Google Scholar | ResearchGate | ORCID
This is a copy of a paper published in The European Business Review, 2013.
© EBR Media Ltd, 2013. The definitive and edited version of this article is published in The European Business Review, July/August issue, 2013, www.europeanbusinessreview.com.
Please cite as: Deflem, Mathieu. 2013. "Four Truths about Marketing Lady Gaga Lies." The European Business Review, July/August 2013, pp. 70-72.
© EBR Media Ltd, 2013. The definitive and edited version of this article is published in The European Business Review, July/August issue, 2013, www.europeanbusinessreview.com.
Please cite as: Deflem, Mathieu. 2013. "Four Truths about Marketing Lady Gaga Lies." The European Business Review, July/August 2013, pp. 70-72.
The rise to fame of Lady Gaga has been the topic of much popular
as well as academic debate, apart from having attracted the usual more and less
sensationalist journalistic reflections. Some of these discussions have
involved several rather hastily concocted pieces of advice written from within,
and purported to be for the benefit of, the marketing world. These marketing
tips based on the career of Lady Gaga have been communicated in several essays[i] and also formed the
basis for a case study at the Harvard Business School and a book-length
treatise.[ii] Yet, as the evidentiary
foundations for the assumed Lady Gaga marketing strategies and their relevance
for other brands in pop music and elsewhere has often been less than clear, the
value of such contributions can only be described as speculative, at best, and suspect,
at worst.
It is a truism to observe that business principles are at
work in creating the fame monster that is Lady Gaga. All human activity needs a
practical component to ensure a proper organization, no matter how noble the
endeavor. The very notion of the world of popular music as a form of commercial
entertainment --which developed well before the advent of Lady Gaga-- exemplifies
the co-existence of economics and art. It is to be noted in this context that
it is by
definition only commercial music that is subject to an industry and the usual
concerns for profit maximization. But it must also be observed that the
commercialization of music applies to all kinds of musical expressions, not
just to the world of pop, rock, and related popular forms. It is therefore
useful to speak of the music industry rather than merely the pop music
industry. Additionally, a distinction should be maintained between the economic
influences on, and the economic aspects of, music as a social reality, which is
more broadly conceived as a culture, rather than only an industry.
Lady
Gaga Marketing Practices
Clarifying some of the actual practices in the marketing of
Lady Gaga, I draw on ongoing work on the fame of Lady Gaga that is rooted in a
scholarly perspective oriented at an investigation of the social conditions of
the pop sensation’s rise to fame.[iii] Analysis
specifically focuses on business practices, aspects of entertainment law,
outreach through media exposure and via audience interactions, and various extra-musical
cultural factors, such as political activism and gender dynamics.
It is from
this perspective that
the business practices involved in the case of Lady Gaga can be approached as social
realities and examined in terms of their relevance for the success of her
career. Such an investigation is needed before one can formulate any lessons
for entrepreneurs with similar or different products and customers. Based on
ongoing research, at least four truths can be revealed about the marketing of
what the singer herself has called the lie that is Lady Gaga.[iv]
1.
Lady Gaga is not just a pop star:
What
comes to mind when we speak of Lady Gaga are not merely the catchy pop tunes
and dance beats she and her producers have created, but also the strong visual
images and fashion styles the performer has become known for, equally to if not
more importantly so than her music. Lady Gaga presents a total package which is always more than mere
musical sound alone. The public persona Lady Gaga also involves her variably perceived
to be shocking fashion choices as well as, on a more substantive level, her
activism, her outspokenness, her sense of being different, and her involvement
in establishing outreach towards her fans and those she perceives to be in need
of special consideration. As such, Lady Gaga essentially exemplifies product differentiation.
The truth about Lady Gaga’s public persona and image is not that she sets out to cause a stir, but that many people, including the occasional marketing professional, believe that is what she does. Besides her stylistic choices, the singer incorporates in her music meaningful messages related to various activist causes and political positions, especially in connection with gay rights. Mixing style and substance, her most ardent fans also embody the totality of Lady Gaga by referring to themselves as her ‘little monsters’ and declaring a love, not a mere appreciation, for the performer and all she stands for. Being a little monster involves more than an aesthetic disposition towards a singer and her music, and is instead understood in existential terms as the expression of an all-encompassing identity, a way of being.
2.
Lady Gaga practices an art of fame:
As
Lady Gaga herself has stated, she takes fame seriously and she practices its
pursuit consciously.[v] The singer’s
first two albums, “The Fame” and “The Fame Monster”, deal with various, both
positive and negative aspects of fame, which ironically have also been
displayed over the course of Lady Gaga’s career. This art of fame is not only
revealed by Lady Gaga connecting intimately with her fan community, especially
through social-networking sites, but more importantly also with a much broader
audience.
It is self-evident to observe that Lady Gaga represents, perhaps more strikingly than any other figure in contemporary pop culture, the unique nature of fame in the era of twitter, facebook, and other instant-communication technologies on the internet. However, it is not true that the majority of people in Lady Gaga’s audience have been reached by these new technological means. Instead, the vast majority of people attracted to Lady Gaga are still drawn from more casual fans of her work, even and especially those who do not necessarily like everything she does. The most central role in creating this broad audience has been played --as in times prior to the advent of the internet-- by Lady Gaga gaining a presence in radio, television, magazines, and other established news media.
The
true fame of Lady Gaga exists in the attention she gains, not just from her hardcore
devotees, but from a wide mass of fans, semi-fans, non-fans, and even
anti-fans. The fame of Lady Gaga exists not only in her relationship with those
who like her, but also with all those who do not know much about her and even
those who proclaim not to like her but who, ironically, cannot stop talking
about her and who watch her each and every move.
3.
Lady Gaga sells products:
Without
questioning her artistic integrity, the business of being Lady Gaga entails
more than writing and performing music. Her music itself is available for
purchase in multiple formats, including downloads, CDs, deluxe and standard
albums, and special editions and re-releases. Her forthcoming album “ARTPOP” is
planned to be available as a digital download app besides the usual formats. Relying
on a so-called ‘long lead’ strategy, Lady Gaga’s albums are announced many
months in advance of release to create a buzz, a strategy that in the case of
“Born This Way” may ironically also have created unattainable expectations.
Lady
Gaga’s to-date last two albums, “The Fame Monster” and “Born This Way,” were
also released with certain words in several songs censored. The strategy was
voluntarily enacted by the record company in order to assure the albums’
presence in department stores, to which the vast majority of sales has shifted
since the demise of traditional record stores.
The
investments in Lady Gaga as a product-selling brand name has been enabled by
the development of a so-called ‘star system’ in the music industry, whereby
some, very few performers are treated with special consideration while a host
of other acts are largely ignored. Lady Gaga has been accepted and is presented as unique, as decidedly
not niche. Stylistically, for example, Lady Gaga’s music is situated in the
world of pop, but she is there also considered something of an outsider as she
emphasizes her unusual route of getting into pop from a more diverse past that
includes a classical piano training, a childhood exposure to classic rock, and
a deliberate adoption of mixed musical styles, ranging from electronic dance to
heavy metal. The pop star Lady Gaga is a rock star as well.
4.
Products sell Lady Gaga:
It
is not cheap to be Lady Gaga. In particular, the costs of staging the elaborate
stage shows of her world-wide concert tours The Monster Ball (2010-2011) and
The Born This Way Ball (2012-2013) are considerable and rely on corporate
sponsors. Lady Gaga tour sponsorship has been primarily provided by Virgin
Mobile, with extra support from other companies such as Skype. Additional
revenue has been generated by a plethora of product placements in the singer’s
music videos. Besides consumer goods that have a so-called ‘organic’ connection
with Lady Gaga’s artistic endeavors, such as headphones, a whole range of other
products have been featured in her videos as well, including alcoholic
beverages and condiments.
The
product Lady Gaga also entails multiple so-called ‘tie-in’ or brand
partnerships with a range of products. Among them are the Monster Heartbeats headphones and the MAC Viva Glam cosmetics line, both of
whom feature Lady Gaga’s name. Most lucrative has been the Lady
Gaga signature fragrance FAME, launched to much acclaim on the notion that it
would be the first black fragrance to magically turn clear upon being
sprayed.
Thwarting
any negative feedback that might result from an all too visible connection between
the worlds of art and money, Lady Gaga sponsorship occasionally takes the guise
of activism, for instance by promoting Virgin Mobile’s Re*Generation program
for homeless youth from the LGBT community. Other business partnerships are
masked in terms of providing benefits for the fan community, such as by setting
up Skype chats with fans attending Lady Gaga concerts.
The Business of Fame
There can be no fame attained (and accompanying revenue
acquired) in any career based on artistic or other intrinsically valid accomplishments
that is not also supported by an appropriate infrastructure. Even Mozart had to
eat. And Lady Gaga, as can be surmised, is eating very well. But the good
business practices that are at work in the case of Lady Gaga should not
necessarily lead us to conclude that she herself is a marketing genius or a smart businessperson, as some have
argued.[vi] Besides not knowing if or to what
extent the singer is driven in whole or in part by financial motivations, it is
also far from clear if she herself is responsible for the
marketing of her work or if, conversely, she relegates such activities to her
managers and other members in her support team.
As far as lessons are concerned from the
marketing of Lady Gaga for others, any suggestions can only be tentative at
best. Lady Gaga’s success
as a factual outcome does not necessarily imply that it has been largely
controlled by the singer or her team rather than having been facilitated by
favorable circumstances. Moreover, the relative uniqueness of Lady Gaga, to successfully launch
a global music career at a time when the popular music industry has been in
sharp decline, prevents any wild speculations on what can be learned from her
case for the benefit of other artists, let alone for other products. Proposing
marketing lessons from Lady Gaga may well reflect a component in the success of
her marketing, rather then being a reflection thereon.
References
[i] See, for example, Bodnar, Kipp. 2011. “Marketing Lessons From Lady Gaga.” Hubspot, May 11, 2011. http://blog.hubspot.com/blog/tabid/6307/bid/13715/Marketing-Lessons-From-Lady-Gaga.aspx; DePaz, Keisha L. 2012. “Brand Marketing: What Startup Founders Can Learn From Lady Gaga.” Under30CEO.com, December 10, 2012. http://under30ceo.com/brand-marketing-what-startup-founders-can-learn-from-lady-gaga/; Peters, Georgina. 2011. “Lady Gaga, Guru: More Than Meets the Eye?” Business Strategy Review 70(2): 69-71; Yohn, Denise Lee. 2012. “What You Can Learn from Lady Gaga.” QSR Magazine, June 2012. http://www.qsrmagazine.com/denise-lee-yohn/what-you-can-learn-lady-gaga.
[ii] See Nobel, Carmen. 2011. “HBS Cases: Lady Gaga.” Harvard Business School, September 26, 2011. http://hbswk.hbs.edu/item/6812.html; Huba, Jackie. 2013. Monster Loyalty: How Lady Gaga Turns Followers into Fanatics. New York: Portfolio/Penguin.
[iii] For
a brief overview of this perspective in the sociology of fame, see Deflem,
Mathieu. 2012. “The Presentation of Fame in Everyday Life: The Case of Lady Gaga.” Margin 1(Spring): 58-68.
[iv] For
a related analysis from the viewpoint of Lady Gaga’s fame, see Deflem, Mathieu. 2012. “Marketing Monster: Selling the Fame of Lady Gaga.” Pp. 30-35 in The Wicked Twins: Fame & Notoriety.
Exhibition catalogue, Paul Robeson Galleries. Rutgers, The State University of
New Jersey.
[v] See
the interview with Lady Gaga by Anderson Cooper on the television program 60
Minutes: “Lady Gaga on ‘Mastering the
Art of Fame’.” CBS News, February 14, 2011. http://www.cbsnews.com/8301-18560_162-7337078.html.
[vi] For
example, Jackie Huba speaks of “Lady Gaga’s marketing intuition” and “her business
acumen,” even though there is no evidence presented that the singer would have any
such qualities (Huba, Monster Loyalty,
pp. 11, 6; see note 2).
See also my book: Lady Gaga and the Sociology of Fame.
See related papers on popular culture and fame. celebrity studies