The telephone (from the , ''tēle'', "far" and φωνή, ''phōnē'', "voice"), often colloquially referred to as a phone, is a telecommunications device that transmits and receives sound, most commonly the human voice. Telephones are a point-to-point communication system whose most basic function is to allow two people separated by large distances to talk to each other. It is one of the most common appliances in the developed world, and has long been considered indispensable to businesses, households and governments. The word "telephone" has been adapted to many languages and is widely recognized around the world.

All telephones have a microphone to speak into, an earphone which reproduces the voice of the other person, a ''ringer'' which makes a sound to alert the owner when a call is coming in, and a keypad (or in older phones a telephone dial or no manual device) to enter the telephone number of the telephone being called. The microphone and earphone are usually built into a handset which is held up to the face to talk. The keypad may be part of the handset or of a base unit to which the handset would be connected. A landline telephone is connected by a pair of wires to the telephone network, while a mobile phone or cell phone is portable and communicates with the telephone network by radio. A cordless telephone has a portable handset which communicates by radio with a base station connected by wire to the telephone network, and can only be used within a limited range of the base station.

The microphone converts the sound waves to electrical signals, which are sent through the telephone network to the other phone, where they are converted back to sound waves by the earphone in the other phone's handset. Telephones are a duplex communications medium, meaning they allow the people on both ends to talk simultaneously. The telephone network, consisting of a worldwide net of telephone lines, fiberoptic cables, microwave transmission, cellular networks, communications satellites, and undersea telephone cables connected by switching centers, allows any telephone in the world to communicate with any other. Each telephone line has an identifying number called its telephone number. To initiate a telephone call, a conversation with another telephone, the user enters the other telephone's number into a numeric keypad on his/her phone. Graphic symbols used to designate telephone service or phone-related information in print, signage, and other media include (U+2121), (U+260E), (U+260F), and (U+2706).

Although originally designed for voice communication, the system has been adapted for data communication such as Telex, Fax and dial-up Internet communication.

History

Credit for the invention of the electric telephone is frequently disputed, and new controversies over the issue have arisen from time to time. As with other influential inventions such as radio, television, the light bulb, and the computer, there were several inventors who did pioneering experimental work on ''voice transmission over a wire'' and improved on each other's ideas. Innocenzo Manzetti, Antonio Meucci, Johann Philipp Reis, Elisha Gray, Alexander Graham Bell, and Thomas Edison, among others, have all been credited with pioneering work on the telephone. An undisputed fact is that Alexander Graham Bell was the first to be awarded a patent for the electric telephone by the United States Patent and Trademark Office (USPTO) in March 1876. That first patent by Bell was the ''master patent'' of the telephone, from which all other patents for electric telephone devices and features flowed.

The early history of the telephone became and still remains a confusing morass of claims and counterclaims, which were not clarified by the large number of lawsuits that hoped to resolve the patent claims of many individuals and commercial competitors. The Bell and Edison patents, however, were forensically victorious and commercially decisive.

A Hungarian engineer, Tivadar Puskás, quickly invented the telephone switchboard in 1876, which allowed for the formation of telephone exchanges, and eventually networks.

Basic principles

A traditional landline telephone system, also known as "plain old telephone service" (POTS), commonly handles both control and audio signals on the same twisted pair (C) of insulated wires: the telephone line. The signaling equipment (see figure 1) consists of a bell, beeper, light or other device (A7) to alert the user to incoming calls, and number buttons or a rotary dial (A4) to enter a telephone number for outgoing calls. Most of the expense of wire-lines are the wires, so having both received and sent voices on one pair of wires reduces the expense of wire-line service. Also, a twisted pair line rejects electromagnetic interference (EMI) and crosstalk better than a single wire or an untwisted pair. The strong microphone voice signal does not overpower the weaker incoming speaker signal with a sidetone because a hybrid coil (A3) subtracts the microphone's signal from the signal sent to the local speaker. The junction box (B) arrests lightning (B2) and adjusts the line's resistance (B1) to maximize the signal power for the line's length. Telephones have similar adjustments for inside line lengths (A8). The wire's voltages are negative compared to earth, to reduce galvanic corrosion. Negative voltage attracts positive metal ions toward the wires.

Details of operation

The landline telephone consists of a switchhook (A4) and an alerting device, usually a ringer (A7), that remains connected to the phone line whenever the phone is "on hook" (i.e. the switch (A4) is open), and other components which are connected when the phone is "off hook". The off-hook components include a transmitter (microphone, A2), a receiver (speaker, A1), and other circuits for dialing, filtering (A3), and amplification.

A calling party wishing to speak to another party will pick up the telephone's handset, operating a lever which closes the switchhook (A4), which powers the telephone by connecting the transmitter (microphone), receiver (speaker), and related audio components to the line. The off-hook circuitry has a low resistance (less than 300 ohms) which causes a direct current (DC), which comes down the line (C) from the telephone exchange. The exchange detects this current, attaches a digit receiver circuit to the line, and sends a dial tone to indicate readiness. On a modern push-button telephone, the caller then presses the number keys to send the telephone number of the called party. The keys control a tone generator circuit (not shown) that makes DTMF tones that the exchange receives. A rotary-dial telephone uses pulse dialing, sending electrical pulses, that the exchange can count to get the telephone number (as of 2010 many exchanges were still equipped to handle pulse dialing). If the called party's line is available, the exchange sends an intermittent ringing signal (about 90 volts alternating current (AC) in North America and UK and 60 volts in Germany) to alert the called party to an incoming call. If the called party's line is in use, the exchange returns a busy signal to the calling party. However, if the called party's line is in use but has call waiting installed, the exchange sends an intermittent audible tone to the called party to indicate an incoming call.

The phone's ringer (A7) is connected to the line through a capacitor (A6), a device which blocks direct current but passes alternating current. So, the phone draws no current when it is on hook (a DC voltage is continually connected to the line), but exchange circuitry (D2) can send an AC voltage down the line to ring for an incoming call. (When there is no exchange, telephones often have hand-cranked magnetos to make the ringing voltage.) When a landline phone is inactive or "on hook", the circuitry at the telephone exchange detects the absence of direct current and therefore "knows" that the phone is on hook (therefore, only AC current will go through) with only the alerting device electrically connected to the line. When a party initiates a call to this line, the exchange sends the ringing signal. When the called party picks up the handset, they actuate a double-circuit switchhook (not shown) which simultaneously disconnects the alerting device and connects the audio circuitry to the line. This, in turn, draws direct current through the line, confirming that the called phone is now active. The exchange circuitry turns off the ring signal, and both phones are now active and connected through the exchange. The parties may now converse as long as both phones remain off hook. When a party "hangs up", placing the handset back on the cradle or hook, direct current ceases in that line, signaling the exchange to disconnect the call.

Calls to parties beyond the local exchange are carried over "trunk" lines which establish connections between exchanges. In modern telephone networks, fiber-optic cable and digital technology are often employed in such connections. Satellite technology may be used for communication over very long distances.

In most landline telephones, the transmitter and receiver (microphone and speaker) are located in the handset, although in a speakerphone these components may be located in the base or in a separate enclosure. Powered by the line, the transmitter (A2) produces a modulated electrical current which varies its frequency and amplitude in response to the sound waves arriving at its diaphragm. The resulting current is transmitted along the telephone line to the local exchange then on to the other phone (via the local exchange or via a larger network), where it passes through the coil of the receiver (A3). The varying current in the coil produces a corresponding movement of the receiver's diaphragm, reproducing the original sound waves present at the transmitter.

Along with the microphone and speaker, additional circuitry is incorporated to prevent the incoming speaker signal and the outgoing microphone signal from interfering with each other. This is accomplished through a hybrid coil (A3). The incoming audio signal passes through a resistor (A8) and the primary winding of the coil (A3) which passes it to the speaker (A1). Since the current path A8 - A3 has a far lower impedance than the microphone (A2), virtually all of the incoming signal passes through it and bypasses the microphone.

At the same time the DC voltage across the line causes a DC current which is split between the resistor-coil (A8-A3) branch and the microphone-coil (A2-A3) branch. The DC current through the resistor-coil branch has no effect on the incoming audio signal and so is irrelevant. But the DC current passing through the microphone is turned into AC current which then passes through only the upper branch of the coil's (A3) primary winding, which has far fewer turns than the lower primary winding. This causes a small portion of the microphone output to be fed back to the speaker, while the rest of the AC current goes out through the phone line.

A Lineman's handset is a telephone designed for testing the telephone network, and may be attached directly to aerial lines and other infrastructure components.

Early development

1844 — Innocenzo Manzetti first mooted the idea of a “speaking telegraph” (telephone).

26 August 1854 — Charles Bourseul published an article in a magazine L'Illustration (Paris) : "Transmission électrique de la parole" [electric transmission of speech].

26 October 1861 — Johann Philipp Reis (1834–1874) publicly demonstrated the Reis telephone before the Physical Society of Frankfurt.

22 August 1865, La Feuille d'Aoste reported “It is rumored that English technicians to whom Mr. Manzetti illustrated his method for transmitting spoken words on the telegraph wire intend to apply said invention in England on several private telegraph lines", however telephones were not demonstrated there until after Alexander Graham Bell received his patent in the United States of America in 1876.

28 December 1871 — Antonio Meucci files a patent caveat (No. 3335) in the U.S. Patent Office titled "Sound Telegraph", describing communication of voice between two people by wire.

1874 — Meucci, after having renewed the caveat for two years does not renew it again, and the caveat lapses.

6 April 1875 — Bell's U.S. Patent 161,739 "Transmitters and Receivers for Electric Telegraphs" is granted. This uses multiple vibrating steel reeds in make-break circuits.

11 February 1876 — Gray invents a liquid transmitter for use with a telephone but does not build one.

14 February 1876 — Elisha Gray files a patent caveat for transmitting the human voice through a telegraphic circuit.

14 February 1876 — Alexander Bell applies for the patent "Improvements in Telegraphy", for electromagnetic telephones using undulating currents.

19 February 1876 — Gray is notified by the U.S. Patent Office of an interference between his caveat and Bell's patent application. Gray decides to abandon his caveat.

7 March 1876 — Bell's U.S. patent 174,465 "Improvement in Telegraphy" is granted, covering "the method of, and apparatus for, transmitting vocal or other sounds telegraphically … by causing electrical undulations, similar in form to the vibrations of the air accompanying the said vocal or other sound."

10 March 1876 — The first successful telephone transmission of clear speech using a liquid transmitter when Bell spoke into his device, “Mr. Watson, come here, I want to see you.” and Watson heard each word distinctly.

30 January 1877 — Bell's U.S. patent 186,787 is granted for an electromagnetic telephone using permanent magnets, iron diaphragms, and a call bell.

27 April 1877 — Edison files for a patent on a carbon (graphite) transmitter. The patent 474,230 was granted 3 May 1892, after a 15 year delay because of litigation. Edison was granted patent 222,390 for a carbon granules transmitter in 1879.

Early commercial instruments

Early telephones were technically diverse. Some used a liquid transmitter, some had a metal diaphragm that induced current in an electromagnet wound around a permanent magnet, and some were "dynamic" - their diaphragm vibrated a coil of wire in the field of a permanent magnet or the coil vibrated the diaphragm. The dynamic kind survived in small numbers through the 20th century in military and maritime applications where its ability to create its own electrical power was crucial. Most, however, used the Edison/Berliner carbon transmitter, which was much louder than the other kinds, even though it required an induction coil which was an impedance matching transformer to make it compatible with the impedance of the line. The Edison patents kept the Bell monopoly viable into the 20th century, by which time the network was more important than the instrument.

Early telephones were locally powered, using either a dynamic transmitter or by the powering of a transmitter with a local battery. One of the jobs of outside plant personnel was to visit each telephone periodically to inspect the battery. During the 20th century, "common battery" operation came to dominate, powered by "talk battery" from the telephone exchange over the same wires that carried the voice signals.

Early telephones used a single wire for the subscriber's line, with ground return used to complete the circuit (as used in telegraphs). The earliest dynamic telephones also had only one port opening for sound, with the user alternately listening and speaking (or rather, shouting) into the same hole. Sometimes the instruments were operated in pairs at each end, making conversation more convenient but also more expensive.

At first, the benefits of a telephone exchange were not exploited. Instead telephones were leased in pairs to a subscriber, who had to arrange for a telegraph contractor to construct a line between them, for example between a home and a shop. Users who wanted the ability to speak to several different locations would need to obtain and set up three or four pairs of telephones. Western Union, already using telegraph exchanges, quickly extended the principle to its telephones in New York City and San Francisco, and Bell was not slow in appreciating the potential.

Signalling began in an appropriately primitive manner. The user alerted the other end, or the exchange operator, by whistling into the transmitter. Exchange operation soon resulted in telephones being equipped with a bell in a ringer box, first operated over a second wire, and later over the same wire, but with a condenser (capacitor) in series with the bell coil to allow the AC ringer signal through while still blocking DC (keeping the phone "on hook"). Telephones connected to the earliest Strowger automatic exchanges had seven wires, one for the knife switch, one for each telegraph key, one for the bell, one for the push-button and two for speaking. Large wall telephones in the early 20th century usually incorporated the bell, and separate bell boxes for desk phones dwindled away in the middle of the century.

Rural and other telephones that were not on a common battery exchange had a magneto or hand-cranked generator to produce a high voltage alternating signal to ring the bells of other telephones on the line and to alert the operator.

In the 1890s a new smaller style of telephone was introduced, packaged in three parts. The transmitter stood on a stand, known as a "candlestick" for its shape. When not in use, the receiver hung on a hook with a switch in it, known as a "switchhook." Previous telephones required the user to operate a separate switch to connect either the voice or the bell. With the new kind, the user was less likely to leave the phone "off the hook". In phones connected to magneto exchanges, the bell, induction coil, battery and magneto were in a separate bell box or "ringer box". In phones connected to common battery exchanges, the ringer box was installed under a desk, or other out of the way place, since it did not need a battery or magneto.

Cradle designs were also used at this time, having a handle with the receiver and transmitter attached, now called a handset, separate from the cradle base that housed the magneto crank and other parts. They were larger than the "candlestick" and more popular.

Disadvantages of single wire operation such as crosstalk and hum from nearby AC power wires had already led to the use of twisted pairs and, for long distance telephones, four-wire circuits. Users at the beginning of the 20th century did not place long distance calls from their own telephones but made an appointment to use a special sound proofed long distance telephone booth furnished with the latest technology.

What turned out to be the most popular and longest lasting physical style of telephone was introduced in the early 20th century, including Bell's Model 102. A carbon granule transmitter and electromagnetic receiver were united in a single molded plastic handle, which when not in use sat in a cradle in the base unit. The circuit diagram of the Model 102 shows the direct connection of the receiver to the line, while the transmitter was induction coupled, with energy supplied by a local battery. The coupling transformer, battery, and ringer were in a separate enclosure. The dial switch in the base interrupted the line current by repeatedly but very briefly disconnecting the line 1-10 times for each digit, and the hook switch (in the center of the circuit diagram) disconnected the line and the transmitter battery while the handset was on the cradle.

After the 1930s, the base also enclosed the bell and induction coil, obviating the old separate ringer box. Power was supplied to each subscriber line by central office batteries instead of a local battery, which required periodic service. For the next half century, the network behind the telephone became progressively larger and much more efficient, but after the dial was added the instrument itself changed little until American Telephone & Telegraph Company (AT&T;) introduced touch-tone dialing in the 1960s.

Digital telephony

The Public Switched Telephone Network (PSTN) has gradually evolved towards digital telephony which has improved the capacity and quality of the network. End-to-end analog telephone networks were first modified in the early 1960s by upgrading transmission networks with T1 carrier systems, designed to support the basic 3 kHz voice channel by sampling the bandwidth-limited analog voice signal and encoding using PCM. While digitization allows wideband voice on the same channel, the improved quality of a wider analog voice channel did not find a large market in the PSTN.

Later transmission methods such as SONET and fiber optic transmission further advanced digital transmission. Although analog carrier systems existed that multiplexed multiple analog voice channels onto a single transmission medium, digital transmission allowed lower cost and more channels multiplexed on the transmission medium. Today the end instrument often remains analog but the analog signals are typically converted to digital signals at the (Serving Area Interface (SAI), central office (CO), or other aggregation point. Digital loop carriers (DLC) place the digital network ever closer to the customer premises, relegating the analog local loop to legacy status.

IP telephony

Internet Protocol (IP) telephony (also known as Voice over Internet Protocol, VoIP), is a disruptive technology that is rapidly gaining ground against traditional telephone network technologies. As of January 2005, up to 10% of telephone subscribers in Japan and South Korea have switched to this digital telephone service. A January 2005 Newsweek article suggested that Internet telephony may be "the next big thing." As of 2006 many VoIP companies offer service to consumers and businesses.

IP telephony uses an Internet connection and hardware IP Phones or softphones installed on personal computers to transmit conversations encoded as data packets. In addition to replacing POTS (plain old telephone service), IP telephony services are also competing with mobile phone services by offering free or lower cost connections via WiFi hotspots. VoIP is also used on private networks which may or may not have a connection to the global telephone network.

IP telephones have two notable disadvantages compared to traditional telephones. Unless the IP telephone's components are backed up with an uninterruptible power supply or other emergency power source, the phone will cease to function during a power outage as can occur during an emergency or disaster, exactly when the phone is most needed. Traditional phones connected to the older PSTN network do not experience that problem since they are powered by the telephone company's battery supply, which will continue to function even if there's a prolonged power black-out. A second distinct problem for an IP phone is the lack of a 'fixed address' which can impact the provision of emergency services such as police, fire or ambulance, should someone call for them. Unless the registered user updates the IP phone's physical address location after moving to a new residence, emergency services can be, and have been, dispatched to the wrong location.

Usage

By the end of 2009, there were a total of nearly 6 billion mobile and fixed-line subscribers worldwide. This included 1.26 billion fixed-line subscribers and 4.6 billion mobile subscribers.

Telephone operating companies

In some countries, many telephone operating companies (commonly abbreviated to ''telco'' in American English) are in competition to provide telephone services. The above Main article lists only facilities based providers and not companies which lease services from facilities based providers in order to serve their customers.

Patents

US 174,465 -- ''Telegraphy'' (Bell's first telephone patent) -- Alexander Graham Bell

US 186,787 -- ''Electric Telegraphy'' (permanent magnet receiver) -- Alexander Graham Bell

US 474,230 -- ''Speaking Telegraph'' (graphite transmitter) -- Thomas Edison

US 203,016 -- ''Speaking Telephone'' (carbon button transmitter) -- Thomas Edison

US 222,390 -- ''Carbon Telephone'' (carbon granules transmitter) -- Thomas Edison

US 485,311 -- ''Telephone'' (solid back carbon transmitter) -- Anthony C. White (Bell engineer) This design was used until 1925 and installed phones were used until the 1940s.

US 3,449,750 -- ''Duplex Radio Communication and Signalling Appartus'' -- G. H. Sweigert

US 3,663,762 -- ''Cellular Mobile Communication System'' -- Amos Edward Joel (Bell Labs)

US 3,906,166 -- ''Radio Telephone System'' (DynaTAC cell phone) -- Martin Cooper et al. (Motorola)

See also

Notes

References

Coe, Lewis (1995), ''The Telephone and Its Several Inventors: A History''. Jefferson, North Carolina: McFarland & Co., Inc. ISBN 0-7864-0138-9

Evenson, A. Edward (2000), ''The Telephone Patent Conspiracy of 1876: The Elisha Gray - Alexander Bell Controversy''. Jefferson, North Carolina: McFarland & Co., Inc. ISBN 0-7864-0883-9

Baker, Burton H. (2000), ''The Gray Matter: The Forgotten Story of the Telephone''. St. Joseph, Michigan: Telepress. ISBN 0-615-11329-X

Huurdeman, Anton A. (2003), ''The Worldwide History of Telecommunications''. Hoboken: New Jersey: Wiley-IEEE Press. ISBN 978-0-471-20505-0

John, Richard R. ''Network Nation: Inventing American Telecommunications'' (Harvard University Press; 2010) 520 pages; traces the evolution of the country's telegraph and telephone networks.

Josephson, Matthew (1992), ''Edison: A Biography''. Hoboken, New Jersey: John Wiley & Sons, Inc. ISBN 0-471-54806-5

Bruce, Robert V. (1990), ''Bell: Alexander Graham Bell and the Conquest of Solitude''. Ithaca, New York: Cornell University Press. ISBN 0-8014-9691-8.

Further reading

Sobel, Robert (1974), ''The Entrepreneurs: Explorations Within the American Business Tradition''. Weybright & Talley. ISBN 0-679-40064-8.

Todd, Kenneth P. (1998), ''A Capsule History of the Bell System''. American Telephone & Telegraph Company (AT&T;).

External links

Early U.S. Telephone Industry Data

1911 Britannica "Telephone" article

Virtual museum of early telephones

The Telephone, 1877

Modelling Telephone hybrids as 2 x 2 matrices

Category:1876 introductions Category:Discovery and invention controversies Category:American inventions Category:Canadian inventions Category:Italian inventions Category:Scottish inventions Category:Office equipment Category:Telecommunications equipment Category:Telephony

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Coordinates	12°2′36″N77°1′42″N
Name	Lady Gaga
Alt	Portrait of Lady Gaga
Background	solo_singer
Birth name	Stefani Joanne Angelina Germanotta
Birth date	March 28, 1986
Birth place	New York, New York, U.S.
Instrument	Vocals, piano, keyboards
Genre	Pop, dance
Occupation	Singer-songwriter, performance artist, record producer, dancer, businesswoman, activist
Years active	2005–present
Label	Def Jam, Cherrytree, Streamline, Kon Live, Interscope
Website	}}

Stefani Joanne Angelina Germanotta (; born March 28, 1986), better known by her stage name Lady Gaga, is an American singer and songwriter. Born and raised in New York City, she primarily studied at the Convent of the Sacred Heart and briefly attended New York University's Tisch School of the Arts before withdrawing to focus on her musical career. She began performing in the rock music scene of Manhattan's Lower East Side, and was signed with Streamline Records by the end of 2007. During her employment as a songwriter for the record company, her vocal abilities captured the attention of recording artist Akon, who signed her to his label Kon Live Distribution.

Lady Gaga came to prominence as a recording artist following the release of her debut album ''The Fame'' (2008), which was a critical and commercial success that topped charts around the world and included the international number-one singles "Just Dance" and "Poker Face". After embarking on the The Fame Ball Tour, she followed the album with ''The Fame Monster'' (2009), which spawned the worldwide hit singles "Bad Romance", "Telephone" and "Alejandro". The album's success allowed her to embark on the eighteen-month long Monster Ball Tour, which later became one of the highest-grossing concert tours of all time. Her 2011 album ''Born This Way'' topped the charts of most major markets and generated more international chart-topping singles, including "Born This Way", "Judas" and "The Edge of Glory". Beside her musical career, she involves herself with humanitarian causes and LGBT activism.

Influenced by such acts as David Bowie, Michael Jackson, Madonna and Queen, Lady Gaga is recognized for her flamboyant, diverse and outré contributions to the music industry through fashion, performance and music videos. She has sold an estimated 23 million albums and 64 million singles worldwide, making her one of the best-selling music artists of all time and her singles some of the best selling worldwide. Her achievements include five Grammy Awards and 13 MTV Video Music Awards. Lady Gaga has consecutively appeared on ''Billboard'' magazine's Artists of the Year (scoring the definitive title in 2010), ranked fourth in VH1's list of 100 Greatest Women in Music, is regularly placed on lists composed by ''Forbes'' magazine and was named one of the most influential people in the world by ''Time'' magazine.

Biography

1986–2004: Early life

Lady Gaga was born Stefani Joanne Angelina Germanotta on March 28, 1986 in New York, NY to parents Cynthia (née Bissett) and Joseph Germanotta, an internet entrepreneur. Descending from Italian and more distant French-Canadian roots, Gaga is the elder of two children. Her sister, Natali, a fashion student, was born in 1992. Despite her seemingly affluent upbringing in the family home in Manhattan's Upper West Side, Gaga has stressed that she did not come from a wealthy background, stating that her parents "both came from lower-class families, so we've worked for everything—my mother worked eight to eight out of the house, in telecommunications, and so did my father."

From the age of 11, Gaga – who was raised Roman Catholic – attended the Convent of the Sacred Heart, a private all-girls Roman Catholic school on Manhattan's Upper East Side. She described her academic life in high school as "very dedicated, very studious, very disciplined" but also "a bit insecure": "I used to get made fun of for being either too provocative or too eccentric, so I started to tone it down. I didn't fit in, and I felt like a freak." Acquaintances dispute that she did not fit in at school. "She had a core group of friends; she was a good student. She liked boys a lot, but singing was No. 1," recalled a former high school classmate. Gaga began playing the piano at the age of 4, went on to write her first piano ballad at 13, and started to perform at open mike nights by the age of 14. Her passion for musical theatre brought her lead roles in high school productions, including Adelaide in ''Guys and Dolls'' and Philia in ''A Funny Thing Happened on the Way to the Forum''. She also appeared in a very small role as a mischievous classmate in the television drama series ''The Sopranos'' in a 2001 episode titled "The Telltale Moozadell" in addition to unsuccessfully auditioning for parts in New York shows.

When her time at the Convent of the Sacred Heart came to an end, her mother encouraged her to apply for the Collaborative Arts Project 21 (CAP21), a musical theatre training conservatory at New York University's Tisch School of the Arts. After becoming one of twenty students to gain early admission, she eventually lived in an NYU dorm on 11th Street by the age of 17. CAP21 prepared her for her future career focus in "music, art, sex and celebrity" where, in addition to sharpening her songwriting skills, she composed essays and analytical papers on art, religion, social issues and politics, including a thesis on pop artists Spencer Tunick and Damien Hirst. With CAP21, she also tried out for and won auditions, including the part of an unsuspecting diner customer for MTV's ''Boiling Points'', a prank reality television show. But Gaga felt more creative than some of her classmates. "Once you learn how to think about art, you can teach yourself," she said.

2005–07: Career beginnings

Gaga withdrew from CAP21 at 19, in the second semester of her sophomore year, deciding to focus on her musical career. Her father agreed to pay her rent for a year, on the condition that she re-enroll at Tisch if unsuccessful. "I left my entire family, got the cheapest apartment I could find, and ate shit until somebody would listen," she remembers. Settled in a small apartment on Rivington Street towards the summer of 2005, Gaga recorded a couple of songs with hip-hop singer Grandmaster Melle Mel, for an audio book accompanying the children's book ''The Portal in the Park'', by Cricket Casey. She also began a band called the Stefani Germanotta Band (SGBand) with some friends from NYU – guitarist Calvin Pia, bassist Eli Silverman, drummer Alex Beckham and booking manager Frank Fredericks – in September of that year. The band played a mixture of songs: some self-penned alongside classic rock numbers like Led Zeppelin's "D'yer Mak'er". Playing in bars like the Greenwich Village's The Bitter End and the Lower East Side's the Mercury Lounge, the band developed a small fan base and caught the eye of music producer Joe Vulpis. Soon after arranging time in Vulpis' studio in the months that followed, SGBand were selling their extended plays ''Words'' and ''Red and Blue'' (both 2005) at gigs around New York while becoming a local fixture of the downtown Lower East Side club scene.

SGBand reached their career peak at the 2006 Songwriters Hall of Fame New Songwriters Showcase at The Cutting Room in June where Wendy Starland, a musician, appeared as a talent scout for music producer Rob Fusari. Starland informed Fusari – who was searching for a female singer to front a new band – of Gaga's ability and contacted her. With SGBand disbanded, Gaga traveled daily to New Jersey to work on songs she had written and compose new material with the music producer. While in collaboration, Fusari compared some of her vocal harmonies to those of Freddie Mercury, lead singer of Queen. It was Fusari who helped create the moniker Gaga after the Queen song "Radio Ga Ga". Gaga was in the process of trying to come up with a stage name when she received a text message from Fusari that read "Lady Gaga." He explained, "Every day, when Stef came to the studio, instead of saying hello, I would start singing 'Radio Ga Ga'. That was her entrance song" and that the text message was the result of a predictive text glitch that changed "radio" to "lady". She texted back, "That's it," and declared, "Don't ever call me Stefani again." ''The New York Post'', however, has reported that this story is incorrect, and that the name resulted from a marketing meeting.

Although the musical relationship between Fusari and Gaga was unsuccessful at first, the pair soon set up a company titled Team Lovechild in which they recorded and produced electropop tracks and sent them to music industry bosses. Joshua Sarubin, the head of A&R; at Def Jam Recordings, responded positively and vied for the record company to take a chance on her "unusual and provocative" performance. After having his boss Antonio "L.A." Reid in agreement, Gaga was signed to Def Jam in September 2006 with the intention of having an album ready in nine months. However, she was dropped by the label after only three months – an unfortunate period of her life that would later inspire her treatment for the music video for her 2011 single "Marry the Night". Devastated, Gaga returned to the solace of the family home for Christmas and the nightlife culture of the Lower East Side.

She became increasingly experimental: fascinating herself with emerging neo-burlesque shows, go-go dancing at bars dressed in little more than a bikini in addition to experimenting with drugs. Her father, however, did not understand the reason behind her drug intake and could not look at her for several months. "I was onstage in a thong, with a fringe hanging over my ass thinking that had covered it, lighting hairsprays on fire, go-go dancing to Black Sabbath and singing songs about oral sex. The kids would scream and cheer and then we'd all go grab a beer. It represented freedom to me. I went to a Catholic school but it was on the New York underground that I found myself." It was then when she became romantically involved with a heavy metal drummer in a relationship and break-up she likened to the musical film ''Grease'': "I was his Sandy, and he was my Danny, and I just broke." He later became an inspiration behind some of her later songs.

During this time, she met performance artist Lady Starlight, who helped mold her on-stage persona. Starlight explained that, upon their first meeting, Gaga wanted to perform with her to songs she had recorded with Fusari. Like SGBand, the pair soon began performing at many of the downtown club venues like the Mercury Lounge, The Bitter End, and the Rockwood Music Hall. Their live performance art piece was known as "Lady Gaga and the Starlight Revue" and, billed as "The Ultimate Pop Burlesque Rockshow", was a low-fi tribute to 1970s variety acts. Soon after, the two were invited to play at the 2007 Lollapalooza music festival in August that year. The show was critically acclaimed, and their performance received positive reviews. Having initially focused on avant-garde electronic dance music, Gaga had found her musical niche when she began to incorporate pop melodies and the glam rock of David Bowie and Queen into her music.

While Gaga and Starlight were busy performing, producer Rob Fusari continued to work on the songs he had created with Gaga. Fusari sent these songs to his friend, producer and record executive Vincent Herbert. Herbert was quick to sign her to his label Streamline Records, an imprint of Interscope Records, upon its establishment in 2007. Gaga later credited Herbert as the man who discovered her, adding "I really feel like we made pop history, and we're gonna keep going." Having served as an apprentice songwriter under an internship at Famous Music Publishing, which was later acquired by Sony/ATV Music Publishing, Gaga subsequently struck a music publishing deal with Sony/ATV. As a result, she was hired to write songs for Britney Spears and labelmates New Kids on the Block, Fergie, and the Pussycat Dolls. At Interscope, singer-songwriter Akon recognized her vocal abilities when she sang a reference vocal for one of his tracks in studio. He then convinced Interscope-Geffen-A&M; Chairman and CEO Jimmy Iovine to form a joint deal by having her also sign with his own label Kon Live Distribution, making her his "franchise player."

As 2007 came to a close, her former management company introduced her to songwriter and producer RedOne, whom they also managed. The first song she produced with RedOne was "Boys Boys Boys", a mash-up inspired by Mötley Crüe's "Girls, Girls, Girls" and AC/DC's "T.N.T.". Gaga continued her collaboration with RedOne in the recording studio for a week on her debut album and also joined the roster of Cherrytree Records, an Interscope imprint established by producer and songwriter Martin Kierszenbaum, after co-writing four songs with Kierszenbaum including the singles "Christmas Tree" and "Eh, Eh (Nothing Else I Can Say)". Despite her secure record deal, she admitted that there was fear about her being too "racy", "dance-orientated" and "underground" for the mainstream market. Her response: "My name is Lady Gaga, I've been on the music scene for years, and I'm telling you, this is what's next."

2008–10: ''The Fame'' and ''The Fame Monster''

By 2008, Gaga had relocated to Los Angeles in order to work extensively with her record label to complete her debut album and set up her own creative team Haus of Gaga, modeled on Andy Warhol's Factory. ''The Fame'' was first released on August 19, 2008 to slow radio play. Gaga supported it by performing around Europe and in small gay clubs around the US in addition to being billed as a supporting artist on the North American leg of New Kids on the Block's reunion concert tour. A sleeper hit, lead single "Just Dance" had preceded the album's release by four months but only hit the summit of the international charts in January 2009, provoking the instant success of the album, earning her first Grammy Award nomination (for Best Dance Recording) and becoming one of the best-selling singles worldwide. Gaga achieved a greater unexpected success when "Poker Face", another sleeper hit, reached number one in most major music markets worldwide in early 2009. The follow-up single won the award for Best Dance Recording at the 52nd Grammy Awards over nominations for Song of the Year and Record of the Year.

''The Fame'' itself was nominated for Album of the Year while winning Best Dance/Electronica Album at the same ceremony. Contemporary critics lauded the album, describing it as an exploration of her obsession with fame and the intricacies of a rich and famous lifestyle, noting its combination of genres "from Def Leppard drums and hand claps to metal drums on urban tracks", the inspiration drawn from 1980s synthpop and incorporation of dance music with clear hooks. ''The Fame'' went to number one in Austria, Canada, Germany, Ireland, Switzerland and the UK and appeared in the top five in Australia, the US and 15 other countries. It also stayed atop the Dance/Electronic Albums chart for 106 non-consecutive weeks and, since its release, has sold over 12 million copies worldwide. The album's success spawned many 2009 honors including ''Billboard'' magazine's Rising Star award and the accumulation of 3 of 9 MTV Video Music Awards nominations, winning Best New Artist with the video for her single "Paparazzi" gaining Best Art Direction and Best Special Effects. In addition to being an opening act on the Pussycat Dolls' Doll Domination Tour during the first half of 2009 in Europe and Oceania, she also embarked on her own six-month critically appreciated worldwide concert tour The Fame Ball Tour which ran from March to September 2009.

While she traveled the globe, she wrote ''The Fame Monster'', an EP of eight songs released in November 2009. Each song, dealing with the darker side of fame from personal experience, is expressed through a monster metaphor. Making Gaga the first artist in digital history to have three singles (alongside "Just Dance" and "Poker Face") to pass the four million mark in digital sales, its lead single "Bad Romance" topped the charts in eighteen countries and reached the top two in the US, Australia and New Zealand while accruing the Grammy Awards for Best Female Pop Vocal Performance and Best Short Form Music Video. The second single "Telephone", which features singer Beyoncé, was nominated for the Grammy Award for Best Pop Collaboration with Vocals and became Gaga's fourth UK number one single; its accompanying music video, although controversial, receiving positive reception from contemporary critics who praised her for "the musicality and showmanship of Michael Jackson and the powerful sexuality and provocative instincts of Madonna." Her following single "Alejandro" paired Gaga with fashion photographer Steven Klein for a music video similarly as controversial – critics complimented its ideas and dark nature but the Catholic League attacked Gaga for her alleged use of blasphemy. Despite the controversy surrounding her music videos, they made Gaga the first artist to gain over one billion viral views on video-sharing website YouTube. At the 2010 MTV Video Music Awards, Gaga won 8 of her 13 nominations, including Video of the Year for "Bad Romance" (with "Telephone" also nominated), which made her the first female artist to be nominated twice for the award. In addition, ''The Fame Monster'' garnered a total of six nominations at the 53rd Grammy Awards – equating to the amount of Grammy nominations her debut received – winning Best Pop Vocal Album and earning her a second-consecutive nomination for Album of the Year.

The success of the album allowed Gaga to start her second worldwide concert tour, The Monster Ball Tour, just weeks after the release of ''The Fame Monster'' and months after having finished The Fame Ball Tour. Upon finishing in May 2011, the critically acclaimed and commercially accomplished tour ran for over one and a half years and grossed $227.4 million, making it one of the highest-grossing concert tours of all time and the highest-grossing for a debut headlining artist. Concerts performed at Madison Square Garden in New York City were filmed for a HBO television special titled ''Lady Gaga Presents the Monster Ball Tour: At Madison Square Garden''. The special accrued one of its five Emmy Award nominations and has since been released on DVD and Blu-ray. Gaga also performed songs from the album at international events such as the 2009 Royal Variety Performance where she sang "Speechless", a power ballad, in the presence of Queen Elizabeth II; the 52nd Grammy Awards where her opening performance consisted of the song "Poker Face" and a piano duet of "Speechless" in a medley of "Your Song" with Elton John; and the 2010 BRIT Awards where a performance of an acoustic rendition of "Telephone" followed by "Dance in the Dark" dedicated to the late fashion designer and close friend, Alexander McQueen, supplemented her hat-trick win at the awards ceremony. Other performances may have included her participation in Michael Jackson's This Is It concert series at London's O2 Arena. "I was actually asked to open for Michael on his tour," she stated. "We were going to open for him at the O2 and we were working on making it happen. I believe there was some talk about us, lots of the openers, doing duets with Michael on stage."

Nevertheless, she realized a collaboration with consumer electronic company Beats by Dr. Dre to create a pair of in-ear jewel-encrusted headphones titled Heartbeats. "They are designed to be the first ever fashion accessories that double as the absolute best sonically sounding headphones in the world," she commented. Gaga also partnered with Polaroid in January 2010 as their Creative Director. Excited about "blending the iconic history of Polaroid and instant film with the digital era," Gaga unveiled the first trio of new products called Grey Label: a pair of picture-taking sunglasses, a paperback-sized mobile printing unit and an updated version of the traditional Polaroid camera at the 2011 Consumer Electronics Show. But her collaboration with past producer Rob Fusari led to her production team, Mermaid Music LLC, being sued in March 2010 when he claimed that he was entitled to a 20% share of the company's earnings. Gaga's lawyer, Charles Ortner, described the agreement with Fusari as "unlawful" and declined to comment, but five months later, the New York Supreme Court dismissed both the lawsuit and a countersuit by Gaga. In addition to such strife, Gaga was tested borderline positive for lupus, but claimed not to be affected by the symptoms. The revelations caused considerable dismay among fans, leading to Gaga addressing the matter in an interview with Larry King, saying she hopes to avoid symptoms by maintaining a healthy lifestyle.

2011–present: ''Born This Way''

Gaga released her second studio album and third major release, ''Born This Way'', on May 23, 2011. Described as a marriage of electronic music with metal, rock 'n' roll, pop and anthemic style melodies with sledge-hammering dance beats and referred to as an album "about what what keeps us up at night and what makes us afraid," Gaga characterized it as "something so much deeper than a wig or lipstick or a fucking meat dress" and, upon hearing it, Akon remarked that she is taking music to the "next level." Upon release, the album received generally positive reviews from music critics, who praised its range of different styles and her vocals. ''Born This Way'' sold 1.108 million copies in its first week in the US, debuted atop the ''Billboard'' 200, and topped the charts in more than 20 other countries. In addition to exceeding 8 million copies in worldwide sales, ''Born This Way'' received 3 Grammy Award nominations, including her third consecutive for Album of the Year.

In the months prior to its unveiling, Gaga released the singles "Born This Way", "Judas" and "The Edge of Glory" alongside promotional single "Hair". The eponymous lead single, first sung live at the 53rd Grammy Awards in a performance that saw Gaga emerge from an egg-like vessel, deals with self-acceptance regardless of race or sexual orientation. The single debuted atop the ''Billboard'' Hot 100, becoming the 19th number-one debut and the 1,000th number-one single in the history of the charts. It sold more than 3 million digital copies in the US by October 2011, becoming her eighth consecutive single to exceed sales of 2 million and, with worldwide sales of 8.2 million copies by November 2011, one of her five best-selling singles worldwide. Critics noted artistic and cultural references and praised the concept of the song's accompanying music video, in which Gaga gives birth to a new race amidst surrealistic images. The video for "Judas", in which Gaga portrays Mary Magdalene, and Biblical figures such as Jesus Christ and Judas Iscariot are also featured, was criticized for its religious references but received acclaim for its overall delivery and praise from others who claimed that there was nothing offensive about it. "Judas" also peaked within the top ten in several major musical markets while "The Edge of Glory", first a commercial success in digital outlets, was later released as a single to critical appreciation accompanied by a video which notably stripped down from her usually "extravagant" efforts. She released "You and I" and "Marry the Night" as the following singles from ''Born This Way''. Although their "crazy and ambitious" videos were praised for their audacity, both songs failed to match the similar international success that its predececors achieved.

Gaga continued her musical endeavors by pairing with veteran artists like Tony Bennett to record a jazz version of "The Lady Is a Tramp". She also recorded a duet with Cher on a "massive" and "beautiful" track, which Gaga "wrote a long time ago, and I've never put it on one of my own albums for, really, no particular reason." Gaga also lent her vocals to an original duet with Elton John for the animated feature film ''Gnomeo & Juliet''. The song, "Hello, Hello", was released without Gaga's vocals but the duet version features in the film. She also continued her live appearances throughout 2011, performing a one-of-a-kind concert at the Sydney Town Hall on July 13 in promotion of ''Born This Way'' and at the celebration of former US president Bill Clinton's 65th birthday, wearing a blond wig as a nod to the famous performance of Marilyn Monroe for John F. Kennedy and changing the lyrics to "You and I" specifically for the performance. Televised appearances comprised her own Thanksgiving Day television special entitled ''A Very Gaga Thanksgiving'' which was critically lauded, attained 5.749 million American viewers, and spawned the release of her fourth extended play ''A Very Gaga Holiday''. Her second performance on ''Saturday Night Live'' saw her singing a selection of ''Born This Way'' songs alongside appearing in number of sketches with Justin Timberlake and Andy Samberg.

In early 2012, Gaga stated that songs for a new album were "beginning to flourish" as she worked with producer Fernando Garibay, while the accompanying tour for ''Born This Way'' was materializing. The Born This Way Ball Tour is set to begin on April 27, 2012, at the Olympic Stadium in Seoul, South Korea.

Artistry

Influences

Gaga's parents, who exposed her to artists like The Beatles, Stevie Wonder, Bruce Springsteen, Pink Floyd, Led Zeppelin and Elton John, had significant influence on her childhood and, presently, still do. "I am a real family girl. When it comes to love and loyalty, I am very old-fashioned. And I am quite down-to-earth for such an eccentric person," she insists. "I'm quite traditional in the family sense. I've always been that way." According to Gaga, Joanne Germanotta – her aunt who died of lupus aged 19 – lives on through her and inspires all of her music and art. Joanne's date of death is tattooed on Gaga's body and, despite dying 12 years before her birth, Gaga commented, "I really believe I have two hearts. I think I actually carry two souls in my body, and that I'm living out the rest of her life and her goodness – she died a virgin, she died never having experienced all these things that we all get to love and experience in our lives." Another spiritual influence on Gaga has been the Indian physician, public speaker and writer Deepak Chopra. Labeling him a "true inspiration", she stated that "he's always reminded me to work in a life of service to my fans and to fulfill my vision and my destiny" in addition to thinking about Chopra when it comes to her work as a musician: "I want so much for it to go beyond the music for my fans."

Musically, Gaga takes influence from numerous musicians from dance-pop singers like Madonna and Michael Jackson to glam rock artists like David Bowie and Queen whilst employing the theatrics of artists like Andy Warhol and of her musical theatre roots in performance. The Queen song "Radio Ga Ga" inspired her stage name: "I adored Freddie Mercury and Queen had a hit called 'Radio Gaga'. That's why I love the name [...] Freddie was unique—one of the biggest personalities in the whole of pop music," she commented. Gaga receives regular comparisons to recording artist Madonna who admits that she sees herself reflected in Gaga. In response to the comparisons, Gaga stated, "I don't want to sound presumptuous, but I've made it my goal to revolutionize pop music. The last revolution was launched by Madonna 25 years ago" in addition to commenting that "there is really no one that is a more adoring and loving Madonna fan than me. I am the hugest fan personally and professionally." Like Madonna, Gaga has continued to reinvent herself and, over the years of her career, has drawn musical inspiration from a diverse mix of artists including Whitney Houston, Britney Spears, Grace Jones, Cyndi Lauper, Blondie singer Debbie Harry, Scissor Sisters, Prince, Marilyn Manson and Yoko Ono.

Gaga has identified fashion as a major influence and has been stylistically compared to English eccentrics Leigh Bowery and Isabella Blow and to American recording artist Cher. She commented that "as a child, she somehow absorbed Cher's out-there fashion sense and made it her own." She has considered Donatella Versace her muse and the late British fashion designer and close friend Alexander McQueen as an inspiration, admitting that "I miss Lee every time I get dressed" while channeling him in some of her work. Modeled on Andy Warhol's Factory, Gaga has her own creative production team, which she handles personally, called the Haus of Gaga, who create many of her clothes, stage props, and hairdos. Her adoration of fashion came from her mother, who she stated was "always very well kept and beautiful." "When I'm writing music, I'm thinking about the clothes I want to wear on stage. It's all about everything altogether—performance art, pop performance art, fashion. For me, it's everything coming together and being a real story that will bring back the super-fan. I want to bring that back. I want the imagery to be so strong that fans will want to eat and taste and lick every part of us." The Global Language Monitor named "Lady Gaga" as the Top Fashion Buzzword with her trademark "no pants" a close third. ''Entertainment Weekly'' put her outfits on its end of the decade "best-of" list, saying, "Whether it's a dress made of Muppets or strategically placed bubbles, Gaga's outré ensembles brought performance art into the mainstream." Gaga made her runway debut at Thierry Mugler's Paris fashion show in March 2011 where she wore items from Nicola Formichetti's debut women's wear collection. In June of the same year, she won the Council of Fashion Designers of America Award for Fashion Icon. She has since devoted her time as a fashion columnist for ''V'' magazine, where she has written about her creative process, her studying of the world of pop culture, and her ability to tune into the evolution of pop-culture meme.

In August 2011 she sent to her 15 millions followers that she had at that time on Twitter, a quote about creativity from the book "Creativity" by Osho, which led journalists, on 28 october of the same year, on her arrival to India for the inauguration of a big Formula One motorsport event, to ask her about her connection to the Indian philosopher, to which Gaga said she was influenced by his work and she stated that for her, "the creativity is the greatest way of rebellion": "Equality - concluded - is one of the most important things in my life".

Musical style

Continually experimenting with new musical ideas and images, Gaga's musical and performance style is the subject of much analysis and scrutiny from critics. She professes that she is "liberating" herself by constantly reinventing her sound and image, insisting that she has been drawn to such a practice since her childhood. Vocally, Gaga possesses the range of a contralto and exhibits "overwhelming expression, instinctive vocal phrasing, '80s rock reminiscent chest belts and animalistic vocal ticks" while being able to move through 2.4 octaves. Refusing to lip sync, Gaga – whose range is frequently compared to those of Madonna and Gwen Stefani – has manipulated her vocal style over the course of her career yet considers ''Born This Way'' (2011) "much more vocally up to par with what I've always been capable of." In summation of her voice, ''Entertainment Weekly'' wrote, "There's an immense emotional intelligence behind the way she uses her voice. Almost never does she overwhelm a song with her vocal ability, recognizing instead that artistry is to be found in nuance rather than lung power."

Although her early lyrics have been criticized for lacking intellectual stimulation, "[Gaga] does manage to get you moving and grooving at an almost effortless pace." She admits that her songwriting has been misinterpreted; her friend and blogger Perez Hilton articulated her message in a clearer way: "you write really deep intelligent lyrics with shallow concepts." Gaga opined, "Perez is very intelligent and clearly listened to my record from beginning to end, and he is correct." "I love songwriting. It's so funny – I will just jam around in my underwear or I could be washing my dishes. I wrote several songs just at the piano," she confesses. Gaga believes that "all good music can be played at a piano and still sound like a hit." She has covered a wide variety of topics in her songs: while ''The Fame'' (2008) meditates on the lust for stardom, ''The Fame Monster'' (2009) expresses fame's dark side through monster metaphors. ''Born This Way'' (2011) is sung in English, French, German and Spanish and includes common themes in Gaga's controversial songwriting like love, sex, religion, money, drugs, identity, liberation, sexuality, freedom and individualism.

The structure of her music is said to echo classic 1980s pop and 1990s Europop. Her debut album ''The Fame'' (2008) provoked ''The Sunday Times'' to assert "in combining music, fashion, art and technology, [Gaga] evokes Madonna, Gwen Stefani circa 'Hollaback Girl', Kylie Minogue 2001 or Grace Jones right now" and a critic from ''The Boston Globe'' to comment that she draws "obvious inspirations from Madonna to Gwen Stefani... in [her] girlish but sturdy pipes and bubbly beats." Music critic Simon Reynolds wrote that "Everything about Gaga came from electroclash, except the music, which wasn't particularly 1980s, just ruthlessly catchy naughties pop glazed with Auto-Tune and undergirded with R&B;-ish beats." The follow-up ''The Fame Monster'' (2009), saw Gaga's taste for pastiche, drawing on "Seventies arena glam, perky ABBA disco and sugary throwbacks like Stacey Q" while ''Born This Way'' (2011) also draws on the records of her childhood and still has the "electro-sleaze beats and Eurodisco chorus chants" of its predecessor but includes genres as diverse as opera, heavy metal, disco, and rock and roll. "There isn't a subtle moment on the album, but even at its nuttiest, the music is full of wide-awake emotional details," wrote ''Rolling Stone'', who concluded: "The more excessive Gaga gets, the more honest she sounds."

Music videos and performances

With constant costume changes, backup dancers, and provoctative visuals, Gaga's music videos are often described as short films. "Being provocative is not just about getting people's attention. It's about saying something that really affects people in a real way, in a positive way," she professes. Exploring bondage and sadomasochism in addition to highlighting prevalent feminist themes, "the three central themes that shape Lady Gaga's music videos are sex, violence, and power." "Vaudevillian and carnal, Lady Gaga has got the knack of sending rape-like fantasies—in songs and videos that double as catch club hits—to the top of the charts," wrote one critic. "Whether it is physical violence or sexual exploitation, these videos offer vivid depictions of male power over women's bodies," wrote another. While she labels herself "a little bit of a feminist" (she rejects man-hating feminism) and asserts that she is "sexually empowering women," Gaga strives to empower young women to stand up for what they believe in. She also attempts to liberate her fans so they can feel "less alone." "She not only reiterates her assertion of total originality," professed pop critic Ann Powers, "but also finesses it until it's both a philosophical stance about how constructing a persona from pop-cultural sources can be an expression of a person's truth—a la those drag queens Gaga sincerely admires—and a bit of a feminist act." In summation of her videos, ''Rolling Stone'' used the rhetoric: "does anyone look to a Lady Gaga video for restraint?"

Her performances are described as "highly entertaining and innovative"; the blood-spurting performance of "Paparazzi" at the 2009 MTV Video Music Awards was described as "eye-popping" by MTV. She continued the "blood soaked" theme during The Monster Ball Tour, in which she wore a revealing leather corset and was "attacked" by a performer dressed in black who gnaws on her throat, causing "blood" to spurt down her chest, after which she lies "dying" in a pool of blood. Her performances of that scene in England triggered protests from family groups and fans in the aftermath of a local tragedy, in which a taxi driver had murdered 12 people. "What happened in Bradford is very fresh in people's minds and given all the violence which happened in Cumbria just hours earlier, it was insensitive," said Lynn Costello of Mothers Against Violence. Her unconventionality continued at the 2011 MTV Video Music Awards: performing in drag as her male alter ego, Jo Calderone, and delivering a lovesick monologue before a performance of her song "You and I". Some have defended her flamboyant and provocative behavior. "Well, she's Lady Gaga," Chris Rock said. "She's not 'Lady Behave Yourself.' Do you want great behavior from a person named Gaga? Is this what you were expecting?" As Gaga's choreographer and creative director, Laurieann Gibson provided material for her shows and videos for four years. However, the pair parted in November 2011; Gaga replacing her with Gibson's assistant Richard Jackson. Gaga admits to being a perfectionist when it comes to her elaborate shows. "I'm very bossy. I can scream my head off if I see one light fixture out. I'm very detailed – every minute of the show has got to be perfect."

Public image

While ''Rolling Stone'' named Gaga the "Queen of Pop" in 2011, public reception of Gaga's music, fashion sense and persona are mixed. Her status as a role model, self-esteem booster for her fans, trailblazer and fashion icon who breathes new life into the industry is by turns affirmed and denied. Gaga's albums have received mostly positive reviews and critics have pointed out her unique place in pop music, the need for new movements in popular culture, the attention Gaga brings to modern social issues, and the inherently subjective nature of her art. In view of her influence on modern culture and her rise to global fame, sociologist Mathieu Deflem of the University of South Carolina has organized a course titled "Lady Gaga and the Sociology of Fame" since spring 2011 with the objective of unravelling "some of the sociologically relevant dimensions of the fame of Lady Gaga." When Gaga briefly met with US president Barack Obama at a Human Rights Campaign fundraiser, he described the interaction as "intimidating" as she was dressed in 16-inch heels making her undoubtedly the tallest woman in the room.

Contrary to her outré style, the ''New York Post'' described her early look as like "a refugee from ''Jersey Shore''" with "big black hair, heavy eye makeup and tight, revealing clothes." Gaga is a natural brunette; she bleached her hair blonde because she was often mistaken for Amy Winehouse. She has nine tattoos on the left side of her body (her father has banned etchings on her right): a unicorn head with a ribbon wrapped around its horn that says "Born This Way"; a small heart with "dad" written inside it; several white roses; a treble clef; three daises; "Tokyo Love" with a little heart; "Little Monsters" written in cursive; a peace symbol, which was inspired by John Lennon, whom she stated was her hero; and a curling German script on her left arm quoting the poet Rainer Maria Rilke, her favorite writer, commenting that his "philosophy of solitude" spoke to her. In a question posed about the necessary procedure to attach the prosthetics to give the unconventional appearance of recent horn-like ridges on her cheekbones, temples, and shoulders, Gaga responded, "They're not prosthetics, they're my bones." She also clarified that they were not the result of plastic surgery, believing such surgery to only be the modern byproduct of fame-induced insecurity to which she does not subscribe. The interviewer's further probing brought Gaga to the conclusion that they are an artistic representation of her inner inspirational light and part of the "performance piece" that is her musical persona: an inevitability of her becoming who she now is.

Towards the end of 2008, comparisons were made between the fashions of Gaga and recording artist Christina Aguilera that noted similarities in their styling, hair, and make-up. Aguilera stated that she was "completely unaware of [Gaga]" and "didn't know if it [was] a man or a woman." Gaga released a statement in which she welcomed the comparisons due to the attention providing useful publicity, saying, "She's such a huge star and if anything I should send her flowers, because a lot of people in America didn't know who I was until that whole thing happened. It really put me on the map in a way." When interviewed by Barbara Walters for her annual ABC News special ''10 Most Fascinating People'' in 2009, Gaga dismissed the claim that she is intersex as an urban legend. Responding to a question on this issue, she stated, "At first it was very strange and everyone sorta said, 'That's really quite a story!' But in a sense, I portray myself in a very androgynous way, and I love androgyny." In addition to Aguilera's statement, comparisons continued into 2010, when Aguilera released the music video of her single "Not Myself Tonight". Critics noted similarities between the song and its accompanying music video with Gaga's video for "Bad Romance". There have also been similar comparisons made between Gaga's style and that of fashion icon Dale Bozzio from the band Missing Persons. Some have considered their respective images to be strikingly parallel although fans of Missing Persons note that Bozzio had pioneered the look more than thirty years earlier.

While devout followers call Gaga "Mother Monster", Gaga often refers to her fans as "Little Monsters" which has been tattooed on "the arm that holds my mic" in dedication. Her treatment of her "Little Monsters" has inspired criticism, due to the highly commercial nature of her music and image. To some, this dichotomy contravenes the concept of outsider culture. Camille Paglia in her 2010 cover story "Lady Gaga and the death of sex" in ''The Sunday Times'' asserts that Gaga "is more an identity thief than an erotic taboo breaker, a mainstream manufactured product who claims to be singing for the freaks, the rebellious and the dispossessed when she is none of those." Writing for ''The Guardian'', Kitty Empire opined that the dichotomy "...allows the viewer to have a 'transgressive' experience without being required to think. At [her performance's] core, though, is the idea that Gaga is at one with the freaks and outcasts. The Monster Ball is where we can all be free. This is arrant nonsense, as the scads of people buying Gaga's cunningly commercial music are not limited to the niche worlds of drag queens and hip night creatures from which she draws her inspiration. But Gaga seems sincere."

Philanthropy

Besides her career in music, Gaga has also contributed to various charities. For natural disasters, Gaga has helped various relief efforts. Although declining an invitation to appear on the single "We Are the World 25" to benefit victims of the 2010 Haiti earthquake, she donated the proceeds of her January 24, 2010 concert at New York's Radio City Music Hall to the country's reconstruction relief fund. All profits from her official online store on that day were also donated. Gaga announced that an estimated total of US$500,000 was collected for the fund. Hours after the 2011 Tōhoku earthquake and tsunami hit Japan on March 11, 2011, Gaga tweeted a message and a link to Japan Prayer Bracelets. All revenue from a bracelet she designed in conjunction with the company was donated to relief efforts. As of March 29, 2011, the bracelets raised $1.5 million. However, attorney Alyson Oliver filed a lawsuit against Gaga in Detroit in June 2011, noting that the bracelet was subject to a sales tax and an extra $3.99 shipping charge was added to the price. She also believed that not all proceeds from the bracelets would go to the relief efforts, demanding a public accounting of the campaign and refunds for people who had bought the bracelet. Lady Gaga's spokesperson called the lawsuit "meritless" and "misleading". On June 25, 2011, Gaga performed at MTV Japan's charity show in Makuhari Messe, which benefited the Japanese Red Cross.

HIV and AIDS

Gaga also contributes in the fight against HIV and AIDS, focusing on educating young women about the risks of the disease. In collaboration with Cyndi Lauper, Gaga joined forces with MAC Cosmetics to launch a line of lipstick under their supplementary cosmetic line, Viva Glam. Titled Viva Glam Gaga and Viva Glam Cyndi for each contributor respectively, all net proceeds of the lipstick line were donated to the cosmetic company's campaign to prevent HIV and AIDS worldwide. In a press release, Gaga declared, "I don't want Viva Glam to be just a lipstick you buy to help a cause. I want it to be a reminder when you go out at night to put a condom in your purse right next to your lipstick." The sales of Gaga-endorsed Viva Glam lipstick and lipgloss have raised more than $202 million to fight HIV and AIDS.

Born This Way Foundation

As a humanitarian, she has launched her own non-profit organization, the Born This Way Foundation, which focuses on youth empowerment and issues like self-confidence, well-being, anti-bullying, mentoring, and career development. "My mother and I have initiated a passion project. We call it the Born This Way Foundation," Gaga said in a statement about the foundation, which takes its name from the 2011 single and album. "Together we hope to establish a standard of Bravery and Kindness, as well as a community worldwide that protects and nurtures others in the face of bullying and abandonment." The foundation will work with a number of partners, including the John D. and Catherine T. MacArthur Foundation, The California Endowment and the Berkman Center for Internet & Society at Harvard University. She also jumped into the debate surrounding SB 1070, Arizona's recently-enacted anti-immigration law, after premiering her ''Born This Way'' song "Americano" on the Guadalajara stop of The Monster Ball Tour in Mexico, telling the local press that she could not "stand by many of the unjust immigration laws" in the US. A devoted advocate for the LGBT community, Gaga is also an outspoken activist for LGBT rights worldwide. On February 29, 2012, Lady Gaga and Oprah Winfrey visited Harvard University to launch her Born This Way Foundation.

LGBT advocacy

Gaga attributes much of her early success as a mainstream artist to her gay fans and is considered to be a gay icon. Early in her career she had difficulty getting radio airplay, and stated, "The turning point for me was the gay community. I've got so many gay fans and they're so loyal to me and they really lifted me up. They'll always stand by me and I'll always stand by them. It's not an easy thing to create a fanbase." She thanked FlyLife, a Manhattan-based LGBT marketing company with whom her label Interscope works, in the liner notes of ''The Fame'', saying, "I love you so much. You were the first heartbeat in this project, and your support and brilliance means the world to me. I will always fight for the gay community hand in hand with this incredible team." One of her first televised performances was in May 2008 at the NewNowNext Awards, an awards show aired by the LGBT television network Logo, where she sang her song "Just Dance". In June of the same year, she performed the song again at the San Francisco Pride event.

After ''The Fame'' was released, she revealed that the song "Poker Face" was about her bisexuality. In an interview with ''Rolling Stone'', she spoke about how her boyfriends tended to react to her bisexuality, saying "The fact that I'm into women, they're all intimidated by it. It makes them uncomfortable. They're like, 'I don't need to have a threesome. I'm happy with just you'." When she appeared as a guest on ''The Ellen DeGeneres Show'' in May 2009, she praised DeGeneres for being "an inspiration for women and for the gay community". She proclaimed that the October 11, 2009 National Equality March rally on the National Mall was "the single most important event of her career." As she exited, she left with an exultant "Bless God and bless the gays," similar to her 2009 MTV Video Music Awards acceptance speech for Best New Artist a month earlier. At the Human Rights Campaign Dinner, held the same weekend as the rally, she performed a cover of John Lennon's "Imagine" declaring that "I'm not going to [play] one of my songs tonight because tonight is not about me, it's about you." She changed the original lyrics of the song to reflect the death of Matthew Shepard, a college student murdered because of his sexuality.

Gaga attended the 2010 MTV Video Music Awards accompanied by four service members of the United States Armed Forces (Mike Almy, David Hall, Katie Miller and Stacy Vasquez), all of whom, under the United States military's "Don't ask, don't tell" (DADT) policy, had been prohibited from serving openly because of their sexuality. In addition, Gaga wore a meat dress to the ceremony which was supplemented by boots, a purse and a hat that were all fabricated from the flesh of a dead animal. Partly awarded in recognition of the dress, Vogue.com UK named her one of the Best Dressed people of 2010 while ''Time'' magazine's named the dress the Fashion Statement of 2010, it received divided opinions – evoking the attention of worldwide media but invoking the fury of animal rights organization PETA. She denied any intention of causing disrespect to any person or organization and wished for the dress to be interpreted as a statement of human rights with focus upon those in the LGBT community, adding that "If we don't stand up for what we believe in and if we don't fight for our rights, pretty soon we're going to have as much rights as the meat on our own bones."

She later released three videos on YouTube videos urging her fans to contact their Senators in an effort to overturn the policy. In late September 2010 she spoke at the Servicemembers Legal Defense Network's "4the14K" Rally in Deering Oaks Park in Portland, Maine. The name of the rally signified the number – an estimated 14,000 – of service members discharged under the DADT policy at the time. During her remarks, she urged members of the U.S. Senate (and in particular, moderate Republican Senators from Maine, Olympia Snowe and Susan Collins) to vote in favor of legislation that would repeal the DADT policy. Following this event, editors of ''The Advocate'' commented that she had become "the real fierce advocate" for gays and lesbians, one that Barack Obama had promised to be.

Gaga appeared at Europride, a pan-European international event dedicated to LGBT pride, held in Rome in June 2011. In a nearly twenty-minute speech, she criticized the intolerant state of gay rights in many European countries and described homosexuals as "revolutionaries of love" before performing acoustic renderings of "Born This Way" and "The Edge of Glory" in front of thousands at the Circus Maximus. She stated that "Today and every day we fight for freedom. We fight for justice. We beckon for compassion, understanding and above all we want full equality now". Gaga revealed that she is often questioned why she dedicates herself to "gayspeak" and "how gay" she is, to which, she told the audience: "Why is this question, why is this issue so important? My answer is: I am a child of diversity, I am one with my generation, I feel a moral obligation as a woman, or a man, to exercise my revolutionary potential and make the world a better place." She then joked: "On a gay scale from 1 to 10, I'm a Judy Garland fucking 42."

Discography

''The Fame'' (2008)

''The Fame Monster'' (2009)

''Born This Way'' (2011)

Filmography

''Lady Gaga Presents the Monster Ball Tour: At Madison Square Garden'' (2011)

''A Very Gaga Thanksgiving'' (2011)

Concert tours

The Fame Ball Tour (2009)

Fame Kills: Starring Kanye West and Lady Gaga (2009–10) (canceled)

The Monster Ball Tour (2009–11)

The Born This Way Ball Tour (2012–13)

See also

List of awards and nominations received by Lady Gaga

Honorific nicknames in popular music

List of best-selling music artists

References

Further reading

Monster Anthems (2011) by Robert Christgau

External links

Slide show ''Vanity Fair''

Category:1986 births Category:American contraltos Category:American dance musicians Category:American electronic musicians Category:American female pop singers Category:American musicians of Italian descent Category:American performance artists Category:American pop singer-songwriters Category:American Roman Catholics Category:Androgyny Category:Bisexual musicians Category:Brit Award winners Category:Echo winners Category:English-language singers Category:Feminist musicians Category:Grammy Award winners Category:Interscope Records artists Category:Keytarists Category:LGBT Christians Category:LGBT musicians from the United States Category:LGBT rights activists from the United States Category:LGBT rights activists Category:Living people Category:NME Awards winners Category:American dancers Category:People from Manhattan Category:Pseudonymous musicians Category:Singers from New York City Category:Sony/ATV Music Publishing artists Category:Synthpop musicians Category:Tisch School of the Arts alumni Category:Wonky Pop acts

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Coordinates	12°2′36″N77°1′42″N
bgcolour	#6495ED
name	Christian Marclay
nationality	Swiss-American
field	Visual artist, Composer
awards	}}

Christian Ernest Marclay (b. 11 January 1955, San Rafael, California, USA) is a Swiss-American visual artist and composer.

Marclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism." His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.

Biography

Christian Marclay was born on 11 January 1955 in San Rafael, Marin County, California to a Swiss father and an American mother (maiden name Frese) and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975-1977), the Massachusetts College of Art in Boston (1977-1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.

Drawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.

Marclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams — typical of noise music — and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be ''objets d'art''.

Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary ''Scratch''. His scene didn't make the final cut, but is included among the DVD extras.

Thom Jurek writes that "While many intellectuals have made wild pronouncements about Marclay and his art — and it is art, make no mistake — writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious."

Marclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.

At the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for ''The Clock'', a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. ''Newsweek'' responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury "for giving ''The Clock'' its fifteen minutes".

Selected exhibitions

The Clock - 23rd August to 20 October 2011 - Israel Museum, Jerusalem

The Clock - 4 June to 27 November 2011 - Corderie dell'Arsenale, Venice Biennale, Italy

The Clock - 26 May to 31 July 1011 - Los Angeles County Museum of Art, Los Angeles, California, USA

The Clock - 16 February to 17 April 2011 - Hayward Gallery, London, England

The Clock - 21 January to 19 February 2011 - Paula Cooper Gallery, New York City, New York, USA

The Clock - 15 October to 13 November 2010 - White Cube, London, England

The Record: Contemporary Art and Vinyl - 2010 - Nasher Museum of Art at Duke University, Durham, North Carolina, USA

Vinyl - 2009 - Lydgalleriet, Bergen, Norway (with Flo Kaufmann, Janek Schaefer and Otomo Yoshihide)

Broken English - 2009 - Seiler+Mosseri-Marlio Galerie, Zurich, Switzerland (with Justin Bennett, Shana Lutker, Euan Macdonald, Navid Nuur and Mungo Thomson)

Replay - 2009 - DHC/Art, Montréal, Canada

You Said He Said She Said - 2008 - Seiler+Mosseri-Marlio Galerie, Zurich, Switzerland

Honk If You Love Silence - 2008 - Mamco, Geneva, Switzerland

Snap! - 2008 - Galerie Art and Essai, Rennes, France

Replay - 2007-08 - Australian Centre for the Moving Image, Melbourne, Australia

Replay - 2007 - Cité de la Musique, Paris, France

Christian Marclay - 1999 - Paula Cooper Gallery, New York City, New York, USA

Pictures at an Exhibition - 1997 - Whitney Museum of American Art at Philip Morris, New York City, New York, USA

Arranged and Conducted - 1997 - Kunsthaus, Zurich, Switzerland

Accompagnement Musical - 1995 - Musée d'Art et d'Histoire, Geneva, Switzerland

Amplification - 1995 - Chiesa San Staë, Venice Biennale, Venice, Italy

Christian Marclay - 1994 - Daadgalerie, Berlin, Germany; and Fri-Art Centre d'art contemporain Kunsthalle, Fribourg, Switzerland

Christian Marclay - 1993 - Margo Leavin Gallery, Los Angeles, California

The Wind Section - 1992 - Galerie Jennifer Flay, Paris, France

Christian Marclay - 1991 - Interim Art, London, England

Directions: Christian Marclay - 1990 - Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., USA

Christian Marclay - 1987 - The Clocktower, P.S. 1 Museum, New York City, New York, USA

References

External links

Seiler+Mosseri-Marlio Galerie: Upcoming Exhibits.

White Cube: Christian Marclay.

European Graduate School: Christian Marclay.

Christian Marclay Discography.

Christian Marclay, de la musique aux sons (in French).

Audio of "Tabula Rasa" (2005) for three turntables and cutting lathe by Christian Marclay and Flo Kaufmann. Site broken 25 June 2011.

Audio of "Phonodrum" by Christian Marclay from ''Records 1981-1989'' (1997).

The Record: Contemporary Art and Vinyl.

Review of ''Album Without a Cover'' (1986), ''Spin'', January 1986.

Interviews

''Journal of Contemporary Art'' (Spring 1992).

''Perfect Sound Forever'' (March 1998).

Interview with Akira Sanematsu (28 March 2002).

''KultureFlash'' (July 2003). Site broken 25 June 2011.

''Some Assembly Required'' (12 June 2006).

''Daily Telegraph'' (1 March 2008).

Category:1955 births Category:Free improvisation Category:Contemporary artists Category:Experimental composers Category:European Graduate School faculty Category:Massachusetts College of Art and Design alumni Category:Noise musicians Category:Living people

de:Christian Marclay es:Christian Marclay fr:Christian Marclay it:Christian Marclay ja:クリスチャン・マークレー