Lady Gaga Cries Us a River on 'SYTYCD' and Everywhere Else

Lady Gaga likes to let it all out. Whether on stage, in her HBO special, during interviews or most recently on "So You Think You Can Dance," Gaga gets emotional. She is an eccentric artist, hypersensitive to the world's energy which is part of what she imbibes and regurgitates in her music. Is she overly attuned to her feelings or out of her mind?

Perhaps the overflow of media manipulation has left us all jaded and disbelieving that any genuine moments can occur on TV or in entertainment in general. Some chalked up Gaga's tears over Marko Germar's dance as melodrama but doesn't art and performance have the power to move? What moves us says as much about who we are as it does about the performer's talent.

Gaga has expressed regrets about acting out in her youth and causing her parents grief and this performance was an ode to Germar's mother and his own form of apology. On Howard Stern's Sirius radio show earlier this month, the pop powerhouse talked about her previous cocaine use saying, "I think that I was lonely and there was something about the drugs that made me feel like I had a friend." She warned her fans, "Don't touch it, it's the devil." Whether she was moved by Germar's performance or the message, as Dan Martin said in his album review of "Born This Way," "when Gaga does do pure emotion, she does it exceptionally well."

No matter how the business side of entertainment tries to twist and corrupt art and manufacture moments for mass consumption, it doesn't change that extraordinary talent does exist. Whether the judges' tears were genuine, we'll n! ever kno w but we do know when a piece of art speaks to us individually. That is the compass by which we must gauge the truly meaningful moments in art.

Germar's routine on "SYTYCD," coupled with Jeff Buckley's "I Know It's Over," was a luminous union of movement and music. It created a lyrical flow of sentimentality and passion which affected the audience. That being said, the moment needs to be put in perspective. Perhaps the comparison is unfair, but Germar and his dance partner Allison Holker were not Rudolph Nureyev and Margot Fonteyn on the Royal Ballet stage. Germar presented the most exceptionally executed dance of the evening which made for great TV and was partially milked by all involved.

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