![]() I'm not suggesting will discount credible views. By 'playlisting' I mean a link to 'watch' the same video 150 times: roughly nine straight hours of the same vid. It seems some fans are unaware such a link was sent. "It is fine to self-promote, send links to fans, etc. YouTube views now count in Billboard chart rankings, and Bill Werde, Editorial Director of Billboard, responded to Gaga's strategy Tuesday night, saying it was not "in the spirit of what we chart." “Applause” isn’t about attention, she told Good Morning America, but emblematic of the happiness she brings her “little monsters.Tuesday night, the singer tweeted a link to her nearly 40 million Twitter followers that led to a YouTube playlist consisting solely of 150 videos of "Applause." The now-deleted tweet asked fans to click "Play" on the playlist, ostensibly adding 150 views for each person if played all the way through. ![]() And while that makes for a relevant social critique, there’s a disconnect between the images and the stated purpose of the song and video as a celebration of her symbiotic relationship with her fans. The video for “Applause,” then, serves as a sort of reset button (Gaga herself even tweeted as much following an uncomfortably public tiff with Perez Hilton yesterday.) Directed by Dutch fashion photographers Inez van Lamsweerde and Vinoodh Matadin, the so-called “film” finds the singer taking on various guises, from court jester to Little Edie to black swan to dead Marilyn in a birdcage-icons employed, presumably, to represent the bondage and destruction of fame, a running theme in Gaga’s work. By the end of 2011, however, a string of overly ambitious, self-indulgent, or otherwise impenetrable videos directed by Gaga and her close associates themselves derailed the artist’s impressive run (the comparatively minimalist “The Edge of Glory” was basically an accidental exercise in restraint). Whatever you think of Gaga or her work, there’s no disputing that no other mainstream artist has harnessed the creative breadth or exploited the promotional power of the medium as effectively since Madonna. Videos continued to be a platform for innovation, of course, particularly as digital production and distribution technologies allowed smaller artists to make their marks, but Gaga’s efforts, beginning with 2009’s “Paparazzi,” helped turn the launch of a new clip back into an Event. The music-video medium arguably reached its nadir around the same time that MTV stopped making pop stars in the early aughts. Following a months-long, self-imposed Twitter exile, Lady Gaga bared all in a video for Serbian performance artist Marina Abramović she issued a “pop music emergency” after a hacker allegedly leaked her new song, “Applause,” a week early she implored viewers not to buy the single in a bizarre attempt at reverse psychology in a promo by Haus of Gaga she dropped a lyric video, the latest marketing trend to bide the time between a song’s premiere and its official music video’s debut, featuring stars of RuPaul’s Drag Race and, finally, unveiled said music video on jumbo screens in Times Square this morning. It’s been a big month for the Gagasphere.
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