Abstract
In her chapter on Lady Gaga’s second world tour, The Monster Ball (2009–2011) and its digital remains on blogs and social media, Katrin Horn reads such traces as performative acts, through which fans continuously recreate the ephemeral experience of the live concert. The chapter further conceptualizes both the concert performances and their performative traces as transnational, as they highlight intersections of the local and global within international pop music stardom and fandom. To this end, this chapter follows a two-part structure. It first discusses The Monster Ball as an example of global popular culture which privileges US-American LGBTQI identities and historiographies. Second, it analyzes the tour’s digital traces presented in fan activities as a crucial element of the concert experience. It thereby establishes digital remains—easily shareable, yet often highly personal—as crucial to understanding the manifold implications of the embodied performance due to their stress on its continuation rather than disappearance.
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