Gaga has released a new album, Joanne, and the fan cake tributes continue. (I’ve written about these on my blog,in print, and now as a UCC op ed.) Gaga’s changing image is all part of her play with authenticity, and multifaceted identity performativity. For this album, Gaga’s costuming appears to be Americana with a twist.
Throughout Gaga’s stardom, she has encouraged her fans creativity. There is a tradition of fan cakes referencing Gaga costumes, and this continues. Bradley’s Baking Bible came up with this fun cake that nod to previous Gaga looks and tops them off with the new pink hat that she’s been wearing to write and promote Joanne.
The volume on Lady Gaga that I co-edited with Martin Iddon (Leeds), Lady Gaga and Popular Music: Performing Gender, Fashion, and Culture, is now out! Exciting stuff! And I’m already thinking about my next dip in to Gaga Studies–still not “Gagad out” yet. That will be a paper on Gaga, liveness and social media. It’s a bit of a change from writing about Gaga, cake and ice cream, and a big change from Italian Renaissance sexualities (my other big project at the moment).
Talking of cake, not long after kissing the proofs of my Gaga chapter good bye, I found that Lady Gaga had indeed sent Gaga cakes to collaborators: V Magazine, Zedd and DJ White Shadow. In my chapter, I note that many Gaga cakes that I read about online are vanilla with buttercream icing—a confection with an interesting gender history, as it was the classic bride’s cake of weddings past (think Miss Havisham, and Margaret Atwood’s The Edible Woman). The paleness was no coincidence, as it symbolized the innocence of the virgin bride. Cutting in to the bride cake stood in for another form of penetration. Gaga’s cakes were not vanilla but dark chocolate with butterscotch truffle ganache, and the sugar work Gaga was a skull with ponytail.