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Background[edit]

Madonna and her impact transcended music; Billboard editor-in-chief Janice Min considered her as "one of a miniscule number of super-artists whose influence and career transcended music".[1] She was referred to translates things into a "phenomenon" comparing to other woman doing same things, in a 1998's article dedicated to her in The Independent.[2] According to The New York Times staffers in 2018, she had a "singular career" that "crossed boundaries".[3] She was reportedly to pioneer a multifaceted career that encompassess many aspects of contemporary culture, according to a Singaporean publication in 2005.[4] In this vein, Robin Raven from Grammy Awards' official website noted how some seen "Madonna was ahead of her time".[5]

Critical scope[edit]

Madonna has "provoked and sustained exceptional interest as a female cultural icon".

—Scholar Ramona Curry as cited in Pastiche (2001).[6]

Madonna has attracted significant critical perceptions both immediate and retrospectively; in 2018, Romanian professor at Babeș-Bolyai University, Doru Pop wrote in The Age of Promiscuity (2018) that her impact has been "extensively analyzed by many authors".[7] She became the subject of a wide range of topics by multiple scholars from different fields.[8][9] In 2018, Eduardo Viñuela, a musicologist at University of Oviedo considered that analyzing her was a result to delve into the evolution of various relevant aspects of society in recent decades.[10]

International media publications ranging from El Universal (1999) to The A.V. Club (2012), deemed Madonna as arguably the most analyzed, discussed or debated female singer in last decades.[11][12] She "holds a privileged place", felt and wrote scholar Abigail Gardner in 2016, regarding popular culture studies.[13] In 2018, Laura Craik from The Daily Telegraph estimated that she has "contributed more to the cultural conversation than any female performer in history".[14] Overall, the Rock and Roll Hall of Fame regarded her in 2008, as one of the most "well-documented figures of the modern age".[15]

Contemporary culture[edit]

During the height of her career in the 1990s, authors and scholars like Marsha Kinder and Vincent Ryan Ruggiero called her "reigning queen of popular culture" or "reigning queen of global pop culture" respectively.[16][17] According to authors of the Encyclopedia of Women in Today's World (2011), her "cultural influence has been profound and pervasive".[8]

Globalization and Westernization[edit]

Madonna and then president of Argentina, Carlos Menem in 1996, during the filming of Evita which later became the first American film to be screened in North Korea[18]
A tourist in North Korea in 2010, listening to a Madonna's song in the Grand People's Study House, nation's central library

Madonna's figure also reached globalization camp. Eduardo Viñuela says her career is closely linked to the "consolidation" of globalization.[19] Retrospectively, in 2014, scholar Jean Graham-Jones called her "globalization's quintessential femicon".[20] Critics also hailed her an "icon of Western society", according to Third Way's Paul Northup in 1998.[21]

In 1989, Micromanía referred to the "symbol Madonna" as the "most palpable proof that Western society advances and changes",[22] while a decade later in 1999, political scientist David Held with other academics stated: "The most public symbols of globalization consist of Coca-Cola, Madonna and the news on CNN".[23] In Israel (2003), historian Efraim Karsh cites an Israeli journalist, whose commented: "Madonna and Big Macs the most peripheral of examples of ... 'normalness' which means, amongst other things, the end of the terrible fear of everything that is foreign and strange".[24]

According to Billboard in 1989, Madonna and Michael Jackson were the first Western musicians to have a release behind the "Bamboo curtain".[25] Various informants, including koreanist scholar Mózes Csoma have documented references of Madonna in North Korea, including during the World Festival of Youth and Students of 1989,[26] —the largest international event staged in North Korea—. Evita also became the first American film screened in the country.[18]

American culture[edit]

Madonna was long considered an icon of American identity,[27] and described as a metaphor for American society.[28] Argentine writer Rodrigo Fresán described her as one of the "classic symbols of Made in USA",[29] and Spaniard gender scholar Laura Viñuela, during a Madonna class at University of Oviedo in 2015, considered her story and evolution to be comparable and useful to analyze the historical development of the United States.[30] According to historian Glen Jeansonne in A Time of Paradox: America Since 1890, she epitomized one of the cultural faces of the 1980s.[31] Her primary contribution to US culture was musical, according to American critic Gina Arnold in 1996.[32] Madonna has been referred to as the "the high priestess of American pop culture" by theather historian Catherine Schuler in 2013,[33] or Sveriges Television in 2023.[34] In 2008, British music critic Kitty Empire referred to her as "Michigan's biggest export since the automobile".[35]

Popular culture[edit]

During the height of her career, in the late 20th century, Madonna was regarded as an active reflection of her times, including Vogue France's Martine Trittoleno in 1993,[36] and a scholar proposed her as "hero of our time".[7] Professor Marjorie Garber reflected that she perhaps "read the temper of the time" more than other entertainer.[37] American poet Jane Miller was quoted as saying in 1999, that she "functione[d] as an archetype directly inside contemporary culture".[38] In 1995, professor Suzanna Danuta Walters compared how she "circulate[d] constantly" in various forms of everyday life,[39] and in similar remarks, critic Greil Marcus, defined her as "undeniably part of our culture".[40]

Madonna's impact wadded turning into the 21st century, but she continued to left a mark and been retrospectively recognized. Commenting about her multi-decades career, in 2018, The New York Times reflected she "made real cultural change", at the same time "caused a few cultural crises".[3] Others, including scholars in Ageing, Popular Culture and Contemporary Feminism (2014) and Ellis Cashmore (2022), noted how her "status as a cultural icon is acknowledge", even in her sixties, respectively.[41][42] Some observers ranging from Matt Cain to Cashmore have also explored how she helped significantly change pop culture landscape.[43][44] Back in 2001, Noah Robischo commented for Entertainment Weekly she was able to "defined, transcended, and redefined pop culture".[45]

Others, including music critic Robert Christgau (1980s) to PRS for Music's Russel Iliffe (2012), considered how she transceded the definition of pop icon to cultural icon.[46][47] In this vein, Kathleen Sweeney wrote in Maiden USA (2008), that some entertainers like Madonna or Marilyn Monroe, "reach a status beyond mere celebrity in public consciousness to become enduring cultural icons".[48] Cashmore compared that women like Madonna, Margaret Thatcher and Rosa Parks, became one of the most influential of the past 100 years, which lead him to add "we can feel the effect of the changes she triggered in our everyday life".[44]

According to cultural organization MiratecArts in 2009, her impact was significant to the point, it extended "into the subconscious world of imagination, fantasy and dreams".[49] On the lattermost point, editors of Mythic Astrology Applied (2004), commented: "Many men and women have reported Madonna appearing in their dreams. As she become a living archetype in our culture, it is no wonder that this is so".[50] Sandra Bernhard wrote in her book Confessions of a Pretty Lady (1989), "I dream about Madonna more than anyone I know (or don't know)".[51] Andrew Morton also documented in Madonna (2001), the case of an artist dreaming about her every night for five years.[52] Folklorist scholar Kay Turner,[53] devoted a book titled I Dream of Madonna: Women's Dreams of the Goddess of Pop (1993), which tells the dreaming of 50 women on Madonna.[54]

Multiculturalism[edit]

Race and multiculturalism would define her early career, and perpetuated public perceptions.

Music industry[edit]

The history of pop music can essentially be divided into two eras: pre-Madonna and post-Madonna

—Billboard staffers (2018).[55]

Her impact in the music industry has been found in terms of "sound, image, performance, sex, fandom and reinvention".[56] Author Marshawn Evans also commented she helped revolutionize in her generation, how music was performed, delivered to the public, purchased, packaged and downloaded.[57] A 1984 article inside Billboard, echoed that the simultaneous releases of LP, cassette and CD was pioneered by Madonna within WEA branches.[58] In 2014, Xavi Sancho from El País held that during the height of her career, her releases were not only mere musical and commercial events, but rather, they marked a way forward.[59] In 2019, MTV's Erica Russell stated she "reignite interest" in the concept album within mainstream pop after the decline of the rock-oriented concept album in the 1980s.[60]

Madonna's chief impact in music was in the pop music realm. She was a pioneer to popularize dance-pop according to Arie Kaplan.[61] According to music critic Stephen Thomas Erlewine, Madonna also had a "huge role" in popularizing dance music with her debut album, marked by a time of credibility for disco.[62] Bob Tannenbaum from The New York Times credits her the evolution of remixing from underground to a standard practice.[63] Others credited her for help introduce to the masses electronic music into the stage of popular music,[64] or at least within mainstream American pop culture, according to British scholar David Gauntlett,[65] as the genre was most popular among Europeans.

dance-pop

Female industry[edit]

See also: Madonna (nickname) and Feminism of Madonna

According to the Rock and Roll Hall of Fame, she helped dissolve gender boundaries.[15] Tony Sclafani from MSNBC said the word "female" is significant in her assessment,[66] and Dylan Jones referred she was "genuinely influential".[67] In 2013, scholar Jacqueline Edmondson studied different female artists and said about Madonna that she "deserves special attention", labeling her "legacy" as "important to understanding issues surrounding gender and the music industry in the twenty-first century".[68]

Madonna also significantly defined of various international critics' conception of the female pop music star. dance-pop

Her impact was further attested in the way future generations of female popular singers were subsequently scrutinized. On this, a Vice contributor said that "reviews of her work have served as a roadmap for scrutinizing women at each stage in their music career".[69] Similarly, scholars in Ageing, Popular Culture and Contemporary Feminism (2014) agreed that her figure is "widely considered to have defined the discursive space for examining female popular music".[41] Eric Thompson from City Pages also commented in 2011, that her influence is "felt in the way modern female musicians are viewed, regarded and accepted".[70] In 2013, Dutch scholars in Celebrity Studies wrote how female artists were "very often measured against the yardstick that Madonna has become".[9]

Musicianship[edit]

Contradictory perspectives[edit]

Scope[edit]

Aside praise, Madonna was equally criticized from vastly different constituencies and from a varied of perspectives, including social and moral status quo through her artistic freedom.[71][72][73] Professor Ann Cvetkovich held that a "global phenomenon[s] like Madonna", can be "articulated in highly contradictory ways".[74] Social critic Stuart Sim asserts in The Routledge Companion to Postmodernism (2001) that she "attained the status of cultural icon" but she is an "extremly problematic one" because depending on one's point of view, and which lead him to conclude this makes her "exceedingly difficult to categorize".[75]

In Cool: How the Brain’s Hidden Quest for Cool Drives Our Economy and Shapes Our World (2015), authors considered her as perhaps the cultural icon of the last three decades whose have sparked more debate.[76] In 2019, Matthew Jacob from HuffPost reflected that "it's hard to think" of any star with "as many singular achievements and such a durable place in Western media who provokes so much ire and indifference".[77]

Cultural and social criticisms[edit]

Scholars in Representing Gender in Cultures (2004) categorizes Madonna within generalized perspectives of those whose denounce popular culture as an "obedient mechanism of ideology".[78] Spaniard philosopher Ana Marta González in 2009, explained how she didn't see a cultural prominence surrounding her figure, although considered that depends of point of views.[79] Madonna herself, was considered the "lowest form of popular culture" by some sectors in early 1990s.[72] Philosopher Isaiah Berlin lamented the mass culture exemplified by the singer.[80]

Sean McLeod in Leaders of the Pack, commented that her moral integrity and responsibility have been considered a "subject of debate".[81] In 2007, Mary Cross also noted how she has been considered a "corrupting influence".[82] In 1991, educator John R. Silber lumped her in the same category of Adolf Hitler and Saddam Hussein.[83] In Women and the Media: Diverse Perspectives (2005), authors wrote that Madonna challenged the American value system, and continued to challenge it.[84] At some stage of her career, she was accused of unpatriotism.[85]

Racial and cultural appropriation[edit]

In 2017, Jaap Kooijman from University of Amsterdam explains she "provided a challenge views on racial perspectives".[86] In 1997, Canadia scholar Karlene Faith wrote that her mixed cultural diversity in her works, offended many opposing sexism, racism or classism.[87] In Film Theory Goes to the Movies (1993), authors considered the position of "the beautiful, white, middle-class woman" like Madonna in cultural representations as a "double-edge".[88] Scholar Douglas Kellner noted she was particularly criticized by Black critics.[89] In early 1990s, bell hooks problematized her as a cultural icon, calling the singer "dangerous" and the "Italian girl wanting to be black".[90] She said that Madonna never articulates the "cultural debt she owes to black females".[91] In 1996, Barbadian-British historian Andrea Stuart, believes she "deliberately affected black style to attract a wider audience".[92]

Other criticisms were rooted within the cultural appropriation discourse, being labeled as the "Queen of Cultural Appropriation" by Richard Appignanesi and David Garratt in 2010.[93] British professor Yvonne Tasker said that "her appropriation does at times work to question assumptions".[94] In Representing Gender in Cultures (2004), scholars referred that her "privileged position and her status as a powerful icon do little to improve the problems of minorities from which she borrows".[78] According to Australian magazine The Music in 2019, she has been called a "culture vulture".[95] Editors such as Maura Johnston dedicated lenghty articles discussing how she "stole" ideas.[96]

Globalization and trans-cultural criticisms[edit]

Evita lives, Get out Madonna

Madonna was retrospectively called a hyperglobalist, in the likes of McDonald's.[97][98] Professor Mita Banerjee in Global Fragments: (dis)orientation in the New World Order (2007), explored the idea if Madonna was "the beginning or the end of Western civilization as we know it".[99] A number of scholars used her name to articulate globalization, including its ambiguity:

  • Madonnanization: Economist Tyler Cowen from Forbes used it in the context of the performing arts as a "homogeneous global culture of the 'least common denominator'".[104] French academic Georges-Claude Guilbert, notes that in a postmodern context the definition would not be derogatory, arguing that "there seems to be some sort of equation between the McDonaldization of American and its "Madonnanization", which can both be "celebrated by postmodern critics".[105]

In the 2000s, "media theorist" Douglas Rushkoff was quoted as saying she "brought down the Berlin Wall" in a certain sense.[106] According to scholar Alexei Yurchak, an extensive list of Western entertainers like Madonna, Elvis Presley, Michael Jackson, Donna Summer or Pink Floyd were censured in the Soviet Union, as they represented challenged moral views to their society.[107] In 1987, USSR's official newspaper Pravda informed that the censorship against Madonna or Presley was lifted up, although they gone to criticize the performers.[108] In 2016, head of a British pro-North Korea group, blamed Madonna for "the collapse" of the Soviet Union by making people listen to "the most rubbishy aspects of bourgeois imperialist pop culture".[109] In 2012, Russian journalist Maksim Shevchenko referred to her a "vivid symbol of everything superficial, deceitful and hateful that the West exhibits toward Russian".[110] In 2023, news agency Ukrinform informed that a fake Madonna's video served as Russian propaganda. They explained that Russian propaganda had used her name to spread fake propaganda in the past.[111]

During best part of her career, she was significantly criticized in societies of the Middle East, and other cultures, by her Americanization. In 2006, German author Josef Joffe lumped her as an example of the US soft power.[112] In early 1990s, Middle East scholar Patrick Clawson informed about the rejection from Iranian radicals.[113] An Islamic political party in Pakistan, "unsuccessfully demanded" Michael Jackson and Madonna as "cultural terrorists" for "destroying" humanity.[114] Academic Malise Ruthven cites a Pakistani religious scholar who called both Michael Jackson and Madonna "torchbearers of American society with their cultural and social values", according to author Craig A. Lockard.[115] French sociologist Bruno Étienne also reacted with "horror" to Madonna and Michael Jackson for their "ghettozoided" politics, as "the means by which values are transmitted in such society".[116] In Israel, Madonna was also cited within Post-Zionism discourses, including then president Ezer Weizman, who criticized the Americanization of the country and perceiving a losing of their national identity. He further blamed "the three Ms" (Madonna, Michael Jackson and McDonald's).[117] In the 2000s, political commentator Aaron Klein also reported a rejection in groupings in the Middle East such as terrorits. He said that "everyone has heard of her [and] when sheikh cite samples of the U.S. attempting to pervert" they speak of Madonna.[118]

Death threats and censure[edit]

Media have speculated the Islamic State (ISIS), have banned both her name and music.

In mid-2010s, various media outlets assumed her name was banned by the Islamic State (ISIS) for "good measure".[119] The International Music Council informed that ISIS classified both her music and performances as haram stating that "represent anti-Islamic values" and specified that "anyone caught listening to her music will be punished with 80 lashes".[120]

She has also received significant death threats by extremist or radical groups. In the 2000s alone, the Australian Associated Press (AAP) informed that Palestinian terrorists threatened to kill her "because she represents many things they hate about the West".[121] Klein informed about a spokesman from Popular Resistance Committees, who was recorded as threatening, he would personally kill Madonna and also Britney Spears.[122] In 2006, it was reported that crime bosses from Russian mafia threatened to kill her when she was on tour, assumaly for her provocative performance of "Live to Tell" during the Confessions Tour.[123] In 2009, media reported again death threats from Muslim extremists in Israel according to Yossi Melman,[124] and same situation occurred in Serbia according to IANS agency.[125]

Entertainment sector[edit]

According to music critic Robert Christgau in Grown Up All Wrong (2000), Madonna was "honored less as an artist than as a cultural force".[126] In Representing Gender in Cultures (2004), authors also explained that she has been "consistently denied a status of a 'real' musician".[127] One of the focal critical views is a general agreement that her own "artistic talents" are considered to be "limited" by critics.[81] Other critics have also complained that the content of her songs are "empty".[128] A scholar also noted how in the "field of musicology, serious discussion of Madonna has been even rarer than in the popular press".[129]

Madonna also garnered significant criticisms during in rock culture throughout the 20th century. As early as 1985, The Canberra Times said that she almost reversed.

Madonna and critics[edit]

Correspondence between Madonna and critics have been noted, with Clifton saying circa 2004, that her "stormy relationship with the critics is a well-established and crucial aspect" of her career.[129] As her career advanced, and Madonna took more risks, becoming "controversial" many times, she has alineated critics, as some of them at first praised her, were reportedly been "disillusioned".[130] John E. Seery cites that her critics are "many" and some of the critical issues include: "She is not to be taken seriously [...] she is, at bottom, a joke".[131] In Understanding Popular Music (2013), Roy Shuker said that she is a "star whom many critics [...] love to hate".[132] However, academic John Street wrote in Musicologists, Sociologists and Madonna (1993) that she has been also "defended" in "equally extravagant terms".[133]

Madonna's views[edit]

Madonna perpetuated an image of provocateur and controversialist. She acknowledges her reputation, but declared: "I think it's kind of a wast of time to provoke just for the sake of provocation. I think you have to have a lesson or something that you want to share. You have to have a reason for it".[134] She maintened her view by saying at the 2023 Grammy Awards audience that if an artist is labeled "scandalous" or "problematic" are "definitely on to something".[135]

Views on criticisms[edit]

In 2016, scholar Deborah Jermyn noted that "numerous academic studies have considered the way Madonna polarises views".[136] MacLeod condesed in Leaders of the Pack (2015) that "despite the criticisms, many have seen her vast contribution, lyrically, musically, and artistically to the world of popular culture".[81]

Some reviewers favored rethinking. Gayle Stever in The Psycology of Celebrity (2018) noted how the "attention Madonna received from being controversial" also "opened up an entire new way of thinking" on others.[137] In 1992, scholar Cindy Patton considered her a "social critic in a certain way" further saying she has an "instinct for not just what's going to get people upset, but what's going to get people thinking".[138] Similarly, during an international congress in 2005, Lydia Brugué from Universitat de Vic concluded she is an artist with "multiple messages" leading frequently to ambiguity and certainly, it "provokes" but "it goes beyond creating controversy".[139] In 1988, Genders, a publication runs by the University of Texas Press, considered her a "connoisseur of critical theory".[140]

In 2020, Glamour's Christopher Rosa, acknowledges her impact in the music industry, at the same notes the negative one, but overall saying it was "most of the time for the best".[141] Althought she has been both appreciated and castigated by feminists, some reviewers believes that significant criticisms are rooted in misogyny, including scholar Lynne Layton in Who's That Girl? Who's That Boy? (1998).[142] In 2008, Guy Babineau from LGBT-targeted publication Xtra Magazine, compared that "men in music, industry and politics who are much richer and more powerful, and who do much worse things, are admired".[143]

Influence on other entertainers[edit]

Madonna's influence and as source of inspiration became in an articulated topic of her impact by some. A number of authors and media outlets devoted analyses and articles, including CBC's 2018 article on some Canadian's artists.[144] Discussing her 20-years plus career, in 2003, BBC's Ian Youngs said "her influence on others has come as much from her image as her music".[145]

Various commentators particularly noted how her career and works have influenced generation of female pop stars, with MacLeod saying she influenced "many girls" in popular music.[81] In 2014, scholars in Ageing, Popular Culture and Contemporary Feminism (2014), said that "judging by the citations she receives from almost every female pop star", she remains "the single biggest female influence on the nature and style of pop music over the course of the late twentieth century".[41] In early 2000s, Gauntlett discussed her influence on other female performers denoting "four key" themes, and called many of them as Madonna's "musical daughters".[146]

Critics' lists and polls[edit]

Madonna also made appearance in lists and references dedicated to significant personalities from the 20th century. She was included on TV Guide's 101 People Who Made the 20th Century, season one, which was a "look" of influential people who made "dramatic impacts" during that century.[147] She was also included in the Ultimate Biography: Inside the Lives of the World's 250 Most Influential People (2002), which is based on the longest-running, single-topic documentary series Biography by A&E,[148] and in the The Oxford Children's Book of Famous People (2002) by the Oxford University Press, where its mentioned over 1000 public figures "who have influenced the course of history".[149]

Madonna on genderless critics' lists and polls (all-time/century)
Year Publication or institution List or Work Ref.
1998 Carol Publishing Group The Italian 100[b] [150]
1999 Harvest House World's 365 Most Influential People [151]
2002 Life 50 Most Influential Boomers [152]
2005 Discovery Channel 100 Greatest Americans [153]
2008 Encyclopædia Britannica 100 Most Influential Americans [154]
2008 National Geographic Society 1001 People Who Made America [155]
2009
2012 		Igloo Books People Who Changed the World[c] [156]
[157]
2014 Smithsonian Institution 100 Most Significant Americans of All Time [158]

Sobriquetes[edit]

Madonna during the XLVI halftime show (2012), sported a Queen Cleopatra-inspired outfit.

According to The Music magazine in 2019, Madonna has been called "many things" both negative and positive.[95] University of Tasmania's professor Robert Clarke also noted the "range of nicknames" in media reports referring to her "big business pop career" in Celebrity Colonialism (2009).[159] On the point, Chilean magazine Qué Pasa commented in 1996, that to "Madonna can be attributed many titles and never be exaggered", further calling her the "undisputed Queen of Pop".[160] Further examples include "Queen of Rock" during the 20th century,[161] and "Queen of Music" industry in the next decades.[162]

Madonna began to be referred to as "Madge" in mid-80s by magazines like Sounds,[163] with their editor John Harris calling her in 1991, "Our Madge".[164] Turning the late 1990s, authors like Christopher Zara noted how the generalized British press, especially tabloids, began to call her "Madge", which is a local shorthand for "Your Madgesty".[165][166] Press overseas have adopted both references,[167] with Alex Hopper from American Songwriter saying "she was given that title because of her Queenliness in the music industry".[168]

Superlatives[edit]

Some have noted how she has been given and earned superlatives, including The A.V. Club's editors in 2019 and American journalist Meredith Vieira in 2006.[169][170] Across her multi-decades career, both immediate and retrospectively, Madonna has been celebrated as one of the greatest and influential female artists of all-time; a significant portion of international authors, critics and media publications have further called her as "the most influential female" in contemporary music, as noted announcer Juanma Ortega in 2020,[171] with Michael Musto similarly claiming in 2015, that she emerged as "the most influential" for decades.[172] Especific examples include pieces from outlets around the world such as CNN (2008), Radio Free Europe/Radio Liberty (2008) and Vogue Mexico (2020).[173][174][175] Other references include in "pop history",[176] or from American music history according to MTV or BET.[177][178]

Cultural depictions[edit]

Madonna has been depicted in various domains, including arts.
See the categories Cultural depictions of Madonna, Musical tributes to Madonna, and Works about Madonna
See also: List of cover versions of Madonna songs, List of Madonna tribute albums, and Madonna impersonator

Madonna and her likeness has been depicted in various domains; in Madonna as Postmodern Myth (2002), Guilbert explored and referred to "several domains", including museums depictions.[105] In 2011, The Guardian's Peter Robinson felt and stated there is a "little bit of her in the DNA" in several "modern pop thing[s]".[179]

On science references, Echiniscus madonnae is a water bear specie named after Madonna in 2006. The zoologists commented: "We take great pleasure in dedicating this species to one of the most significant artists of our times".[180] Quadricona madonnae is a fossil Bradoriid from the Cambrian of South Australia named after her; in reference to the nodes on each valve resembling her conical bustiers.[181]

See also[edit]

Notes[edit]

References[edit]

  1. ^ Hughes, Hilary (October 14, 2016). "Madonna is the Queen of Pop (And Also 2016, According to Billboard)". MTV. Retrieved March 29, 2021.
  2. ^ Thorpe, Vanessa; Melville-James, Anna (August 8, 1998). "`She wanted the world to know who she was, and it does'". The Independent. Retrieved June 20, 2022.
  3. ^ a b The New York Times Staff (August 16, 2018). "60 Times Changed Our Culture". The New York Times. Retrieved March 30, 2021.
  4. ^ "Featured artiste of the month". GameAxis Unwired. No. 28. SPH Magazines. December 2005. p. 48. ISSN 0219-872X. Retrieved February 1, 2022.
  5. ^ Raven, Robin (March 14, 2022). "10 Artists Who Have Stood Up For Women In Music: Taylor Swift, Lizzo & More". Grammy.com. Retrieved June 20, 2022.
  6. ^ Hoesterey 2001, p. 114
  7. ^ a b Pop 2018, pp. 90–91
  8. ^ a b Stange, Oyster & Sloan 2011, p. 877
  9. ^ a b van den Berg, Marguerite; ter Hoeven, Claartje L. (July 25, 2013). "Madonna as a symbol of reflexivemodernisation". Celebrity Studies. Taylor & Francis: 145. doi:10.1080/19392397.2013.791042. Retrieved October 10, 2023.
  10. ^ Ospina, Ana María (August 21, 2018). "Madonna, un paradigma de la post-modernidad" (in Spanish and French). Radio France Internationale. Retrieved May 5, 2021.
  11. ^ "¿Logró respeto Madonna?". El Universal (in Spanish). October 13, 1999. Retrieved October 7, 2023.
  12. ^ Matos, Michaelangelo (March 4, 2012). "Laura Barcella (ed.): Madonna & Me". The A.V. Club. Retrieved October 7, 2023.
  13. ^ Gardner 2016, p. online
  14. ^ Craik, Laura (August 16, 2018). "Madonna at 60: how the Queen of pop changed fashion - and the world". The Daily Telegraph. Retrieved July 4, 2022.
  15. ^ a b "Madonna Biography". Rock and Roll Hall of Fame. Archived from the original on April 15, 2015. Retrieved May 21, 2022.
  16. ^ Ruggiero 1994, p. 97
  17. ^ Kinder 1997, p. 6
  18. ^ a b Schönherr 2012, p. 12
  19. ^ Tupper, Guillermo (August 11, 2018). ""El patriarcado ha puesto más foco en Madonna como ícono estético que como compositora"". El Mercurio (in Spanish). Retrieved May 21, 2022.
  20. ^ Graham-Jones 2014, p. 92
  21. ^ Northup, Paul (April 1998). "Reviews: Madonna: Ray of Light". Third Way. Vol. 21, no. 3. p. 28. Retrieved September 26, 2022.
  22. ^ Erice, Santiago (April 1989). "Una chica con personalidad". Micromanía (in Spanish). Vol. 5, no. 11. p. 78. Retrieved September 26, 2022.
  23. ^ Held 1999, p. 327
  24. ^ Karsh 2003, p. 315
  25. ^ White, Chris (May 6, 1989). "Chinese Bananas" (PDF). Billboard. p. 76. Retrieved January 29, 2024.
  26. ^ Csoma, Mózes (November 28, 2019). "The 1989 wind of change and its effect on the North". Korea JoongAng Daily. Retrieved October 6, 2022.
  27. ^ Hall & Hall 2006, pp. 445–449
  28. ^ Brown, Stephen (2003). ""On Madonna'S Brand Ambition: Presentation Transcript". European Advances in Consumer Research. 6: 199–201. Retrieved September 29, 2022.
  29. ^ Aguilar Guzmán 2010, p. 88
  30. ^ García, Sergio (October 9, 2015). "Madonna usa los videoclips para dar mensajes diferentes a los de sus canciones". El Comercio. Retrieved April 3, 2021.
  31. ^ Jeansonne 2006, p. 446
  32. ^ Arnold, Gina (January 4, 1996). "Media provocateur Madonna is a hardworking role model". Metro Silicon Valley. Retrieved June 7, 2022.
  33. ^ Schuler 2013, p. 138
  34. ^ Larsen, Sinding (October 27, 2023). "Recension: Madonna – The celebration tour i Köpenhamn" (in Swedish). Sveriges Television. Retrieved January 30, 2023.
  35. ^ Empire, Kitty (August 31, 2008). "Mama don't preach..." The Guardian. Retrieved October 7, 2023.
  36. ^ Buikema et al. 2009, pp. 117–121
  37. ^ Berger 2002, p. 108
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