Akon Plucks Lady Gaga From Talent Farm Obscurity To A Global Phenomenon

via the Assoicatee Press spotted on barkbiteblog

Akon's done some regrettable things since making it in the music industry: Signing and unleashing the autotune-fueled artist known as T-Pain, dry humping an underage girl at a Caribbean concert and letting his fists fly at a fan in the crowd are just a few examples. But putting aside what you think about Akon as a person or an artist, the truth is if he didn't take a chance on Lady Gaga when many others had turned a blind eye to her, we might not be enjoying her new world order now.

A few years ago, Gaga was bouncing from label to label and Akon had closed the deal on his imprint under Interscope. He collaborated with Gaga in the studio and walked away incredibly impressed with her talents. He later told Jimmy Iovine of Interscope that he wanted to sign Lady Gaga to his label Kon Live Distribution. Voila! Before you can say "Ro-ma-maaaa!" Gaga was signed to a joint deal with Interscope/Kon Live music and put to work with RedOne on what would be her multiplatinum debut album, "The Fame." Akon explains his role in Lady Gaga's success in an interview with the AP.

Producer RedOne On 'We Are The World' Involvement L.A. Times Interview

L.A. Times: How did you become involved with the remake?

RedOne: I got a call last minute from Lionel Richie asking me to come up with a track for the song.

L.A. Times: Just like that?

RedOne: Yeah. It was like a dream-come-true kind of phone call, you know? He’s a friend of mine. He’s always been supportive of my music. He’s always given me advice on how to do things. He’s been like a big brother to me. So I got a call from him and Quincy [Jones, who produced the original single] saying I should do a version of this. I did, last minute. I was so nervous. I had nightmares. Thank God I delivered. The next day, we went to play the song for Quincy. There were a few people who tried different versions. But Quincy said, “Your version is by far the best.” So that was pretty nice.

L.A. Times: A huge roster of stars participated.

RedOne: Yeah. We recorded after the Grammys [where RedOne took home two trophies for his work with Lady Gaga], so that helped. All the stars were in town. It was an experience of a lifetime. The funny thing is, a few months ago, me and Lionel were at the same studio and he was telling me all these stories about the original “We Are the World.” About how magical it was … all these huge names in the same room. He was like, “Those things don’t happen every day.” I was listening like a little kid. The next thing you know, I’m experiencing it. … it was like the next generation. To be chosen as the producer from this generation to do it, it was incredible.

L.A. Times: What was the vibe like with so many big stars in one room?

RedOne: It was a nice spirit. This thing isn’t about me as a producer or the artists as artists. It was about helping Haiti. It was like how Quincy said, “Check your egos at the door.” Everybody was helping.

L.A. Times: How do you manage all those voices?

L.A. Times: In the studio, we had a few rooms. We didn’t have a lot of time. We had one day when everyone could do it. We were doing different vocals in different rooms. The choir, we did it live with everyone there.

L.A. Times: As a producer, what was it like to be part of remaking something that has such a huge legacy?

RedOne: I think that's why Quincy and Lionel asked me. They wanted someone current but someone who would stay true to the first one. Honestly, I didn’t want to change too much. I have too much respect for the original. It's such a classic. I kept the magic and the musicality of the first one and just gave it a little fresher sound for the audience of now, so the new generation could appreciate it.

L.A. Times: I’m sure you felt a lot of pressure taking on the project.

RedOne: Oh, of course. My God. The pressure was big. But having people like Lionel and Quincy -- the most humble people who were very supportive -- helped. They gave me directions. But it was a lot of pressure. I told you, I had nightmares. Thank God they loved it. I was living a dream.

L.A. Times: Did you feel the spirit of Michael Jackson that day?

RedOne: Absolutely. Michael was a charity person. He loved helping people. He loved it. He loved helping anybody who needed it. And, of course, the spirit of Michael was there with us. We felt his energy. And with what’s going on in Haiti, I mean, that’s why we were all there. Nobody was thinking about their ego. This was about Haiti. Like Jaime Foxx, he told me … Jamie Foxx came to me and said “Red, don’t worry about me. I’m here for as long as you need me. Do your thing. If someone wants to sing first, I’ll wait.” There was a lot of that. Good spirit and positivity.

L.A. Times: Did you ever think that you'd be working with Tony Bennett on a track? Or so many of the other artists?

RedOne: Right! There was Wyclef, Tony, Celine, Akon, Barbra Streisand. I would never have thought it was possible. It’s incredible. Just sitting with Quincy Jones and Lionel in one room -- it’s beyond comprehension. And it’s all to help a country. The main idea is to touch people’s hearts. To send a message: help, help, help. We tried to perfect our creativity to transmit that to people because music is the No. 1 thing that unites people. We just want to raise as much money as possible for Haiti. (source)

Lady Gaga Named Creative Director For Polaroid Specialty Line At CES Press Event

Formally announced at the Consumer Electronic Show in Las Vegas, NV. Lady Gaga appears at the 1:25 mark.

via the Wall Street Journal

If Polaroid wanted attention by hiring Lady Gaga as its new creative director, it certainly succeeded.

I arrived 45 minutes early for Polaroid’s CES event Thursday, only to find 200 people already crowded into a press pen. The pop star’s music, with lyrics such as “I love your psycho, your vertigo stareschtick,” blared from the speakers (sadly, I know all the words).

While the brand that created the iconic instantaneous film remains well known around the world, Polaroid filed for bankruptcy in 2008 and was purchased and relaunched in 2009 by PLR IP Holdings. The troubled company made a splash on Tuesday prior to CES with the announcement that Lady Gaga, the 23-year-old singer known as much for her eccentric costumes as for her hit songs “Poker Face” and “Paparazzi,” would serve as a creative director for a “specialty line of Polaroid imaging products.” Whether or not she will actually have strong creative input remains to be seen.

Thursday’s crowd consisted of a horde of gray-haired, suit-clad buyers and exhibitors angling for a glimpse of the celeb. The most-cited reason for being there? Curiosity.

“Is she going to sing?” asked one buyer from Kohl’s who had positioned himself at the front of the crowd, right behind the chain-link rope. He’s here because his 12-year-old daughter is “a big fan,” he said. “I don’t know why.”

Another gray-haired buyer says his 21-year-old daughter loves Lady Gaga. “I’ll try to take a picture and email it,” he said.

Half an hour behind schedule, a Polaroid rep said that the company was “very, very excited” about its collaboration with the singer. Hundreds of cameras flashed as she took the stage, wearing her platinum blond hair in spikes that radiated outward from her head in the shape of a parasol.

Ms. Gaga wore large black sunglasses and her trademark deadpan expression. She expressed her excitement about her new position with Polaroid and joked that her parents were thrilled she finally has a “real job.”

“I myself am a Polaroid girl,” she told the crowd, which was still busy jostling each other for a photo.

After about two minutes, her microphone seemed to malfunction and her voice was barely audible. In earshot, however, she did announce: “This is not an endorsement deal. We won’t be selling cameras that have my face on them.” She also said she was pleased to be bringing instant cameras “into the future.”

Photos from the event here:
Getty Images
Film Magic
Corbis Images
Rex Features
PR Photos

Lady Gaga Celebrates New Year's Eve In Miami, FL

Lady Gaga’s poolside performance at Fontainebleau in Miami Beach, FL which included party goers Hayden Panettiere, Kevin Connolly, Bow Wow, Akon, Polow Da Don and Chris Brown enjoying the festivities.

PHOTOS:
Getty Images 1
Getty Images 2
Film Magic
Wire Image
Star Traks Photo 1
Star Traks Photo 2
Rex Features

Whatcha Say?: Kid Cudi Exits Gaga Tour Opener Jason Derulo Bumped Up

via TMZ

Kid Cudi -- the guy who sings that "Day 'N Nite" song -- has been officially dropped from the Lady Gaga tour in the wake of a brutal fan-punching incident.

Sources at Interscope Records confirm the rapper is "no longer" with the tour -- but wouldn't say if the decision had anything to do with YouTube footage showing Cudi punching fans in the front row of a concert in Vancouver this past weekend.

We're told Jason Derulo -- the guy who sings "Whatcha Say" -- will move up from his spot as Gaga's opening act to fill Cudi's spot ... no word on who will fill-in Derulo's.

Vevo NYC Launch Party With Video & Photos

The Vevo launch party was held at Skylight Studios in New York City last night (Dec.8) for the new online music video service.
50 Cent, Lady Gaga, John Mayer, Corrine Bailey Rae, Mariah Carey, John Legend, Rihanna and others were on hand for the event.

PHOTOS from the Vevo video service launch event at Skylight Studio in NYC:
Getty Images 1
Getty Images 2
Wire Image 1
Wire Image 2
Rex Features
Patrick McMullan
Globe Photos 1
Globe Photos 2

Latest articles about Vevo:
New York Times - Music Industry Companies Opening Video Site
Associated Press - EMI joins Universal-backed music video site Vevo

VEVO website click here

Lady Gaga 'Monster Ball Tour' Steamrolls Through Canada Show Recaps

Opening night of the tour Friday, November 27 at Bell Centre in Montreal, Canada





As reported by T'Cha Dunlevy at the Gazette / Canada.com

Things got off to a slow start; the fashion icon was fashionably late. Cheers erupted when the lights finally dropped just before 10 p.m.

She wasn’t ready to come out just yet. A giant screen lit up with a futuristic, glowing green grid. Gaga finally appeared, striking an awkward pose, blond locks cascading over her shoulders, a shimmering mask around her eyes.

She opened with a new song, Dance In the Dark, off her new album The Fame Monster, before following with a string of hits off last year’s The Fame.



Lo and behold, Kid Cudi finally appeared, dropping an engaging freestyle. A vibe was taking hold. She dedicated the heartfelt ballad Speechless to her dad, who was in the audience.

Lady Gaga Montreal show photos:
WENN Photo

Saturday, November 28 2nd night of the tour at Air Canada Centre in Toronto





As reported by Jane Stevenson at Sun Media / Canoe

Yes, Lady Gaga is a sexually-charged performer with a major nod to Madonna, to whom she is most often compared, and physically resembles in a live setting.

As she got out of her ecto-skeleton outfit, she grabbed her breasts and stripped down to a silver bodysuit for another Fame Monster song, Alejandro, which saw her being carried by her crotch by one of her male dancers and lowered onto another male dancer.

Later in the show, she declared: "Everytime you scream my name, I get a teeny, tiny, mini-orgasm."

And she made a point of spreading her legs while stradling a white dentist chair during Paper Gangsta.



Toronto Lady Gaga Set list:
"Dance In The Dark"
"Just Dance"
"Love Game"
"Alejandro"
"Monster"
"So Happy I Could Die"
"Teeth"
"Speechless"
"Poker Face" (on piano)
"Fashion"
"The Fame"
"Money Honey"
"Beautiful Dirty Rich"
"Boys Boys Boys"
"Paper Gangsta"
"Poker Face" (with band)
"Paparazzi"
"Eh, Eh (Nothing Else I Can Say)"
"Bad Romance"

Sunday, November 29 at Scotiabank Place in Ottawa, Canada



As reported by Aedan Helmer at the Ottawa Sun

Lady Gaga oozed sexuality, channelling her obvious hero Madonna as dancers grooved and groped alongside the bleached blonde diva.

“I’m about to be very wicked,” she promised.

Then, lying prone at centre stage, her legs splayed in the air, she cooed, “I’m kinda like Tinkerbell.

“When Tinkerbell died, the only way to bring her back to life was if you come for her,” she said, feigning orgasm. “Scream for me Ottawa!”

The tender ballad Speechless gave way to a teasing, barely recognizable solo piano rendering of her name-making hit Poker Face, featuring an appearance from opening act Kid Cudi, who spliced his own Make Her Say in the mix as Gaga crooned.

Read each shows' full review here:
Gazette - Talented Lady Gaga needs time to grow (Montreal)
Canoe - Lady Gaga puts on a Monster show (Toronto)
Ottawa Sun - Review: Lady Gaga rules (Ottawa)

Montreal video courtesy of kasiekahne & kylemtl
Toronto video courtesy of Cybershotzz & cdngirl09
Ottawa video courtesy of AstroStarzz

Lady Gaga 'The Fame Monster' Album Preview

via Showing Out

Bad Romance
(prod. by RedOne; written by RedOne and Lady Gaga)

The world has already been treated to this gibberish-fueled jam, which bops along with a sprightly kick, searing ‘80s synths and stinging metal snares. If you haven’t yet seen the absurdly sensational video for this track yet, click here and watch immediately. Then, watch the behind the scenes clip from the video. Watched them? Proceed.

Alejandro
(prod. by RedOne; written by RedOne and Lady Gaga)

This Spanish-tinged electro jam plays like a pseudo mashup between Ace of Base’s early ‘90s hits and a flamenco stomp. Over burning synths and bloopy keyboard flourishes, Gaga sings, “Don’t call my name, don’t call my name / Alejandro / I want you babe, I want you babe / Fernando / Don’t want to kiss, don’t want to touch / Just smoke my cigarette and hug / Don’t call my name, don’t call my name / Roberto” before repeating “Ale-Ale-jandro.” Spicy.

Monster
(prod. by RedOne; written by RedOne, Space Cowboy and Lady Gaga)

“Don’t call me Gaga,” she says at the beginning of this power-pop gem. “I’ve never seen one like that before. Don’t look at me like that. You amaze me.” Soon, the beat kicks in, with Gaga singing, “He ate my heart out” in full-out autotune mode. The song transforms into an angular, futuristic club smoker, with a beat that recalls that of “Just Dance,” only a shade darker.

Speechless
(prod. by Ron Fair; written by Lady Gaga)

This track takes the album in a completely different direction. Synths are nowhere to be found on “Speechless,” which sees Gaga channeling the spirit of John Lennon as she coos over a Beatles-esque piano arrangement. She sings, “I can’t believe you looked at me / With your James Dean glossy eyes / With your tight jeans, with your long hair / And your cigarette-stained lies” before launching into the emotionally-wrought chorus, “Oh boy, you’ve left me speechless / You’ve left me speechless / So speechless.” But the later in the song, the clouds part and sunshine peeks through as the melody brightens, taking on an optimistic tone that contrast her heartbroken lyrics. This is the track that will silence anyone that thinks she’s nothing more than a dance-pop princess.

Dance in the Dark
(prod. by Fernando Garibay; written by Lady Gaga and Fernando Garibay)

Gaga slips back into her icy pop persona for this ’80s-inspired tune, which rides on foggy synthesizers, a neck-snapping beat and fuzzy electronic vocal filters. “Some girls won’t dance to the beat of the track / She won’t walk away but she won’t look back / She looks good but her boyfriend says she’s a mess, she’s a mess, she’s a mess,” Gaga coos before launching into the chorus, “Baby doesn’t dance in the dark / ‘Cause when he’s lookin’, she falls apart.” Another dance floor-friendly glitter jam.

Telephone ft. Beyonce
(prod. by Rodney “Darkchild” Jerkins; written by Lady Gaga, R. Jerkins, Lashawn Daniels, Lazonate Franklin and Beyonce)

This track is the standout from the bunch, not because it’s an infectious tune with Billboard written all over it, but because it sees two of the world’s biggest pop stars going head-to-head on their debut collaboration. “Telephone” is a kiss-off to the persistent boyfriend that won’t stop calling your phone, with Gaga and Bey taking turns chewing out their man that won’t stop blowing up their cellulars. The song begins with a spidery keyboard line that gives way to a blinding pop backbeat, with Gaga taking first verse duties, singing, “Just a second it’s my favorite song they’re gonna play / And I cannot text you if I’m drinkin’ more Henny.” Soon, the power chorus kicks in: “Out in the club when I’m sippin’ that bub / No, you’re not gonna reach my telephone,” repeating a few times before Beyonce sasses her way onto the track and breaks it down. “By the way you blowin’ up my phone / Make me leave no faster / Put my coat on faster / Leave my girls go faster / I should have left my phone at home / Cause this is a disaster.” After Bey finishes tearing up her bug-a-boo, the track gives way the bridge where Gaga and Beyonce take a few bars together, with Beyonce singing, “Sometimes I feel like I live in Grand Central Station / Tonight I’m not takin’ no calls / ‘Cause I’ll be dancing” before the track rolls out into free-for-all duet between the two. Mark our words: this will be a hit.

So Happy I Could Die
(prod. by RedOne, Lady Gaga and Space Cowboy; written by RedOne, Lady Gaga and Space Cowboy)

Only Gaga could get away with this one, which boasts lyrics about her lesbian attraction to that “lavender blonde” and how, through all the tears and all the lies, she “touches [herself] to feel alright.” The dreamy pop confection floats on airy, brooding synths, with Gaga singing on the hook, “Happy in the club with a bottle of red wine / Smiles in our eyes ’cause we’re having a good time / Eh, eh / So happy I could die / Be your best friend, yeah, I’ll love you forever / Up in the clouds, and we’re higher than ever.” The track vacillates between the doe-eyed chorus and snapping verses, and while many might peg this as an ode to masturbation, it’s suggestive just enough to evade any criticism.

Teeth
(prod. by Teddy Riley; written by Taja Riley and Lady Gaga)

Gaga encroaches on gypsy-pop territory on this vamping tune, which chugs along with stomping drums, a sleigh bell jingle and blaring trumpets. Throughout the song, Gaga wails as she sings, “I need a man that’ll show me your fangs / Tell me something that’ll save me / I need a man that makes me alright (a man that makes me alright) / Tell me something that’ll change me / I’m gonna love you with my hands tied / Just show me your teeth.” This one closes out the album on a bold note, a sharp conclusion to a tightly woven collection of tracks.
(source)

Dr. Dre Introduces New Headphone Line "Heartbeats by Lady Gaga"

note: not actual headphone line in above picture.

"Heartbeats by Lady Gaga" out October 2009.

via press release

Legendary artist and producer Dr. Dre, Interscope Geffen A&M Chairman Jimmy Iovine and Monster® , the leader in audio/video accessories, are proud to announce the official introduction of Heartbeats by Lady Gaga, the latest addition to the hugely popular Beats™ by Dr. Dre™ headphone family from Monster.

“Heartbeats by Lady Gaga” are engineered to deliver all the music the artist intended you to hear, with incredible sonic clarity, pounding bass, and all the power demanded by today’s music. The self-inspired design, including every detail developed with Lady Gaga, is both a unique reflection of Lady Gaga’s style and fashion sense as well as her commitment to the sound quality of her music and the way it’s heard.

Lady Gaga explains her motivation behind “Heartbeats by Lady Gaga”: "In the deepest hour of the night, I confess to myself three things; I would die if I was forbidden to write, forbidden to love, or forbidden to fashion. Heartbeats embody the trinity of my human-being, with one additional vow: that SOUND matters. Wear Heartbeats, love each other, and celebrate the art and lifestyle of music.”

Read more of the press release here:
Business Wire - Monster and Beats™ by Dr. Dre™ Announce First Artist Line: “Heartbeats by Lady Gaga”

Visit the "Beats™ by Dr. Dre™" website for more info:
Beats™ by Dr. Dre™