Buzz
To truly succeed as an entertainer, it’s not just about mastering your craft—what sets you apart is your uniqueness and the lasting impression you make as a personality. The artists we admire most aren’t necessarily the most technically accomplished, but they are undeniably the most captivating. In some cases, however, their brilliance stems from recognizing others' genius and adopting it as their own.
10. Liberace
Think quickly: can you name an entertainer who combines flamboyant style, an affinity for fashion, and a love for extravagant candelabras? Now, can you think of another? If you're struggling, you're not alone—there’s truly no one quite like him.
When the iconic Vegas performer made his debut in the 1950s, he was as flamboyant as they come. In an era still hostile toward the LGBTQ+ community, Liberace managed to rise to fame, hosting his own TV show and selling out concerts globally. His sweet demeanor and approachable persona helped the public overlook his extravagant outfits and love for luxury. This marked a significant cultural shift in acceptance, all thanks to his distinct persona. But, was it truly revolutionary?
Wrestling fans know the story. One of them was Liberace’s adoring mother, who once received a lavender turkey from wrestler Gorgeous George. Why lavender? It was his signature color. George’s ringside antics were not unlike Liberace’s stage performances, with his over-the-top robes and perfectly styled hair. Known as the Human Orchid, George played the role of an effeminate villain, exploiting society’s discomfort with his flamboyant presentation. One of his signature moves was carrying a candelabra to the ring.
Could it be a mere coincidence that Liberace, the son of one of George’s biggest fans, ended up adopting the same theatrical style? George didn’t think so. In his view, Liberace “stole his whole act.” While Liberace may not have been the most original, it can be said that he took a symbol designed to provoke fear and stripped it of its menace, flipping the script to challenge prejudice instead of reinforcing it.
9. Muhammad Ali
Muhammad Ali and Liberace couldn't have been more different in their public personas, yet both drew inspiration from the same source. That’s right—the legendary boxer, known for his lightning-fast moves and bold proclamations, borrowed his signature style from none other than Gorgeous George, the flamboyant wrestling star.
At his core, Cassius Clay was a man of humility, piety, and a gentle nature. But everything changed when he crossed paths with Gorgeous George. While George may have appeared effeminate and delicate, he was an arrogant, scheming villain. His mastery in riling up the crowd made a lasting impact on Clay, who soon realized he needed to adopt a similar approach to rise to fame. Studying George's every move, he began shaping the confident, antagonistic persona of Muhammad Ali, designed to provoke hate and garner attention. “They hated Gorgeous George, but they paid a hundred dollars for a ringside seat,” Ali once said, astonished. “I said, ‘Hmmm, this is a good idea, this guy is getting rich,’ so I started talking: ‘I am the greatest! I cannot be beat! I’m too pretty to be a fighter!’” Reflecting on the difference between his private life and public image, Ali admitted, “At home I am a nice guy but I don’t want the world to know. Humble people, I’ve found, don’t get very far.”
David Bowie
When David Bowie emerged in the early '70s, he was an unprecedented force in the music world. Dazzling in elaborate makeup, glittering outfits, and slender limbs encased in vibrant leather and spandex, he resembled an extraterrestrial being straight from the strangest corner of your grandmother's couch. With a sound that fused glam, punk, and pop, he was exactly what a world weary of peace signs and psychedelic colors needed. But was his distinctive style the product of pure originality?
Not quite. In his early years, before becoming the intergalactic icon, Bowie was more in the vein of Paul McCartney than Ziggy Stardust. Known then as Davey Jones, before discovering his name was already taken, he drew heavy influence from the Beatles, as evident in his early tracks and interviews. You could hear the bouncy Merseybeat influence, see the signature Beatles haircut, and spot him in a tidy suit and tie.
Two pivotal moments shaped the formation of Bowie’s unconventional persona: he discovered the Velvet Underground and forged a close friendship with Iggy Pop. He became enamored with Lou Reed’s abstract songwriting and Iggy’s audacious cross-dressing performances, and so, he incorporated both into his own style. Bowie explained that combining Iggy’s persona with Reed’s songwriting would create the “ultimate pop idol.” His music became more raw and gritty, and he adopted Iggy’s signature feathered mullet and androgynous looks. Even his iconic alter ego, Ziggy Stardust, was born from a mix of the Legendary Stardust Cowboy and a tailor named Ziggy’s—a name Bowie admired for its similarity to Iggy. It turns out that one of the most groundbreaking artists of the twentieth century was essentially an “exquisite corpse” of musical influences and reinvention.
Stevie Nicks
Stevie Nicks, the smoky-voiced singer from Fleetwood Mac, remains an unforgettable icon for anyone who can recall the wild ’70s. Her distinctive blend of California bohemian and enigmatic mystical woman—complete with a cascade of blonde hair, layers of flowing fabric, and impossibly high boots—set her apart in a sea of bell-bottomed fashion.
But it wasn’t always this way. Back in the early days, Nicks and her musical partner Lindsey Buckingham were known as Buckingham Nicks, which, as it turns out, wasn’t exactly a groundbreaking name for their band. Their style was just as unremarkable: Stevie sported the same frizzy dark curls and stonewashed jeans as every other flower child strumming guitars in their backyards. Yes, before their transformation into Fleetwood Mac rockers, the duo was a rather unassuming folk act, even down to their album cover, which celebrated their natural body hair.
Everything changed when Buckingham Nicks opened for Janis Joplin in 1968. Stevie saw a woman in the crowd wearing a chiffon skirt and suede boots, and the style instantly captivated her. This look meshed perfectly with the bolder sound she would later craft with Fleetwood Mac. In performances of “Rhiannon,” a haunting song inspired by an ancient Welsh witch, Stevie took to the stage draped in black chiffon. And that’s how a simple fan of Janis Joplin became the muse behind one of the most iconic images in rock history for women.
Lady Gaga
Lady Gaga has faced accusations of copying many famous figures, from Madonna’s club music vibe to Marilyn Manson’s gothic theatrics. However, there is one individual who may have played a significant role in shaping her unique style, and she isn't widely known.
In 2010, images and videos emerged of a singer named Lina Morgana, whose look and sound bore a striking resemblance to Lady Gaga. Morgana, who was just beginning to stir up attention with her daring performances, was, according to Morgana’s family and producer Rob Fusari—who introduced her to Gaga—closely involved with Gaga. They were friends and frequent collaborators until Morgana tragically passed away in 2008. According to those close to her, it was Morgana who helped define the fashion and sound that would become Gaga’s signature. Morgana’s boyfriend remarked that seeing Gaga perform felt like witnessing a ghost.
The evidence supporting this claim is compelling. In a 2006 performance, Gaga looked markedly different: she wore long, simple dark hair, a pink dress, and sang a straightforward piano ballad. On the other hand, a video for “Wunderland,” a song by Lina Morgana featuring Gaga, aligns much more closely with the songs Gaga would later become famous for. Morgana, in blonde wigs and movie-star satin paired with punky lingerie and a spiky wig, mirrored the outfits Gaga would later wear. In a way, her blatant borrowing from the deceased almost adds to her allure—like a voodoo priest who can steal your soul.
R. Kelly
R. Kelly has faced significant controversy in recent times, but back in the late ’90s, he reigned as the undisputed King of R&B. With the help of his massive hit from the *Space Jam* soundtrack, “I Believe I Can Fly,” his smooth, soulful melodies and his signature look—shaved head, sunglasses, and classy suits and vests—became instantly iconic.
However, that distinctive style may not have been entirely his own. According to Aaron Hall, a singer with whom Kelly collaborated on tracks like “U Will Know” and “Heaven’s Girl” right before his big break, Kelly’s style was heavily inspired by Hall. This became widely known when Trey Songz commented in a 2010 interview that “R. Kelly took Aaron Hall’s whole style. Two albums straight.” Later that year, Hall publicly responded, saying, “I’m so glad he got R. Kelly by the headlock, but the King of R&B? Nobody can touch my vocals.”
Early ’90s photos of Hall, including the cover of his 1993 album *The Truth*, bear a striking resemblance to Kelly’s later look. However, Hall isn’t upset about it. He stated, “You should never get mad when someone copies your style; you should feel flattered because everyone knows where they got it from.”
Rick Ross
Gangsta rapper Rick Ross rose to prominence in the late 2000s, earning the title of the hottest MC in the game from MTV in 2012. He portrayed himself as a mafia boss, donning white suits and making no attempt to hide his Scarface-inspired persona, sampling the film’s theme song and styling his music videos to resemble the movie’s iconic look. He rapped about the usual gangster themes—drug dealing, street hustling, and more. But there’s just one problem: it was all a fabrication.
As it turns out, the man born William Roberts II knows absolutely nothing about the drug trade—he was actually a correctional officer. The real Rick Ross, who is an actual drug kingpin and currently serving time for his involvement in the ’80s crack epidemic, has publicly accused Roberts of stealing his name and backstory. Freeway Ricky Ross, as the real one is known, has sued the rapper for identity theft.
The hip-hop community, known for its emphasis on authenticity, was not happy with the truth coming to light. Ice-T personally called out Ross on BET, saying, “Rick Ross stole a n—a’s name. He thinks he’s (Freeway) Rick Ross, he thinks he’s Larry Hoover, he thinks he’s Big Meech, he thinks he’s MC Hammer, he thinks he’s Tupac. Like, who the f—k are you really, dude?”
Denis Leary
Comedians can be ripped off as well, and none more so than Bill Hicks. While joke theft is a huge problem in the industry, about which comedians are very vocal, rarely does anyone have the audacity to straight-up lift an entire personality.
But that’s exactly what Denis Leary did. He rocketed from local gigs and MTV spots to national fame after his 1993 comedy album, *No Cure for Cancer*, had audiences in stitches. His leather-jacketed, cynical, chain-smoking, rock-and-roll-loving persona struck a chord with an audience ready for something more raw after the sugary sweetness of the ’80s. Too bad he borrowed it all wholesale from Hicks.
Leary didn’t just steal Hicks’ look and mannerisms—*No Cure for Cancer* is full of large chunks of Hicks’ material, sometimes copied word for word. Unsurprisingly, Hicks was enraged. The two had been good friends back in the day, but Hicks didn’t find out about Leary’s theft until he heard the album. His bitterness quickly grew, and he quipped that he had actually stolen Leary’s act first, but had “camouflaged it with punchlines,” adding, “to really throw people off, I did it before he did.”
Hicks wasn’t the only one who noticed, either—Leary’s thievery is widely recognized among his comedy peers. A year after Leary’s album was released, Hicks passed away from cancer, but his legacy lived on. During Leary’s 2003 Comedy Central Roast, another comedian humorously revealed that there was a backstage gift from Hicks: a carton of cigarettes, with a note that read, “Wish I had gotten these to you sooner.”
James Franco
However, Southern rapper Riff Raff wasn’t exactly thrilled with Franco's portrayal. He has publicly claimed that the character of Alien bears a striking resemblance to him, not only in appearance but also in behavior. In the iconic 'Look at my s—t' scene, Franco mimics Riff Raff’s unique style, from the clothing and hairstyle to the tattoos and white-framed sunglasses. Riff Raff even posted a video months before the movie's release showcasing similar behavior, and as a result, he filed a lawsuit against the producers of Spring Breakers for allegedly using his likeness without permission. He later announced that the lawsuit had been settled for an undisclosed amount.
The similarities between Riff Raff's real-life persona and James Franco's character were so striking that many couldn't ignore them. Riff Raff’s tattoos, cornrow hairstyle, and bold fashion choices were all replicated in Franco’s portrayal, and even the rapper’s signature catchphrases seemed to make their way into the script. A video posted by Riff Raff before the movie came out showed him flaunting his possessions in a way almost identical to Franco’s scene in Spring Breakers. This led Riff Raff to sue the producers for copyright infringement, eventually reaching an undisclosed settlement.
1. Bob Dylan
As evidenced by this entire list, it’s one thing to be influenced by a colleague, but quite another to fully adopt their style and run with it.
In the 1960s, Bob Dylan arrived in New York like a force of nature, with a guitar slung over his shoulder and a harmonica around his neck. He wandered the city like a wandering minstrel, and his simple tunes, paired with lyrics of struggle and change, resonated deeply with the young, idealistic crowd in Greenwich Village. He was dubbed the voice of his generation, and as his girlfriend Joan Baez described him, the original vagabond. However, his originality turned out to be no more than a copy of others.
When Robert Zimmerman, later known as Bob Dylan, began his musical journey in the 1950s, he was more influenced by Elvis than by Jack Kerouac. His primary inspiration came from Little Richard, and he wore his hair in a pompadour while playing the exuberant R&B hits of the era. Everything shifted in 1960 when he read Woody Guthrie’s autobiography, Bound for Glory. Guthrie, the “Dust Bowl Troubadour,” was known for his wild, frizzy curls, simple button-up shirts, a guitar emblazoned with the words “this machine kills fascists,” and folk songs that spoke of poverty and injustice. Sound familiar?
Dylan deliberately began mimicking Guthrie’s style and persona, and it was to meet Guthrie that Dylan first came to New York. Tragically, when he found his idol, Guthrie was in the Greystone Park Psychiatric Hospital, dying. Dylan visited him frequently until Guthrie passed away in 1967, and they developed a strong friendship. Perhaps, in some way, Guthrie gave Dylan his soul willingly.
