Life Of Lady Gaga, Stefani Joanne Angelina Germanotta

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."