Some may dismiss pop as inauthentic. But for Lady Gaga—one of popular culture’s greatest, most extravagant creations—the inauthenticity is the point. No artist has more defiantly embodied that provocation this century than the one born Stefani Joanne Angelina Germanotta (in New York in 1986). Never wedded to the same image—her most memorable looks (among many) have included a gown fashioned from raw meat, a red-carpet-appropriate pair of dish gloves and “the world’s first flying dress”—Gaga personifies pop’s surface obsessions while simultaneously upending them. In a sense, her creative identity had crystallised by age 21; she’d been a child pianist, aspiring actor and burlesque performer. Each of these facets powered her career’s most distinct parts: the celebrity fascination of her first two albums, 2008’s <i>The Fame</i> and 2009’s <i>The Fame Monster</i>; the subversive layering of 2011’s <i>Born This Way</i> and 2013’s <i>ARTPOP</i>; the sincere reverence of 2014’s <i>Cheek to Cheek</i>, her jazz standards album with Tony Bennett; the rootsier songwriting of 2016’s <i>Joanne</i>; and 2020’s jubilant return to her neon-hued electro roots, <i>Chromatica</i>. If the 2009 smash “Paparazzi” reveled in the flashes, then “Born This Way” celebrated inner light: in translating her diffuse identity into world-conquering art, Gaga has become a beacon to anyone else who’s felt like an outsider. Her loyal following of Little Monsters have affirmed a deep connection to her message of self-love and self-expression, despite pop’s fickleness and her chameleonic exterior. She played out a simpler version of her path to fame in the Oscar-worthy 2018 remake of <i>A Star Is Born</i>. But while her character’s ascent was abetted by her lover, Gaga’s was all her own.