That special someone we all know as the only soul confident and famous enough to wear a 50-pound dress made of beef to the MTV Video Music Awards occasionally imparts quotes as commonplace as the following: “I’m obsessively opposed to the typical.”

Considering her fiery, autobiographical and nearly 14-minute music video “Marry The Night” as the cherry on top of the most demented-but-terrific cake, words hailing from Mama Monster’s mouth have never made so much sense.

Gaga herself is a trend — of music, of fashion, of dance, of rebelling against anything and everything and of embodying herself — far beyond the edge of glory.

I’m under the impression that the gal’s mojo comes from a bit more particular of a place than opposition to anything typical. With a fair share of Gaga research under my bedazzled belt (just kidding, I’m not a little monster myself), it seems she digs people who find a place of personal acceptance they may have been told to hide away from the public and themselves. More than acceptance, she craves for them to rock it.

As Gaga told the Los Angeles Times, “I want women — and men — to feel empowered by a deeper and more psychotic part of themselves. The part they’re always trying desperately to hide. I want that to become something that they cherish.”

The best part about Lady Gaga making eccentric cool and making crazy-off-your-rocker even cooler is that she does it with good ethics and class.

By good ethics, I mean that she seems to be against all judgmental qualities. She has met with President Obama to pass anti-bullying legislation. Sometimes, it’ll take an enchantingly screwy woman to galvanize important change.

By class, I mean that she would rather die than remove her heels, and as wild and darkly twisted as her imagination is, she remains on top of her game in interviews and onstage.

Mother Monster is trendy to the world at large but even trendier to her massive and startlingly devoted fan base. As of this speck of a moment in time, Lady Gaga of New York, N.Y. has a running total of 16,707,599 monsters, including myself, who follow her on Twitter. To put that in perspective, that’s almost twice the population of the state of Michigan.

We were all introduced to the power of Gaga’s strangeness in 2010’s “Telephone,” in which she took her chemistry with Queen B and an unconventional manner of expressing the problems with 21st century America to a certain level. This was only a precursor to the madness that persists in the recent “Marry The Night.”

In that video, we get a wacked-out narrative about her dark past meeting up with flaming cars and an ’80s dance throwdown. To listen to her music without the image and the moves behind it is a drastically different experience because she’s one of those few singers who doesn’t separate her career life and her life-life. She is an iconic character to the end of the earth.

Her character quality lends itself to trendiness, especially on evenings like All Hallows’ Eve, when women of a range branch out and try to inhabit Gaga’s way of living like a spunky spirit animal on the regular. It’s not only on the night-to-be-someone-you’re-not when females fashion themselves after Gaga; she also has a fashion line at Barney’s New York.

Whether it’s with high fashion, glittering jean jackets or Jo Calderone impersonations, this Mother is leading pop culture of today’s society, having been named one of the most influential people in the world by Time Magazine last year.

What’s most impressive is that no one else has been so outrageously successful in working honestly with their own creativity to the outcome of products that could easily be referred to as avant-garde.

“I’m interested in taking what’s underground and making it overground,” Gaga said in an interview with Ryan Seacrest earlier this month.

Gaga is fame: a trend in motion, with her head screwed on the perfect amount of crazy.

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