@knightstorm - perhaps you are too young to get it, but this is Cabaret 2010. Cabaret is a story set in pre-war Nazi Berlin starring Liza Minnelli in the popular movie version. Did you not see Inglorious Basterds? This shares a similar (though dog buried much deeper) tone. If I'm not mistaken the dancers are in traditional Israeli military summer haircuts and wrestling garb.
In general, I find the "I'd do so and so.." comparisons ironic. As the song, in her own words is: “... a celebration and an admiration of gay love. It confesses my envy of the courage and bravery they require to be together. I’ve been unable to find that with a straight man in my life ...”. The significance of the Cabaret/Minnelli reference should reinforce that interpretation.
Androgeny and ambiguous sexuality works well for musical entertainers as it puts them in an objective songwriting and performance position.
It doesn't really matter what she looks like. This is 2010, makeup, video and surgery can take care of that, the image is a deliberately created one. She is very Bowie, Mercury, Jagger, Jackson, Madonna, Nicks... The theatrics and storytelling of Bowie, Mercury and Jackson are what we are seeing here. It has been missing from pop for some time now, and obviously missed. And I think she is equally as screwed up. Pain creates art. She is driven by a broken heart, as I'm sure many can relate.
There are several layers of symbolism, the religious imagery (current sexual issues in catholic church - I think Catholics are meant to be a little perturbed - into thinking), the wrestling, Cabaret/Minnelli, Joan of Arc...
The girl is just baked. (and probably more than little half-baked) but I just love her unceremonious temerity ... and the whole Jerry Seinfeld thing. I half think he is in on it as a stunt. It is so similar to the Seinfeld episode where Elaine wears the wrong team's cap in Jerry's friend's primo season ticket seats and makes a big scene... I'm amazed no one has made the comparison (or caught on) yet.
Some claim she is derivative, and well technically she is, almost entirely, but it is a brilliant synthesis of some of the best elements of performers we have seen in recent decades.
The photographic composition of the video is excellent throughout. The choreography is a combination of absurd, titilating and fascinating. The stroboscopic tribute to Minnelli's Cabaret at the bridge is very well done.
It is weird for me to accept a pop song as legitimate art as an eclectic folk and prog rock listener, but every once in a while one like this comes along. It is repetitive, but in a tape-loopy more-sounds-than-just-the-words kind of way. The use of the phaser in the track is the best I've heard in a long time. I need to hear this on a full set of club speakers and horns. The key and time signature changes characteristic of prog rock are there but more subtle. The TR-909 backbeat from 1988 that used to drive me so nuts has evolved considerably, or I have grown more tolerant.