If you even glance at music blogs once a month, there is no way that you have not experienced the GaGa firestorm that has consumed pop music lovers around the globe. It is pretty staggering to see just how pervasive she has become in the span of a year, especially when you take into account that her first single “Just Dance” didn’t even hit #1 in the US until this past January. Now, you can’t listen to a pop radio station an hour without hearing one of her five hits.
In reading Will-W’s review of The Fame Monster, due in stores and online November 23rd, I was struck first by his enthusiasm for the opus, but I started to wonder about her still-building popularity. Four top 10 singles is a huge year for any artist, but “Bad Romance” makes #5, and there are at least two more hits waiting in the wings. Should GaGa have left her monsters waiting to build some anticipation? Or did she do the right thing by striking while the iron is still hot? I know that this was supposed to be part of a re-issue (a practice I already have a huge bias against), but it appears that this has grown well beyond the original plan. “Bad Romance” is almost a given to hit #1 soon (possibly even in two weeks, once the EP hits, and Fame Monster may give Adam Lambert’s For Your Entertainment a run for the #1 album.
You know what song “Bad Romance” reminds of at times? Don’t laugh…New Kids on the Block’s “Step By Step”. And there’s a reason for that. After the huge response to Hangin’ Tough and the resulting tour, “Step” sounded like a huge, well, step ahead, with a much larger sound and an arena-inspiring chorus. “Step” is the one song of theirs from the 80s that actually holds up well. To me, there are a lot of comparison between NKOTB and GaGa right now (minus the branded bedsheets). Both seemed to come out of nowhere, both broke wide open globally, and both racked up multiple top 10 hits off of their breakthrough records (Hangin’ Tough was NKOTB’s 2nd album). And let’s not forget that they have already recorded together on the GaGa-penned “Big Girl Now”.
Here’s the big difference, though. New Kids had a bit of a break from the charts between 1989 and 1990 (Christmas single “This One’s For the Children” excepted). There is no break for GaGa, who is still at #7 on the Hot 100 with “Paparazzi”. Even with a break, the NKOTB backlash started in 1990, and continued on through the next couple of years, culminating in 1992 when they were accused of lip-syncing music sung by other singers. The fact that “If You Go Away”, arguably their finest moment, only got to #16 that year in the US demonstrates how quickly the biggest group in the world can plummet. I am not wishing a similar backlash for GaGa, as I hope she keeps pushing boundaries for years to come. My concern is that the public at large may not be as dedicated to her longevity, and she will be left behind for the next flash in the pan.
So what do you all think? Too much too soon? Cash in while the demand is there? Some other option?
If you want to talk about one of the classiest pop songs of the ’90s, you wouldn’t have to look any further than Annie Lennox’s debut disc Diva, which yielded several top 10 hits around the globe, although she just hit the Top 40 in the US with two singles. In fact, Diva only reached #23 in America, which was a bit stunning to me, given how pervasive that disc was in my life when it came out. While songs like “Little Bird”, “Precious”, and “Walking on Broken Glass” are all great songs, it is “Why” that has to be considered a highlight of Annie’s career. 
Mr Hudson posted a video today of a Jay-Z show in London that he showed up at to sing “Young Forever”, 
The most striking thing to me, though, was at the end of the second round, where Hova kicks in to the intro of “Smells Like Teen Spirit”. This happens at every concert…someone segues from their own song into a crowd-pleaser that gets the audience hyped, or maybe they play a bunch of party jams right before the show starts. For Jay, the fact that he can stage a huge sing-along for a song that was considered alternative in the 80s, it becomes a blessing and a curse. On the positive side, there is no question that Jay-Z can rock a crowd, no matter where they are. But does that ability hurt his street cred? Sadly, it does. There’s a double-standard playing here…so much of the rap body of work talks about escaping poverty and making it big. Yet Jay has to deal with the “sell out” tag, amid accusations that he isn’t street anymore. There’s no winning for winning, is there?
We talk about selling out, catering to certain audiences, working with the “right” producer, but at the end of it all, if the listener finds something that resonates, then the music has done its job. As much as I hate the God-and-nation forms of country music, it works for someone, and who am I to deprive them of that. So the same goes for rap music. If you can bridge the gap by speaking the musical language of the audience you are playing to, more power to you.
Popjustice posted 
So Kris, Adam, and Alison have all dropped their first singles, which meant that Danny Gokey’s first offering couldn’t be too far behind. Courtesy of 
Opening act Men (which confused me at first, based on the Gossip’s Music For Men) got things going on the right foot with their fun synth-pop that sounded like what you would expect if Depeche Mode had started up about 20 years later than they actually did. Le Tigre came to mind as a comparison, and it turns out that JD Samson of Le Tigre fronts the group. I would not have known him if I walked past him on the street, but their set was a blast, and I would go to their show if they came back to town. Signs, chainmail, house helmets and tight red pants are all visuals that will stick with me for quite a while.
Musically, I was blown away by how a foursome could sound so much bigger than their individual parts. Hannah Blilie’s driving beats, Nathan Howdeshell’s guitar riffs and Beth’s powerhouse vocals combine for an infectiously rocking experience, and Chris Sutton’s killer bassline propelled the band’s music throughout their set. Normally I will feel one or two lulls in a show, but the Gossip were not having it. From the opening bass of “Dimestore Diamond” to the encore performance of “What’s Love Got to Do With It”, the show was relentless, and I loved every minute of it. Highlights for me were “Heavy Cross” and “Pop Goes the World”, although there wasn’t a dog in the bunch. My biggest disappointment was not getting to hear “Standing in the Way of Control”. I figured that was a given, but the set did lean heavily on the current record, so it’s only a small blip on an otherwise amazing show.
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