Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Lady Gaga\u2019s Mayhem arrives against an unusual backdrop of success and failure. Her turn in Joker: Folie \u00e0 Deux is responsible for the latter, a Hollywood flop for the ages. Gaga\u2019s spin-off album of jazz standards, Harlequin, was collateral damage: it scraped into the US top 20. Yet 2024 also brought one of her biggest hits, the Bruno Mars duet \u201cDie with a Smile\u201d. Mayhem\u2019s other advance singles, \u201cDisease\u201d and \u201cAbracadabra\u201d, have been received warmly too.\u00a0\u201cGo with the chaos\u201d was the singer\u2019s mantra while making it. The opening songs revive memories of her best album, 2011\u2019s Born This Way. \u201cDisease\u201d finds the singer sternly ministering to a suffering admirer amid thwacking electronic basslines and stentorian disco-in-a-dungeon chants. \u201cAbracadabra\u201d is an inspired piece of hi-NRG sorcery. \u201cGarden of Eden\u201d has Gaga \u201cfalling over in my nine-inch heels\u201d as she tries eccentrically \u2014 brilliantly \u2014 to reverse the fall of mankind with a paradisiacal hook-up on the dancefloor.\u00a0\u201cPerfect Celebrity\u201d is the worldly foil to one of her first hits, 2009\u2019s \u201cPaparazzi\u201d. Whereas before Gaga took the part of the camera-wielding soul-snatcher, stalking the object of her desire, now she is the commodified creation of fame, a \u201chuman doll\u201d who inspires love and hatred. The scenario is more earnest than \u201cPaparazzi\u201d, although the music gives it a spirited electropop spark. But then the album loses its way. As if tiring of the campy routines of her early years, Gaga turns her attention to other modes. For \u201cVanish into You\u201d, she belts out rote expressions of passion (\u201cWe were happy just to be alive\u201d), as though trying to sing her way out of a Coldplay anthem. \u201cZombieboy\u201d is an expertly observed but flat recreation of a 1980s New York milieu of disco, electro and hip-hop. \u201cShadow of a Man\u201d imitates Thriller-era Michael Jackson: an impressive act of mimicry, but with scant purpose beyond that.Gaga\u2019s vocal versatility and sense of playfulness dispose her to pastiche. The way she sings \u201cI want to feel the beast inside\u201d in power-ballad \u201cThe Beast\u201d, growling and swooping and soaring her way through the schlocky erotic-thriller phrase, is a treat. So is \u201cKillah\u201d, a Prince tribute spliced with her signature electronic pop. But she falls victim to her facility.\u00a0The album\u2019s initial engagement with her old work hits home in a way that her ability to copy Jackson\u2019s yelps does not. The songs\u2019 stories get thinner while the music loses character. \u201cDie with a Smile\u201d, her toothy pop-soul duet with Mars, king of pop pastiche, is the closing track, but its showbizzy spirit seems to spread through the tracks preceding it. They are meticulously arranged and well performed \u2014 but also routinised, risk-averse and not at all chaotic.\u00a0\u2605\u2605\u2606\u2606\u2606Released by Interscope Records<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Lady Gaga\u2019s Mayhem arrives against an unusual backdrop of success and failure. Her turn in Joker: Folie \u00e0 Deux is responsible for the latter, a Hollywood<\/p>\n","protected":false},"author":1,"featured_media":231944,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-231943","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/231943","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=231943"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/231943\/revisions"}],"predecessor-version":[{"id":231945,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/231943\/revisions\/231945"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/231944"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=231943"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=231943"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=231943"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}