We start out on a wet, urban street somewhere, with pretty pink smoke billowing around a corner, because things like that always happen when Gaga is in town. Cut to a brief shot of someone screwing around with a cheap window curtain, then back to that corner, where Gaga is now standing, looking very Liza Minnelli in “Cabaret” just before things all went to hell in Berlin between the wars.
More of that person in the window, with smoke gushing out of the apartment, so apparently somebody has microwaved the popcorn too long once again. Then we have Gaga standing on the front steps of the apartment building, next to Clarence Clemons, who is playing a saxophone even though there’s obviously something on fire in the near vicinity.
Back to the window, where we can now see that Gaga is peering out said window whilst wearing an outfit that is vaguely Geisha/Egyptian, sporting sunglasses and yet another haggard wig. The vocals kick in on the song, while Geisha Gaga attempts to climb out the window without disrupting her couture. Cut to Streetwalker Gaga as she struts her wares and lets us know that she’s really partial to studded-leather and gold chains. The camera pans down so we can observe Gaga’s unique skill of walking in high-heel boots without tripping.
The camera focuses on her face again, giving us plenty of time to wonder if Gaga’s hairdo is a tribute to some endangered bipolar species. She doesn’t really explain what’s going on, and instead chooses to walk in a manner that would get a normal citizen arrested for public intoxication. To be fair, she probably can’t see where she’s going, what with the tendrils of her raccoon hair falling in her eyes and such.
We check in on Geisha Gaga at the window. She still hasn’t made it out, despite the obvious fire consuming her apartment. (Maybe a stiletto heel is caught on the window sill?) She’s perched in the window frame, artfully pretending to lose her balance in a manner that allows her to thrust her crotch at the camera.
She finally makes it out onto the fire escape, wailing the “Edge of Glory!” line as more smoke pours out of the building. Brief glimpse of Streetwalker Gaga, then we’re back with Geisha Gaga as she takes two steps on the fire escape and then pauses to bellow more of the song, instead of running like hell as most fire victims would do. Cut back to Stoop Gaga with the sax player, where this Gaga has decided it’s really important that she do a back bend over the stair railing so that her crotch is at an equal-opportunity level for all passersby.
We jump cut around for a bit, visiting all the Gagas, then we settle on Geisha Gaga as she does an interpretive dance on the fire escape, one that might have something to do with the disenfranchisement of the Mongolian people, but that’s just a guess. Then Geisha Gaga inexplicably runs up the fire escape stairs instead of down. (Did she not get the memo about how escaping a fire works?)
Apparently it doesn’t matter, because Geisha Gaga has a lot of swell dance moves that she can perform while working her way upwards. The most important move is something about laying down halfway up the flight of stairs so she can arch her back and touch her breasts. Then she hops up and wiggles her fanny to let us know that she’s just fine, although a bit winded.
Jump cuts to the other Gagas, then back to Geisha still taking forever to work her way up that single flight of stairs. (Girl, what part of “the building’s on fire, get the hell out!” do you not understand?) But no, she thinks it’s really important to stop and do squat-thrusts on every step. We re-visit Streetwalker Gaga, who is really invested in doing some twirling, then back to Geisha Gaga, who decides to rip off her lovely silk top and wave it about. Instead of running for her life.
Then Geisha Gaga runs back down the stairs, which is actually the right thing to do, but really, girl just needs to make up her mind. She goes back to that window where the apartment is on fire, grabs both sides of the window frame, and then leans out in yet another attempt to accent her breasts. Really, honey? We all know you have knockers, we see them every day on the TV. Lets put those away for just a bit until the building is safely evacuated.
Another quick visit with Streetwalker Gaga, then back to Geisha Gaga, who is now rubbing her booty on the brick wall of the building. I’m not sure what she’s trying to accomplish here, but someone should let her know that the last thing we need right now is more friction. And those studded panties are sure to strike a spark.
Brief shot of Stoop Gaga carelessly throwing some trash into the street, another of Geisha Gaga trying to tune in Tokyo with her mammary radar, and then… I don’t know. All of the Gagas seem to have simultaneously hit a caffeine-high as we zip from one to the other. Then, luckily, the sax player finally wakes up and remembers how to play his instrument, so we have a slower bit where all the Gagas thrust various body parts in a less frenetic manner.
After a bit, we focus on Geisha Gaga, who now feels it’s important to recreate certain dance moves from 1984, including the raised fist and the head banging. Then she warps into some burlesque business by throwing her leg over the fire escape railing, and a tribute to angels being reborn despite their penchant for leather accessories. Then Geisha Gaga is mysteriously back in front of the burning window, once again giving herself a breast exam.
And here we go with some crazy jump-cutting. I’ll try to catch the highlights. One of the Gagas kisses the sidewalk, so I guess we have a fetish for wet concrete. Geisha Gaga does a nifty side-kick thing that makes my eyes well up with tears over stupid things we did in high school that we should never do again, then she proceeds to do more of that “bang her ass on the brick wall” mess, followed by a mesmerizing stunt involving her humping the iron railings of the fire escape. This girl is very, very busy.
The jump-cutting continues, with Stoop Gaga recreating scenes from “Streets of Fire” mixed with “Flashdance”, Geisha Gaga doing the exact same drill team routine that I witnessed at high-school football games, and Streetwalker Gaga being overly fond of dance steps that make her gold jewelry sparkle in the dewy wetness provided by the odd pink cloud that keeps billowing around that corner.
Special Artistic Mention: Stoop Gaga manages to find the exact pose that makes her hooters look porn-film worthy. You go, girl.
And that’s really how we wind things down. All of the Gagas are prancing and thrusting with a determination that makes one wonder just what might have happened in her childhood, but none of what we’re seeing can adequately justify her penchant for the split-personality hair follicles.
We end with Geisha Gaga going back into the burning building, Streetwalker Gaga defiantly strutting off to a corner that might bring a better offering of clientele, Stoop Gaga completely AWOL, and a general sense that, if this what it means to be On the Edge, I believe I’ll go for Plan B. I don’t want to wear hooker outfits and not understand how to get my ass away from a burning building. Just sayin.
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