De immer kritische, vaak snobistische muzieksite Pitchfork.com begint zijn recensie van Lady Gaga als volgt:
Remember that "Simpsons" Treehouse of Horror where the Krusty the Clown doll was trying to murder Homer? Turned out the problem was that the doll had been set to "evil," and with a flick of the wrist, it could be reset to "good." It feels like sometime late last summer, someone noticed such a switch on the back of Lady Gaga and did the same thing. For about a year, she was nothing but talk and a badge, without the badge. She filled her résumé and interviews with style icon namedrops-- Andy Warhol and his notions on celebrity, the denizens of New York's downtown arts scene, and avant couture designers like Thierry Mugler-- but her singles betrayed none of the artistry that she insisted was part of her package. "Poker Face" had about three big hooks, but next to her other singles-- which ran the gamut from forgettable fluff ("Just Dance") to "Muffin Top" ("LoveGame")-- it seemed like a fluke. Then, between the VMAs and "Paparazzi", she came into her own. And on "Bad Romance", the lead single from The Fame Monster, she became kind of awesome.
Waar Pitchfork popalbums van Madonna etcetera steevast kraakt, is het op z'n minst opvallend te noemen dat Caca een dikke 7,8 scoort. Leuk hoor.
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