The people on Twitter had told me how excellent Caitlin Moran's piece on Lady Gaga was to read, but they haven't done it nearly enough justice. It is, in a word, astonishing.
There’s nothing quite like watching a plane take off without you to really
focus your mind on how much you want to be on it. As flight BA987 knifes off
the runway, and begins its journey to Berlin, I’m watching it through a
window in the departures lounge – still holding the ticket for seat 12A in
my hand.
Due to a frankly unlikely series of events, I had got to Heathrow three
minutes after the flight was closed. Although no missed flight ever comes as
a joy, this one is a particular mellow-harsher because, in five hours, I’m
supposed to be interviewing arguably the most famous woman in the world –
Lady Gaga – in an exclusive that has taken months of phone calls, jockeying
and wrangling to set up.
It’s not so much that I am now almost certainly going to be fired. Since I
found out how much the model Sophie Anderton used to earn as a high-class
call girl, my commitment to continuing as a writer at The Times has
been touch and go anyway, to be honest.
It’s more that I am genuinely devastated to have blown it so spectacularly.
Since I saw Gaga play Poker Face at Glastonbury Festival last year, I
have been a properly, hawkishly devoted admirer.
Halfway through a 45-minute set that had five costumes changes, Gaga came on
stage in a dress made entirely of see-through plastic bubbles, accompanied
by her matching, see-through plastic bubble piano. You have to respect a
woman who can match her outfit to her instrument. Although the single Poker
Face is a punching, spasmodic, Euro-house stormer, Gaga took to her piano
and started to play it as cathouse blues – all inverted chords and rolling
fifths, with falling, heartbroken semitones on the left hand; wailing out
like Bessie Smith sitting on the doorstep at 4am.
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