. . . So we meet again, Steffie. How are you?
So, I thought I’d briefly mention Lady Gaga’s recent cover story for Out Magazine, which further establishes her recent fascination with monsters and horror (though not, sadly, Muppets). More importantly, it aligns her with a queer audience and as one of the tribe (an extension of an argument my friend Alex Cho made in a column for Flow earlier this month).
Ellen Von Unwerth’s pictorial is interesting — I’ve been a fan since I first saw her cover of Hole’s Live Through This. I especially find the photographs of her wrapped in medical gauze interesting, as it revisits the fixations she has with death and frailty that she brought to light in her music video for “Paparazzi.”
Lady Gaga on the cover of Out seems like a pretty big deal, but one I’m sure is not met without some controversy. While I’m not livid at her being on the cover (the way I was when lipstick chic interloper Katy Perry made the publication’s year-end cover last winter), I hedge. I hedge for a few reasons, the least of which has to do with hailing a queer audience while doing so with a normatively sexy female body, as Lady Gaga did when she conjured up the bath house in Rolling Stone‘s recent Hot Issue.
Principally, I still wonder how queer — not how queerable — Lady Gaga really is. Her bisexuality, which has been well-reported, is not disclosed here, but referred to, perhaps as a given. I do find disconcerting the lack of qualification for an earlier comment that her attraction to women is purely physical (presumably in opposition to men, who she doesn’t make this distinction for). For me, this seems antithetical to how I’ve always defined the philosophy behind bisexuality — i.e., that sex categories and binaries eclipse a person’s romantic, sexual, physical, emotional, and/or cerebral attractions to another person.
And while I imagine the feature was written before Lady Gaga discussed in a recent interview about the double-standard between men and women and rock and pop before immediately dismissing any claim to being a feminist, I would like some acknowledgement of how problematic this moment was.
Also, I find the constant speculation about Lady Gaga being a man or a hermaphrodite interesting, if not a bit limiting. While she’s enjoyed and encouraged much of this rumor-mongering, I’d be more impressed if she incorporated a more subcultural mode of queer address — say, tagging — or went the route of Marilyn Manson and employed prosthetics as part of her costuming. Sure, the appendage would be blurred in UsWeekly, but how awesome would it be to see a female pop star step out of a limousine with a penis peaking out of her avant-garde party dress?
What I wonder about this cover — indeed, Lady Gaga’s success as a queer icon — is how she might be more specifically aligned with a gay male fan culture and how this may speak to the fundamental differences between identity politics within the LGBT community, as well as within factions inside the current iteration of feminism (or, ugh, post-feminism). Because while this feminist thinks that Lady Gaga’s performance and cultural positioning is interesting (and problematic), it also still has very clear limits.