With the bite and grit of a woman scorned, Lady Gaga’s comeback single was released last week to much fanfare – mostly because Kevin Parker and Mark Ronson co-wrote and produced it. Though the song itself has received mixed feedback from critics and fans alike (a lot of people seem to be overlooking the fact that it is Gaga’s song and will be on her upcoming fifth album when they screech “less Gaga! More Kevin!” but I digress), it’s a clever career move for all involved. The Tame Impala mastermind recently told Triple J about his thought process when the offer first came up: “It was amazing, really really good. One of those life/career-defining times. It started out sort of like a career move. Like, ‘I’ll get in on that.’ But it quickly became something so personal and so meaningful for everyone involved. I’m just happy it’s all out in the open now. Now I can not tell secrets anymore.”
https://www.youtube.com/watch?v=oB94lvJbETE
And he isn’t the only one. A pop collaboration of such a magnitude can breathe new life into a career, boost a newer artist into the spotlight, bring two (or more!) distinctive voices together, help one make the transition from boy/girl band into solo super stardom. Or, it can fail miserably and fizzle out. Here, we take a look ten other life/career defining (for better or for worse) pop collaborations of recent memory – from Gaga to Gwen, there have been a few.
Bang Bang – Jessie J, Ariana Grande & Nicki Minaj
https://www.youtube.com/watch?v=0HDdjwpPM3Y
A Lady Marmalade for the 2010s, Bang Bang had it all. The seasoned, jazzy vocals of Jessie J’s are bolstered by those of the current princess of pop, Ariana Grande. However perhaps the most important element of all, and something that could be considered a genre all it’s own, the track features what is known as Nicki’s Verse. Once again, Minaj steals the show, to the tune of a wildly energetic rhythm and immediately infectious earworm riff.
Lady Marmalade – Lil’ Kim, Christina Aguilera, Mya & Pink
https://www.youtube.com/watch?v=puKhmJEIw3I
You can’t mention Bang Bang without Lady Marmalade, the last great multi-female pop-rap collab. Originally released in 1974, it was always intended to be performed by a vocal ensemble. However, upon featuring on the Moulin Rouge soundtrack, it this version will forever endure as The One when it comes to pop collabs. Having sat at no. 1 for five weeks after its release, you would have thought it was written with no one other than Christina Aguilera, Mýa, Pink and Lil’ Kim in mind.
The Boy is Mine – Brandy & Monica
https://www.youtube.com/watch?v=Va1Y6uAgNJY
So iconic was this Brandy and Monica collaboration that it’s recently been given the sample treatment along with Destiny’s Child. Nothing beats the original though: two fierce as fuck women in what at first seems to be a girl-hating anthem but turns out to be an exposé of a good for nothing, two timing cheater. Honestly, with the way their voices work together on The Boy Is Mine, it’s a wonder Monica and Brandy didn’t release an entire album together, Then again, too much of a good thing may have meant have taken away some of the shine.
Telephone – Lady Gaga & Beyoncé
https://www.youtube.com/watch?v=EVBsypHzF3U
Kevin Parker isn’t the only major artist who saw an opportunity in collaborating with Lady Gaga. This 2010 hookup resulted in one of the biggest, most important pop collaborations of both artist’s careers. Originally written by Gaga for one Britney Spears, the song was released as part of Gaga’s Grammy nominated album The Fame Monster the year before Bey dropped 4. It pushed Beyoncé into a new light, everything from her double time verse to the masterpiece of a music video were highly calculated moves that helped her build upon the Sasha Fierce attitude while bringing together two pop powerhouses who might have otherwise seemed to be on opposing sides of the genre.
My Boo – Usher & Alicia Keys
https://www.youtube.com/watch?v=fPgf2meEX1w
Originally left off the final track listing to the record, My Boo was leaked online along with three other previously unreleased tracks from Usher’s 2004 the album before being added to the expanded version of Confessions. Having previously collaborated with Alicia Keys on If I Ain’t Got You, producer Jermaine Dupri wanted to tap further into the musical relationship between two of the biggest names in r&b and pop at the time and to say it worked out well would be an understatement. It went on to be the fourth single from the album and was the highest debut of them all, coming in at number twenty nine upon its release.
Where Are Ü Now – Justin Bieber, Shrillex & Diplo
https://www.youtube.com/watch?v=nntGTK2Fhb0
Justin Bieber, Pop’s comeback kid of 2015 knows a thing or two about collaborations. He’s worked with Queen Nicki and his 2015 album featured Big Sean, Halsey and Travi$ Scott to name but a few. Commercially however, one of the biggest standout pop collabs of the past year came from his partnering with Shrillex and Diplo for the second single from the duo’s debut album. The song blew up airwaves (including a brief moment where Justin Bieber was actually aired on triple J) before it went on to be included on Bieber’s Purpose. Officially marking his return, Where Are U Now almost singlehandedly reintroduced the world to the slick, new, adult Biebs that went on to cultivate an entire new generation of fans.
California Gurls – Katy Perry & Snoop Dogg
https://www.youtube.com/watch?v=F57P9C4SAW4
Snoop has had his fair share of collabs – we could have made a list with his alone. However, of recent memory, his appearing on Katy Perry‘s California Gurls sticks out as one of the most wtf collaborations conjured up by executives somewhere no doubt. Still, something about it worked because it earned Perry her second US no. 1 hit and Snoop his third as it went on to reach the top spot in ten other countries and received a Grammy nod.
Suit & Tie – Justin Timberlake & Jay Z
https://www.youtube.com/watch?v=IsUsVbTj2AY
Marking the end of his musical hiatus, Suit & Tie was the first single off Justin Timberlake’s 20/20 Experience – a critically acclaimed commercial juggernaut of an album that sparked a near two-year tour. The Jay Z-featuring Suit & Tie surpassed Timberlake’s own record for the most sales in its first week, with the slightly out of time beat and hazed-out drawl of a song sticking around as the hit of what seemed to be the entire year.
Dilemma – Nelly & Kelly
https://www.youtube.com/watch?v=8WYHDfJDPDc
Off Nelly’s album 2001 Nellyville and the lead single from Kelly Rowland’s debut solo album, Simply Deep, released later the same year, this track won the duo a Grammy award. While Rowland’s career hasn’t reached the heights of her fellow child of destiny, Beyoncé, this was the track that showed her to be much more than essentially a featured backup singer for Bey’s. While Beyoncé has her plethora of collaborations and Michelle sings the Lord’s praise in her new career as a gospel singer, neither can stake claim on Dilemma, practically the most enduring collaboration track of the early 2000s with a (now meme-worthy) video to go along with it. I.C.O.N.I.C.
Let Me Blow Ya Mind/and Rich Girl – Gwen Stefani & Eve
https://www.youtube.com/watch?v=Wt88GMJmVk0
During her early-mid-2000s peak, Eve was nothing short of a collab-extraordinaire. But if there was one partnership that proved to be a cut above the rest, it was when she hopped on a track with No Doubt’s Gwen Stefani. Off Eve’s sophomore album, Let Me Blow Ya Mind gave us the first insight into what was truly a match made in pop heaven (or maybe it was hell, because that video was badass AF for the time, even if you did wonder what happened to Gwen’s car once Dre broke the duo out of jail). They followed it up three years later on Stefani’s debut solo album, the Dr Dre produced track Rich Girl. While it was fun and easy enough to go along with, the song (a last minute addition to Stefani’s Love. Angel. Music. Baby) didn’t come anywhere near reaching the bar set with let Me Blow Ya mind.
Image: Consequence of Sound
What do you think a conversation between one of the most influential pop stars in the world and one of its wisest spiritual leaders would sound like?
There’s no need to guess any longer, Facebook Live having broadcasted a 20-minute discussion between pop superstar Lady Gaga and The Dalai Lama himself, during which they focused on mental health issues among a variety of other important topics.
At the start of their meeting, Gaga tells His Holiness that the questions she is about to ask him were asked by a number of people on social media in order to hear his thoughts.
“How do you help young people address issues of poor self-esteem, managing eating disorders, addiction, self-harm and suicide,” Gaga starts with a question that will cut to the core for many.
While His Holiness acknowledges that everyone’s situation is different, in terms of their mental health he said the key is to show compassion and kindness in tackling the issue. “Your mental attitude is sound with self-confidence and foresightedness,” he says. He also believes it is up to the younger generation to create a healthier world to live in and a way for future generations to find their inner peace. “Future depends on our younger generations… Past, nobody can change. Future, yet to come. So there is possibility to change,” the Dalai Lama says.
He explains that once we start to show compassion to others, we can start to feel better about ourselves. “You also get the feeling, ‘oh, I am something useful to others.’” He continues, “That brings more self-confidence and a meaningful life.”
Gaga for her part takes it all in with the reverence the Dalai Lama commands whenever he speaks but also with understanding. “So what you’re saying is, caring for others and having compassion, it gives you a sense of purpose, so it helps you to feel less alone and alienated so you know we all belong together,” she responds.
All of this occurred in just the first six-and-a-half minutes of the conversation alone. I won’t ruin the rest for you, just watch the video below if you need a whole lot of inspiration for your day. This kind of dialogue is so vitally important in a world where the discussion surrounding mental health issues is becoming increasingly more acceptable
https://www.youtube.com/watch?v=eKfPM1jqdnc
Image: Billboard
This year’s Grammy Awards have been just as eventful as the last few. From Kendrick’s history-making performance, Taylor Swift returning some shade to Kanye, and of course, Lady Gaga’s tribute performance to the late David Bowie. We reported earlier this week that Bowie’s son Duncan Jones wasn’t a huge fan of the tribute, coming out publicly on Twitter to call it “mentally confused.” Well, long time Bowie collaborator and Gaga’s co-star Nile Rodgers has come to her defence via Twitter.
“overexcited or irrational, typically as a result of infatuation or excessive enthusiasm; mentally confused.” Damn it! What IS that word!?
— Duncan Jones (@ManMadeMoon) February 16, 2016
[youtube https://www.youtube.com/watch?v=3fGBZhsa4VU]
You really believe “all” were expecting or maybe “you” were expecting, which is cool. Your wants are cool. https://t.co/dkznXlnfB1
— Nile Rodgers (@nilerodgers) February 17, 2016
Many artists and tributes were performed, we did what we thought and still think was right in our short time slot. x https://t.co/NottaU93am
— Nile Rodgers (@nilerodgers) February 17, 2016
I did 4 projects with David including his BIGGEST by far! I think I had an amazing relationship w him. https://t.co/X89gmhewAX
— Nile Rodgers (@nilerodgers) February 17, 2016
I don’t mind hate as you call it, I call it “difference of opinion” sometime it makes me smarter, other times??? https://t.co/u49s0h4ciU
— Nile Rodgers (@nilerodgers) February 17, 2016
Don’t take it so seriously. If David or I tried to listen to everyone, we’d have never finished ANYTHING! https://t.co/oHcuKNnJ4p
— Nile Rodgers (@nilerodgers) February 17, 2016
He has a right to his feelings and opinions too. My brother’s favorite works of mine are all my instrumentals. https://t.co/GDj28EVDkL
— Nile Rodgers (@nilerodgers) February 17, 2016
ABSOLUTELY!!! ALL DAY LONG. Do you have any idea of how many songs (hits) I’ve done w DB of other people’s songs? https://t.co/zLb9XZYN02
— Nile Rodgers (@nilerodgers) February 17, 2016
Gaga’s performance has been criticised for making her performance seem like product placement for her sponsor Intel, but surely being backed by a long time collaborator and friend brings some legitimacy to her tribute?
No doubt this situation will continue to escalate, so keep it locked here for all future news.
Image: The GRAMMYS
A man whose influence spanned decades and defied genres, David Bowie has long been cited as one of the biggest influences of pop sensation Lady Gaga. Having never made a secret of her admiration of Bowie, it seemed fitting that Gaga be the person for perform a tribute medley of his hits at yesterday’s 58th Grammy Awards.
Gaga was joined by Bowie collaborator Nile Rodgers for the tribute of nine Bowie songs, including Rebel Rebel, Suffragette City, Lets Dance, Fame and Heroes. The performance earned a standing ovation from the Grammy audience and has since received praise from a number of celebrities, including Bette Midler, declaring that it was a wonderful tribute to the musician who inspired so many.
Now, the late musician’s son and BAFTA Award winning director, Duncan Jones has commented on the commentary via Twitter. Jones clearly wasn’t as appreciative, suggesting that the end result was a strange, melodramatic display of infatuation than an entertaining performance – via what we can only assume is the the dictionary definition of the word “gaga.”
“overexcited or irrational, typically as a result of infatuation or excessive enthusiasm; mentally confused.” Damn it! What IS that word!?
— Duncan Jones (@ManMadeMoon) February 16, 2016
We kind of get where Jones is coming from; Lady Gaga clearly has a lot of love for David Bowie (hell, she got a tattoo of his face on her torso a few days ago), but the show wasn’t exactly outstanding and it did seem like it was just a massive ad for Intel, who Gaga has a partnership deal with, with a Bowie medley stuffed in the middle. That being said, it wasn’t as though Mother Monster and co. totally butchered the songs.
https://www.youtube.com/watch?v=3fGBZhsa4VU
Images: Google, The Verge
Words by Emma Jones and Amy Heycock
Super Bowl 50. What a time to be alive. For those of us who might not be watching for the football here is a list of the best moments that have nothing to do with the sport.
Lady Gaga and Star Spangled Banner
Before Coldplay and the gang took the stage at half time, Lady Gaga opened the Super Bowl with the Star Spangled Banner. Between her Oscars performance last year and this, Gaga seems to be on a mission to prove to everyone she actually has some pretty nice pipes and is a #serious singer, and she’s doing a really great job at it. However, she also did do a pretty threatening hand gesture at the end… Was she just threatening me? Fine, you’re the best Lady Gaga.
Coldplay opening for Beyoncé
The half time show was advertised as Coldplay performing with special guests, and began in true Coldplay style; Chris Martin singing the opening of Yellow whilst the crowd runs around him. He’s a man of the people! The first half of the performance was a medley of Coldplay classics – Viva La Vida, Paradise, and the screams of fans as they desperately try to keep their grip on front man Martin. Why they were putting so much energy when we all knew Beyoncé was coming out soon is beyond me though.
Beyoncé nearly falling over but recovering – like Beyoncé
There was a lot of hype around Beyoncé and Bruno Mars being guest performers this year. Mark Ronson on the decks and friends assisted Bruno in an all leather rendition of Uptown Funk. Beyoncé appeared as only Beyoncé could – amongst a army of dancers and flames. Then something crazy happened Beyoncé almost fell over though, you probably didn’t notice because she recovered like the queen she is.
Both Beyoncé and Bruno Mars eclipsing Coldplay
By the end, you’d be forgiven for totally forgetting that this was actually Coldplay’s show, until Chris Martin wedged himself between what could have been a dance off between the two actual stars. Sorry if you’re a Coldplay fan, but it seems that no one passed that memo onto Bey and Mars. The Coldplay lyric “I used to rule the world” has never sounded more fitting. The jury has made a decision Chris you are this year’s left shark.
Honourable mention: Taraji P. Henson
Whilst it’s not actually apart of the half time show, the real MVP from this year’s Super Bowl has to be Empire actress Taraji Henson’s tweet where she may or may not have thought she was watching Maroon 5. Big ups to Coldplay for managing to get someone to like Maroon 5. Taraji deleted her tweet but it will always live on through the magic of screenshots.
If you still haven’t seen it yet, you can catch the full performance below.
Main image via Stereogum
In a divisive move, Billboard have named Lady Gaga as their Woman Of The Year 2015. The announcement has been received with reactions of surprise, derision and applause. The first is definitely understandable; following her flop release Artpop in 2013, Gaga as we knew her seemingly fell away. With audiences and headlines no longer enraptured by what had been a phenomenal hit machine, or waiting for her next exhibition – or which foodstuff she was going to wear next. It was like the Haus Of Gaga had shut up shop.
In all honesty, once you’ve been vomited on on stage, it’s hard to know where to go next. And it seems that Gaga came very close to abandoning her career towards the end of last year. In her interview with Billboard, though treatise might better describe it, she describes the point at which she had arrived by the end of 2014; “My stylist asked, ‘Do you even want to be a pop star anymore?’ I looked at him and I go, ‘You know, if I could just stop this train right now, today, I would. I just can’t. [But] I need to get off now because I’m going to die’.”
A dramatic statement that feels appropriate for the artistic soul that Lady Gaga has proved herself to be, but clearly one that she meant. In the interview she comments on how “It speaks volumes to me that I’m being recognised as Woman of the Year in 2015… This is the year I did what I wanted instead of trying to keep up with what I thought everyone else wanted from me.” And despite the undeniable truth that other artists have fared better throughout the year in a commercial sense, or made bigger waves with their releases, there is something compelling in Billboard’s justification for naming Gaga Woman Of The Year.
The publication freely admits that “Gaga’s biggest role this year, though, may have been that of the crusader.” And much of the interview discusses the different projects that she has taken on throughout 2015, once she stepped back from chasing the hits. Also the sense of true accomplishment that came with things like her 2014 album Cheek To Cheek with Tony Bennett, feeding her love of music rather than a love of fame; “I’m not just doing it because I like standards. I am an Italian-American girl from New York who won state jazz competitions in high school for my abilities. I was born to sing with Tony”.
Also mentioning her work with her Born This Way foundation, her small screen debut in Ryan Murphy’s American Horror Story, and various live performances like her rendition of The Sound Of Music at the Academy Awards. Concentrating on her philanthropic work and celebrating her true musical talent – something which is easy to forget when it’s dressed up in the butcher’s window display – I can’t help but agree with Billboard’s reasoning. And while there is a great deal that is off-putting in Lady Gaga’s theatrical style, and the inescapable performance of her words, her call to “purify this industry” does resonate as coming from a talented artist who has crawled, exhausted, away from the profit driven, creatively downtrodden world of music.
“I call on every artist to be kind to one another, and compassionate. Let us purify this industry again and put our finger in the face of every executive and say, ‘If you are spending money, is it on someone who can really sing? Is it on someone who has a perspective?’ It’s almost funny to see the look on Tony’s face, the way he shakes his head, when I tell him how the industry has become.”
Though you can’t help but wonder if Gaga would have said the same when the world at large was applauding her own perspective and talent. Whether this is one of the “epiphanies” that she mentions in the interview, or whether her own Frankenstein has become embittered by the betrayal of the industry that spawned her?
[youtube https://www.youtube.com/watch?v=7g4XAyESHos&w=420&h=315]
Though last week was mental health week, it’s important to remember that dialogue about mental wellbeing should never be reserved for only one week. This week, mega-star Lady Gaga opened up about her own mental health and her Born This Way Foundation, which aims to help disenfranchised teens, in an interview with Billboard. We’ll let her do the talking:
“This foundation was born from the years I spent watching my fans grow up. Many of them were really young: 11-to-17-year-olds in very tumultuous times. They would tell me their stories, and many of them were very dark. As I began to care for them and to see myself in them, I felt I had to do something that would remind kids they’re not alone. When they feel isolated, that’s when it leads to suicide.
There are a lot of kids that I could talk about. One I’ve become very good friends with is this girl, Emma. She has cerebral palsy. She’s in a wheelchair. I met her on the [2013] Born Brave Bus, when it followed the Born This Way Ball Tour, and we shared a very deep connection about the pain she was in. There were all these people around: cameras and journalists wanting to capture the moment between us, and I said to everyone, “Could you leave us alone?” I just wanted to be alone with her and ask her if she was OK. She was in her chair, kind of hunched over, but still with this very brave smile on her face. I swore I was in the presence of maybe one of the greatest people. Moments like that make you go, “Everyone should learn from this person. This person knows what it means to self-empower through adversity, this person knows what it means to be strong when you’re not.”
Gaga should be commended for the amazing work she’s doing with kids, and it’s even taking place directly in her music. Til It Happens To You came out in September of this year, and is a true story, drawing upon the sexual assault she experienced when she was 19. Check the video below, and read the full interview here.
[youtube http://www.youtube.com/watch?v=ZmWBrN7QV6Y]
Trigger warning: sexual assault, rape
Reviled and revered in equal measure, there is little room to deny Lady Gaga‘s relevance as a modern queen of pop music. For years, she has topped charts worldwide with her infectious, dance fueled songs and gained a reputation as one of the great contemporary entertainers. In addition to her success as a solo artist, she last year worked on a collaborative project with jazz/show tune icon Tony Bennett, which resulted in the album Cheek To Cheek, winning the pair a Grammy for Best Traditional Pop Album. Her new song, Til It Happens To You showcases this side of Gaga’s vocal capabilities. However, perhaps infinitely more important than the song itself, is the message it, along with the accompanying video, carries.
The song was co-written by Gaga and Oscar-winning songwriter Diane Warren (Aerosmith’s Don’t Want To Miss A Thing) while the video was directed by Catherine Hardwicke who directed the first Twilight film and was made as a tie in with a US documentary The Hunting Ground, which premiered at this year’s Sundance Film Festival.
The Hunting Ground follows two survivors and activists, Andrea Pino and Annie E. Clark who fought for more vigorous action to be taken by universities in cases of sexual assault following their own experiences with sexual violence while enrolled at University of North Carolina at Chapel Hill. The video for Til It Happens To You is part of a wider social awareness effort to bring the issue of sexual violence across American college campuses to light. As stated in the video’s credits “one in five women will be sexually assaulted [on college campuses] this year…”.
At just over five minutes long, the black and white video makes for difficult, at times uncomfortable viewing (please observe the sexual assault trigger warning), with depictions of assault committed against four women (one of whom is shown as transgender). The song is (presumably) about ignoring bad coping advice (about moving on and that The video features further Twilight alum with Nikki Reed portraying one of the victims. Though it hasn’t been stated how, the proceeds of the video are set to be donated to survivors of sexual assault. A longstanding advocate for social issues including bullying and LGBTQI rights, Lady Gaga has in the past discussed her own sexual assault. Gaga has partnered with a number of social awareness campaigns such as the MAC Cosmetics Viva Glam line, which sees 100 percent of the proceeds of a Viva Glam lipstick donated to the M·A·C AIDS Fund to support men, women, and children living with HIV and AIDS.
Last week, Gaga released the video for Till It Happens To You with a strong message stating saying “we have a responsibility to protect victim of sexual violence”, she followed with a tweet to her 50 million-odd followers which read “We hope u feel our love&solidarity through the song & perhaps find some peace in knowing u r not alone through this film”. The video opens with this message.
Following multiple recent public outcries regarding sexual assault, including the acclaimed and widely publicised performance art piece by Emma Sulkowicz (‘Mattress Performance (Carry That Weight)’), Lady Gaga has added another voice to the already very raucous discussion regarding sexual assault legislation in New York. Co-authoring an opinion piece with Governor of New York Andrew Cuomo, she pushes for legislation to further prevent instances of sexual assault on New York college campuses. An absolute powerhouse artist that needs no introduction, Lady Gaga has spoken out in the past about issues of social activism – including the notorious oration outside the White House in support of LGBTQIA rights – but her stance in this essay, urging the passing of Governor Cuomo’s ‘Enough Is Enough’ Bill is a personal one, having spoken about her own experience of sexual assault as a young adolescent and her having taken inspiration from these experiences for her ARTPOP track ‘Swine’.
With only a little over a week left for Cuomo to actually enact this ‘Enough is Enough’ legislation, his choice of an ally in Lady Gaga may come as a surprise to some, although hardly an uninformed choice. Lady Gaga spouts some powerful words on the subject, emphasising that sexual assault “victims are not only deprived justice, they are denied the opportunity to tell their stories publicly”. Denouncing the current futility of sexual assault legislation as “unacceptable” and “heartbreaking”, she stands in strong support of the bill, which “will tackle this crisis head-on”. But we can hardly do her essay (which is equal parts moving and incisive) justice, so read the full text below for yourself:
“Every fall, young men and women head off to colleges across the country, dreaming of bright futures and the experience of a lifetime. They’ve worked hard for the chance to become a part of their new campuses, and they set out full of hope and excitement.
Unfortunately, for thousands of these students that dream turns into a nightmare because of the unacceptable epidemic of sexual violence that is currently plaguing colleges and universities. It is a shocking reality that many in academia, government, and society in general still refuse to acknowledge.
We all have a responsibility to make sure that the strongest possible laws are in place to safeguard our students. Thankfully, New York has an opportunity to stand up for its students and take the critical steps toward facing this crisis head on. The bill currently before the New York State legislature will address the issue of sexual violence on college campuses, giving the state the nation’s strongest laws to target campus sexual assault. This is a campaign that will protect students, and it’s exactly what we need.
Today, too many college students experience sexual assault, too few of the assailants are prosecuted, and too often the survivors lack the resources they need to recover. In New York, fewer than five percent of rapes that occur on college campuses are reported to law enforcement and just 16 percent of survivors receive support from a victim services agency.
Making a bad situation worse, college officials sometimes fear negative publicity against their school if assaults are reported to the police. Instead of involving law enforcement, these cases are often handled as campus disciplinary issues and many offenders avoid meaningful consequences. A 2010 investigation by the Center for Public Integrity found that just a quarter of the individuals responsible for sexual assault were permanently removed from campus – and in some cases, that figure was as low as 10 percent.
As a result, these victims are not only deprived justice, they are denied the opportunity to tell their stories publicly. Being able to speak about such difficult experiences openly is fundamental to easing a survivor’s recovery and to removing the shame that still shrouds sexual assault.
This situation is unacceptable. The likelihood that college students are not getting the assistance and support they deserve is heartbreaking, and the knowledge that sexual predators are left free to attack again is criminal. This bill will tackle this crisis head-on, because the status quo needs to change.
Sexual assaults are not just violations of local campus rules – they are crimes that must be treated as such. Victims must know that they have the right to call the police, and they must be supported in their recovery, regardless of whether that could mean negative publicity for their school.
Last year, the Governor’s office asked the state’s public university system to step up on this issue. They did. Now, every public college student in New York is protected by a strong policy against sexual assault. But without changing New York’s laws, private colleges don’t have to live up to the same standard. That’s why the state legislature must pass the proposed bill. Without it, students at private institutions are more likely to be left at risk.
We have a responsibility to the young men and women of this country to stand up against sexual violence everywhere. Everyone – from lawmakers and educators to advocates like Born This Way Foundation and the students themselves – need to join forces on this issue. Together, we must create the scaffolding necessary to foster the mental, emotional, and physical health of all young people.
By passing legislation such as the bill currently before the New York State legislature, we can turn the tide on this issue so that students can realize their dreams on campuses that are safe spaces. That’s why we are joining together to take a stand against sexual assault on college campuses. Quite simply, enough is enough.”
Kendrick Lamar and Lady Gaga teamed up in 2012 for Partynauseous, which was set to be a single on Kendrick’s major label debut, good kid, m.A.A.d City. For whatever reason, the collab never made it onto the record, although Gaga had this to say at the time: “When I collaborate with an artist, I work solely with them, not with their camps or management. I love Kendrick dearly as a friend but was not willing to compromise musically to the changes his team was making to my music. This is why I am not [on] his record.”
It is also unclear as to whether this leaked version is the final edit or simply a demo, although it does sound muddy and unfinished. Gaga provides the hook for Lamar’s two verses in a moody tune where Kendrick’s flow is reminiscent of Swimming Pools (Drank).
[soundcloud url=”https://api.soundcloud.com/tracks/206540894″]
The pair were meant to work together on Kendrick’s Bitch Don’t Kill My Vibe, although that fell through due to timing issues and Anna Wise provided her voice for the song. Below is Lady Gaga’s interpretation, although if we are completely honest, we are pretty glad that Gaga was too busy to meet the deadline for the track. Here is the version that she tweeted in November 2012:
[vimeo 53053348 w=500 h=281]




