(Cntd from ‘vital signs’ 2). I was serious about that last part about Arvo Pärt’s Morning Star vs Bad Romance, actually. Yes, I do have serious reservations about the performance artist Stefani Joanne Angelina Germanotta, a.k.a. the now ubiquitous Lady Gaga, and not merely on purely musical grounds. I am willing to concede that she is in some ways a mesmeric performer with a genuine vocal technique and a vivid creative imagination. I am also willing to take her at her word when this former Catholic schooler describes herself as ‘a very religious woman’; given the prevalence of spiritual vocabulary in songs such as ‘Born this Way’ it is understandable that her work should have provoked a number of broadly favourable theological analyses (for example from Tom Beaudouin and others in the Catholic America magazine, or Dr Pete Philips of the University of Durham, secretary to the Faith and Order committee of the British Methodist Church, who writes:
‘the Church needs to get Gaga, to interpret Gaga, to listen to Gaga, to engage with Gaga and the pantheon of celebrities amongst whom she is the latest shining star. For if we do not get Gaga, we do not get the world. If we cannot engage with Gaga, then we cannot engage with the masses, the majority who come nowhere near the church doors week by week by week. Proverbs was right: Get Wisdom! But to evangelise contemporary society, we might also want to say: Get Gaga! ‘
It is not difficult to sympathize with the rationale being expressed here, and the desire for a non-judgmental assessment displayed by commentators such as Philips is particularly understandable in the light of the recent cancellation of the Jakarta leg of her current tour following the threat of violence from conservative Islamic groups. When Germanotta says that ‘there is nothing holy about hatred’, that is of course a sentiment with which most of us would heartily agree.
However, my appreciation for those trying to react to Mother Monster’s provocative antics in a mature and charitable fashion is tempered by my instinct as a parent of pre-teenage children for whom names such as Gaga, Beyoncé, Jay-Z and Rihanna are not only already well-known because of their songs (with which they’re better acquainted than with Mozart) but also denote potential role models. Here I have to say that I seriously wonder whether I and my fellow theological reviewers have been surveying the same material.
A first set of serious reservations concerns the deliberate and sustained flirtation with occult imagery common to the quartet of artists mentioned above, which fills me with a sense of déjà vu after my research into the 1960s for my series of posts entitled ‘Spirituality in and out of focus’. It is beyond reasonable doubt that the Lady Gaga and the nexus of highly successful musical artists clustered around rapper and founder of Roc Nation Shawn ‘Jay-Z’ Carter have deliberately cultivated the use of occult symbols more usually associated with Heavy Metal and familiar within the iconography of popular music for over 40 years. ‘Baphomet’ goat’s heads, ‘devil’s horns’, 666 hand gestures or the ‘All-Seeing-Eye of Horus’ are omnipresent visual symbols in Lady Gaga’s work which may seem surprising in the context of infectious pop but have been established vocabulary for the likes of Black Sabbath (one of Germanotta’s favourite acts) for over a generation. That we have been here before, albeit accompanied by different music, is transparently obvious to anyone who has done their musicological and sociological homework on the history of rock ‘n roll. Especially as concerns the strange and baleful influence of Aleister Crowley, whose ‘law of Thelema’, “do what thou wilt” is ostentatiously sported by Jay-Z in Gothic print on a T-shirt worn in his trailer to the now infamous video ‘Run This Town’ featuring Rihanna and Kanye West.
Anyone who does a casual Google search on the subject will discover within a few seconds that the internet is now rife with more or less speculative deconstructions of the occult symbolism of this and similar videos, the most well-known detective work having originated on the very popular website www.vigilantcitizen.com, run by an anonymous Canadian Christian who has evidently done substantial research into modern occultism and additionally claims to have worked as a producer for a number of well-known urban musicians. There is considerable evidence to suggest that the carefully-orchestrated use of esoteric and masonic imagery by Jay-Z (not least in his clothing line ‘Rocawear’) and others is at least in part a war of nerves with ‘Vigilant Citizen’ and others, a game of provocation running something along the lines of ‘you say we’re Illuminati? OK, so that’s who we’ll be’ (the clearest pointer being Jay-Z’s rapping on the song ‘Free Mason’ by Rick Ross where he expressly attempts to counter the internet rumours of his masonic membership and the ‘Run this Town’ video where the masonic symbolism is so unmistakable as to be caricatural).
What all this is designed to achieve – and it should be added that the means employed to generate this esoteric web of symbols are extravagant – is far from clear. Having discounted the idea that the symbols employed by Gaga and company are mere coincidence (readers who have ever encountered individuals who unwittingly wore designer Baphomet headgear or Horus jewellery costing six-figure sums without realizing it are welcome to contact me), two logical possibilities seem to present themselves.
The first, which I will simply bracket out on the grounds that unverifiable speculation is unhelpful, is that something covert really is going on here. The second, which requires no particular leap of faith or conspiracy theories regarding in the power of the Illuminati or other secret societies, is that this is all basically a commercial stunt aimed at stoking controversy and enhancing the artists’ mystique via a glamorously sinister type of branding (as if some of the best-selling musicians on the planet were in need of extra publicity). This only constitutes ‘mind control’ to the same degree as all advertising that knows how to harness the power of image and music.
This having been said, it remains to be explained why video clips such as Bad Romance and Born This Way should be saturated with a self-consciously occult symbolic content in the first place, references that could not possibly be intuited from simply listening to the songs and reading the lyrics. And why did Gaga’s friend Beyoncé Knowles-Carter (Jay-Z’s wife, who appears in the video of Telephone) choose to shock many of her own fans a few years ago by adopting the demonic alter ego ‘Sasha Fierce’, consciously playing with dark imagery through her stage persona – an alter ego which she then claimed to have ‘killed’ as redundant, having integrated Sasha F. into her own personality. What exactly is going on here with this current set of self-styled sorcerer’s apprentices?
Even if the hypotheses of the conspiracy theorists (who have perhaps only succeeded in making opposition to Lady Gaga, Jay Z and friends look paranoid and faintly ridiculous) turn out to be pure fantasy, the frequently violent, degrading and sexually explicit content of the video material we have been considering is definitely not. In itself, this ought to be sufficient reason for those who consider the Haus of Gaga to be essentially harmless if admittedly flamboyant eccentricity to think again. Even more than the irresponsible flirtation with the occult, the penchant for sexual violence which is a persistent mark of Lady Gaga’s work constitutes my principal reason for saying that her music should carry a more serious health warning than some well-meaning theological commentators might like to make out. Again, this is a combination that we have seen before, as I observed in the case of the Rolling Stones in the period immediately preceding the débâcle of Altamont in December 1969. Which is not an auspicious precedent.
In saying this, I by no means wish to argue that there are no elements of religious sincerity in Lady Gaga’s output; my own sense reading interviews and reports of her exchanges with mentor Deepak Chopra is that Germanotta’s work should be seen in terms of her own struggle with deeply contradictory impulses stemming from her Catholic upbringing on one hand and her subsequent embracing of the lifestyle of the New York avant-garde whose shock value has brought her fame and fortune. The bizarre nature of her act can be viewed as her attempt to bring this internal conflict into the open; as she admitted in her Rolling Stone interview of July 2010, ‘a lot of the work I do is an exorcism for the fans but also for myself’, a remark in keeping with her much-quoted line from the song Judas: ‘Jesus is my virtue and Judas is the demon I cling to.’ As long as this struggle continues, my guess is that the grisly side of Gaga will continue to manifest itself in all its splendour. Which will not necessarily be pretty viewing, especially if (as I suspect) Germanotta is, like Beyoncé, aiming at an ‘integration’ of her shadow side somewhat along Jungian lines rather than overcoming darkness with light.
Everyone has the right to battle with their own personal demons, of course. What concerns me is the collateral damage. And here I would like to make an appeal in all earnestness. If you, like me, are a parent or adult relative of pre-teenage children who read about stars such as Lady Gaga, Rihanna and Beyoncé in magazines destined for the 10-14 year age group, and who return from school whistling Bad Romance, please do force yourself to watch the official video of BR, ‘Born This Way’ or ‘Just Dance’. If you are still convinced of the singer’s suitability for a junior audience, and if you have a stomach that can take it, do a google video search for ‘Lady Gaga crowd surfing Lollapalooza 2010’. You will not necessarily enjoy what you find, but I urge you to do so anyway out of a sense of adult responsibility.
Afterwards, ask yourself honestly whether the South Korean Media Rating Board’s insistence that the recent Seoul performance of Lady GG’s ‘Born this way ball’ be restricted to over-18s should simply be dismissed as pandering to religious fundamentalism.
 As well as being an admirer of Ozzy Osbourne, Lady Gaga is also an avowed student of the film-making of Kenneth Anger, whose occult and pornographic work is referenced in her controversial videos to Alejandro (Anger’s Introduction to the Pleasuredome) and Born this way (Lucifer Rising). This should come as no surprise given Anger’s iconic status within the art-house underground from which Gaga emerged to stardom.
 It should be said that ‘Vigilant Citizen’, while not free from speculative excess in its sometimes outlandish interpretations, is one of the more intelligent blogs attempting an exposé of popular culture, as is acknowledged by a balanced article in The Guardian :http://www.guardian.co.uk/music/2010/jul/01/lady-gaga-vigilant-citizen-illuminati
 My unwillingness to engage with conspiracy theories in this post should not be taken as a denial of the existence of occultistic strands of Freemasonry (whose activities are public knowledge and are definitely not a figment of the conspiratorial imagination). For example, about 200 yards away from the Paris apartment block in which I am writing this post is a bunker-like structure devoid of any outward signs other than a letter-box marked I.M.F. I puzzled over its occupants for over a decade before at last discovering that it is in fact the official location of the ‘Rite Ancien et Primitif de Memphis-Misraïm’ branch of the Institut Maçonnique de France, whose publicly accessible literature details its interest in the fields of alchemy, gnosticism and Egyptian hermeticism for the benefit of possible adherents.