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It's a great point and it sticks the landing flawlessly, but it also does some positive work on Lady Gaga's behalf, too: if you can name the last time Lady Gaga seemed to be having fun - and I mean real, silly fun, not the strategic, scripted fun of "Telephone" or "Alejandro" - since...well, The Fame Monster, then perhaps you've been paying more attention than I, because I hadn't seen the silly, relatable Gaga that reappears under grotesque makeup and pink Rapunzel wig since the "Love Game" days of lightning bolt face paint, platinum blonde hair and bluffin' with muffins.
(Really, Gaga, thank you so very very much for Katy Perry's explosive tits.
I can honestly say I was so tickled by Gaga's little nod to the post-adolescent set (which Ke$ha also used to great effect with her recent James van der Beek-starring video for "Blow") that I didn't notice any of the plethora of homages to Guess Who that pervade the video until indignant bloggers bellowed them into my consciousness (I did catch the Michael Jackson gloves at the end, but I was far more entranced by the trippy digital effect than anything).
As for the video, there are a number of bits I love, and there are a few things I dislike to some degree or another; then there are elements I simply find amusing or interesting.
I noticed an uptick in visitors finding my site through search keywords like "Born This Way Vertigo" and similar, which seemed odd as I could see no reason the anonymous masses would take particular interest in what I had to say about this particular song.
It clicked as I viewed the video a second time a few days later, when instantly I knew why the music was so familiar and of what these anonymous searchers were actually in search: the ominous tremolo from a hoard of cellos was borrowed from the prelude to Bernard Hermann's iconic score for Hitchcock's masterpiece, Vertigo. Good old Gaga, always pulls through just when I'm about to lose all hope.