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Stefani Joanne Angelina Germanotta (born March 28, 1986), better known by her stage name Lady Gaga, is an American pop singer-songwriter. After performing in the rock music scene of New York City's Lower East Side in 2003 and later enrolling at New York University's Tisch School of the Arts, she soon signed with Streamline Records, an imprint of Interscope Records. During her early time at Interscope, she worked as a songwriter for fellow label artists and captured the attention of rapper Akon, who recognized her vocal abilities, and signed her to his own label, Kon Live Distribution.
Gaga came to prominence following the release of her debut studio album The Fame (2008), which was a commercial success and achieved international popularity with the singles "Just Dance" and "Poker Face". The album reached number one on the record charts of six countries, accomplished positions within the top-ten worldwide, and topped the Billboard Dance/Electronic Albums chart while simultaneously peaking at number two on the Billboard 200 chart in the United States. Achieving similar worldwide success, The Fame Monster (2009), its follow-up, produced a further two global chart-topping singles "Bad Romance" and "Telephone" and allowed her to embark on a second global headlining concert tour, The Monster Ball Tour, just months after having finished her first, The Fame Ball Tour. Her second studio album, Born This Way, is scheduled for release on May 23, 2011[3] after the arrival of its eponymous lead single "Born This Way", which achieved the number-one spot in countries worldwide and was the fastest-selling single in iTunes history, selling one million copies in five days.[4] Inspired by glam rock artists like David Bowie, Elton John and Queen, as well as pop singers such as Madonna, Michael Jackson, and Amy Winehouse,[5] Gaga is well-recognized for her outré sense of style in fashion, in performance and in her music videos. Her contributions to the music industry have garnered her numerous achievements including five Grammy Awards, among twelve nominations; two Guinness World Records;[6] and the estimated sale of fifteen million albums and fifty-one million singles worldwide.[7][8] Billboard named her both the Artist of the Year in 2010[9] and the top selling artist of 2010;[10] ranking her as the 73rd Artist of the 2000s decade.[11] Gaga has been included in Time magazine's annual Time 100 list of the most influential people in the world as well as Forbes' list of the 100 Most Powerful and Influential celebrities in the world.[12][13] Forbes has placed her on a number of its annual lists,[14] including recently the number one spot on their annual list of the 100 most powerful celebrities, the Forbes Celebrity 100.[15]
`Hype’ is a disgusting word. But when an album, which was a self-declared phenomenon before it was even an album, appears to be an experiment in hype itself, it becomes an unavoidable part of the conversation. There’s been a suspicion in the epic run-up to the release of Lady Gaga's second-and-a-half album that she’s just been being deliberately ridiculous just to piss people off. But then, having a go at a pop star for being ridiculous is in itself as ridiculous as having a go at a brain surgeon for being too hung up on all the neurosurgery.There’s another possibility here though. In our man Peter Robinson’s (rather amazing) cover feature the other week, she expressed genuine surprise that people found ‘Born This Way’ the song something of an ‘Express Yourself’ parody. The suggestion actually moved her to tears. It’s in the nature of artists to miss the blindingly obvious about their own work.But for the entire world to have the exact same instantaneous reaction, to the point where the words ‘Express Yourself’ began trending on Twitter, suggests that comparison holds water. You’d think somebody – somebody – in her team could have noticed. It’s just possible that Gaga is now such a powerful entity that everybody was just too scared of losing their jobs to point it out.It would certainly bear out the chain of events that led to that appalling, badly-photoshopped mess of a cover image getting signed off. And if that’s the case then we really are in new territory for mainstream pop music, where somebody at the absolute peak of commercial heaviosity is able to operate with the artistic imperative of a David Bowie without an iota of outside interference. What you definitely cannot fault about this album is the scale of its artistic ambition.One thing that much-debated 'Born This Way' album cover does get right is the record’s obsession with the fusion of flesh and metal. As if Gaga, having already (in her own head at least) fused herself with her fanbase to create a singular entity, she wants to weld physically to her synthesisers as if to create one all-powerful dreadnought of self-empowerment. For the most part this is one relentless torrent of heavy-metal-rave-pop. At the very least it’s a triumph in sound engineering.‘Hair’ is an empowerment anthem using the simple image of the wind blowing through a person’s hair to illuminate the album’s Love-Yourself-And-Let-It-All-Hang-Out message way more effectively than the title track. It trumps it once again by being quite the gayest thing you will ever hear for a long time. On the same tip is ‘Bad Kids’, a homage to the NYC club kids era, hammering home the freak message to the Little Monsters, but with a chorus that is adorable instantly and forever.‘Bloody Mary’ is a serene flipside to ‘Judas’ this time using Ms Magdalene to do much the same job, as dainty plucked strings careen around filthy beats to create something weirdly graceful. And ‘Americano’, a Hispanic upgrade of ‘Alejandro’ which riffs on both Evita and Santa Esmerelda’s ‘Don’t Let Me Be Misunderstood’, succeeds because it is so colourfully deranged. Elsewhere the sci-fi goth night-stalk ‘Electric Chapel’ perhaps nails the record’s blood-and-chrome aesthetics most effectively of all.Things get rather knottier when the beats drop heavier. ‘Schei?e’, which channels Miss Kittin doing a rave take on Madonna’s ‘Erotica’ strides into a commanding pop song and comes out a triumph. ‘Government Hooker’ drops down into freeform industrial techno impressively early on in the tracklist, but there’s scant evidence of any real political message in lines like “Put your hands on me, John F Kennedy”. And ‘Heavy Metal Lover’s staccato filth-fest is impressively murky but the relentless smut ends up sounding daft. The ostentatious ‘Highway Unicorn (Road To Love)’ aims for some kind of weird chamber-rave-metal-concerto yet comes out a total mess.But then at the end, something spectacular happens. Skynet is given a rest and it emerges again that when Gaga does do pure emotion, she does it exceptionally well. ‘You And I’ is a quite epic exercise in futurist honky-tonk, apparently directed to a lesbian lover or a drag queen. And finally, the gleaming ‘The Edge Of Glory’ (apparently a love song to her late grandfather, yet with a romantic twist) finds her dancing “On the edge of something final we call life tonight” in the most ecstatic pop serenade this woman has ever come up with.That beautiful simplicity reminds us that Lady Gaga can be guilty of trying too hard. But do you really think that’s wrong? ‘Born This Way’ doesn’t get everything right. It’s not the clarion to the dispossessed that it thinks it is. And after pushing so hard in this direction, she should probably strip it back to just her and a piano next time if she really wants to shock. Because rather than an exercise in hype, what ‘Born This Way’ really is an exercise in the pushing of everything to its ultimate degree. And for all the black, white and silver, it passes that test with flying colours. Dan Martin