Jump to content

User:Apoxyomenus/1

From Wikipedia, the free encyclopedia

Hello, World, this is a laboratory/test/draft

Madonna (left) and then president of Argentina, Cristina Fernández de Kirchner in 2008

Madonna is an American singer-songwriter, who achieved a social-cultural impact across the world. As one of the most "well-documented figures in modern age" according to Rock and Roll Hall of Fame, Madonna had been understood variously as her footprints, impact and effects encompassed different stages of contemporary culture over decades, which led to be reviewed by a broad number of international social scientifics, and authors, aside media. Accepted as a pop icon, other scholars such as Stuart Sim and Suzanna Danuta Walters labeled her as a cultural icon, while Camille Paglia and others, called her a major "historical figure".

Madonna's semiotics is defined by having attracted strong reactions, generating praise, as well critics while detractors dismissed all of her moves. Often moved into the irony and ambiguity, she polarized views sparking controversies. It intensified while she was aging. Numerous academic studies, however, considered the way she polarized views and she was defined as a modernist and her messages as openness.

Various critics and scholars credited her to help shape the music industry in the 1980s and ongoing decades. Aware of contemporary or previous female performers that paved the way, a vast group of contemporary and newer critics, deemed Madonna as the one who reinforced women's roles, and she was praised for "achieving levels of power and control unprecedented for a woman in the entertainment industry" in a male-dominated society. Despite it depends of different degrees of measures, Madonna attained an established profile of being discussed with euphemism by diverse international outlets and across different decades, as arguably the most influential female artist of popular music. To the extent, she has inspired numberless of artists, from different musical genres, generations and nationalities.

In some estimates, Madonna ranges for being perhaps the most "debated" and "discussed" female performer at some stage of her career or since she burst on the scene, while a 2018 article from The Daily Telegraph summed up she "contributed more to the cultural conversation than any female performer in history". Cultural institutions or reference works from Smithsonian Institution to Encyclopædia Britannica, Inc. and the National Geographic Society (or its subsidiaries) included Madonna among the most significative Americans in modern history. She featured in a number of other publications with wider perspectives, including Igloo Books's 2009 and 2012 releases of "People Who Changed the World" and TV Guide's 2017 serie of 101 People Who Made the 20th Century.

General cultural spectrum

[edit]

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

—Scholar Ramona Curry, cited in Pastiche (2001).[1]

Madonna has been discussed by scholars in a wide range of topics.[2] By 2008, the Rock and Roll Hall of Fame stated Madonna remains one of the most "well-documented figures of the modern age".[3] A decade later, in 2018, Laura Craik from The Daily Telegraph sustained that Madonna has "contributed more to the cultural conversation than any female performer in history".[4]

Madonna transcended cultural boundaries for which Canadian professor Karlene Faith noted as her "peculiarity" the fact she "cruised so freely through so many cultural terrains".[5] British scholar David Gauntlett once stated she "provides a whole world of ideas and experiences", that "can be discussed on their own terms".[6] In 2018, Eduardo Viñuela, a musicologist at University of Oviedo argued that analyzing her is to delve into the evolution of various relevant aspects of society in recent decades.[7]

Madonna's career

[edit]

She's a major historical figure and when she passes, the retrospectives will loom larger and larger in history.

—Academic Camille Paglia on Madonna (2017).[8]

A number of authors have condensed the impact she achieved by talking about her "career" as a whole point. Primarily known as a musician, Janice Min, the editor-in-chief of Billboard explains she is "one of a miniscule number of super-artists whose influence and career transcended music".[9] Professor Robert Sickels from Whitman College, made similar connotations in 100 Entertainers Who Changed America (2013), by saying her "music alone cannot tell the full story" of her "colossal success and influence".[10] In 2006, Singaporean magazine GameAxis Unwired claims she "pioneered" a multifaceted career that "encompasses virtually every aspect of contemporary culture",[11] and the staff of The New York Times summarized in 2018, she achieved a "singular career" that "crossed boundaries and obliterated the status quo".[12]

Robin Raven from Grammy.com reminds that "it's often said that Madonna was ahead of her time".[13] Critics such as Ty Burr and Paul Morley cited or explored the claim.[14][15] An editor commented in a 1998 article in The Independent that many women do, what Madonna does, but the "differen[ce] is that she translates it into a phenomenon".[16] More than a reviewer commented described she attained an "unusual status", including authors of Film Theory Goes to the Movies (2012).[17] In The Art of Seductress (2002), professor Arthur Asa Berger called her an "unique and distinctive icon".[18]

Pop culture symbol

[edit]
Madonna's portrait at 100 Faces of the Tenerife Auditorium by Bulgarian artist Stojko Gagamov

Madonna earned an established position within popular culture studies with a scholar saying "she became an ideal focus for the developing critical resources of popular cultural theory".[19] Abigail Gardner from the University of Gloucestershire goes further, stating in Rock On (2016) that perhaps more than any other pop star, she "holds a privileged place" in the studies of popular culture.[20] In 2019, The A.V. Club editors commented: "Madonna is modern pop's original icon, someone whose music and influence will be shared [...] and debated for decades to come".[21]

The pop culture influence of Madonna has been described as "endless" and "immeasurable".[22][23] With such notable role granted by scholars and authors; in a retrospective assessment, Matt Cain held in 2018 that "today's pop culture landscape would simply not exist as it is".[24] That year, British scholar Ellis Cashmore justified "even allowing for exaggeration, the point is that Madonna changed 'how the game works'".[25] Back in 2001, Noah Robischon from Entertainment Weekly argued she "has defined, transcended, and redefined pop culture".[26]

One of the great conundrums of the internet era is pop culture’s short memory [...] But yes, in a career spanning four decades, Madonna made real cultural change, and caused a few cultural crises, over and over again.

— From The New York Times Staff (2018)[12]

Across multiple decades, another significant number of publications and scholars have remarked her pop condition while staying contemporary— without a posthumous value or retrospective recognition. In the 2000s alone, business professor Oren Harari quoted a critic describing her as "the most durable pop symbol of her generation",[27] while Belfast Telegraph columnist Gail Walker, commented in 2008, "not even male icons have stayed at the front of popular culture the way she has".[28] Similar remarks were found in the 2010s, with critics such as Víctor Lenore who summoned in 2012 a panel to discuss her and where she was understood as "the most influential" female performer of popular culture up that point,[29] and in the 2020s, the staff of Rolling Stone talked about her "ability to stay at the center of pop culture for longer than nearly anyone".[30]

Other critics, however, extended the definition of pop icon on Madonna. In her debut decade, music critic Robert Christgau claimed she transcended it.[31] Scholar Kathleen Sweeney, used Madonna and Marilyn Monroe as examples in Maiden USA: Girl Icons come of Age (2008) to illustrate how "some reach a status beyond mere celebrity in public consciousness to become enduring cultural icons".[32] By 2012, Russell Iliffe from PRS for Music, argued she "transcended the term 'pop star' to become a global cultural icon".[33]

On Madonna's socio-cultural impact

[edit]

We can feel the effect of the changes she triggered in our everyday life.

—British sociologist Ellis Cashmore (2018).[25]

Madonna's socio-cultural impact has been much quoted. By the end of the 1990s, Camille Paglia made the suggestion that "historically people will see the enormous impact that Madonna has had around the world".[16] Doru Pop, a Romanian professor at Babeș-Bolyai University, confirms in The Age of Promiscuity (2018), that her cultural impact has been "extensively analyzed by many authors".[34] Even for Billboard editor Louis Virtel, who claimed in 2017, the task of defining her impact is "brutal".[35] Editors of Encyclopedia of Women in Today's World, Volume 1 (2011) defined her "cultural influence has been profound and pervasive".[2] In 2008, William Langley from The Daily Telegraph went on to say, "Madonna has changed the world's social history, has done more things as more different people than anyone else is every likely to".[36]

National Geographic Spain headlined her as the Queen of the 1980s[37]

At the height of her influence, during the late twentieth century, Madonna was seen by some as sign of her times. A scholar proposed her as "hero of our time".[34] Cultural critic Greil Marcus defined her cultural appeal stating "she is undeniably part of our culture",[38] and Suzanna Danuta Walters commented "she circulates constantly in the cultural practices of everyday life".[39] From academy to popular media, agents like American professor Marjorie Garber suggested she "read the temper of the times" perhaps more than other,[18] while French editor of Vogue France, Martine Trittoleno held in 1993, "more than a witness of the epoch, she is an active reflection of it".[40] American poet Jane Miller even stated that "Madonna functions as an archetype directly inside contemporary culture".[41] In his Madonna biography published in 2002, Andy Koopmans defined her as a "cultural obsession".[42]

She continued to left her mark in the next decades, and while aging. By 2008, Bob Batchelor, an assistant professor at Kent State University believes that "no artist of the 1980s had a larger effect on the cultural landscape than Madonna".[43] Authors in Ageing, Popular Culture and Contemporary Feminism (2014), mentioned her "status as a cultural icon is acknowledged" in press accounts,[44] while Cashmore comments even in her sixties she is "recognized as a genuine cultural icon".[45]

Myth-like modern figure

[edit]
Madonna depicted by Paul Harvey in a mythological mixture

Nor can any late-twentieth-century theory satisfactorily explain the momentary appeal of the pop singer Madonna.

—Academic William G. Doty on Madonna, Mythography (2000).[46]

Her influence was perceived through everyday life forms such as dreams. In 2009, cultural organization MiratecArts commented that "her influence is so powerful that it extends deep into the subconscious world of imagination, fantasy and dreams".[47] For the lattermost point, editors of Mythic Astrology Applied (2004), illustrate: "Many men and women have reported Madonna appearing in their dreams. As she has become a living archetype in our culture, it is no wonder that this is so".[48] Sandra Bernhard expressed in her book Confessions of a Pretty Lady (1989): "I dream about Madonna more than anyone I know (or don't know); somehow she's indelibly written into my subconscious, and the theme is always the same".[49] In Madonna (2001), Andrew Morton talks about an artist named Brent Wolf, who confessed he dreamt of her every night for five years.[50]

Folklorist scholar Kay Turner,[51] 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, whom deemed her variously as a shapeshifter, Aphrodite or Dionysus.[52] Turner's work has been cited by authors such as Lucy Goodison and Alice Robb, with Robb describing some of these woman interviewed by Turner, found "emotional support in their Madonna dreams, waking with a sense of peace of resolution that persisted in their real lives".[51][53] A number of authors like Kelly Sullivan Walden, in I Had the Strangest Dream... (2009) have made dream interpretations on Madonna.[54]

Popular culture have borrowed the words "myth" and associates. For Virtel, she has "a career that amounts to living mythology".[35] By 2018, Spanish critic Víctor Lenore describes her as "the greatest female myth" in the history of popular music.[55]

American culture

[edit]

Overseas Madonna has been called an "American icon", and for a long-time, an icon of American identity.[56] Argentine writer Rodrigo Fresán, once commented she is one of the "classic symbols of Made in USA".[57] Gender scholar Laura Viñuela, in a Madonna class at University of Oviedo in 2015, deemed her story and evolution to be comparable and useful to analyze the historical development of the United States.[58] To Gina Arnold, her primary contribution to national culture has been musical.[59] She made a substantial impact in the borders of sexuality.

Historian Glen Jeansonne, in A Time of Paradox: America Since 1890 (2006) wrote that along with Ronald Reagan, Madonna epitomized one of the faces of the 1980s, "the age of diversity".[60] He states Madonna helped "freed Americans from their inhibitions".[60] Scottish author Andrew O'Hagan considered her as a "heroic opponent of cultural and political authoritarianism of the American 'establishment'".[61] To Thomas Ferraro, "no one was more important to the culture as whole than Madonna", at least for young, defending his point by saying she was a "miracle worker, and wonder woman", the faith healer of Reagan's divide and-conquer America.[62] Her influence in American life was compared with that of Elvis Presley by author Gilbert B. Rodman in Elvis after Elvis (1996), considering she matched his impact and calling her a "female version of Elvis" in U.S culture.[63] To media scholars Charlotte Brunsdon and Lynn Spigel, Madonna rivaled Oprah Winfrey's space in the psyche of national culture during the 20th century.[64]

Globalization

[edit]

According to Viñuela, the musicologist, her career is closely linked to the "consolidation" of globalization.[65] She was an active reflection of it, to the point various lumped her with cultural artefacts in the articulation of globalization as well as westernization and americanization. In sum, pundits hailed her as "an icon of Western society", claimed Third Way.[66] By 2014, CUNY Graduate Center professor, Jean Graham-Jones considered her the "globalization's quintessential femicon".[67] She was also called a "universal symbol" by associate professor Juana Suárez.[68]

The high-profile she commanded was reflected in various pieces. For example, a 1989 article of Micromanía referred the "symbol Madonna" as the "most palpable proof that Western society advances and changes",[69] 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".[70] 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".[71]

In International Communication and Globalization (1997), Nottingham Trent University reader Ali Mohammadi lumped her with other examples for paving the way the global economy.[72] Madonna was deemed as a hyperglobalist example as well,[73] being classified as "dominant motifs" of a hyper-globalization thesis from three schools of thought.[74] Douglas Rushkoff was quoted as saying "Madonna brought down the Berlin Wall" in a certain sense. Having cited Rushkoff's view, an author reminds Madonna's prominent role with MTV, further explaining that the network represented one of the challenges faced by the former Soviet Union.[75] Various informants, including koreanist scholar Mózes Csoma have documented references of Madonna in the hermetic culture of North Korea.[76] Evita is the first American film screened in the country.[77]

Associated phrases

[edit]

A number of scholars, used and coined expressions with Madonna's name in the articulation of globalization.

  • 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'".[82] 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".[83]

Race

[edit]
Madonna singing "Je t'aime... moi non plus" at L'Olympia, France in 2012. She ventured to sing in other languages other than English

Understanding Madonna's popularity also requires focus on audiences, not just as individuals but as members of specific groups

—As is cited by scholars Gail Dines and ‎Jean M. Humez (2011).[84]

According to Jaap Kooijman from the University of Amsterdam, racial studies are discourses that surround Madonna, and she "provided a challenge views on racial perspectives".[85] An article published by Australasian gay & lesbian law journal in 1993, stated "it is not possible to read/interpret Madonna without a recognition of elements such as race, class [and] ethnicity", which are present in "almost all of Madonna's texts".[86]

Raised in a multicultural environment since her early life, Madonna was called as "the last ethnic and first postethnic diva" by a scholar.[87] Frances Negrón-Muntaner named her the "last century's American transcultural dominatrix".[88] Over the years Madonna has performed in languages other than English, either almost entirely or entirely, such as Sanskrit ("Shanti/Ashtangi"), Spanish ("Lo Que Siente La Mujer" or "Verás"), Portuguese ("Faz Gostoso" or "Fado Pechincha") and French ("La Vie en Rose" or "Je t'aime... moi non plus"), along with verses of other languages like Basque ("Sagarra Jo").

Music critic Ann Powers explains that "her virtual workplace was multicultural long before that was a mandated corporate goal".[89] As an example of cultural globalization, Indian authors, in New Directions in Comparative Literature (2008) virtually describe how "by making culture generally available, Madonna becomes the culture of all social classes".[90] Madonna achieved a notable impact on some subcultural groups; most notably the LGBT community. By 1997, Canadian professor Karlene Faith stated she "has been a 'cult figure' within self-propelling subcultures".[5]

Racial groups and subcultures

[edit]
Latin pop song "La Isla Bonita" have impacted Belize's San Pedro Town tourism sector.[91]

Black culture: Madonna is "typically credited as the first to use black gay culture, in a clear and forward way".[92] A 1990 article of CineAction! states that "Madonna's 'blackness' is a common, though poorly articulated theme of popular press literature".[93] Agents like bell hooks extensively explored her relationship with black culture in the 1990s, although she criticized Madonna.[94] Madonna declared she wanted to be black as a child,[94] and many recall how she was subtly marketed as if she were a black singer before her face was revealed to the public.[95] Thomas Ferraro called her the "most accomplished Italian-to-black crossover artist in history".[96] Ferraro believes Madonna was the "white pop star ever owing more to black male productions" and that "no diva has spent more time on camera and off with men of color, professionally and romantically involved" in the twentieth century.[96]

I've always been very attracted and intrigued by Latin culture, I mean I'm half-Italian, so I suppose I'm Latin.[b] I love Latin music. I love Latin men. I feel an affinity toward the Latin world

—Madonna, in a Canadian interview on 1996.[99]

Latinos (and Hispanics): Is "perhaps the most influential and revisited 'ethnic' style in her work" according to professor Santiago Fouz-Hernández.[100] With Madonna making references to Latinos since burst onto the scene, Fouz-Hernández and Latin academics in Bitch She's Madonna (2018) deemed her an early precursor of the so-called "Latino boom" started in the 1990s that various American pop singers replicated.[100][101] In Boricua Pop (2004), Negrón-Muntaner explored her impact in the community during the 1980s and 1990s, stating that "Madonna's nod created the illusion of insider status for Latinos of all sexualities in U.S. culture".[102]

Boricuas: Various reviewers, including Carlos Pabón in De Albizu a Madonna (1995) and Carmen R. Lugo-Lugo in The Madonna Experience (2001) have commented on her impact in Puerto Rican society.[103] Negrón-Muntaner also detailed her early influence, describing Madonna as "the first white pop star to make Boricuas the over object of her affections".[88] By doing so, she believes Madonna produced a "queer juncture for Puerto Ricans representation in popular culture", making also Boricua men desirable to an "unprecedented degree (and through) mass culture".[88]

Madonna and her Who's That Girl World Tour crew. She has infused cultural diversity in her works and workplace

Italian-Americans: Madonna is Italian American, and Ferraro said she "never stops talking about her background".[104] Her early influence as a public Italian American figure is commented on by D'Acierno in The Italian American Heritage (1998), who says she served as a "vehicle for the expression of many of the qualities that are exclusive not only to Italian" but to Italian Americans.[105] In Colored White (2003), historian David Roediger referred to her as "the most popular United States Italian American entertainer of our time",[106] and the author of The European American Experience (2010) referred to Madonna and Lady Gaga as the most famous examples of the Italian American musical tradition in modern times.[107] Leah Perry from Empire State College, notes "Madonna's legacy" and influence on other American female pop artists with Italian roots such as Gaga and Gwen Stefani.[108]

Other ethnicities: Many reviewers have noted Madonna's usage of some Asian cultures elements in her fashion and religious overtones works. Various academics including Gayatri Gopinath, Douglas Kellner or Christopher Partridge explored how Madonna's figure aided and reinforced the introduction to the West and mainstream culture, numerous of these elements for various generations.Cite error: A <ref> tag is missing the closing </ref> (see the help page).[109] Others observed the influence of England heritage in her work, particularly when she was living in the United Kingdom; however, her exploration of intra-Caucasian identities has received "little academic attention".[110] José I. Prieto‐Arranz, in The Journal of Popular Culture (2012) commented that various critics agreed that rather than export American music, she has imported new (mostly European) trends into the nation at some stage.[111]

Business

[edit]
Madonna is the first female entrepreneur to appear on a Forbes cover (1990)[112]

Over years, Madonna's semiotics extended to business and marketing community for many reasons, with Andrew Morton commenting her "success has certainly impressed the business community".[113]

Justified points include scholar Douglas Kellner whom declared "one cannot fully grasp the Madonna phenomenon without analyzing her marketing and publicity strategies".[114] A member of the Kelley School of Business deemed her more than a "pop cult icon" describing "she is someone every can learn from—though the lessons run counter to conventional marketing wisdom of the 4Ps variety".[115] Stephen Brown, a professor of marketing at University of Ulster, seen her case as "relevant to the consumer research community",[116] while in her sixties, a member of AARP wrote an article for business magazine Campaign and presented her as a "relevant" example for marketing community about other visible targets like women over the age of 60.[117] In 2006, business theorists Jamie Anderson and Martin Kupp for London Business School, studied her case concluding she is a "born entrepeneur".[118] Brown as do others, called her a "marketing genius".[116]

Madonna is the first female entrepreneur on a Forbes cover (October 1, 1990[119]) according to themselves.[112] In Profiles of Female Genius (1994), editor commented the fact Forbes deemed her as "America's smartest businesswoman" was an unusual treatment at that time, as he considered the publication as part of the bastion male capitalism system.[120] The advent of Madonna usher "the phenomenon of star as multimedia impresario" according to Gerald Marzorati.[121] Latin academics in Bitch She's Madonna (2018), grant an important role to Madonna for shaping music businesses as "we know it".[101] Referential works such as Encyclopædia Britannica categorized Madonna for "achieved levels of power and control unprecedented for a woman in the entertainment industry".[122]

Businesswoman role

[edit]

Madonna is one of the first female stars to have ever established an entertainment company and a record label.[123] When Maverick was created, she was one of the first female CEOs in the industry.[124] Aside Maverick, she started other enterprises.[125] "Madonna is herself a corporation, and a rather diverse one", wrote professor Robert Miklitsch in From Hegel to Madonna (1998).[126] American accountant Sharon Lechter summed up that over her career, Madonna "has received acclaim as a role model for businesswomen in media".[127] In 2007, Madonna was included in Billboard's Power Players which recognized music industry women that "have made an important mark on the music business" with staff commenting Madonna's CEO "has a reputation as being a tenacious executive as ubiquitous as her music".[128]

She debuted in a era where according to a 1992 article of The Canberra Times most entertainers avoided labels of "manager" or "businesswoman".[129] In his Madonna biography, Andy Koopmans cites her as saying: "Part of the reason I'm successful is because I'm a... businesswoman. But I don't think is necessary for people to know that".[130] Dan Bigman, an editor from Forbes reminds they declared in 1990 her to be one of the "shrewdest businesswomen we'd ever seen", but "much to her irritation".[119] Her business profile became so massive, that an editor explained her entrepreneurial talent were becoming "legend".[120] At first, she earned a reputation of being a "calculating businesswoman",[119] and The Canberra Times noted a "crucial difference" between Madonna and her other American industry fellows, as she only endorsed products she thinks will "enhance her, more than the product".[129] In-control with her business deals,[119] Madonna was labeled as a "workaholic".[119] In 2000, Warren Allen Smith describes that many people from the 1990s spoke of Madonna as "the lady who work".[73] In 2002 Jennifer Egan, explains there is a "popular answer" from critics about her that "she's done (all about her life and work) it through sheer business savvy".[121]

Financial and patronage acumen

[edit]

The advent of Madonna's financial triumph, led the feminist scholars Cheris Kramarae and Dale Spender comment she achieved "the kind of financial control that women had long fought for within industry".[131] Unusual when Madonna debuted, by 1993, professor E. Ann Kaplan contextualized she "has entered the public sphere as an entrepreneur earning a lot of money, something that is not considered natural for women".[132] In comparison, Forbes pinpointed the "rise fast and fade fast" of female artists like Whitney Houston or Cyndi Lauper, while praised Madonna for nearly reach the top for consecutive years in their Forbes 40.[119] Up to 2022, Madonna has been the top-earning female musician a record 11 times across four decades (1980s–2010s). Professor Roy Shuker once commented, she "must be viewed as much as an economic entity as she is a cultural phenomenon".[133] Her overseas numbers were also remarked by American business writer Tom Peters in 1993, overall commenting she runs a "positive trade balance".[134] By 1992, Spanish newspaper ABC even named her as the "most prolific, profitable and universal consumer object since the commercialization of Coca-Cola".[135]

Madonna's figure was also of a significance for Time Warner corporation for years to the point various observers called her as perhaps "their most effective corporate symbol", or person.[136][126] An author describes they "usually feature[d] Madonna's picture prominently in its annual report",[136] while in Electronic Publishing on CD-ROM (1996), Judson Rosebush and Steve Cunningham commented she accounted for something like 20 to 33 percent of all record sales from Warner Communications, as well pointed out her figure was an influence for their stock.[137] Michael Ovitz called Madonna the Warner Music's "hit machine".[138]

Madonna's patronage garnered mostly positive comments during the height years of Maverick Records. Having an important role approving with Freddy DeMann their signed artists,[139] it would became a "highly profitable" label with moderated to successful acts like Alanis Morissette.[140] She contributed to assist their signed musicians like Morissette to helping make them stars.[141] By 1998, Ingrid Sischy from Vanity Fair deemed the label as one of the "few artist-involved entities in the business to have moved into big-league status".[139] That year, it was recognized by Spin as "the most successful vanity label", while under Madonna's control, it generated well over $1 billion for Warner Bros. Records, more money that any other recording artist's label up that point.[142]

Advertisements and contracts

[edit]
Madonna's Madame X advertisement banners

Madonna's advertising debut was made in Japan, with a campaign for Mitsubishi Electric. It helped to erase the corporation's image of being "safe but bland" after researchers noted most Japanese no longer considered them a "conservative company".[143] Beyond that, Madonna's campaign led to Japanese agencies and advertisers to feature more musicians, also invigorating the overall interest in using foreign celebrities in ads.[143]

While she made her national advertising's debut campaign with the first ever Rock the Vote in 1990, her first worldwide ad became a year earlier with Pepsi in 1989. It introduced new connotations in the industry, representing the first time a pop single had debuted in an ad, and the first time a TV commercial had been giving a special around-the-world satellite premiere.[144] The event was reportedly to constitute the single largest one-day media buy in the history of advertising.[145] Spanish critic Víctor Lenore, believes that with this ad, she helped "opened the door" to major endorsements and multiplied the global impact of pop music.[55]

Madonna has made various contracts, and some of them were deemed influential for helping shape music businesses. Despite for a short period her $60 million deal with Warner in 1992, represented the highest sum for a woman and the highest rate equaled only by Michael Jackson a year earlier with Sony, BBC Worldwide commented in 1994, that the deal "was seen by many as the symbol of the kind of new relationship between a global media star and the moneymen".[146] Madonna became the founding artist in Live Nation's "Artist Nation" division with her 120-million contract in 2007.[147] Analyst Mike Saunders, in HumanCentric (2020), deemed that 360 deal as a "milestone" that clearly helped change the way of many regards in the concert industry.[148]

In the lens of capitalism

[edit]

Madonna became a central image in the studies of commercialism for many academics during years.[149] According to professor Suzanna Danuta Walters, she was understood by many as a "personification of commodity capitalism".[39]

Madonna epitomized the consumer ethos of the 1980s,[150] and beyond. In retrospect, Helen Sheumaker from Miami University writes in Artifacts from Modern America (2017), Madonna "seemingly epitomized a 20th-century American superficiality".[151] However, in 1994, after an observer suggested to Sheikh Kabbani that "Material Girl" reflected "the deterioration of Western values", he argues, "you have to be both material and spiritual [..] Madonna is giving people a kind of joy in their material life. You cannot say she is wrong".[152] As her image was heavily linked as the "Material Girl", with discourses surrounded of consumer culture or materialism, that constant conversation was commented by Kristen Marthe Lentz, saying when it comes to Madonna, "suddenly everybody is a critic of capitalism".[153]

Branding concepts

[edit]
Madonna's name at L'Olympia

New Zealander academic Warwick Murray, as do others, deemed Madonna a "global brand".[154] David Bruenger a professor of Ohio State University, held that "she pioneered [various] brand management strategies".[155] She was one of the earliest celebrities to protect her name as trademark in the 1980s; Jane Shaw and the others scholars in Gen Z, Explained (2022), held that "the 'selfmark' trend can be traced back to Madonna in the 1980s".[156]

Over the years, Madonna's brand was dissected and recognized by various industry experts. In The Experience Effect (2010), author Jim Joseph considered her a "quintessential brand" further arguing she is "perhaps the epitome of celebrity marketing and celebrity branding".[157] Reviewing her then 20-years-old career in 2003, Michael Levine praised her by saying she has "bucked every rule of branding and still manage to become the most well-known, well considered brand in the entertainment business".[158] Around those years, marketing executive Sergio Zyman and author Armin Brott agreed in The End of Advertising as We Know It (2003), "unlike almost anyone else in her business" she has an "uncanny ability to retool" her brand further adding "no one repositions herself as well —or as frequently— as Madonna".[159] A decade later, in 2015, business magazine Fast Company labeled her "the biggest pop brand on the planet".[160]

[edit]

During decades, Madonna's image was associated of being recognized as a trend-setter and "widely perceived to be on the cutting edge" for this.[161] Writing for The Baltimore Sun in 2008, Rashod Ollison called it as her "career hallmark".[162] Roger Blackwell thus describes "she becomes the conduit for its introduction and acceptance" setting trends in areas like fashion, exercise, beauty, expression, dance, spirituality or lifestyle.[163]

Jamie Anderson and Martin Kupp remind she is "one of the world's first artists to bring this approach to the music industry".[118] Editor and professor Popy Belasco, even called her the "first coolhunter in history".[164] MuchMusic named her "the world's top trend-maker" (c. 2006).[165] Lecturer Susan Hopkins at University of Southern Queensland was less impressed, who held in 2016 for The Conversation, that she "pioneered a lot of cultural trends that didn't do average working women a lot of favour".[166] A turning point of this condition of her career, was after the release of Hard Candy as various critics considered her a "trend hopper than a trendsetter".[162]

Expressions coined

[edit]
The "Madonna-curve" in the words of Tim Galles from Barkley Inc.
  • Madonna effect: Business professor Oren Harari used the phrase inspired in her business tactics and changes while deems its use for both individuals and organizations.[27][167]
  • Madonna-curve: According to Doctor Peter van Ham from think tank Clingendael Institute in an article for NATO Review, is a phrase used by some business analysts to describe the "adapting to new tasks whilst staying true to one's own principles" and "businesses use Madonna as a role model of self-reinvention".[168] The usage for NATO was no well-received by analyst Robin Shepherd from Chatham House, as argued that "an ageing pop diva is not an exccelent analogy for NATO".[169] Canadian educator and designer Bruce Mau, refers "it's named after the pop star for her capacity to alter her image and stay popular. However radical the visual difference, she is always Madonna".[170]

Musicianship

[edit]
Madonna on stage at her Madame X Tour, playing piano

By 1996, music critic J. D. Considine stated Michael Jackson and Madonna redefined our notions of "artistic impact".[171] To historian Glen Jeansonne, both artists represented "the triumph of image" during the videography age of the 1980s, and which revolutionized the way recordings and artists were sold to the public.[172] Music critic Robert Christgau, in Is It Still Good to Ya? (2018), referred to "the world Madonna made—a world in which female vocalists are obliged to be far more glamorous".[173]

By some estimates, Madonna is arguably the female artist to exploit "fully" the potential of the music video format.[174] She is credited as arguably the "first female" to have a "complete control" sense of her music and image according to various critics, including Stephen Thomas Erlewine and Edna Gundersen.[175][176] Having mentioned other previous examples before her, Roger Blackwell recognizes this claim but at the same time, says her "personality usually overshadows her musical product".[163] In Girl Heroes (2002), Susan Hopkins writes that her music is more about accompanying visuals rather than technical complexity.[177]

In 1986, Dr. Karl Podhoretz from University of Dallas called her a "revolutionary voice who has altered the very meaning of sound in our time".[178] In 2013, Rolling Stone referred Madonna as "the most important female voice in the history of modern music".[179] Dutch linguist Theo van Leeuwen cited her as perhaps "the first singer who used quite different voices for different songs".[180]

Songwriting

[edit]
Madonna most common scales in her songs

Recognized as one of the 100 Greatest Songwriters of All Time by Rolling Stone, some writers and producers estimate she is a much "underrated musician and lyricist".[181] By 1995, Spin praised her consistency and called her "a great songwriter".[182] In Madonna, Andrew Morton describes her as a "musical poet in motion" saying she has "an organized schedule to work on lyrics and future projects".[183] Biographer Carol Gnojewski calls her a "prolific writer" as her many songwriting credits can attest.[184] Listed for a while as "the most successful female songwriter in Britain" by the Guinness World Records,[185] she was also the songwriter with most number-one songs in the Billboard Hot 100 until the release of "Human Nature".[186]

Musicologist Susan McClary asserts she "writes or co-writes most of her own material".[187] Marissa Muller from W, grant Madonna credit for helping normalize "the idea that pop stars could and should write their own songs".[188] She has influenced other songwriters,[28] and one of them is Kylie Minogue who took some inspiration from her to start writing her own songs.[189]

Vocals

[edit]
Many reviewers have praised Madonna's artistic versatile

Lucy O'Brien wrote "over the years many have criticized Madonna's vocal ability, saying she is a weak singer".[190] Recognizing that she is not gifted with a wide-ranging voice, a vast group have also gave sympathetic views, with a musician commenting she is an enough "strong interpreter [that] doesn't over-embellish things".[190] Others like Keith E. Clifton, a musicologist at Central Michigan University, recognizes her vocal "metamorphosis" and it has proven to be a central and yet under-theorized aspect of her career, comments.[191]

Ludovic Hunter-Tilney from Financial Times, says that her critics do not understand that "pop singers do not require the vocal technique of Maria Callas", and "an instinct to connect with the public's fantasies are more important".[192] Similar descriptions came from sociologist Stanley Aronowitz, who deemed her as a performance artist who deploys pop music with her singing as a vehicle "for something else going on" and this is a plus or surplus that elicits "the excitement about Madonna".[193] In another claim, scholars in The SAGE Handbook of Popular Music (2014), comment that "for pop singers in the style of Madonna, brilliant singing ability is not of utmost important" in contrast to performers of soul and R&B music "whose considerable vocal skill" are a crucial aspect for them to succeed.[194] She has implemented in some performances techniques such as lip sync and Auto-Tune, but overall, diverse media outlets such as Reuters, Slant Magazine and VH1 have mentioned she "can sing" both live or in studio.[195]

Production and involving process

[edit]
Her musical positivity scores by album (1983—2018), according to Spotify

More than one scholar have explored how the fact a musical artist like Madonna have worked with various producers and men, many often assume they are responsible for her creative output.[196][101] Music critic Gina Arnold, by 1995, held certainly she hires "well-producers" but she applauded Madonna's consistency and personal injection, considering her as far the most "consistent than any of other artist of the last decade" with a vision of "incredibly broad".[59] In comparison, producer Stuart Price told in an interview with Peter Robinson for Popjustice in 2005: "You don't produce Madonna, you collaborate with her... She has her vision and knows how to get it".[197] Guy Sigsworth similarly states, Madonna is not one of the artists that hire a producer and expect them to do all the work. She instead, is very "intimately involved in the whole creative process as a collaborator and producer" and is a side "ignorated by people so fixated on her image".[198]

Also a vast group of reviewers have widely commented how Madonna masterminded her own career in many levels, including New Zealander scholar Kerr Inkson.[199] Mary Cross commented on this, "Madonna is not the product of some music industry idea, but her own woman".[200] Michael Campbel in Popular Music in America (2012), recalls: "The most ground-breaking aspect of Madonna's career has been her ascension to a position of complete control of her career: writing her songs, producing her recordings, choreographing her performances, and making the key decisions about every aspect of production and promotion".[201]

Music industry

[edit]
Madonna have had a notable role in music industry history

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

—The staff of Billboard on Madonna's pop music impact (2018).[202]

Over decades an array group of critics, scholars and authors have appreciated her music contributions and long-lasting impact. Constantine Chatzipapatheodoridis, a Greek adjunct lecturer at University of Patras, says "Madonna's cultural impact helped shape the contemporary music stage, in terms of sound and image, performance, sex and fandom", as well reinvention.[203] Author Marshawn Evans similarly stated Madonna has "revolutionized how music is performed, delivered to the delivered to the masses, purchased, packaged, downloaded, and even simulcast across a variety of cutting-edge platforms".[204]

American writer Arie Kaplan, called her a "pioneer" in popularize subgenre of dance-pop.[205] Bob Tannenbaum from The New York Times credits the evolution of remixing from underground to the standard practice (mainstream) to Madonna.[206] She is not the first with an one-single name in the industry, but made her impact. In 1987, Radio & Records noted an increase of female singers of one-name; while recognizing the phenomenon goes back beyond her, they also suggested that "you probably have to blame it on Madonna" with many suddenly aspire to stardom using only their first name.[207] In 2022, American Songwriter magazine said: "If she didn't invent the one-name legacy then she sure made it real".[208]

Women's music, and concert and video industries

[edit]

Alongside other male figures, some publications placed Madonna with a notable role for reinforce their tour industries in countries such as Mexico,[209] or Brazil; Veja magazine stated Michael Jackson and Madonna's 1993 concerts in Brazil extended their national mega-show dimensions.[210]

A variety of international critics and cultural institutions, have given credit Madonna for raise the modern pop concert tours template, in many ways. Smithsonian Institution gave credit to Madonna as the first performer to use her concert tour as reenactments of her music videos.[211] Fashion editor William Baker states "the modern pop concert experience was created by Madonna really".[203] Matt Cain is another supporter saying she "set the standard".[24] Scholars Berrin Yanıkkaya and Angelique Nairn, relies importance in the female figure, saying that she paved the way of extravaganza in concerts as a theatrical spectacle in which the female music artist is placed center stage.[212]

Having a prominent role in women's music stage, editor of Profile of Female Genius (1994), describes "Madonna has been able to impact her industry as much as any woman in history".[213] Jacqueline Edmondson from University Park, Pennsylvania studied other female artists, but stated Madonna "deserves special attention", describing "her legacy" as "important to understaing issues surrounding gender and the music industry in the twenty-first century".[214] The word 'female' is significant in the assessment of Madonna "because she presented herself in a fresh way for women artists", according to Tony Sclafani from MSNBC.[215] British scholar David Gauntlett, cites another author's view: "Madonna, whether you like her or not, started a revolution amongst women in music".[19] Editor-in-chief of Blender, Joe Levy similarly stated in 2008, she "opened the door for what women could achieve and were permitted to do".[176] Overall, Susan Sarandon was quoted as saying, "the history of women in popular music can, pretty much, be divided into before and after Madonna".[216]

The way Madonna has been reviewed, made its impact. According to a scholar, Madonna is "widely considered to have defined the discursive space for examining female popular music".[44] A Vice contributor similarly describes that "reviews of her work have served as a roadmap for scrutinizing women at each stage in their music career".[217]

Roles

[edit]

More than any other artist, Madonna deconstructed the roles that women play, not only in music but in all of popular culture [...] for the first time placed female voices at the center of pop discourse, as actors rather than spectators.

Dave Marsh (1994), New Book of Rock Lists (1994)[218]

Madonna have made a substantial impact on roles, mainly among women in recording industry. During the late-20th century, and similarly to Dave Marsh's claims, music journalist Everett True sustained that "more than anyone, Madonna has deconstructed the role of the female singer in popular music".[219] By 2021, English author Dylan Jones wrote that "Madonna was genuinely influential as she created a role for herself that had never existed".[220]

When Madonna debuted, Landon Palmer from University of Alabama, recalls she was frequently described as a "rock star" by media outlets and official institutions, with Palmer explaining she served as an example of how the label exceded the distinctions of genre.[221] Ranging from Australian newspaper The Canberra Times describing in 1985, she "nearly reversed the typical pattern of rock idol analysis",[222] to the Encyclopedia of American Social History (1993) calling her "the antithesis of the women found in early rock and roll".[223] Decades later, the Rock and Roll Hall of Fame explains she became an early emblem of "women in rock" and helped dissolve gender boundaries in music to the point "where that catchphrase has become unnecessary and even a bit anachronistic".[3] In Popular Texts in English (2001), scholars said she was also "an atypical female phenomenon in the world of pop",[224] and by 2018, Deutsche Welle credits her as "the first woman to dominate the male world of pop".[225]

By 2008, Sclafani grant Madonna an important role for helping change the paradigm of performers from band to solo act with an emphasis on female.[215] Also giving credit to her in this area, Gillian Branstetter of The Daily Dot recalls how Madonna thrived when she appeared back in the 1980s where "the vast majority of the top artists in the world were men".[226] The same year, 2014, journalist Diego A. Manrique described we are living in a "Madonna era", as many female artists dominate record charts labeling them as Madonna's "heirs".[227] British music journalist David Hepworth held in Uncommon People (2017) that "most of biggest of the pop music" are woman and Madonna "is the person who proved that this was possible, who opened up a new world for them to grow into".[228]

Mentorship and matriarchy-like role

[edit]
Madonna have mentored artists such as Alanis Morissette (pictured), and her matriarch-like role has been extensively explored

Authors have also explored how she established a matriarchy in popular music,[229] while scholars in Feminism and Popular Culture (2014), explained that "Madonna's status as a pop matriarch [...] has been atomized with exhaustive diligence" in diverse works.[230] Various referred as Madonna's protegé figures like Nick Kamen,[231] or talent manager Guy Oseary,[232] whose credits Madonna "with pretty much everything" in his career, and to put him on the map.[233] Having founding her own record label, Maverick Records, Madonna helped their signed artists such as Alanis Morissette, who later declared to Rolling Stone in 2020, how "generous" Madonna was as a mentor.[234]

By 2005, Christine Sams from The Age commented she "enjoys supporting younger artists".[235] After the advent of teen pop idols into the new Millennium, Zel McCarthy from Grammy.com explains that United States was divided by music genres and generations but Madonna "deftly eschewed" these cultural battles; she was seen wearing T-shirts emblazoned with the names of Britney Spears or Kylie Minogue as her "celebration of other girls in pop music".[236] McCarthy said, "such spontaneous statements of support and admiration are almost boringly common now, but in an era when pop music had been denied entry into the credibility club, the moment held more weight".[236] She supported the release of "new artists", such as Katy Perry and her songs "Ur So Gay" (2007) and "I Kissed a Girl" (2008), contributing in the popularity of the lattermost song thanks to her "good press" according to authors of Queer Media Images: LGBT Perspectives (2013).[237]

Some criticisms came from agents like Chris Richards, a music critic from Washington Post commenting her "post-Gaga" matriarch status by 2012.[89] However, music critic Ann Powers recognizes she reliazes these roles in "complext and sometimes controversial ways", but was overall positive calling her the "Mother of Pop", and a "symbolic matriarch".[89] Madeline Roth from MTV dedicated an article in 2015 titled "9 Princesses Of Pop Who Have Earned Madonna's Blessing", in which Roth asserts: "Madge has voiced her disapproval for pitting women against each other (‘atta girl!), she hasn't made a competition out of it. Rather, she's bestowed her blessing among several pop princesses (plus other performers outside of her genre), giving us an idea of the talent and fearlessness Madonna looks for in her peers".[238]

Influence on other artists

[edit]
From "countless" female artists to artistes of diverse genres like pianist Fred Hersch, Madonna's influence on others has been of far-reaching. Madonna also inspired rock frontmen Liam Gallagher (Oasis, second pic) and Chester Bennington (Linkin Park, last pic) to become musicians

Madonna has been influenced from a variety of performers including painters (artists), musicians, writers and other entertainers. On this, Howard Kramer from the Rock and Roll Hall of Fame and Museum expressed: "Although Madonna had her influences, she created her own unmistakable style [...] [she] wrote her own ticket" and follow her formula.[239]

Madonna's influence on others has been extensively detailed as well, and came from her career model, music, attitude and a sort of things. High-profile performers such as Beyoncé, Lady Gaga, Pink, Rihanna or Jennifer Lopez among others have cited her as a chief influence. Within the compendium Madonna: Drowned Worlds (2004), Gauntlett explored her influence on others, exploring four key themes that her "successors (and imitators)" have followed.[240] He also called referred to them as "musical daughters" arguing "many of them are Madonna's daughters in the very direct sense that they grew up listening to and admiring Madonna, and decided they wanted to be like her. Most of them have said so explicitly at some point"[19]

N.B. following an illustrative list of artists influenced by Madonna; men, bands and women from both 20th and 21st centuries

She has also been an influence of other entertainers, including painters, writers, film-industry people among others.

Canadian artists

Other selected areas

[edit]

Longevity and success

[edit]

In an industry where some artists don't last longer than a packet of chewing gum, Madonna has built a career of success and longevity that is unparalleled.

—David Thomas of MTV Australia (2013).[243]

Once deemed as a one-hit wonder, Madonna debuted with critics such as Robert Hilburn, Dave Marsh and Paul Grain (Billboard) "predicting" a rapid decline.[244] In a short span, she earned critics predicting "the end of her career" as she "gone too far" with provocative releases such as "Justify My Love" (1990) and Sex (1992). She out survived that level of critics, and in comparison when Billboard named her the "Artist of the Decade" in 1989, they pinpointed she "has always stayed one step ahead our expectations".[245]

Although there are female artists with more lengthy careers of that Madonna, she herself epitomized other levels including continued success (or better than moderate), without enter into a nostalgia value or "comebacks". The perceptions of her longevity dated since at least 1991 (before having a 10-years-old career).[246] Some contemporary reviewers labeled it as "the equivalent to five lifetimes in rock-star years",[247] and Jon Pareles called her "veteran" in 1991 (with a eight-years-old career).[248] By 1993, media scholar David Tetzlaff aware of the cultural longevity of performers such as Elvis Presley, Liz Taylor or the Rolling Stones, compared how they continued into the public conscience throughout the nostalgia value but Madonna in contrast, still attracted a broad public while staying contemporary, a nearly unusual case within these conditions, claimed.[249] In 2022, Helen Brown from Financial Times commented the "average chart-life of a pop singer was two to six years, generally shorter for women that men".[250]

Various observers also noted on Madonna a self-avoid nostalgia value; from Michael Levine to Thomas Ferraro and Jennifer Egan, they similarly agreed she didn't like does things twice.[158][104][121] In 2018, British journalists Bidisha and Matt Cain, commented respectively she has "no interest in nostalgia" and she "never wanted to be seen as a nostalgia artist".[251][252] At some degrees, others have talked about a minimal implementation.[250]

Attributed efffects on others

[edit]

[Female artists] "are very often measured against the yardstick that Madonna has become"

University of Amsterdam's scholars in Celebrity Studies (2013)[253]

Her continual success and longevity sparked conversations among generations of observers. Professor Roy Shuker, defines that "the continued success of Madonna provides a fascinating case study" in popular music.[254] A number of scholars devoted articles or courses about it, with economist Robert M. Grant praising her by 2008, highlighting the context of an "intensely competitive [and] volatile world of entertainment".[255] British sociologist Ellis Cashmore, commented she both epitomized and helped usher in an age in which the epithets "shocking", "disgusting" or "filthy" didn't presage the end of a career.[25] British sociologist David Gauntlett similarly stated she has provided a recipe of "longevity", which many artists, female and male, may try to emulate.[6]

On the whole, Madonna was attributed to embodying "female success in a male-dominated industry", inspiring other young artists after her according to James Dickerson in Women on Top (1998).[256] Professor Thomas Harrison at University of Central Florida, summed up she "had a profound impact" on what artists needed to do to be successful in the 1980s and the decades after.[257] In Sclafani's view, Madonna's successive hit records "opened people's minds as to how successful a female artist could be".[215] After the template she raised, Michael Castillo from Time magazine declared in 2010, that "every pop star" of the past two or three decades, "has Madonna to thank in some part for his or her success".[258] Mary Cross similarly stated in Madonna: A Biography (2007) that many "new pop icons [...] owe Madonna a debt of thanks for the template she forged".[259]

Contradictory perspectives

[edit]
Criticized mainly by "peronistas", her filming of Evita attracted a national debate in Argentina. In the image, a graffiti "Evita lives, Get out Madonna"!

Madonna's critics are many [...] some of the critical issues [...] are as follows: She is not to be taken seriously [...] she is, at bottom, a joke, a vulgar reflection of gimmicky American consumerist culture at its worst

John E. Seery about criticisms on Madonna (2018).[260]

As she drew praise, Madonna was also blamed from vastly different constituencies in equal parts,[261] in a varied of perspectives.[262] In The Routledge Companion to Postmodernism (2001), social critic Stuart Sim asserts Madonna "attained the status of cultural icon, she is however, an extremely problematic one" because depending on one's point of view, which makes her "exceedingly difficult to categorize".[263] In Cool (2015), authors describe that perhaps no one has sparked more debate than she has, among all cultural icons of the last three decades.[264] In 2019, Matthew Jacobs from The Huffington Post, concurred saying "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".[246] Back in the 2000s, observers commented her "critics willingly overlook Madonna's impact on contemporary culture".[90]

Some criticisms however, came from a generalized critic of certain aspects of society, and then mixed with Madonna's prominence; as an observer considered the critique of Madonna may be related to "the general denunciation of popular culture as the obedient mechanism of ideology.[265] Once called "the lowest form of popular culture",[262] philosopher Isaiah Berlin lamented about the mass culture exemplified by Madonna.[266] For many, she was a "corrupting influence".[267] In 1991, Boston University President John R. Silber lumped Madonna with Adolf Hitler and Saddam Hussein.[268] An editor of Australian magazine The Music, wrote in 2019, that she has been "successively cancelled", and by some she is a "culture vulture" and a "controversialist".[269] In the 1990s, it was also suggested that zeitgeist in Madonna has become poltergeist.[270]

In Women and the Media: Diverse Perspectives (2005), professors explained that with a series of outrageous personae, Madonna has challenged the American value system, and continues to challenge the limiting ways Americans see themselves and their lives.[237] Others did not gave Madonna some much relevance, as Spanish philosopher Ana Marta González says in a 2009 essay, that doesn't really look on Madonna, a "cultural prominence" but she agreed it depends in each point of view.[271]

Bay City's refusal to have a commemoration sign about Madonna is explored in Madonnaland (2016) by Alina Simone

In the journey various scholars remarked about strong reactions from public to critics to further describe that many "love to hate" Madonna.[254][272] Associated professor, Diane Pecknold agreed she was not only an omnipresent figure, but a polarizing one.[56] In the early 1990s, Maureen Orth echoed that people that love to hate her "monitored" her every move.[273] In short, while some have celebrated her, others have "passionately criticized her", remined Leah Perry in The Cultural Politics of U.S. Immigration (2016).[108] More than one published these sentiments towards Madonna in books. An example that various authors have cited is the I Hate Madonna Handbook (1994) by Ilene Rozenzweig, who dismisses Madonna in all ways calling her a "talentless bloodsucker",[274] and criticizes her agenda of "push people's buttons".[275] Scholar Tyler Cowen cites the I Hate Madonna Jokebook (1993) by Joey West; but he uses it as one of many examples that public figures from presidents to members of the British royal family are criticized by millions every day.[276] In West's book, Madonna is labeled as "Hollywood's most controversial star" which "raunchy" reputation's brought her fame and fortune.[277]

Over the course of her career, she has been also called variously by public and critics, such as "man-eater, manipulator, monster, bitch, whore" and more.[278] After the news of Madonna adopting in Malawi in 2006, Nancy Gibbs wrote for Time "Madonna is so easy to revile that you start to wish she'd make it a little harder".[279] A Madonna audience reception conducted by various scholars in the early 1990s, taken from bad press, letters from a newspaper and college students, lumped various as "haters". One of them, stated: "I'm so glad to hear that not all professionals think Madonna is great".[262]

Critics from capitalism and others

[edit]

Some critics also viewed Madonna as a representation of the "worst excesses of commercial exploitation",[280] as well labeled her "the ultimate" in crass commercialism and the epitome of banal consumerism.[281] One of them, was Akbar Ahmed who wrote in Postmodernism and Islam that she is the "supreme product of the consumerist culture".[153]

Some reviewers seen Madonna a more related figure to marketing, business and publicity rather than music. Such claims or similarly ones, were made by agents like Christopher John Farley from Time, who commented in 1994, her career has "never really been about music".[282] As a music performer, editors in Representing Gender in Cultures (2004) wrote that she "has been consistently denied a status of a 'real' musician".[283] In Grown Up All Wrong (2000), Robert Christgau describes "Madonna is honored less as an artist than as a cultural force".[284] Summarizing part of these feelings, Ludovic Hunter-Tilney from Financial Times explains that "to her critics" she is "right to describe herself as a businesswoman but wrong to call herself an artist" and many label her as "a triumph of self-marketing".[192] In an ambivalent point, Michael Campbell wrote in Popular Music in America (2012), "neither [Michael] Jackson nor Madonna has been a musical innovator" but recognizes that "their most influential and innovative contributions have come in other areas".[201]

Cultural appropriation charges

[edit]

Like other artists, she faced a notable amount of criticisms regarding cultural appropriation. British professor Yvonne Tasker, once commented she is an "interesting figure to the extent that her appropriation does at times work to question assumptions".[285] At the height of these commentaries, an observer defined that "Madonna's privileged position and her status as a powerful icon do little to improve the problems of minorities from which she borrows".[265] Academic Douglas Kellner interprets that she has been "attacked" by using "appropriation" for "defuses" elements of its original context. Kellner, remarks that she was "attacked" by various black critics.[286] Most of them, interpreted Madonna of being in a white privilege place; thus as American historian David Roediger reminds criticism from bell hooks on Madonna, who said "the image Madonna most exploits is that of the quintessential 'white girl' and to maintain that image she must always position herself as an outsider in relation to black culture".[287] Barbadian-British historian Andrea Stuart summed up that she "deliberately affected black style to attract a wider audience".[288]

In mixing cultural diversity in her works, as Canadian professor Karlene Faith explains in Madonna, Bawdy & Soul (1997), she have offended those opposing sexism, ageism, racism or classism.[289] Many contemporary observes, argued that United States shows the consequences of multiculturalism with its "guettoized" popular and divisive identity politics. One of these critics was French sociologist Bruno Étienne who invoked with "horror" Michael Jackson and Madonna as "the means by which values are transmitted in such a society".[290]

Cultural criticisms around the world

[edit]
In the mid-2010s, the Islamic State banned her name, and classified her music and performances as haram

Madonna has been rejected by some groups of diverse cultures over the course of her career. In Iran's Strategic Intentions and Capabilities (1994), Middle East scholar Patrick Clawson documents that Iranian radicals reject Madonna.[291] An Islamic political party in Pakistan, unsuccessfully demanded in 1995, Michael Jackson and Madonna as "cultural terrorists" for "destroying" humanity.[292] In A Fury for God: The Islamist Attack on America (2004), academic Malise Ruthven cites, a Pakistani religious scholar, calling Michael and Madonna as the "torchbearers of American society with their cultural and social values".[293] She was also exemplified as "junk culture" and "contemporary monstrosities" along with Rupert Murdoch and McDonald's.[293] In Israel, Madonna entered as a notable example under the discourse of Post-Zionism; then president Ezer Weizman criticized the Americanization of the country, arguing a perceiving losing of their identity to further blame "the three Ms (Madonna, Michael Jackson and McDonald's).[294]

In Schmoozing with Terrorists (2007), political commentator Aaron Klein documents that in the Middle East, everyone has heard of her, and the terrorists know Madonna because she is regularly referenced for "corrupting humanity on earth". Klein, further adds, "when sheikhs cite samples of the U.S. attempting to pervert" Muslim, they speak of Madonna.[295] Klein also informed that terrorists referred to Madonna as "prostitute", and cites Muhammad Abdel-Al, a then spokesman from Popular Resistance Committees who was recorded as threatening, he would personally kill Madonna and Spears: "If I meet these whores I will have the honor —I repeat, I will have the honor— to be the first one to cut the heads of Madonna and Britney Spears.[296]

Over the 2000s, she received numerous death threats by extremists for similar sentiments. In 2004, the Australian Associated Press (AAP), informed that Palestinian terrorists threatened to kill her "because she represents many things they hate about the West". As a result, it was reported she cancelled three concerts in Israel.[297] In 2006, it was reported that crime bosses from Russian mafia threatened to kill her when she was on tour.[298] In 2009, received again threats from Muslim extremists in Israel according to Yossi Melman,[299] and same situation occurred in Serbia according to IANS agency.[300]

In 2015, the International Music Council informed that the Islamic State (ISIL or ISIS) classified both her music and performances as haram stating that "represent anti-Islamic values", and specifying that "anyone caught listening to her music will be punished with 80 lashes".[301] It's assumed that her name was also banned by ISIS for "good measure".[302] In 2016, head of 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".[303] Another allegation within the Russian context, came from journalist Maksim Shevchenko, who wrote in 2012 that she is part of a "vivid symbol of everything superficial, deceitful and hateful that the West exhibits toward Russian".[304]

Responses to criticism

[edit]
A perpetual unapologetic,[12] Canadian academic Linda Hutcheon, notes she moves into ambiguity and irony[305]

British reader at Roehampton University, Deborah Jermyn wrote that "numerous academic studies have considered the way Madonna polarises views".[306] Many of these observers like Kellner, categorizes Madonna as a set of "contradictions".[254] In Shuker's view, it "provides a range of contradictory readings and evaluations".[254] E. Ann Kaplan argued back in 1993, there is no real Madonna, for she is the site of a whole series of discourses, many that contradict each other, but that together produce the divergent images in circulations.[307]

She was estimated in equal parts, as lecturer John Street from University of East Anglia writes in Musicologists, Sociologists and Madonna (1993), she "has been defended in equally extravagant terms".[308] After the release of her film W.E., Naomi Wolf wrote for The Guardian the theme of "Hating Madonna" has been "consistent that it deserves scrutiny in its own right".[309]

  • The Queen of Pop, Madonna has been so many things to so many people for so many years, it's hard to define her. — From Gay to Z: A Queer Compendium, 2022 pag 117

Discussion

[edit]

Madonna catches a disproportionate amount of flak for her public persona and high-profile career because she dares to be, unapologetically, a female creative artist

Naomi Wolf on Madonna (2012).[310]

Georges-Claude Guilbert commented in Madonna as Postmodern Myth (2002) that "some journalists enjoy being particularly venomous when writing about Madonna, revealing more about themselves than anything else".[311] Professor of marketing at University of Ulster, Stephen Brown similarly stated in 2003, "what people say about Madonna says more about them that it says about the singer".[116] Audra Gaugler in her 2000 thesis for Lehigh University, believes that "she has faced much criticism throughout her career, but much of it is unjust".[312] Back in the 1990s, social critic Camile Paglia once commented, "most people who denigrate Madonna do so out of ignorance".[313]

In 1997, Stan Hawkins from University of Leeds, expressed that her acts "can only infuriate those who are unfamiliar with the everyday forms of human expression visible in commercials, films, videos, fashion, literature, art and journalism".[314] As reported Deseret News in 1991, historian professor Jesse Nash supports Madonna's "critique of society" and argues that the scandal she creates, proves that "Westerners still uphold values that subjugate women".[315] Critics centered in gender were also suggested by many; for example Naomi Wolf argued in 2012 that much of criticisms on Madonna, relies when she dates to extend her range, which "infuriate" mainstream commentators, contrary when male artists do it, thus "she must be punished, for the same reason that every woman who steps out of line must be punished".[309] In this vein, psychoanalyst Lynne Layton of Harvard Medical School, similarly argued in Who's That Girl? Who's That Boy? (1998), "you get some idea of the role gender plays in critical responses to her". Layton, compares a scenario when in "a male artist's story, biographers attribute meteoric rises to genius", but on Madonna's side, a biographer can attribute her rise to many important men she slept with, or people she seduced and abandoned from both sexes. "In short, she is famous because she is a bitch and a slut", says.[316]

Some scholars labeled her as a "producer of cultural ambiguity and openness", as is clear on Feminist Television Criticism by Charlotte Brunsdon and Lynn Spigel.[64]

In a 2005 international congress, Lydia Brugué of Universitat de Vic, concludes she is an artist with multiple messages leading frequently to ambiguity. Certainly, it "provokes", says Brugué but "it goes beyond creating controversy". At the end, she also concludes the overabundant debates on Madonna, came from the nature of contemporary society itself.[317] In 2013, two academics from University of Amsterdam puts the context of modernisation as "the communication of social and cultural tensions embodied in the symbol Madonna explain the unparalleled public and scientific fascination for this cultural phenomenon".[253]

Back in 1992, scholar Cindy Patton labeled her as "a social critic in a certain way", that beyond upset people, could get people thinking.[247] In Media Culture (2003), academic Douglas Kellner summed up that "Madonna takes on demonstrates a courage to tackle controversial topics that few popular music figures engage with her consistency and provocativeness".[286] To Susan McClary, "Madonna is engaged in rewriting some very fundamental levels of Western thought".[187]

Music critic Ann Powers says despite her borrowing have made her suspect to some, "she's never hidden her vision of the word as a place where difference can and must be celebrated [...] She has chosen to cultivate diversity".[89]

About criticism on Madonna's music, scholar Sean MacLeod said "despite the criticisms, many have seen her vast contribution, lyrically, musically, and artistically".[242] Some of them even questioned the attacks. Musicologist Stan Hawkins from University of Oslo, believes that criticisms from Jeremy Beadle fails to acknowledge her musical reflexivity in any critical enough manner.[318] Others brings the context of rockism views, with Paglia explaining that "our minds were formed by rock music".[313] Noting the criticism from the "rock world", professors in Popular Music and the Politics of Hope (2019) explain "Madonna's voice has certainly changed since the 1980s, showing the signs of age, vocal coaching, and rigorous vocal exercises".[319] Jennifer Egan, whose disliked and avoided Madonna, considering being part of the popular critics on Madonna, as well talked about rock influence in her life, notes in retrospective there exist "overused terms" such as that self-promotion is her "only talent". She questioned the "no talent" argument as an old one.[121]

Some Madonna's statements and reviews on them

[edit]

Madonna's stormy relationship with the critics is a well-established and crucial aspect of her remarkable career.

—Keith E. Clifton, musicologist at Central Michigan University, Madonna's Drowned Worlds (2004).[191]

Madonna during the MDNA Tour (2012), performing "Human Nature", an answer song to her critics

As is documented in The Gender/sexuality Reader (1997) by anthropologists Roger Lancaster and Micaela Di Leonardo, Madonna claims that part of her creative work, is meant to escape definition: "Everything I do is meant to have several meanings, to be ambiguous". They said, she favors also to irony.[320] As music per se, did not fully encompassed her range of aspirations, Jennifer Egan, found sense in Madonna's statements: "I know I'm not the best singer, and I know I'm not the best dancer. But I'm not interested in that" but in being "political".[121] In a 2015 interview with HuffPost, she addressed cultural appropriation critics, saying: "I'm inspired and I'm referencing other cultures. That is my right as an artist. They said Elvis Presley stole African-American culture. That's our job as artists".[321]

Madonna have responded to her critics in some musical pieces, most notoriously "Human Nature" (1994). According to Irish lecturer Sean MacLeod, Madonna once "often" commented on the attitude of scholars to her work, citing: "They didn't get the joke. The whole point is that I'm not anybody's toy. People take everything so literally".[322]

Professor Becca Levy, cites Madonna complains in a Vogue interview with Decca Aitkenhead in 2019: "People have always been trying to silence me for one reason or another".[323] During the release of her theatrical play Speed-the-Plow (1988), Madonna was quoted as saying: "There are people who are violently opposed to the fact that I exist on this earth".[324] For Lucy O'Brien, "she risks unpopularity" and her style is "confrontational". She calls the singer an "imperfect icon", and notes Madonna's 2016 Billboard speech: "People say I'm controversial. But I think the most controversial thing I have ever done is to stick around".[325]

In 2008, The New York Times critic, Jon Pareles expressed: "Since the beginning of her career she has telegraphed her intentions and labeled herself more efficiently than any observer".[326] A scholar commented in the early 1990s, "as usual, Madonna is at least one step ahead of her commentators".[327] In 2006, Australian public intellectual Germaine Greer, names many weaknesses in the singer, but recognizes that "what Madonna could do better than any other woman I know of was talk" and this makes her a genius.[328] Associate professor Gayle Stever, proposes after the arrival of Madonna in the 1980s, the attention she received from "being controversial opened up an entire new way of thinking" in some audiences, mainly concerning her fandom.[329]

Her quotes, or statements inspired some books about it, including, Madonna in Her Own Words (1990) by Mick St. Michael (ISBN 0-7119-7734-8), Madonna Speaks (1993) by Mike Fleiss (ISBN 0-9412-6383-5) and Madonna: Inspirations (2005) by Essential Works (ISBN 0-7407-5456-4).

Dave Marsh highlights here what he sees as the sexism implicit in much early Madonna criticism

Titles

[edit]
Madonna has been and still the best-selling woman in music

Madonna is noted for having garnered constant superlatives as well. On this, editors of The A.V. Club held in 2022 "superlatives are a given"[21] while American journalist Meredith Vieira stated in 2006: "She may only need to go by one name, but Madonna is a woman who comes with superlatives attached".[330] Before giving her one, literary critic Bonnie Zimmerman says, she is "one of if not the most".[331]

Madonna still or has been the world's best-selling female artist, the top-earning or wealthiest woman in music, or the highest-grossing female touring artist.

Examples

[edit]

It is not uncommon to read in media [...] that she is the most influential woman in contemporary music.

—Announcer Juanma Ortega on Madonna (2020).[332]

Beyond merely headlines, many have discussed Madonna with euphemism as the greatest female, most influential or most important:

From CNN to Radio Free Europe/Radio Liberty and Vogue Mexico, various have referred to Madonna as arguably the "all-time" most "influential female singer".[333][334][335] Others have similarly attributed that title in the context of the late 20th century,[140] in "pop history",[336] or as both MTV and BET indicated in American music history in consideration by many.[337][338]

The treatment of the greatest female artist, have been also present over the years. In 1994, Norman Mailer proclaimed her as "our greatest living female artist",[339] while in 2018, Ben Kelly from The Independent argues she has "ensured her legacy as the greatest female artist of all time".[340] VH1 called twice her the Greatest Woman in Music in 2012,[341] and as a result of a 2002 poll.[342] She has been also referred to as the "most successful female artist" over the decades, present in online sources like Deutsche Welle to books such as Guinness Book of World Records or 101 Albums That Changed Popular Music (2009).[225][343][344] Musicologist such as David Nicholls (1990s) to scholars including Laura Viñuela (2010s), and from Journal of Business Research (2020s), have extensively explored and justified this lattermost referential title on Madonna.[345][58][346]

Other descriptions were a constant. In comparison, "important" was under the discourse of author Chuck Klosterman, calling her as "arguably the most important female musician of the twentieth century" in Chuck Klosterman X (2017),[347] while in ¿Qué es Estados Unidos? (2014) by Mexican academics and diplomants, Madonna was similarly understood as "the most important woman in the history of popular music".[348] In New Book of Rock Lists (1994), music critic Dave Marsh ranked Madonna first among the most important woman in music, those who have impacted more.[218]

Honorific nicknames and epithets

[edit]
Madonna has been called Queen of all sort of things

Deborah Jermyn, a British reader at Roehampton University, wrote that "Madonna has been frequently described as a 'queen'" in a variety of things.[349] In Celebrity Colonialism (2009), Australian professor Robert Clarke from University of Tasmania describes the "range of nicknames" such as "'The Material Girl' or 'The Queen of Pop'" that refers to "her big business pop career".[350] In 1996, Chilean magazine Qué Pasa stated: "to Madonna can be attributed many titles and they never be exaggerated. She is the undisputed Queen of Pop, sex goddess, and of course marketing".[351] Others have called her as the "Queen of Music",[235][352] "Queen of Videos", "Queen of Tours" or Concerts among many others.

In the late-1990s British press, especially tabloids, started to call her "Madge" which according to Christopher Zara, is British shorthand for "Your Madgesty".[353] As early as 1986, British magazine Sounds used this nickname for Madonna, and their critic John Harris referred to her as "Our Madge" in a 1991 article.[354] While "Madge" was adopted by overseas press,[c] others international media outlets from music-related ones like Billboard and NME to more generalized ones such as La Dépêche du Midi, Der Spiegel and La Nación have referred to her in the traditional form of "Her Majesty".[355] In "The Queens Remix", Beyoncé calls her "Queen Mother Madonna".[355]

Cultural depictions

[edit]
Madonna have been depicted by several artists

Madonna has been depicted in many ways. Guilbert stated in Madonna as Postmodern Myth (2002) she "has become the ultimate reference in several domains" and her likeness has been exhibited in museums.[83] Writing for The Guardian in 2011, Peter Robinson held there is "a little bit of her in the DND of every modern pop thing".[356]

On science references, in 2006, a new "water bear" species, Echiniscus madonnae was named after her. The Zoologists commented: "We take great pleasure in dedicating this species to one of the most significant artists of our times".[357] Quadricona madonnae is a fossil Bradoriid from the Cambrian of South Australia named after Madonna; in reference to the nodes on each valve resembling her conical bustiers.[358]

Cultural critic' lists and polls

[edit]

"Madonna (—1958) [121] is the highest ranking female music artist, in any genre"

—Madonna on Who's Bigger?: Where Historical Figures Really Rank (2013), "1,000 people in history"[359]

Madonna on genderless cultural critic' lists and polls (all-time or century)[d]
Year Publication or institution List or Work Ref.
1998 Carol Publishing Group The Italian 100[e] [313]
1999 Harvest House World's 365 Most Influential People [360]
2002 Life 50 Most Influential Boomers [361]
2005 Discovery Channel 100 Greatest Americans [362]
2008 Encyclopædia Britannica 100 Most Influential Americans [174]
2008 National Geographic Society 1001 People Who Made America [363]
2009
2012
Igloo Books People Who Changed the World
(134 names)
[364]
[365]
2014 Smithsonian Institution 100 Most Significant Americans of All Time [366]
2018 Om Books 365 People Who Changed The World [367]

TV Guide included Madonna in their series 101 People Who Made the 20th Century (season 1, episode 2), a look of influential people who made "dramatic impacts" during the century.[368] She was also included in the The Oxford Children's Book of Famous People (2002) published by Oxford University Press, in which it mentions over 1000 women and men "who have influenced the course of history".[369] Editors of The Italian 100 (1998), remarked her impact on society, her influence and mark in many aspects.[313] She was included in the Danish book De 100 sejeste mennesker i verden (2021) from publishing house Lindhardt og Ringhof.[370]

  • Ultimate Biography: Inside the Lives of the World's 250 Most Influential People; 2002. DK Pub; 177, 194, 253 ("The longest-running, single-topic documentary series, A&E Network's Biography is not only one of the critically successful shows; it is one of the most popular. Hosted by journalist Harry Smith, a winner of three Emmy Awards, Biography has profiled nearly 900 people in fifteen years.") by Arts and Entertainment Network

See also

[edit]

Notes

[edit]
  1. ^ Integrated by scholars such as Gianfranco Dioguardi, Pierre-Marc Johnson, Terry Karl and Robert McCormick Adams Jr. to Daniel Latouche, Riccardo Petrella, Saskia Sassen and Joel Serrão among others.[79]
  2. ^ "Latin" is a word with different meanings depending on views and perspectives. Like Jennifer Lopez or Shakira, sources that include Hispavista and editors such as Martin Iddon and Melanie L. Marshall (2020), have referred to Madonna as a person with "Latin roots"[97][98]
  3. ^ Example, BET Staff in a 2015 article.[321]
  4. ^ By extension, this table does not include examples of annual power and earning ranks. Limited to only 10 publications. For others selected rankings, see all-time/century woman, entertainment or chart lists
  5. ^ Full title The Italian 100: A Ranking of the Most Influential Cultural, Scientific, and Political Figures, Past and Present

References

[edit]
  1. ^ Hoesterey 2001, p. 114
  2. ^ a b Stange, Oyster & Sloan 2011, p. 877
  3. ^ a b "Madonna Biography". Rock and Roll Hall of Fame. Archived from the original on April 15, 2015. Retrieved May 21, 2022.
  4. ^ 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.
  5. ^ a b Faith & Wasserlein 1997, p. 88
  6. ^ a b Fouz-Hernández & Jarman-Ivens 2004, pp. 161–162
  7. ^ Ospina, Ana María (August 21, 2018). "Madonna, un paradigma de la post-modernidad" (in Spanish and French). Radio France Internationale. Retrieved May 5, 2021.
  8. ^ Boesveld, Sarah (June 27, 2017). "Camille Paglia cuts the 'malarkey': Women just need to toughen up". Chatelaine. Retrieved June 7, 2022.
  9. ^ Hughes, Hilary (October 14, 2016). "Madonna is the Queen of Pop (And Also 2016, According to Billboard)". MTV. Retrieved March 29, 2021.
  10. ^ Sickels 2013, pp. 374–376
  11. ^ "Featured artiste of the month". GameAxis Unwired. No. 28. SPH Magazines. December 2005. p. 48. ISSN 0219-872X. Retrieved February 1, 2022.
  12. ^ a b c The New York Times Staff (August 16, 2018). "60 Times Changed Our Culture". The New York Times. Retrieved March 30, 2021.
  13. ^ 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.
  14. ^ Burr 2012, p. 290
  15. ^ Morley 2015, p. online
  16. ^ a b 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.
  17. ^ Collins, Collins & Radner 2012, p. 160
  18. ^ a b Berger 2002, p. 108
  19. ^ a b c Fouz-Hernández & Jarman-Ivens 2004, p. xviii Cite error: The named reference "Fouzx" was defined multiple times with different content (see the help page).
  20. ^ Gardner 2016, p. online
  21. ^ a b McLevy, Alex; Waite, Kelsey J. (June 13, 2019). "Justifying our love: An hour of Madonna's greatest non-hits". The A.V. Club. Retrieved June 7, 2022.
  22. ^ Cashmore 2006, p. 48
  23. ^ Bell 2014, p. 181
  24. ^ a b Cain, Matt (August 16, 2018). "Eight ways Madonna changed the world, from exploring female sexuality to inventing reality TV". The Daily Telegraph. Retrieved September 30, 2022.
  25. ^ a b c Cashmore, Ellis (August 15, 2018). "Scandal, Exposure and Sex: Madonna Turns 60". Fair Observer. Retrieved June 7, 2022.
  26. ^ Robischon, Noah (July 20, 2001). "Madonna on the Web". Entertainment Weekly. Retrieved October 1, 2022.
  27. ^ a b Harari 2006, p. online
  28. ^ a b Walker, Gail (August 19, 2008). "Why we're all still so hung up on Madonna". Belfast Telegraph. Retrieved September 30, 2022.
  29. ^ Lenore, Victor [in Spanish]; Rubio, Irene G. (June 26, 2012). "Madonna: ¿icono feminista o tótem consumista?". Diagonal (in Spanish). Retrieved April 1, 2021.
  30. ^ Rolling Stone Staff (November 6, 2018). "Madonna on the Cover Through the Years". Rolling Stone. Retrieved February 11, 2022.
  31. ^ Magill 1998, p. 1730
  32. ^ Sweeney 2008, p. 7
  33. ^ Illiffe, Russell (November 12, 2012). "Review: Madonna Style". PRS for Music. Archived from the original on May 5, 2013. Retrieved June 18, 2015 – via M.
  34. ^ a b Pop 2018, pp. 90–91
  35. ^ a b Virtel, Louis (June 6, 2017). "10 Reasons Madonna Is An Eternal Inspiration to the LGBTQ Community". Billboard. Retrieved October 6, 2022.
  36. ^ Langley, William (August 9, 2008). "Madonna, mistress of metamorphosis". The Daily Telegraph. Retrieved October 2, 2022.
  37. ^ "Madonna, la reina de los 80" (in Spanish). National Geographic. March 9, 2022. Retrieved January 19, 2023.
  38. ^ Guilbert 2015, p. 37
  39. ^ a b Walters 1995b, p. 2
  40. ^ Buikema et al. 2009, pp. 117–121
  41. ^ Benson & Metz 1999, p. 241
  42. ^ Koopmans 2002, p. 8
  43. ^ Batchelor 2008, p. 305
  44. ^ a b Whelehan & Gwynne 2014, p. online
  45. ^ Cashmore 2022, p. 151
  46. ^ Doty 2000, p. 248
  47. ^ "Madonna in My Mind". MiratecArts. 2009. Archived from the original on June 7, 2022. Retrieved September 26, 2022.
  48. ^ Guttman, Guttman & Johnson 2011, p. 211
  49. ^ Bernhard 1989, p. 125
  50. ^ Morton 2001, pp. 11–12
  51. ^ a b Robb 2018, p. 121
  52. ^ Conner, Sparks & Sparks 1997, p. 221
  53. ^ Goodison 1997, p. 92
  54. ^ Walden 2009, p. online
  55. ^ a b Lenore, Víctor [in Spanish] (August 13, 2018). "Madonna: 60 años, 60 datos. Del pique con Marta Sánchez al marido copulador". El Confidencial (in Spanish). Retrieved October 5, 2022.
  56. ^ a b Hall & Hall 2006, pp. 445–449
  57. ^ Aguilar Guzmán 2010, p. 88
  58. ^ a b García, Sergio (October 9, 2015). "Madonna usa los videoclips para dar mensajes diferentes a los de sus canciones". El Comercio. Retrieved April 3, 2021.
  59. ^ a b Arnold, Gina (January 4, 1995). "Media provocateur Madonna is a hardworking role model". Metro Silicon Valley. Retrieved June 7, 2022.
  60. ^ a b Jeansonne 2006, p. 446
  61. ^ Guilbert 2015, p. 41
  62. ^ Ferraro 2005, pp. 144–145
  63. ^ Rodman 1996, p. 65
  64. ^ a b Brunsdon & Spigel 2007, pp. 122–123
  65. ^ 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.
  66. ^ Northup, Paul (April 1998). "Reviews: Madonna: Ray of Light". Third Way (in Spanish). Vol. 21, no. 3. p. 28. Retrieved September 26, 2022.
  67. ^ Graham-Jones 2014, p. 92
  68. ^ Foster 2014, p. 114
  69. ^ Erice, Santiago (April 1989). "Una chica con personalidad". Micromanía (in Spanish). Vol. 5, no. 11. p. 78. Retrieved September 26, 2022.
  70. ^ Held 1999, p. 327
  71. ^ Karsh 2003, p. 315
  72. ^ Mohammadi 1997, p. 155
  73. ^ a b Smith, El-Anis & Farrands 2014, p. 67 Cite error: The named reference "Smith" was defined multiple times with different content (see the help page).
  74. ^ Oberoi & Halsall 2018, p. 46
  75. ^ León Anguiano, Bienvenido (2010). "Informativos para la televisión del espectáculo". Comunicación Social Ediciones y Publicaciones (in Spanish): 126. ISBN 8492860715. Retrieved October 5, 2022.
  76. ^ Csoma, Mózes (November 28, 2019). "The 1989 wind of change and its effect on the North". Korea JoongAng Daily. Retrieved October 6, 2022.
  77. ^ Schönherr 2012, p. 12
  78. ^ Berleur, Beardon & Laufer 1993, p. 307
  79. ^ Group of Lisbon 1995, p. vii
  80. ^ Group of Lisbon 1995, p. 3
  81. ^ Kallenborn 2016, p. 162
  82. ^ Cowen, Tyler (April 28, 2003). "Modern Mix". Forbes. Retrieved October 5, 2022.
  83. ^ a b Guilbert 2015, pp. 87–88
  84. ^ Dines & Humez 2011, p. 16
  85. ^ Kooijman, Jaap (2017). "Why I too write about Beyoncé". Celebrity Studies. 10 (3). Taylor & Francis: 432–435. doi:10.1080/19392397.2019.1630158. S2CID 197699100.
  86. ^ "Madonna". Australasian gay & lesbian law journal. 3–5: 10. 1993. Retrieved September 30, 2022.
  87. ^ D'Acierno & Leonard 1998, p. 441
  88. ^ a b c Negrón-Muntaner 2004, pp. 145–146
  89. ^ a b c d Powers, Ann (February 6, 2012). "All Her Children: Madonna As Pop's Reigning Mother". NRP. Retrieved November 18, 2022.
  90. ^ a b Badode et al. 2008, pp. 143–144
  91. ^ Morales, Edgar (February 15, 2019). "Necesitamos una Madonna" [We need a Madonna]. El Heraldo de México (in Spanish). Retrieved June 25, 2022.
  92. ^ Edwards & Esposito 2019, p. online
  93. ^ Phillips, Lynn (1990). "Lynn Phillips, American Film 1987". CineAction!. Vol. 22, no. 19–25. p. 22.
  94. ^ a b Sexton 1993, p. 218–219
  95. ^ Cross 2007, p. 26
  96. ^ a b Ferraro 2005, p. 177
  97. ^ "True Blue" (in Spanish). Hispavista. Archived from the original on June 16, 2009. Retrieved November 15, 2022.
  98. ^ Iddon & Marshall 2020, p. online
  99. ^ Stevenson, Jane. "Material girl not all maternal". Jam!. Archived from the original on August 18, 2000. Retrieved November 15, 2022.
  100. ^ a b Fouz-Hernández & Jarman-Ivens 2004, p. 139
  101. ^ a b c Viñuela 2018, p. online
  102. ^ Negrón-Muntaner 2004, p. 157
  103. ^ Lugo-Lugo, Carmen R. (2001). "The Madonna Experience: A U.S. Icon Awakens a Puerto Rican Adolescent's Feminist Consciousness". Frontiers: A Journal of Women Studies. 22 (2): 118–130. doi:10.2307/3347058.
  104. ^ a b Ferraro 2005, pp. 4–5
  105. ^ D'Acierno & Leonard 1998, p. 491
  106. ^ Roediger 2003, p. 36
  107. ^ Sirvaitis 2010, p. 24
  108. ^ a b Perry 2016, p. 215 Cite error: The named reference "Perry" was defined multiple times with different content (see the help page).
  109. ^ Partridge 2017, p. 142
  110. ^ Fouz-Hernández & Jarman-Ivens 2004, p. xx
  111. ^ Prieto‐Arranz, José I. (February 22, 2012). "The Semiotics of Performance and Success in Madonna". The Journal of Popular Culture. 45 (1). Wiley-Blackwell: 173–196. doi:10.1111/j.1540-5931.2011.00917.x. Retrieved May 19, 2022.
  112. ^ a b c "2020 America's Self-Made Women Net Worth: #40 Madonna". Forbes. 2020. Retrieved April 3, 2021.
  113. ^ Morton 2001, p. 17
  114. ^ Kellner 2003, p. 9
  115. ^ Kelley School of Business (2003). "Charting Madonna's brand ambition". Business Horizons: 2, 4. Retrieved April 4, 2021. {{cite journal}}: |author= has generic name (help)
  116. ^ a b c Brown, Stephen (2003). ""On Madonna'S Brand Ambition: Presentation Transcript". European Advances in Consumer Research. 6: 199–201. Retrieved September 29, 2022.
  117. ^ Lippe Davis, Patricia (August 16, 2018). "Madonna turns 60: Why she's more relevant than ever". Campaign. Retrieved October 22, 2022.
  118. ^ a b Anderson, Jamie; Kupp, Martin (December 1, 2006). "Entrepreneurs on a dancefloor". London Business School. Archived from the original on October 29, 2020. Retrieved April 5, 2021.
  119. ^ a b c d e f Bigman, Dan (June 24, 2013). "Forbes Celebrity Covers: Madonna, October 1990". Forbes. Retrieved June 27, 2022.
  120. ^ a b Landrum 1994, p. 261
  121. ^ a b c d e "You Don't Know Madonna". Jennifer Egan. December 15, 2002. Retrieved March 30, 2021.
  122. ^ Britannica Educational Publishing 2009, p. 309
  123. ^ Taraborrelli 2001, p. 246
  124. ^ Barnet & Burriss 2001, p. 105
  125. ^ Taraborrelli 2001, p. 226
  126. ^ a b Miklitsch 1998, p. 178
  127. ^ Lechter 2014, p. online
  128. ^ Conniff, Tamara (October 13, 2007). "Power Players: Madonna" (PDF). Billboard. pp. 33, 38. Retrieved October 17, 2022.
  129. ^ a b "Material Girl". The Canberra Times. August 30, 1992. p. 23. Retrieved October 22, 2022.
  130. ^ Koopmans 2003, p. 77
  131. ^ Kramarae & Spender 2004, p. 1408
  132. ^ Ouellette, Laurie (1993). "Let's get "Serious," The Attack on Madonna Scholarship". On the Issues. Vol. 26. p. 33. Retrieved October 8, 2022.
  133. ^ Shuker 2013, p. 129
  134. ^ Peters, Tom (1993). "Madonna and Economic Policy". Official Tom Peters Website. Retrieved October 15, 2022.
  135. ^ "Dónde está el "Sex" y dónde el libro". ABC (in Spanish). October 23, 1992. p. 93. Retrieved January 21, 2022.
  136. ^ a b Burnett 2002, p. 25
  137. ^ Rosebush & Cunningham 1996, p. 294
  138. ^ Ovitz 2018, p. 171
  139. ^ a b Sischy, Ingrid (March 1998). "Madonna and Child". Vanity Fair. Retrieved October 9, 2022.
  140. ^ a b Sonneborn 2017, p. 137
  141. ^ Stewart 2009, p. 41
  142. ^ Fleischer, Joe (October 1998). "Hush Hush / The Monthly Dish On The Music Business". Spin. Vol. 14, no. 10. p. 58. Retrieved March 30, 2015.
  143. ^ a b Mooney 2000, p. 33
  144. ^ Bego 2000, p. 222
  145. ^ Dunn & Jones 1994, p. 230
  146. ^ "A cool deal". BBC Worldwide. 1994. p. 16. Retrieved August 14, 2022.
  147. ^ Waddell, Ray (October 16, 2007). "Update: Madonna Confirms Deal With Live Nation". Billboard. Retrieved October 20, 2022.
  148. ^ Saunders 2020, p. online
  149. ^ Benson & Metz 1999, p. x
  150. ^ Dines & Humez 2011, p. 18
  151. ^ Sheumaker 2017, p. vii
  152. ^ Barrett 2007, p. 209
  153. ^ a b Miklitsch 1998, pp. 135–136
  154. ^ Murray 2006, p. 25
  155. ^ Bruenger 2016, p. 186
  156. ^ Katz et al. 2022, p. 83
  157. ^ Joseph 2010, p. 155
  158. ^ a b Levine 2003, p. 140
  159. ^ Zyman & Brott 2003, pp. 64–65
  160. ^ "Like A Boss: How Madonna Became The Biggest Pop Brand On The Planet". Fast Company. May 21, 2015. Retrieved October 8, 2022.
  161. ^ Shankman & Allen 2007, p. online
  162. ^ a b Ollison, Rashod D. (April 27, 2008). "Madonna struggles to stay in vogue". The Baltimore Sun. Retrieved June 27, 2022.
  163. ^ a b Blackwell & Stephan 2004, pp. 173–177
  164. ^ Belasco 2013, p. online
  165. ^ Born to be: Madonna (MuchMusic/Much). Canada. 2006. Event occurs at 0:12. She's the world's top trend-maker
  166. ^ Hopkins, Susan. "Bitch, I'm (still) Madonna ..." The Conversation. Retrieved October 9, 2022.
  167. ^ "The curious, cool and crazy entrepreneur". Smart Company. September 5, 2007. Retrieved June 24, 2022.
  168. ^ van Ham, Peter (March 18, 2008). "NATO and the Madonna Curve: why a new Strategic Concept is vital". NATO Review. Retrieved April 3, 2021.
  169. ^ Batty, David (March 31, 2008). "Nato should get in vogue like Madonna, defence analyst says". The Guardian. Retrieved August 25, 2022.
  170. ^ Mau, Bruce (2015). "#12 Design Your Own Madonna Curve" (PDF). DesignManifestos. pp. 30–31. Retrieved August 25, 2022.
  171. ^ Considine, J. D. (October 20, 1996). "Rock of Ages Music: Prepare yourself". The Baltimore Sun. Retrieved June 13, 2022.
  172. ^ Jeansonne 2006, p. 443
  173. ^ Christgau 2018, p. online
  174. ^ a b Encyclopædia Britannica 2008, p. 469
  175. ^ Erlewine, Stephen Thomas. "Madonna Biography at MTV". MTV. Archived from the original on September 22, 2012. Retrieved April 10, 2015. If necessary, click option Bio
  176. ^ a b Gundersen, Edna (August 14, 2008). "Pop icons at 50: Madonna". USA Today. Retrieved September 28, 2022.
  177. ^ Hopkins 2002, pp. 40–43
  178. ^ "The Madonna Move: A Special Report". D Magazine. April 1, 1986. Retrieved June 7, 2022.
  179. ^ "The 100 Best Debut Albums of All Time". Rolling Stone. October 13, 2013. Retrieved June 7, 2022.
  180. ^ Grimshaw-Aagaard, Walther-Hansen & Knakkergaard 2019, p. 480
  181. ^ Morton 2001, p. 15
  182. ^ Walters, Barry (April 1995). "The Ten That Matter Most '85-'95: 2 Madonna". Spin. Vol. 11, no. 1. p. 48. Retrieved September 27, 2022.
  183. ^ Morton 2001, p. 20
  184. ^ Gnojewski 2007, p. 132
  185. ^ McWhirter & McFarlan 1989, p. 95
  186. ^ McAleer 2004, p. 339
  187. ^ a b McClary 2017, p. online
  188. ^ Muller, Marissa (August 16, 2018). "The 9 Things Madonna Invented That You Didn't Realize Madonna Invented". W. Retrieved September 27, 2022.
  189. ^ Manning, James (April 29, 2022). "How Marc Andrews went from Mediaweek to world of hitmakers Kylie and Madonna". Mediaweek. Retrieved September 30, 2022.
  190. ^ a b O'Brien 2007, p. 83
  191. ^ a b Fouz-Hernández & Jarman-Ivens 2004, pp. 54–56
  192. ^ a b Hunter-Tilney, Ludovic (April 25, 2008). "Woman in the News: Madonna". Financial Times. Retrieved September 29, 2021.
  193. ^ Aronowitz 2013, p. 27
  194. ^ Bennett & Waksman 2014, pp. 340–343
  195. ^ Collett-White, Mike; Spernal, Mirja (February 14, 2008). "She sings, she acts and now Madonna directs films". Reuters. Retrieved September 28, 2022.
  196. ^ Lysloff & Gay 2013, p. 186
  197. ^ "Stuart Price interview". Popjustice. November 16, 2005. Archived from the original on November 5, 2016. Retrieved November 5, 2016.
  198. ^ O'Brien 2007, p. 14
  199. ^ Inkson 2006, p. online
  200. ^ Cross 2007, p. 109
  201. ^ a b Campbell 2012, p. 340
  202. ^ Billboard Staff (August 15, 2018). "The 100 Greatest Madonna Songs: Critics' Picks". Billboard. Retrieved September 30, 2022.
  203. ^ a b Chatzipapatheodoridis 2021, p. online
  204. ^ Evans 2013, p. online
  205. ^ Kaplan 2012, pp. 31–32
  206. ^ Lysloff & Gay 2013, p. 307
  207. ^ Barnes, Ken (February 27, 1987). "One-Name Fame" (PDF). Radio & Records. No. 675. p. 40. Retrieved October 12, 2022.
  208. ^ Uitti, Jacob (2022). "The 20 Best Madonna Quotes". American Songwriter. Retrieved October 12, 2022.
  209. ^ León, Ariel (October 15, 2016). "Cuando Michael Jackson y Madonna vinieron a México". El Universal (in Spanish). Retrieved October 12, 2022.
  210. ^ "Na órbita dos astros". Veja (in Portuguese). October 6, 1993. Archived from the original on January 1, 2010. Retrieved October 12, 2022.
  211. ^ "Madonna". Smithsonian Institution. Retrieved June 20, 2021.
  212. ^ Yanıkkaya & Nairn 2020, pp. 138–140
  213. ^ Landrum 1994, pp. 273–275
  214. ^ Edmondson 2013, p. 490
  215. ^ a b c Sclafani, Tony (December 8, 2008). "At 50, has Madonna surpassed the Beatles?". MSNBC. Retrieved April 14, 2015.
  216. ^ "Madonna in Quebec City". CBC.ca. August 31, 2012. Retrieved October 12, 2022.
  217. ^ von Aue, Mary (October 24, 2014). "Why Madonna's Unapologetic 'Bedtime Stories' is Her Most Important Album". Vice. Retrieved September 29, 2022.
  218. ^ a b Marsh & Bernard 1994, p. 266
  219. ^ True, Everett (December 23, 1999). "Everett True's List of The Ten Greatest Female Singers of the 20th Century". The Stranger. Retrieved October 22, 2022.
  220. ^ Jones 2021, p. online
  221. ^ Palmer 2020, p. 179
  222. ^ J.D.S. (September 15, 1985). "How Madonna straddles innocence and decadence". The Canberra Times. p. 46. Retrieved February 13, 2022.
  223. ^ Cayton 1993, p. 1805
  224. ^ Ballesteros González 2001, p. 45
  225. ^ a b "Madonna at 60: From college dropout to the Queen of Pop". Deutsche Welle. August 16, 2018. Retrieved June 10, 2022.
  226. ^ Branstetter, Gillian (December 16, 2014). "Why Madonna still matters". The Daily Dot. Retrieved June 10, 2022.
  227. ^ Manrique, Diego A. [in Spanish] (March 26, 2014). "Ano 31 da era Madonna". El País (in Portuguese). Retrieved June 10, 2022.
  228. ^ Hepworth 2017, p. 248
  229. ^ Los Prieto Flores & Muguruza 2021, p. 125
  230. ^ Munford & Waters 2014, p. 33
  231. ^ "The First Noel". Spin. Vol. 3, no. 6. September 1987. p. 16. Retrieved November 17, 2022.
  232. ^ Kennedy 2013, p. 281
  233. ^ Halperin, Shirley (2022). "From Maverick to Mogul, Madonna's Manager Guy Oseary Transcends the Music World to Take on NFTs". Variety. Retrieved November 18, 2022.
  234. ^ Spanos, Brittany (October 14, 2020). "Alanis Morissette Recalls Being Robbed Night Before Meeting Madonna". Rolling Stone. Retrieved November 17, 2022.
  235. ^ a b Sams, Christine (December 11, 2005). "Madonna sends her best wishes to Kylie". The Age. Retrieved November 17, 2022.
  236. ^ a b McCarthy, Zel (September 19, 2020). "Music Makes The People Come Together: 20 Years Of Madonna's 'Music'". Grammy.com. Archived from the original on May 15, 2022. Retrieved May 15, 2022.
  237. ^ a b Carilli & Campbell 2013, p. 81 Cite error: The named reference "Carilli" was defined multiple times with different content (see the help page).
  238. ^ Roth, Madeline (August 10, 2015). "9 Princesses Of Pop Who Have Earned Madonna's Blessing". MTV. Retrieved October 24, 2022.
  239. ^ Gormly, Kellie B. (November 1, 2012). "Flamboyant Divas Can Thank Madonna". Pittsburgh Tribune-Review. Archived from the original on November 10, 2013. Retrieved April 28, 2021 – via Hispanic Business.
  240. ^ Fouz-Hernández & Jarman-Ivens 2004, p. 166
  241. ^ a b c d e Bennett & Waksman 2014, p. 568
  242. ^ a b MacLeod 2015, p. 151
  243. ^ Thomas, David (September 18, 2013). "Top 10 music divas of all time". MTV Australia. Retrieved April 14, 2022.
  244. ^ Taraborrelli 2001, pp. 93–94
  245. ^ "Artist of the Decade" (PDF). Billboard. Vol. 101, no. 49. December 9, 1989. p. 8. Retrieved February 28, 2022.
  246. ^ a b Jacobs, Matthew (June 24, 2019). "On Hating Madonna". HuffPost. Retrieved March 21, 2022.
  247. ^ a b Gallagher, Maria (November 30, 1992). "Justifying Madonna It's Academic Madonna Provided The Material Scholars Test Some Theories". The Philadelphia Inquirer. Archived from the original on October 14, 2016. Retrieved March 31, 2021.
  248. ^ Pareles, Jon (January 20, 1991). ""Disposability' is shrinking careers of today's pop stars". Tampa Bay Times. Retrieved October 11, 2022.
  249. ^ Fouz-Hernández & Jarman-Ivens 2004, p. 14
  250. ^ a b Brown, Helen (June 14, 2022). "'She can't be stopped!' — 40 years of Madonna". Financial Times. Retrieved October 12, 2022.
  251. ^ Bidisha (August 13, 2018). "'Bigger than any man she ever encountered': the under-appreciated genius of Madonna". The Guardian. Retrieved June 7, 2022.
  252. ^ Cain, Matt (July 15, 2018). "Matt Cain on Madonna: 'She opened up gay culture to the mainstream'". The Guardian. Retrieved February 12, 2022.
  253. ^ a b van den Berg, Marguerite; ter Hoeven, Claartje L. (2013). "Madonna as a symbol of reflexive modernisation (Abstract)". Celebrity Studies. 4 (2): 144–154. doi:10.1080/19392397.2013.791042. S2CID 218591493. Retrieved March 30, 2021.
  254. ^ a b c d Shuker 2013, p. 126
  255. ^ Grant, Robert M. (2008). "Madonna" (PDF). Wiley-Blackwell. p. 1. Retrieved September 30, 2022.
  256. ^ Dickerson 1998, p. 170
  257. ^ Harrison 2017, p. 243
  258. ^ Castillo, Michelle (November 18, 2010). "The 25 Most Powerful Women of the Past Century". Time. Retrieved October 8, 2022.
  259. ^ Cross 2007, p. 107
  260. ^ Seery 2018, p. 141
  261. ^ Dunbar 2015, p. online
  262. ^ a b c Schwichtenberg 1993, pp. 15–17
  263. ^ Sim 2013, p. 310
  264. ^ Quartz & Asp 2015, p. 228
  265. ^ a b Oleksy & Rydzewska 2004, p. 136
  266. ^ Birnbaum 2008, p. 270
  267. ^ Cross 2007, p. 82
  268. ^ "Just Madonna, Hitler, Hussein". Tampa Bay Times. February 8, 1991. Retrieved September 28, 2022.
  269. ^ Wehner, Cyclone (June 17, 2019). "Madonna Is Many Things & Her Age Isn't One Of Them". The Music. Retrieved October 13, 2022.
  270. ^ Coates et al. 1994, p. 149
  271. ^ González 2007, pp. 16–17
  272. ^ Miklitsch 1998, p. 140
  273. ^ Orth 2016, p. online
  274. ^ Oubou 2022, p. online
  275. ^ Rosenzweig 1994, pp. x–xi
  276. ^ Cowen 2000, p. 5
  277. ^ Parish 1995, p. online
  278. ^ Gage 2002, pp. 22–23
  279. ^ Gibbs, Nancy (October 22, 2006). "With Her Malawi Adoption, Did Madonna Save a Life or Buy a Baby?". Time. Retrieved September 30, 2021.
  280. ^ Ward 2011, p. online
  281. ^ Kellner 2003, p. 263
  282. ^ Farley, Christopher John (1994). "Madonna Goes PG-13". Time. p. 81. Retrieved February 27, 2022.
  283. ^ Oleksy & Rydzewska 2004, p. 134
  284. ^ Christgau 2000, p. 353
  285. ^ Tasker 2002, p. 182
  286. ^ a b Kellner 2003, p. 83
  287. ^ Roediger 2010, p. 310
  288. ^ Stuart 1996, p. 216
  289. ^ Faith & Wasserlein 1997, p. 146
  290. ^ Cornwell & Stoddard 2001, p. 85
  291. ^ Clawson 1994, p. 39
  292. ^ Lockard 2011, pp. 934–935
  293. ^ a b Ruthven 2004, p. 264
  294. ^ Ram 2013, p. online
  295. ^ Klein 2007, p. 96
  296. ^ Klein 2007, pp. 14–15
  297. ^ Australian Associated Press (AAP) (May 26, 2004). "Madonna cancels concerts after death threats". The Sydney Morning Herald. Retrieved April 30, 2021.
  298. ^ "Madonna fears mafia threats". Irish Examiner. September 11, 2006. Retrieved April 30, 2021.
  299. ^ Melman, Yossi (January 12, 2009). "Report: Madonna Receives Death Threats From Muslim Extremists". Haaretz. Retrieved May 1, 2021.
  300. ^ Indo-Asian News Service (IANS) (August 17, 2009). "Madonna receives death threat in Serbia". Hindustan Times. Retrieved May 1, 2021.
  301. ^ UNESCO, ed. (April 28, 2015). "Islamic State issues ban on songs by American singer". International Music Council. Retrieved March 31, 2021.
  302. ^ Yashar, Ari (April 27, 2015). "ISIS Bans Nike Over its 'Sexy' Name". Arutz Sheva. Retrieved January 29, 2022.
  303. ^ Nylander, Johan (November 1, 2016). "North Korea 'friend': Madonna caused Soviet Union's collapse". Asia Times. Retrieved September 14, 2019.
  304. ^ Shevchenko, Maksim (August 15, 2012). "Madonna Is a Stage Prop in Pussy Riot Trial". The Moscow Times. Retrieved April 3, 2021.
  305. ^ Hutcheon 2003, p. 32
  306. ^ Jermyn 2016, p. 118
  307. ^ Geczy & Karaminas 2021, p. online
  308. ^ Street, John (1993). "Musicologists, Sociologists and Madonna". Innovation: The European Journal of Social Science Research. 6 (3): 277–289. doi:10.1080/13511610.1993.9968356. Retrieved February 10, 2022.
  309. ^ a b Wolf, Naomi (February 6, 2012). "Madonna acts just like a serious male artist would – and people hate her for it". The Guardian. Retrieved September 29, 2022.
  310. ^ Wolf, Naomi (February 10, 2012). "Q&A with Naomi Wolf: why do people hate Madonna?". The Guardian. Retrieved October 9, 2022.
  311. ^ Guilbert 2015, p. 83
  312. ^ Gaugler, Audra (2000). "Madonna, an American pop icon of feminism and counter-hegemony: blurring the boundaries of race, gender, and sexuality". Lehigh University. Retrieved June 18, 2015.
  313. ^ a b c d Spignesi & Vena 1998, p. 349
  314. ^ Hawkins, Stan (January 1, 1997). "'I'll Never Be an Angel': Stories of Deception in Madonna's Music". University of Leeds. Archived from the original on March 18, 2003. Retrieved March 31, 2021.
  315. ^ Deseret News Staff (March 16, 1991). "The Early Greeks Vs. Madonna?". Deseret News. Retrieved September 29, 2022.
  316. ^ Layton 2013, p. online
  317. ^ Brugué, Lydia (2005). "La traducción de Madonna: Cómo se traduce el género en el mundo de la música" (PDF). 4. Conclusiones (in Spanish). Asociación Ibérica de Estudios de Traducción e Interpretación (AIETI). p. 711. ISBN 84-8468-151-3. Archived from the original (PDF) on December 31, 2020. Retrieved September 29, 2022.
  318. ^ Hawkins 2017, p. 61
  319. ^ Fast & Jennex 2019, p. online
  320. ^ Lancaster & Di Leonardo 1997, p. 355
  321. ^ a b BET-Staff (March 16, 2015). "Madonna: I'm Not Appropriating Anything". BET. Retrieved October 12, 2022.
  322. ^ MacLeod 2015, p. 147
  323. ^ Levy 2022, p. online
  324. ^ Davis 2012, p. online
  325. ^ O'Brien 2019, p. online
  326. ^ Pareles, Jon (March 27, 2008). "Material Woman, Restoring Her Brand". The New York Times. Retrieved September 29, 2022.
  327. ^ Schwichtenberg 1993, p. 297
  328. ^ Greer, Germaine (July 30, 2006). "Germaine Greer: The genius of Madonna". The Independent. Retrieved April 30, 2021.
  329. ^ Stever 2018, p. online
  330. ^ Vieira, Meredith (November 2, 2006). "Madonna and child". MSNBC. Retrieved October 2, 2022.
  331. ^ Zimmerman 2013, p. 520
  332. ^ Ortega, Juanma [in Spanish] (August 18, 2020). "El "globo" de Madonna". El Independiente (in Spanish). Retrieved June 8, 2022.
  333. ^ Busari, Stephanie (March 24, 2008). "Hey Madonna, Don't Give Up the Day Job!". CNN. Retrieved June 10, 2022.
  334. ^ "Нелегкая сладость. Мадонна выпустила новый альбом" (in Russian). Svoboda. March 5, 2008. Retrieved October 8, 2022.
  335. ^ Cabrices, Sebastian (August 14, 2020). "Madonna: su carrera, sus canciones más famosas y su legado en la música". Vogue Mexico (in Spanish). Retrieved October 8, 2022.
  336. ^ Hyder 2017, p. online
  337. ^ MTV Geek (June 23, 2011). "Madonna Comic Book Coming Out In August". MTV. Retrieved September 30, 2022.
  338. ^ "Madonna Biography". BET. Archived from the original on May 25, 2013. Retrieved September 30, 2022.
  339. ^ Cross 2007, p. 84
  340. ^ Kelly, Ben (August 16, 2018). "Madonna at 60: How one woman turned herself into an icon". The Independent. Retrieved April 1, 2021.
  341. ^ Rosentreter 2013, p. 343
  342. ^ Walker & Herrmann 2004, p. 151
  343. ^ Gnojewski 2007, p. 21
  344. ^ Smith 2009, p. 179
  345. ^ Nicholls 1998, pp. 375, 395
  346. ^ Canavan, Brendan; McCamley, Claire (February 2020). "The passing of the postmodern in pop? Epochal consumption and marketing from Madonna, through Gaga, to Taylor". Journal of Business Research. 107: 222–230. doi:10.1016/j.jbusres.2018.12.005. Retrieved May 20, 2022.
  347. ^ Klosterman 2017, p. online
  348. ^ Fernández de Castro & Blackmore 2014, p. 496
  349. ^ Jermyn 2016, p. 125
  350. ^ Clarke 2009, p. 129
  351. ^ "Nueva Conquista". Qué Pasa (in Spanish). No. 1291–1303. 1996. p. 9. Retrieved June 18, 2015.
  352. ^ "CD Review: Madonna GHV2 (Greatest Hits Volume 2)". Penarth Times. November 29, 2011. Retrieved November 17, 2022.
  353. ^ Zara 2012, p. online
  354. ^ "Madonna Louise Cicclone" (PDF). Sounds. August 30, 1986. p. 10. Retrieved September 30, 2022.
  355. ^ a b Rowley, Glenn (September 30, 2022). "Madonna Teases She's 'Back At It' in the Recording Studio". Billboard. Retrieved October 8, 2022.
  356. ^ Robinson, Peter (March 5, 2011). "Madonna inspired modern pop stars". The Guardian. Retrieved September 30, 2022.
  357. ^ "Echiniscus madonnae Michalczyk & Kaczmarek, 2006". Global Biodiversity Information Facility (GBIF). 2006. Retrieved September 28, 2022.
  358. ^ Topper TP, Skovsted CB, Brock GA, Paterson, JR (2011). "The oldest bivalved arthropods from the early Cambrian of East Gondwana: Systematics, biostratigraphy and biogeography". Gondwana Research. 19 (1): 310–326. Bibcode:2011GondR..19..310T. doi:10.1016/j.gr.2010.05.012.
  359. ^ Skiena & Ward 2014, p. 309
  360. ^ Kopp & Kopp 1999, p. 40
  361. ^ "The most influential boomers: Numbers 11 to 20". Life. p. 2. Archived from the original on January 27, 2007. Retrieved December 3, 2021.
  362. ^ "The Top 100". Discovery Channel. Archived from the original on April 20, 2005. Retrieved October 2, 2022.
  363. ^ National Geographic Books 2008, p. 206
  364. ^ Igloo Books 2009, pp. 172–173
  365. ^ Rogers 2012, pp. 114–115
  366. ^ Frail, T.A. (November 17, 2014). "Meet the 100 Most Significant Americans of All Time". Smithsonian. Archived from the original on November 18, 2014. Retrieved March 31, 2021.
  367. ^ Om Books Editorial Team 2018, p. 192
  368. ^ "101 People Who Made the 20th Century". TV Guide. November 2017. Retrieved October 5, 2022.
  369. ^ Oxford University Press 2002, p. 362
  370. ^ Riising 2021, p. 138

Book sources

[edit]

Non-English books

[edit]

[+]

[edit]