badass than the timid indie rock that has been dominating the lastdecade. For instance, in the videos directed by Jonas Åkerlund,T
, Gaga attacks patriarchy with a viciousnessthat by some readings is on par with Valerie Solanas. Both videos playout a fantasy of gendercide as Gaga poisons her boyfriend (P
)then slaughters a diner full of normies with allusions to lesbianseparatism (T
).A shot in T
where Gaga appears wearing a crust-punkstudded leather jacket is an image of appropriated radical culture thatmany, including myself, fixated upon. This is a D.I.Y. leather jacket withthe patches of violent dissenter anarchist punk bands, G.I.S.M., Doomand Dystopia sewed on among metal biker studs. G.I.S.M. and Doomare both known for their political dissidence and violence (G.I.S.M isan acronym for Guerilla Incendiary Sabotage Mutineer.) This sort of appropriation of punk culture will generally offer two readings: somewill pejoratively accuse Gaga of being a fashion punk; the majority of the globe, however, gets a reassuring sense of rebellion as they watchthe superstar strut across the crustpunk cat walk.The knee jerk agitative punk reaction to the jacket is simple andpretty much stupid, because punk was selling-out long before KurtCobain bought a Lexus, or Chumbawumba recorded Tumbthumper.