Too tight,

too plump,

too weird,

to recognize

the well-known

mother of

invention

of herself

and style.

The changed

name

to ironically

subvert

The Virgin

overtly

with

underwear

as 

outerwear

and the 

semiotics

of the

feminine

as sex.

Baby voiced,

a female

Elvis,

the material

girl,

Marilyn 2.0,

(minus 

any innocence),

creating a verb

from the word

Vogue,

imposing

herself

constantly,

she demands

that the pop

culture

demands

her.

When all

is performance

(and monetized

of course),

why expect

aging

with grace?

Now

her face

consumes

this space

for discourse

about

youth,

and age,

relevance,

the feminine,

sex,

beauty,

legacy,

resistance,

performance,

and art.

She still

has the

ability

to miraculously

hold

the attention

of the masses

when 

attention

is a deficit—

now a cultural

disorder—

that

we obviously

need

to face.