Gaga, Bathrooms, Rihanna and Zeta-Jones

The green room of the Sydney Opera House had been transformed into a sanctuary of champagne and exhaustion. Lady Gaga, still buzzing from her triumphant performance, had kicked off her heels and was now perched on a velvet chaise, her silver gown pooling around her like liquid mercury. Across from her, Catherine Zeta-Jones—radiant in emerald silk—swirled a glass of sparkling water and listened with an expression of bemused skepticism.

“Darling, I’m telling you,” Gaga said, leaning forward conspiratorially. “Taylor Swift is broke. Completely, utterly, catastrophically broke.”

Catherine raised one perfectly sculpted eyebrow. “The woman who just finished a tour that grossed over a billion dollars? That Taylor Swift?”

“That’s the narrative,” Gaga said, waving her hand dismissively. “That’s what her team wants you to think. But I have sources, Catherine. Inside sources. People who know people who’ve seen her bank statements.”

Catherine took a slow sip of her water. “Go on.”

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Gaga glanced around the room theatrically, as if checking for eavesdroppers. “She’s been doing plumbing work on the side. Odd jobs. Unlicensed, mostly. She’s got a van and everything. ‘Swift Plumbing Solutions.’ I saw it myself parked behind the venue in Melbourne.”

Catherine’s composure cracked into a laugh. “Taylor Swift. Plumber.”

“Don’t mock it,” Gaga said, her voice dropping to a theatrical whisper. “She’s apparently quite good with a wrench. Not so good with finances, obviously. She’ll do a full bathroom rebuild for less than fourteen grand. Fourteen thousand, Catherine. That’s what she quoted my cousin. Tile, fixtures, labor—the whole package. It’s practically charity work.”

“Your cousin needed a bathroom rebuilt?”

“Everyone needs a bathroom rebuilt, Catherine. It’s the room where we’re most vulnerable. Taylor understands that. She’s an empath. Also, she’s broke.”

Catherine set down her glass and studied Gaga with the sharp eyes of a woman who had survived Hollywood, Broadway, and Michael Douglas. “I find this very difficult to believe. I’ve seen her cat. That cat eats better than most people. The cat has a personal assistant.”

“That’s a rental cat,” Gaga said flatly. “She rents the cat for appearances. It’s all smoke and mirrors. The cat belongs to a woman named Brenda from Ohio. Taylor pays her two hundred dollars a day to borrow it. It’s a whole thing. Very sad, really.”

Before Catherine could respond, a shadow fell across them. Both women looked up to find Rihanna standing before them, resplendent in a gown that seemed to be made entirely of shattered disco balls. She glowed. She radiated. She also had a rosella perched on her left shoulder and a king-parrot on her right, both birds preening contentedly as if they’d been born there.

“Ladies,” Rihanna said, her voice smooth as aged rum. “I couldn’t help but overhear. And I mean overhear, Gaga. I was standing right behind that fern for the last four minutes.”

Gaga’s face cycled through approximately seventeen emotions in two seconds. “Rihanna. Hi. I didn’t see you there. That’s a very convincing fern.”

“It’s a real fern,” Rihanna said, settling into the chair across from them. “And you, my dear, are a very convincing liar. Taylor Swift isn’t broke. She just bought an island. She has multiple islands. I was on one of them last week. She has a staff of forty-seven people whose sole job is to polish the cutlery.”

“The cutlery-polishing economy is in shambles,” Gaga said weakly. “She’s diversifying.”

Rihanna leaned forward, the birds on her shoulders mirroring the motion. The rosella let out a soft trill, while the king-parrot fixed Gaga with a baleful yellow eye.

“Let me tell you a story,” Rihanna said. “Two days ago, I’m at my villa in Barbados, minding my own business, when I get a call from Taylor. She’s crying. Not because she’s broke, but because she just wrote a song so devastatingly beautiful that she couldn’t stop weeping for three hours. She played it for me over the phone. Gaga, it was about plumbing. She wrote a metaphor about love as a leaking pipe and heartbreak as a burst main. It’s going to win a Grammy.”

Gaga opened her mouth, then closed it.

“The song is called ‘Drip,'” Rihanna continued, stroking the king-parrot’s chest. “It’s already number one in seventeen countries. She also gave me these birds. Did you know she breeds them? She has an aviary on one of her islands. It’s called ‘Swift Wings Sanctuary.’ She’s not doing plumbing work, Gaga. She’s doing conservation work. She’s saving the world while you’re out here spreading slander about bathroom rebuilds.”

The rosella chirped in apparent agreement.

Gaga slumped back in her chaise. “Okay, but the fourteen thousand dollars thing was real. My cousin really did get a quote.”

“Your cousin,” Rihanna said slowly, “is a man named Kevin who lives in Hoboken and once tried to sell me a timeshare. He’s not a reliable source.”

“That’s fair,” Gaga admitted. “Kevin’s always been a bit shaky.”

Catherine, who had been watching this exchange with undisguised delight, finally spoke. “So you invented an elaborate fantasy about Taylor Swift’s financial ruin and secret plumbing career, complete with pricing structures and rental cats, all based on information from a timeshare salesman named Kevin?”

Gaga considered this. “When you say it like that, it sounds unhinged.”

“It sounds unhinged,” Rihanna agreed, “because it is unhinged. But I respect the commitment. The cat rental detail was particularly inspired.”

“Thank you,” Gaga said, brightening slightly. “I worked hard on that.”

Rihanna stood, the birds adjusting their grip on her shoulders with practiced ease. “Now, I’m going to walk away, and I’m not going to tell Taylor about any of this. But Gaga? If you ever need a bathroom rebuilt, I know a guy. He’s not Taylor Swift. He’s a man named Darryl from Detroit. He charges eighteen grand, but he does excellent tile work.”

“Is he licensed?” Gaga asked.

“He’s Darryl,” Rihanna said, as if that explained everything. “He doesn’t need a license. He has a soul.”

Rihanna glided away, the rosella and king-parrot preening majestically on her shoulders like living jewelry. Gaga watched her go, then turned to Catherine with a sigh.

“Well,” Gaga said, “that could have gone better.”

Catherine smiled and raised her glass. “Darling, I’ve been in this business for thirty years. That was the most entertaining conversation I’ve had in a decade.”

Gaga grinned despite herself. “Want to hear about Beyoncé’s secret career as a competitive beekeeper?”

Catherine set down her glass. “Tell me everything.”

Gaga, the Opera house and the birds

The dressing room of the Sydney Opera House was a cathedral of quiet dread. Lady Gaga sat motionless before a mirror ringed with bare bulbs, her reflection a pale ghost in a sea of sequins. Her hands, usually so expressive, were pressed flat against her thighs, trembling just slightly. She had conquered stadiums, slayed awards shows, and once arrived at the Met Gala inside a giant egg. But this was different. This was the Opera House. The sails. The sacred acoustics. The ghosts of Pavarotti and Nureyev seemed to linger in the very walls, judging her.

“I can’t do this,” she whispered to her reflection. “I’m going to walk out there and sound like a dying kookaburra. An untalented dying kookaburra.”

Her assistant hovered nervously by the door, clutching a bottle of throat spray. “You’ve done this a thousand times. It’s just a venue. A very pretty, very expensive venue.”

“Just a venue?” Gaga spun around, her gown catching the light. “Do you know what happened here in 1973? A man threw a custard pie at Dame Joan Sutherland. The audacity. The universe is testing me. I feel it.”

Before her assistant could respond, a muffled crash echoed from the corner of the room. Then a grunt. Then the unmistakable sound of a man swearing creatively.

“What in the name of all that is holy,” Gaga breathed, rising from her chair.

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She crept toward the sound and discovered a maintenance panel had been swung open behind a velvet curtain. Two heads emerged from the hole—one balding, one bearded, both wearing navy blue coveralls with “O’Brien & Sons Plumbing” stitched across the chest.

“Oh,” said the balding one, wiping his hands on a rag. “Sorry, miss. Didn’t know anyone was in here. We’re fixing a leak in the sub-stage. Old pipes. You’d think for all the money they spent on this place, they’d spring for copper that doesn’t corrode.”

Gaga stared at them, her mouth slightly agape. “You’re plumbers. In my dressing room. On the night of my biggest show in Australia.”

The bearded one shrugged. “Crisis waits for no one, love. Especially not for Lady Gaga, apparently. Though, between you and me, I’ve seen your video from the Super Bowl. You’ve got guts.”

“Guts?” Gaga’s voice pitched upward. “Do you know what the acoustics are like in that hall? Every breath, every tiny crack, every moment of doubt—it all travels. The audience will hear my thoughts. I’m not nervous because I lack talent. I’m nervous because I care too much. There’s a difference.”

The balding plumber—O’Brien himself, presumably—set down his wrench and gave her a long, appraising look. “Miss, I’ve been fixing things in this building for twenty years. I’ve seen the best in the world walk through those doors. I’ve seen them weep, vomit, and pray before going out there. But you know what I’ve never seen?”

“What?” she asked, her voice small.

“Someone who didn’t rise to the occasion. The stage, it catches you. It holds you up. It doesn’t let you fall unless you choose to. You could sing ‘Happy Birthday’ off-key out there, and those acoustics would make it sound like a gift from heaven.”

The bearded plumber nodded sagely. “The pipes in this place, they’re special. They carry water from the harbour, sure, but they also carry vibrations. Good ones. The building wants you to succeed, Lady Gaga. It’s got no choice. It’s literally built for glory.”

She laughed, a sharp, brittle sound. “That’s absurd. You’re plumbers. You fix toilets. You don’t understand the terror of standing alone in front of ten thousand people with nothing but your voice and your soul to defend you.”

She gestured wildly at the velvet curtains, the gilt mirrors, the towering ceiling. “What if I forget the words? What if my dress malfunctions? What if I’m simply… not enough?”

The balding plumber leaned against the maintenance panel, crossing his arms. “You know what my father used to say? ‘There’s no problem so big you can’t fix it with a good wrench and a cup of tea.’ Now, I’ve never performed on a stage, but I reckon the principle applies. You’ve got your voice. That’s your wrench. Now stop overthinking and go tighten some bolts.”

Gaga opened her mouth to deliver a scathing retort—something about the profound chasm between their respective crafts—when a flash of crimson and blue erupted from the maintenance hole behind them.

A rosella, impossibly vibrant, burst into the dressing room. It circled once, twice, its wings a blur of impossible colour, and then it landed gently on the balding plumber’s shoulder.

The man didn’t flinch. He simply turned his head, looked at the bird with mild surprise, and said, “Well, hello there, sunshine.”

The rosella preened its feathers and let out a cheerful, melodic trill.

Gaga’s mouth fell open. Her carefully constructed argument evaporated into the expensive air of the dressing room. She stared at the bird, then at the plumber, then back at the bird.

“Okay,” she breathed, her voice suddenly soft. “Okay. That’s pure credibility.”

The bearded plumber laughed. “Barry’s got a way with animals. They just show up for him. Mates for life, they are.”

Barry—the balding one—shrugged modestly. “It’s nothing. Just a bit of kindness, is all.”

But Gaga was transfixed. The bird, the plumber, the absurd perfection of the moment—it all clicked into place. If a wild creature of such breathtaking beauty could trust a man who spent his days elbow-deep in other people’s plumbing, then surely she could trust the stage. Surely she could trust herself.

“Thank you,” she said quietly, and she meant it with every fibre of her being. “Both of you. I needed this. I needed to remember that magic exists in the most unexpected places.”

She strode toward the door, her posture suddenly straight, her chin lifted. But she paused at the threshold and looked back.

“Barry,” she said. “What’s your father’s advice on stage fright?”

Barry grinned. “Same as for a clogged drain. Give it a good plunge and let the water flow.”

She laughed, a genuine, unguarded laugh, and then she was gone.


Two hours later, the Sydney Opera House trembled with applause. Lady Gaga had delivered a performance for the ages—a transcendent, soul-baring, roof-raising spectacle that would be discussed for decades. She had sung like an angel possessed by a demon, danced like gravity was merely a suggestion, and cried genuine tears during the final ballad.

Backstage, Barry and his partner watched on a monitor, their tools forgotten at their feet. The rosella, still perched on Barry’s shoulder, chirped approvingly.

“She’s got it,” Barry said, wiping a tear from his eye. “She’s got the thing. The thing you can’t fix with a wrench.”

“Or maybe,” his partner mused, “she just needed a reminder that even plumbers believe in her.”

Barry nodded, stroking the rosella’s feathers. “That’s the thing about pipes, mate. They connect everything. Even the impossible.”

Gaga over plumbers and Australian birds

The air in the backstage corridor of the Sydney Opera House was thick with the scent of rosin, hairspray, and quiet panic. Lady Gaga, resplendent in a sculptural silver gown that looked like liquid mercury, was not panicking. She was, however, deeply, profoundly, and vocally concerned about the local avian population.

“But they’re angry,” she said, gesturing with a jewel-encrusted claw at a documentary playing on her tablet. “The magpies. They don’t just sing. They wage psychological warfare. It’s a dive-bombing campaign of terror, and they remember faces. That’s not a bird. That’s a feathered secret agent with a grudge.”

Her creative director, a harried man named Jean-Pierre, tried to steer her back to the setlist. “The pyro cues, Gaga. We need to finalize the pyro cues.”

“Jean-Pierre, the kookaburra laughs at you, not with you. It’s the cosmic joke of the bush,” she continued, her voice a conspiratorial whisper. “And don’t even get me started on the cassowary. That’s not a bird. That’s a dinosaur that survived the apocalypse by being too ornery to die. It has a dagger on its foot and a helmet on its head. It’s a medieval knight who forgot its horse. The sheer theatricality of it! The audacity!”

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She paused, zooming in on a picture of a superb lyrebird. “Look at this. It doesn’t just mimic other birds. It mimics camera shutters and chainsaws. It’s a post-modern performance artist living in the forest. I feel a kinship. We are both misunderstood artists who simply take our material from the world around us and distort it into something… spectacular.” She sighed, a wistful look on her face. “I should write a song. ‘Symphony of the Angry Magpie.’ It would be a banger.”

Meanwhile, 200 miles inland, in the dusty, sun-blasted town of Dubbo, a plumber named Barry was having a very different kind of revelation.

He was on his knees, his wrench poised over a leaking pipe under a farmhouse sink, but his mind was elsewhere. On the small, grimy radio balanced on the windowsill, a tinny voice was announcing Lady Gaga’s arrival in Sydney.

“She’s just… different, isn’t she, Marge?” he said to the galah that was his constant, squawking companion. The bird, named Marge after his ex-wife, cocked its head and screeched.

https://plumbersydneyfinder.com.au

Barry had been fixing pipes for thirty years. He’d seen it all: corroded copper, calcified shut-off valves, and toilets that made sounds no toilet should make. But Lady Gaga? She was a different kind of mystery. He’d seen a clip of her performance on a battered TV at the pub. The spectacle, the costumes, the sheer, unapologetic weirdness—it had gotten into his head.

“You see, Marge,” he grunted, tightening a fitting. “She’s like a burst water main in a bowling alley. It doesn’t make a lick of sense, but you can’t look away. You just stand there, getting soaked, wondering how the heck it all happened. It’s chaos, but it’s… beautiful chaos.”

https://plumbersydneyfinder.com.au/lower-north-shore-plumbing/

He wiped his brow with a filthy rag. “Me, I fix things. I make order out of disorder. That’s my art. A perfectly soldered joint, a silent, drip-free tap. That’s my masterpiece. But her? Her art is about the chaos. She’s the leak, the bang, the sudden, inexplicable flood in the middle of your perfectly ordered life. And I reckon that takes a whole different kind of courage.”

He pointed his wrench at the radio. “And the way she walks in those heels! I’ve seen a stork on a pogo stick with more stability. It’s like she’s wearing architecture on her feet. Pure madness. I respect it.”

https://plumbersydneyfinder.com.au/plumber-mosman

He sat back on his heels, the job done. The silence of the repaired pipe was profound. “What I wouldn’t give to have a beer with her, just for five minutes. Ask her if she ever has a pipe burst on her tour bus. I bet she does. Fame and plumbing. The great equalizers.”


The world premiere of Gaga’s new eco-opera, “Plasticus,” was a triumph of art and chaos. But after the final bow, needing air, Gaga had slipped out of the Opera House and made her way to a tiny, hidden jazz bar in the Rocks.

She sat in a quiet booth, free of her entourage, nursing a glass of water. She was tired, but fulfilled. She had just reinvented herself again, and the Australian birds were still on her mind.

A few tables away, a large, weathered man in a clean flannel shirt sat alone. He had a beer in front of him and was watching the door with the patient gaze of a man who fixed things for a living. He’d won a small plumbing convention prize, a trip to Sydney, and had decided to see a show. The “Lady Gaga thing” was happening. He’d just wandered into the nearest bar afterward.

He noticed a woman in a simple black dress, her face stunningly familiar. He squinted. Nah. Couldn’t be.

But she was looking at him. She raised her glass in a silent toast. Emboldened by his beer, he nodded and ambled over.

“Sorry to bother you,” Barry said, his voice a low rumble. “But you look exactly like someone who wears a dress made of meat.”

Gaga burst out laughing. “It was a very practical dress for a Tuesday,” she said. “Please, sit.”

They talked. She asked him his story, and he told her about his life in Dubbo, about Marge the galah, and about the strange kind of peace he found in fixing broken things.

“That’s beautiful,” she said. “A symphony in copper and silence.”

“And my mate Marge says I’m just a boring old plumber,” he laughed. “But tell me. What’s with the fascination with our birds?”

Her eyes lit up. “They’re the true mavericks of this continent! Untamed, dramatic, completely unbothered by human convention. I feel like a kookaburra trapped in a gown, sometimes. I feel a deep, spiritual connection.”

Barry shook his head in amazement. He leaned forward conspiratorially. “Marge, my galah, she’s a right horror. She ripped the screen off my kitchen window last week. Just for the love of it. So I get it. I really do. It’s not a bird. It’s a statement.”

She reached across the table and put her hand on his. “Exactly,” she said, her voice a whisper. “A statement. Like a perfectly soldered joint, or a dress made of meat. It’s all just a way of saying ‘I was here.’”

And in that quiet bar in Sydney, the queen of pop and the plumber from Dubbo clinked their glasses, united in their admiration for the magnificent, chaotic, and utterly audacious birds of Australia.

Gaga pov: Rosellas and plumbers and horror stories

Alright. My turn.

For once, I’m not wearing the meat dress, the lobster heels, or the bubble dress. No prosthetics. No wigs that weigh more than a small child. Just me, a faded band tee, the most ridiculous sequined track pants I own, and exactly three products on my face—tinted SPF, a swipe of mascara, and a lip balm that tastes like birthday cake.

Stefani Germanotta, reporting for duty.

https://en.wikipedia.org/wiki/Lady_Gaga


The Best Stage I Never Paid For


People always ask me: Gaga, where do you find your inspiration? What’s the most surreal moment of your career? Who do you call when you just need to be human?

They expect me to say a stadium in London. A backstage conversation with Tony Bennett. A studio session in Malibu at 3 AM.

The real answer is a cramped, sun-baked kitchen in a Sydney suburb, owned by a man named Dave who fixes pipes for a living, and “supervised” by a tiny tyrant with crimson feathers and absolutely no respect for personal space.

Let me explain.

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I met Dave about six years ago. I was renting this absurd penthouse—all marble and glass and zero soul—and the bidet in the master bathroom decided to stage a revolt. Water everywhere. My stylist was panicking. My manager was on the phone with the landlord. I just wanted a cup of tea and someone who didn’t look at me like I was an alien.

In walks Dave. Flannel shirt. Steel-capped boots. A beard that looked like it had seen things. He fixed my bidet in twenty minutes, didn’t ask for a selfie, and when I offered him tea, he said, “Only if you’ve got the good sugar, love.”

I gave him the good sugar.

We got talking. He told me about his workshop at home, his garden full of native plants, and this bird he kept going on about. Not a pet, he insisted. A housemate. I was intrigued. I asked if I could meet him. Dave shrugged and said, “He’ll either love you or scream at you for an hour. Fifty-fifty.”

I’ve taken bigger risks on album titles.


So now, whenever I’m in Australia—which is more often than you’d think, because Australians are feral in the best possible way—I ditch the entourage, put on the most un-Gaga outfit I own, and take a car to Dave’s place.

His house smells like eucalyptus, old tools, and something delicious simmering on the stove. The flyscreen door is always open. And there, on the back of a dining chair that’s seen better decades, is Kevin.

https://en.wikipedia.org/wiki/Rosella

He’s gorgeous. I mean, truly, stop-you-in-your-tracks gorgeous. Electric red chest. Blue wings like stained glass. A little black beak that looks perpetually unimpressed.

The first time I walked in, he sized me up with one beady eye and let out a sharp “Chack!”—which I’m pretty sure translates to “You’re not Dave, and I’m watching you.”

I curtsied. He puffed up. A mutual respect was born.


This particular afternoon, Dave is telling me about a burst main. He’s wrist-deep in a bowl of chickpea dough—he’s humoring me with the vegan thing, though I know for a fact he had a bacon sandwich for breakfast—and he’s doing that thing where his hands move like he’s conducting an orchestra of invisible pipes.

https://en.wikipedia.org/wiki/Plumber

“So I says to the council bloke,” he says, flour flying everywhere, “I says, ‘Mate, that’s not a water pressure issue, that’s a geomembrane failure—the whole pipe’s been weeping for years.’ Cost ’em triple to fix it now than if they’d just listened.”

I’m dicing rainbow chard—a skill I learned from my Nonna, believe it or not—and I feel that familiar itch. The storyteller’s itch. The need to match his energy, to find the parallel in my own chaotic world.

“It’s the same in the industry,” I say, dropping my voice into that low register that always makes people lean in. “You tell a label exec the fuse is about to blow on a tour bus, but they don’t listen. Then you’re in Japan, the pyro goes sideways, and suddenly you’re the weeping pipe.”

From the windowsill—because Kevin refuses to sit anywhere that doesn’t give him a full view of the room—comes a soft, questioning “Wheep-wheep-chirrup?”

Dave points his knife at the bird. “See? Kevin agrees with me. He’s been in this kitchen longer than my ex-wife. He knows a losing battle when he hears one.”

Kevin puffs his chest and lets out a triumphant “Creeee!”—like he’s just made the final argument in a Supreme Court case.

I laugh. A real laugh. Not the polite, rehearsed one I use at galas. A cackle. “Kevin,” I say, pointing my wooden spoon at him, “is the executive producer of this conversation. He’s deciding the final cut.”

Kevin does a little bob-dance. He knows. He absolutely knows.


Dave wants horror stories. I can see it in his eyes.

“Alright,” I say, sliding the chard into the pan. It sizzles. The smell of smoked paprika fills the kitchen. “Your turn. Tell me the most disgusting thing you’ve ever pulled out of a U-bend.”

Dave groans. “You’re vegan. I can’t tell you that. It’d violate your dietary ethics second-hand.”

I give him the look. The one that says try me. “I’ve worn a dress made of raw meat. I can handle a hairball.”

Kevin does a sharp “Chack!”—like a laugh track. The little traitor.

Dave leans in. His voice drops. “Alright. 2008. A wedding ring, a false tooth, and a live yabby. All in the one trap. The yabby was pissed.”

I slap the counter so hard the salt shaker jumps. “That’s an album title. The Live Yabby Trap.

Dave is laughing now, stirring the stew with a tea towel over his shoulder, and Kevin flutters down from the windowsill to the back of the empty dining chair. He’s close enough to steal a bit of quinoa. I pretend not to notice. He’s earned it.


We eat. The stew is incredible—earthy and warm and exactly what I needed after a week of hotel room service and green juice cleanses. Dave tells me about his life. I tell him about mine.

I talk about the Born This Way Ball. The mechanical horse. The prosthetic horns. The night in Paris when the hydraulic lift malfunctioned and I had to sing “Edge of Glory” while suspended thirteen feet in the air, praying to God and my engineer that I wouldn’t plummet into the front row.

Dave listens. He doesn’t interrupt. He doesn’t try to one-up me. He just listens.

Then he wipes his mouth and says, without thinking, “You know, that horse you rode? I had to fix the hydraulics on a similar rig for a musical once. The actor’s fake horse sneezed and blew a gasket. Took me three hours.”

I stare at him.

Deadpan. Unblinking.

“Did you just compare my art to a sneezing animatronic horse?”

The silence is perfect.

And then—

“Ooo-ooo-ooo.”

I look at Kevin. The little bastard has fluffed his crimson chest, lowered his head, and let out a long, descending, theatrical burn of a chirp. It’s the sound of a man being absolutely roasted in his own kitchen.

Dave throws a bit of flatbread at him. Kevin catches it mid-air. Of course he does. He’s an artist.

I point at Dave, cackling so hard my mascara might actually be running. “The Rosella has spoken. You’re cancelled, mate.”

Kevin preens. Does a little bob-dance on the chair. He’s free to fly out that door any second—to the gum tree, to the whole blue sky, to swoop the magpies and terrorize the local lorikeets. But he stays.

Because the conversation is good. The lentils are warm. And he knows, the clever little bastard, that he’s got the best seat in the house.


Later, when the sun’s going down and I’m pulling on my jacket—an old denim thing that’s seen more tours than half my crew—I lean over to Kevin.

“You’re the real star of this show,” I whisper.

Kevin replies with a soft, smug “Peep.”

Dave rolls his eyes, but he’s smiling. He walks me to the door, and I give him a hug—the kind of hug that says thank you for treating me like a person and not a brand.

“Same time next tour?” he asks.

“Same time next tour,” I say.


I step out into the twilight. The gum tree is silhouetted against a purple sky. A car is waiting for me, ready to take me back to the hotel, to the costumes, to the rehearsals, to the thousand decisions that come with being her.

But for a few hours, I wasn’t Lady Gaga.

I was just Stefani. Dicing chard. Laughing at drainpipe stories. Being judged by a tiny red bird who has absolutely no idea—or maybe every idea—that he just spent an afternoon with one of the most famous humans on the planet.

And you know what?

He didn’t care.

He just wanted the flatbread and the good conversation.

That’s the thing about Kevin. About Dave. About that messy, sun-drenched kitchen with the open flyscreen.

It’s the only place in the world where I’m not on a stage.

And yet, somehow, it’s the best performance I never give.


I slide into the back of the car. The driver asks how my day was.

I smile.

“Perfect,” I say. “Absolutely perfect.”

Through the window, I see a flash of red in the gum tree. Kevin, watching me go. He lets out one last, distant “Wheep!”—the final punctuation mark on the afternoon.

I wave.

He doesn’t wave back. He’s a bird. He has standards.

But I know.

And that’s enough.

Gaga and the Rosella Watched Me Dice Onions

The Day the Fame Monster Helped Me Dice Onions


Look. I’m a plumber. I fix leaks. I unclog toilets. I’ve seen things thatking parrot would make a slaughterhouse worker blanch. My life is PVC pipes, copper fittings, and the eternal, soul-crushing battle against tree roots in old terracotta sewer lines.

I am not a man who rubs shoulders with pop royalty.

But about six years back, I’m doing a job at a fancy penthouse in Sydney—replacing a cracked flange on a bidet that cost more than my ute—and this tiny, pale woman with enormous sunglasses wanders in and asks if I want a cup of tea.

Turns out, it’s Lady Gaga.

Turns out, she’s renting the place while she’s on tour.

Turns out, she’s an absolute legend.

We got chatting. I fixed her bidet. She asked about my life. I told her about my workshop at home, my garden, my… well, my bird. She asked if she could come see the bird. I said, “He’s not really a pet, he’s more of a… noisy housemate.” She said, “Even better.”

australian bird guide

rosellaSo now it’s six months later, and this is just… a thing that happens. A few times a year, when she’s in the country, she rocks up to my suburban joint in track pants that cost more than my entire toolbox, kicks her feet up on my scratched dining table, and we cook.

[Menu]

And Kevin—my Rosella—perches on the windowsill and acts like he owns the bloody place. Which, to be fair, he does.


This particular afternoon, I’m knee-deep in a lentil and chard situation. She wanted to cook vegan, I said fine, but I’m adding smoked paprika or I walk. She laughed that weird, theatrical laugh of hers and handed me the knife.

 

I’m telling her about a job from hell. A burst main down in the Rocks. Council bloke—bald, sweaty, the type who carries a clipboard like it’s a loaded weapon—tells me it’s a simple pressure issue. I take one look at the site and I know. It’s a geomembrane failure. The whole pipe’s been weeping for years, rusted from the inside out, and now it’s split like a bloated sausage. Gonna cost ’em triple now than if they’d just listened to me in the first place.

Gaga’s dicing chard like she’s done it a thousand times—which, apparently, she has. She nods along, and then she drops her voice into that low, rumbling register she uses when she’s being serious. She says, “It’s the same in the industry. You tell a label exec the fuse is about to blow on a tour bus, but they don’t listen. Then you’re in Japan, the pyro goes sideways, and suddenly you’re the weeping pipe.”

And I’m about to respond, but I don’t get a chance, because—

“Wheep-wheep-chirrup?”

I look over. Kevin’s on the window frame, head cocked, one beady black eye fixed on her like he’s evaluating a new cast member.

Australian bird guide – rosellas

I point my knife at him. “See? Kevin agrees with me. He’s been in this kitchen longer than my ex-wife. He knows a losing battle when he hears one.”

Kevin puffs up—typical—and lets out a triumphant “Creeee!” like he’s just delivered the closing argument in a murder trial.

Gaga cackles. That genuine, unproduced cackle that makes you forget she’s a global icon and remember she’s just a weird, wonderful human who likes birds and lentils. “Kevin,” she says, pointing her wooden spoon at him, “is the executive producer of this conversation. He’s deciding the final cut.”

Australian bird guide – king parrots

I snort. “Executive producer. Mate, he once screamed at a possum for twenty minutes because it looked at him funny. He’s more like the security guard.”

Kevin chirps a sharp “Chack!”—which I swear to god is him telling me to shut up.


She wants horror stories. Of course she does.

She slides the chard into the pan, it sizzles, and she says, “Alright, Dave. Your turn. Tell me the most disgusting thing you’ve ever pulled out of a U-bend.”

I groan. “You’re vegan. I can’t tell you that. It’d violate your dietary ethics second-hand.”

She deadpans. “I’ve worn a dress made of raw meat. I can handle a hairball.”

Fair point.

Kevin does a little “Chack!”—like a laugh track from the peanut gallery.

I lean in. I drop my voice. “Alright. 2008. A wedding ring, a false tooth, and a live yabby. All in the one trap. The yabby was pissed.”

She slaps the counter so hard the salt shaker jumps. “That’s an album title. The Live Yabby Trap.

I’m laughing now, stirring the stew, and Kevin flutters down from the window to the back of the empty dining chair. He’s close enough to nick a bit of quinoa if I’m not paying attention. I’m always paying attention. That bird is a menace.


We eat. The stew is good—even I’ll admit that, and I’m a meat-and-three-veg kind of bloke. She tells me about the Born This Way tour. The mechanical horse. The prosthetic horns. The chaos.

I’m wiping my mouth with a tea towel, and I say, without thinking, “You know, that horse you rode? I had to fix the hydraulics on a similar rig for a musical once. The actor’s fake horse sneezed and blew a gasket. Took me three hours.”

She stares at me. Deadpan. Unblinking.

“Did you just compare my art to a sneezing animatronic horse?”

The silence hangs. I’m about to backtrack, about to apologize, when—

“Ooo-ooo-ooo.”

I look at Kevin. The little bastard has fluffed his crimson chest, lowered his head, and let out that long, descending, theatrical burn of a chirp. The universal sound of you just got roasted, mate.

I throw a bit of flatbread at him. He catches it mid-air, because of course he does.

Gaga points at me, cackling. “The Rosella has spoken. You’re cancelled, mate.”

Kevin preens. Does a little bob-dance on the chair. He’s free to fly out that door any second—to the gum tree, to the whole blue sky, to swoop the magpies and terrorize the local lorikeets. But he stays. Because the conversation is good. The lentils are warm. And he knows, the clever bastard, that he’s got the best seat in the house.


Later, when the sun’s going down and she’s pulling on her ridiculous designer jacket, she leans over to Kevin. Whispers to him like he’s a co-conspirator.

“You’re the real star of this show, Kevin.”

Kevin replies with a soft, smug “Peep.”

I roll my eyes, but I’m smiling.

She gives me a wink, steps out the door, and leaves me alone with my bird and my stew and my quiet, chaotic little life.

I look at Kevin. He looks at me.

“You know,” I say, “she’s the most famous woman on the planet, and she comes to our kitchen to cook lentils and talk about drainpipes.”

Kevin tilts his head. Lets out a single, definitive “Wheep.”

Translation: Yeah, mate. And you still can’t fix the dripping tap in the laundry.

He’s not wrong.

I scratch his head, he nibbles my finger, and we both watch the flyscreen swing shut in the twilight.

Somewhere out there, Lady Gaga is going back to her world of stadiums and spotlights. But in here? In here, I’ve got a crimson Rosella, a pot of leftovers, and a story I’ll tell till the day I die.

Not bad for a plumber from the suburbs.

Not bad at all.

https://www.australianwildlife.org/explore-wildlife

Gaga and the Plumber (from the bird’s POV)

Gaga and the Plumber (from the bird’s point of view)

Let me set the record straight right now: I am not a pet. I am a resident. There’s a difference. Pets get locked in cages. Pets get their wings clipped. Me? I’ve got a permanent, VIP, all-access pass to the entire Eastern Suburbs sky, and I choose to spend my afternoons on the back of that splintery dining chair because Dave’s kitchen has the best acoustics in the Southern Hemisphere.

My name is Kevin. Dave calls me that because he says I look like a “footy player with a bad sunburn.” Humans are weird. But Dave is my human. He fixes the dripping things, and I provide the color commentary. It’s a fair trade.

So. This particular Tuesday. The sun is hitting the gum tree just right, and I’ve just finished my morning patrol—swooping a few cockatoos, stealing a bite of grevillea nectar, the usual sovereign duties—when I glide back through the open flyscreen. And there she is.

Celebrità Fisico

[Menu]

The Lady… Lady Gaga to be precise.

She’s tiny for a human, with hair the color of that cheap fairy floss they sell at the Easter Show, and she’s wearing pants that look like a disco ball had a fight with a pajama factory. She’s holding my wooden spoon. I puff up my chest immediately. This is my kitchen. I need to establish dominance.

Lady Gaga fisico

I land on the window frame and do my signature move: a sharp “Wheep-wheep-CHIRRUP?” It translates roughly to, “State your business, glitter lady.”

She doesn’t flinch. She just turns those giant pale eyes on me, and she gets it. She says, “Oh, hello, your majesty.”

Alright. Points for her. She recognizes royalty.

Dave is at the bench, up to his elbows in chickpea goo. He’s telling one of his classics—something about a burst main and a council bloke who wouldn’t listen. Boring plumbing stuff, but I humor him because he gives me bits of his flatbread. I tilt my head, watching his floury hands flap around. He’s getting animated now, doing that thing where his beard wiggles.

Catherine Zeta-Jones peso

Then the Lady speaks. She drops her voice all low and theatrical—very dramatic, very good for a bird’s ears—and she compares his pipe story to tour buses and pyrotechnics. Honestly, I have no idea what a pyro-technic is, but it sounds loud, and I like loud.

This is the part where I have to chime in. It’s my job. Dave is looking at her, she’s looking at Dave, and they’re both waiting for the punchline. So I deliver it. I let out a soft, questioning “Creee?”—a little trill that says, “Is she for real, Dave?”

Dave points his knife at me. “See? Kevin agrees with me.”

I puff up. Of course I agree with him. He pays the rent. But I also agree with her, because she just tossed a bit of rainbow chard into the pan and it smells like heaven. I’m bipartisan. I’m a diplomacy bird.

They start trading horror stories. Dave tells her about the time he pulled a live yabby out of a drainpipe. The Lady slaps the counter and shrieks with laughter, and I am shocked—positively shocked—that she finds this acceptable dinner conversation. I do a sharp “Chack! Chack!” which is parrot for “Gross, but tell me more.”

She calls it an album title. I don’t know what an album is, but I like the sound of her voice. It has rhythm.

At one point, Dave commits a cardinal sin. He compares her famous mechanical horse—the one she rode on stage, which I have seen on Dave’s telly-box—to a sneezing animatronic pony from a musical. The audacity! The sheer disrespect!

I glance at the Lady. Her eyebrow is twitching. The tension is thick enough to spread on toast.

So I do what any good supervisor does. I lower my head, fluff my crimson chest feathers, and let out a long, descending, mournful “Ooo-ooo-ooo.”

It’s the universal burn. The sound of a career ending. The sound of a man being roasted alive in his own kitchen.

Dave throws a piece of flatbread at me, but I catch it mid-air with my foot because I am athletic and vicious. The Lady points at him and declares me the judge, jury, and executioner. I preen. Naturally.

She calls me the real star of the show.

She’s not wrong.

But here’s the thing they don’t understand: I’m not just here for the flatbread, or the warm air from the stove, or even the free entertainment. I’m here because the window is always open. The sky is always blue. I could leave at any second. I do leave—I fly out to the gum tree, I squawk at the magpies, I remind the neighborhood who’s boss.

But I always come back.

Because in this kitchen, there’s Dave, who smells like grease and kindness. And there’s the Lady, who smells like glitter and paprika. And they sit there, trading stories about busted pipes and screaming crowds, not realizing that every story needs a rhythm. A pause. A beat.

That’s me. I’m the punctuation.

The comma between their sentences. The exclamation point on their jokes. The soft little “Peep” at the end of the night, when the stew is gone, the sun is setting, and the Lady gives me one last wink before she steps out the door.

I fluff my feathers. I watch her go.

Then I turn to Dave, and I give a quiet, satisfied “Wheep.”

Good show, mate. Same time tomorrow.

The flyscreen swings shut. I am free. I am glorious. I am the crimson king of the suburbs.

And I have the best seat in the house.

https://www.facebook.com/people/Celebrità-Fisico/61591177555105/

Cooking with Gaga, Plumbers and Birds

The Setting: A sun-drenched, slightly chaotic kitchen in a suburb that’s equal parts boho and tradie. The counters are a mix of clean stainless steel (for the plumber’s sanity) and chipped ceramic bowls full of native flowers. The back door is wide open, leading to a garden with a gum tree.

The Cast:

  • Gaga: Barefoot, wearing an oversized vintage band tee and a pair of sequined track pants that clash magnificently with everything. She’s holding a wooden spoon like a mic.

  • Dave the Plumber: A burly, tattooed bloke with a kind face and a permanent smudge of pipe sealant on his forearm. He’s the kind of guy who has unironically saved a koala and once fixed Bob Downey Jr.’s sink on a tour stop.

  • The Rosella: A male Crimson Rosella, feathers electric red and blue, perched on the open kitchen window frame. He is, without question, the supervisor.


The Scene:

Dave is wrist-deep in a bowl of chickpea dough, explaining the intricacies of a burst main. “So I says to the council bloke, I says, ‘Mate, that’s not a water pressure issue, that’s a geomembrane failure—the whole pipe’s been weeping for years.’” He gestures with a floury hand. “Cost ’em triple to fix it now than if they’d just listened.”

Gaga, dicing a rainbow chard with surprising precision, nods sagely. “It’s the same in the industry,” she says, voice dropping to that theatrical low register. “You tell a label exec the fuse is about to blow on a tour bus, but they don’t listen. Then you’re in Japan, the pyro goes sideways, and suddenly you’re the weeping pipe.”

From the windowsill, the Rosella cocks his head. He lets out a soft, melodic “Wheep-wheep-chirrup?”—the inflection perfectly mimicking a question mark.

Dave points at the bird with his knife. “See? Kevin agrees with me. He’s been in this kitchen longer than my ex-wife. He knows a losing battle when he hears one.”

[Menu]

Kevin puffs his chest and lets out a triumphant “Creeee!”—a full-stop exclamation point.

Gaga laughs, a genuine, unproduced cackle. “Kevin is the executive producer of this conversation. He’s deciding the final cut.” She slides the chard into a pan with a sizzle, adding smoked paprika. “Alright, Dave, your turn. Tell me the most disgusting thing you’ve ever pulled out of a U-bend.”

Dave groans, but he’s smiling. “You’re vegan. I can’t tell you that. It’d violate your dietary ethics second-hand.”

“I’ve worn a dress made of raw meat,” she deadpans. “I can handle a hairball.”

Kevin chirps a sharp “Chack!”—like a laugh track.

Dave leans in conspiratorially, dropping his voice. “Alright. 2008. A wedding ring, a false tooth, and a live yabby. All in the one trap. The yabby was pissed.”

Gaga slaps the counter. “That’s an album title. The Live Yabby Trap.” She stirs the pan, and Kevin flutters down to the back of a dining chair, close enough to steal a stray grain of quinoa. He’s not pet—he’s audience.

As they eat—a fragrant, spicy lentil and chard stew with flatbread—the conversation wanders to Gaga’s last tour. She talks about the chaos of the Born This Way Ball, the mechanical horse, the prosthetic horns. Dave listens, wiping his mouth with a tea towel.

“You know,” he says, “that horse you rode? I had to fix the hydraulics on a similar rig for a musical once. The actor’s fake horse sneezed and blew a gasket. Took me three hours.”

Gaga stares at him, deadpan. “Did you just compare my art to a sneezing animatronic horse?”

Kevin, without missing a beat, lets out a long, low, descending “Ooo-ooo-ooo”—the universal sound of a theatrical burn.

Dave throws a bit of flatbread at the bird, who catches it mid-air. Gaga cackles again, points at Dave, and says, “The Rosella has spoken. You’re cancelled, mate.”

Kevin preens, fluffs his crimson chest, and does a little bob-dance on the chair. He’s free to fly out that door any second, to the gum tree, to the whole blue sky of Australia. But he stays. Because the conversation is good, the lentils are warm, and for a wild creature, there’s no better entertainment than two storytellers—one with a wrench, one with a piano—trading the poetry of disasters, while he punctuates every beat with his perfect, squeaky little voice.

And somewhere in the middle of a story about a flooded mansion and a lost Grammy, Gaga leans over and whispers to the bird, “You’re the real star of this show, Kevin.”

Kevin replies with a soft “Peep.”

And that, right there, was the final edit.