late friend Sonja with 'The Edge Of Glory'

    Last night, Lady Gaga brought the Joanne World Tour to the Wrigley Field in Chicago. During her performance of The Edge of Glory, she shared a very intimate moment with her fans. She first dedicated the song to her late friend Sonja, who died of cancer a few months ago, then she went on and told the public that some of her ashes were spread on the venue's field right before the show.
    Lady Gaga was also the very first singer to perform solo at the Wrigley Field of Chicago, and she decided to dedicate this moment to her friend Sonja. Watch the video below!

    Lady Gaga talks about Madonna in her Netflix Documentary

    Following the official announcement, Lady Gaga has released a new clip from her upcoming Netflix Documentary Gaga: Five Foot Two. In this video, she dishes on Madonna and expresses admiration for her no matter what the two went through. The clip ends with Gaga saying "the only thing that bothers me..." which leaves us very curious to see the rest.
    The full documentary will premiere on Sept. 22 on Netflix.

    Lady Gaga set to release 'Five Foot Two' Documentary

    In the Netflix original documentary Gaga: Five Foot Two, set to premiere on September 22, Lady Gaga offers a vulnerable look of her life during one of the most pivotal periods in her career yet. Directed by Emmy®-nominated filmmaker Chris Moukarbel (Banksy Does New York, Me at the Zoo), the film is shot in the style of cinema verité, giving viewers unfiltered, behind-the-scenes access as Gaga spends time with close friends and family members, records and releases her 2016 album Joanne and, deals with personal struggles.
    Moukarbel’s compelling portrait captures Lady Gaga’s life over a eight-month period. On top of professional triumphs, viewers will see her cope with intense emotional and physical pain. Other moments reflect more ordinary aspects of her life, whether it’s attending a family christening, visiting her grandmother or cooking and playing with her dogs at home. The film may help viewers understand how all of these experiences contribute to Gaga’s art – and how, in just a few years, the 5-foot-2 performer has become such a relatable and beloved figure worldwide.

    Lady Gaga to Perform in Toronto as Netflix Doc 'Five Foot Two' Bows

    Lady Gaga will perform at the 2017 Toronto Film Festival on the first Friday night as the Netflix documentary Gaga: Five Foot Two has a world premiere.
    The pop icon's post-screening performance on Sept. 8 will follow Gaga's Joanne world tour having a two-night stand at Toronto's Air Canada Centre on Sept. 6 to 7, just as TIFF gets underway. Gaga's latest concert tour kicked off in Vancouver on August. 1.
    Gaga: Five Foot Two, directed by Emmy-nominated filmmaker Chris Moukarbel, offers behind-the-scenes access as Gaga, also known as Stefani Joanne Germanotta, meets with close friends and family, records and releases her 2016 album Joanne and deals with personal struggles.
    This article originally appeared on THR.

    VIDEOS: Lady Gaga's Joanne Tour in Inglewood, CA (Night 1)

    Lady Gaga brought the Joanne World Tour to Los Angeles last night. Her first out of three sold out shows in Inglewood took place at The Forum. Videos taken front row are available below!
    Diamond Heart
    Poker Face
    Perfect Illusion
    Interlude 1 / John Wayne
    Interlude 2 / Just Dance
    Come To Mama
    The Edge Of Glory
    Born This Way
    Interlude 3 / Bloody Mary
    Dancing In Circles
    Interlude 4 / Bad Romance
    The Cure
    Million Reasons

    VIDEOS: Lady Gaga's JOANNE Tour in Edmonton, Canada

    Last night the second show of Lady Gaga's Joanne World Tour took place in Edmonton, Canada. Videos recorded from a fan who was front row are now available below!
    Diamond Heart
    Poker Face
    Perfect Illusion
    John Wayne
    Just Dance
    Come To Mama
    Bloody Mary
    Bloody Mary
    Bad Romance
    The Cure
    Million Reasons

    The Joanne World Tour Set & Stage Design

    The stunning aesthetics of Lady Gaga’s Joanne World Tour gave many attendees goosebumps as the set and stage, built by TAIT, took over the entire arena. The full layout consisted of a very dynamic and kinetic main stage, three flying bridge platforms which double as projection displays, two satellite stages and an LED integrated b-stage.
    The jaw-dropping 85 ft. wide main stage is fashioned with three automated lifts used for scenic props and staging equipment, in addition to, five performer wave lifts surrounded with LED video panels. The lifts transform the stage into several intricate looks throughout the show.
    Three of the five performer wave lifts are 17 ft. wide and sit side by side upstage. Parallel to the upstage performer wave lifts are two 50 ft. wide performer wave lifts. When moving in unison, all of the wave lifts appear as one massive lift that transforms into five different configurations: Flat, Elevated, Criss-Cross, Diagonal, and Staircase. The upstage performer wave lifts also move independently from the larger wave lifts forming four different movements: Flat, Elevated, Staircase, and Zig Zag.
    TAIT designed and manufactured three inflatable lighting pods which hang 60 ft. above the audience and house billboard-like, video projection displays. When not being used in billboard display mode, each video projection display descends 50 ft. below its lighting pod and converts into a 50 ft. long bridge platform giving Lady Gaga and her dancers a catwalk to travel on from the main stage to the satellite stages and to the multi-dimensional, LED lit b-stage at the other end of the arena.
    Additionally, TAIT custom designed the jagged, heart-shaped, laser piano to match the b-stage’s neon aesthetics by furnishing it with 44 lasers that shoot beams of vibrant colors through the arena with every single keystroke she played. The shell of the piano is built out of a 1.25 inch acrylic, in addition to, a mixture of mirror and dichroic filmed polycarbonate fascia which amplified her flashy laser show.