Life Of Lady Gaga, Stefani Joanne Angelina Germanotta

Contrary to her outré style, the New York Post described her early look as like "a refugee from Jersey Shore" with "big black hair, heavy eye makeup and tight, revealing clothes." Gaga is a natural brunette; she bleached her hair blonde because she was often mistaken for Amy Winehouse. She often refers to her fans as her "little monsters" and in dedication, she had that inscription tattooed on "the arm that holds her microphone." She has another six known tattoos, among them a peace symbol, which was inspired by John Lennon, who she stated was her hero, and a curling German script on her left arm quoting the poet Rainer Maria Rilke, her favorite philosopher, commenting that his "philosophy of solitude" spoke to her. Towards the end of 2008, comparisons were made between the fashions of Gaga and fellow recording artist Christina Aguilera that noted similarities in their styling, hair, and make-up. Aguilera stated that she was "completely unaware of Gaga" and "didn't know if it was a man or a woman." Gaga released a statement in which she welcomed the comparisons due to the attention providing useful publicity, saying, "She's such a huge star and if anything I should send her flowers, because a lot of people in America didn't know who I was until that whole thing happened. It really put me on the map in a way."
When interviewed by Barbara Walters for her annual ABC News special 10 Most Fascinating People in 2009, Gaga dismissed the claim that she is intersex as an urban legend. Responding to a question on this issue, she stated, "At first it was very strange and everyone sorta said, 'That's really quite a story!' But in a sense, I portray myself in a very androgynous way, and I love androgyny." In addition to Aguilera's statement, comparisons continued into 2010, when Aguilera released the music video of her single "Not Myself Tonight". Critics noted similarities between the song and its accompanying music video with Gaga's video for "Bad Romance". There have also been similar comparisons made between Gaga's style and that of fashion icon Dale Bozzio from the band Missing Persons. Some have considered their respective images to be strikingly parallel although fans of Missing Persons note that Bozzio had pioneered the look more than thirty years earlier.
During an interview with Harper's Bazaar magazine published in May 2011, Gaga discussed the recent appearance of horn-like ridges on her cheekbones, temples, and shoulders. When asked about the necessary makeup to attach the prosthetics, she responded, "They're not prosthetics, they're my bones." She also clarified that they were not the result of plastic surgery, believing such surgery to only be the modern byproduct of fame-induced insecurity to which she does not subscribe. Further probing by the interviewer only got her to state that they are an artistic representation of her inner inspirational light, part of the "performance piece" that is her musical persona, an inevitability of her becoming who she now is. In view of Lady Gaga's influence on modern culture and her rise to global fame, sociologist Mathieu Deflem of the University of South Carolina since spring 2011, organizes a course titled "Lady Gaga and the Sociology of the Fame" with the objective of unravelling "sociologically relevant dimensions of the fame of Lady Gaga with respect to her music, videos, fashion, and other artistic endeavors".
Gaga's treatment of her fans as "Little Monsters" has inspired criticism, due to the highly commercial nature of her music and image. To some, this dichotomy contravenes the concept of outsider culture. Writing for The Guardian, Kitty Empire opined that the dichotomy "...allows the viewer to have a 'transgressive' experience without being required to think. At her performance's core, though, is the idea that Gaga is at one with the freaks and outcasts. The Monster Ball is where we can all be free. This is arrant nonsense, as the scads of people buying Gaga's cunningly commercial music are not limited to the niche worlds of drag queens and hip night creatures from which she draws her inspiration. But Gaga seems sincere." Camille Paglia wrote a cover story "Lady Gaga and the death of sex" on September 12, 2010, in The Sunday Times in which she asserts that Gaga "is more an identity thief than an erotic taboo breaker, a mainstream manufactured product who claims to be singing for the freaks, the rebellious and the dispossessed when she is none of those."