Cultural impact of Madonna

Madonna during the Celebration Tour in 2023, a tour which debuted the largest audience for a stand-alone concert and the largest all-time crowd for a female artist in a single day, through a free concert in Brazil (2024).

Madonna (born 1958) is an American singer whose socio-cultural impact has been noted by popular press and scholars from different fields, throughout the late-twentieth and early twenty-one centuries, and attested outside of the music sphere to an international scale.

Named by Time magazine as one of the most powerful women of the 20th century, ^[2] Madonna was included among remarkable American figures by publications and cultural institutions, including the Smithsonian Institution, National Geographic Society, Encyclopædia Britannica and Discovery Channel. Her impact has been compared to that of other entertainers such as Michael Jackson, the Beatles, Marilyn Monroe and Elvis Presley. Madonna has also been described by different publications as one of the most-well-written about figures in popular culture. In between immediate and retrospectives, euphemistic or straightforward discussions around Madonna further centered her as arguably the long-time foremost influential female musician from popular music.

Her success led to other female singers being called to her namesake, and the way she was received by media, public, and academia was also credited to help the way future generations of female singers were scrutinized and succeed in a multi-metric environment, further breaking gender and multicultural barriers. Madonna's influence on other entertainers was also articulated. Her music impact as a whole led Billboard staffers to describe that "the history of pop music can essentially be divided into two eras: pre-Madonna and post-Madonna". In the process, she amassed various world records, especially for a female artist, being recognized as the best-selling music female artist by the Guinness World Records and other industry publications, also receiving various nicknames by the press, ranged from "Madge" to "Queen of Pop" and "Queen of Music" industry. She was also called a pop and cultural icon by academicians, including her critics.

A complex figure, Madonna's evolving persona and work also attracted socio-cultural criticisms from a varied of perspectives and approaches, which made her someone difficult to categorize as noted by social critics like Stuart Sim. She became a polarizing and challenged figure, whom perpetuated an image of controversialist and provocateur, a reputation to which she acknowledges, although she responded is generally marked to provoke thoughts and conversations. As her career advanced, Madonna's credibility fluctuated. She has faced a substantial societal antireactions ranging from censorship to boycotts and death threats from organizations and radicalized groups, including the Islamic State (ISIS). The transcultural and globalized reach of Madonna from ambiguous and negative perspectives were further conceptualized within terms such as "Madonna-economy" or the "Madonnanization", drawing comparisons with that of the McDonaldization or Cocacolonization, while she was called a hyperglobalized example. Some criticisms towards Madonna also came from generalized criticisms of various aspects, including criticisms on popular culture. Despite correspondence between critics, it was also documented that some critical analyses considered the way Madonna polarized views, early marked prominently by the fact she was an "unavoidable" figure.

Background

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

Madonna is an American musician whose impact transcended music. Billboard editor-in-chief Janice Min considered her as "one of a miniscule number of super-artists whose influence and career transcended music". ^[3] Robert Sickels wrote in 100 Entertainers Who Changed America (2013), that her "music alone cannot tell the full story" of her "colossal success and influence". ^[4] In a The Independent article dedicated to Madonna in 1998 discussing her figure and impact, she was described as someone who translates things into a "phenomenon" in comparison to other women performing the same tasks. ^[5]

According to The New York Times staffers in 2018, she had a "singular career" that "crossed boundaries". ^[6] She was reportedly to pioneer a multifaceted career that encompassess many aspects of culture, according to a Singaporean publication in 2005. ^[7] Robin Raven from Grammy Awards' official website wrote that "Madonna redefined what it meant to be a powerful woman in music in many ways, and has since continued to challenge sexism in the music industry and beyond." ^[8]

Critical scope

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

—Scholar Ramona Curry as cited in Pastiche (2001). ^[9]

The subject of Madonna attracted significant critical perceptions both immediate and retrospectively; Romanian professor at Babeș-Bolyai University, Doru Pop wrote in The Age of Promiscuity (2018) that her impact has been "extensively analyzed by many authors". ^[10] She became the subject of a wide range of topics by multiple scholars from different fields. ^{[11] [12]} In 2018, Eduardo Viñuela, a musicologist at University of Oviedo explained that analyzing her was a result to delve into the evolution of various relevant aspects of society in recent decades. ^[13]

International media publications ranging from El Universal (1999) to The A.V. Club (2012), deemed Madonna as arguably the most analyzed, discussed or debated female singer in last decades or since the 1950s, at least. ^{[14] [15]} She "holds a privileged place", felt and wrote scholar Abigail Gardner in 2016, regarding popular culture studies. ^[16] In 2018, Laura Craik from The Daily Telegraph estimated that she has "contributed more to the cultural conversation than any female performer in history". ^[17] Overall, the Rock and Roll Hall of Fame regarded her in 2008, as one of the most "well-documented figures of the modern age", ^[18] while in 2023, The Cut 's culture editor, Brandon Sanchez similarly referred to her as one of "the most-studied, most-written-about figures in U.S. cultural history". ^[19] In 1998, feminist scholar Camille Paglia stated "I think historically people will see the enormous impact that Madonna has had around the world". ^[5]

Culture

According to authors of the Encyclopedia of Women in Today's World (2011), her "cultural influence has been profound and pervasive". ^[11] In 2017, Billboard's Louis Virtel, referred as "brutal" the task of defining her impact. ^[20]

Global

A tourist in North Korea in 2010, listening to a Madonna's song in the Grand People's Study House, North Korean's national central library

Madonna's figure reached globalization camp, while Viñuela explains her career is closely linked to the "consolidation of globalization". ^[21] Retrospectively, in 2014, scholar Jean Graham-Jones called her "globalization's quintessential femicon". ^[22] Critics also hailed her an "icon of Western society", according to Third Way 's Paul Northup in 1998. ^[23]

According to Billboard in 1989, Madonna and Michael Jackson were the first Western musicians to have a release behind the Bamboo curtain. ^[24] News agencies like United Press International also informed in 1988, how Madonna or Michael Jackson were among the first Western popular musicians approved by China's government radio. ^[25] Informants, such as the koreanist historian Mózes Csoma, documented references of Madonna in North Korea, particularly in the context of their World Festival of Youth and Students in 1989, which turned out to be the country's biggest ever international event. ^[26] Around 2002, Evita also became the first American film screened in the country. ^[27]

In 1989, Micromanía referred to the "symbol Madonna" as the "most palpable proof that Western society advances and changes", ^[28] while a decade later in 1999, political scientist David Held with other academicians stated: "The most public symbols of globalization consist of Coca-Cola, Madonna and the news on CNN". ^[29] 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". ^[30]

American culture

Authors of American Icons (2006), said that she was long considered an icon of American identity, ^[31] and was often described in her career, as a metaphor for American society according to marketing professor Stephen Brown in 2003. ^[32] According to historian Glen Jeansonne in A Time of Paradox: America Since 1890, she epitomized one of the cultural faces of the 1980s, along with U.S. president Ronald Reagan. ^[33] Political historian and commentator, Gil Troy similarly compared how both Michael Jackson and Madonna shaped the cultural sensibility in the 1980s during the Reagan era. ^[34] Among other entertainers, biographer Gilbert B. Rodman compared her impact in the 20th-century American culture to that of Elvis Presley, ^[35] and media scholars Charlotte Brunsdon and Lynn Spigel to Oprah Winfrey. ^[36] Her primary contribution to U.S. culture has been musical, according to American critic Gina Arnold in 1996. ^[37] Referred as the "high priestess of American pop culture" in the 2010s and 2020s by theater historian Catherine Schuler and Swedish media Sveriges Television, ^{[38] [39]} in 2008, British music critic for The Guardian, Kitty Empire called her as "Michigan's biggest export since the automobile". ^[40] At the end of the 20th century, Madonna made an appearance in the top ten of Detroit Free Press Michigan's 100 Greatest Artists and Entertainers. ^[41]

Popular culture

Madonna in concerts during the 21st century

Madonna during international record-setting works/performances, from mid-2000s to early 2020s ^[a]

During the late twentieth century, Madonna was seen by some as an active reflection of her times, including Vogue France 's Martine Trittoleno in 1993, ^[45] while a scholar proposed her as "hero of our time". ^[10] Professor Marjorie Garber reflected that she perhaps "read the temper of the time" more than other entertainer. ^[46] In 1995, professor Suzanna Danuta Walters even referred how she circulated "constantly" in various forms of everyday life, ^[47] with cultural critic Greil Marcus further calling her as "undeniably part of our culture". ^[48] In this root, American poet Jane Miller was quoted as saying in 1999, that she "functione[d] as an archetype directly inside contemporary culture". ^[49] At the end of the century, academic William G. Doty reflected on Madonna in Mythography (2000): "Nor can any late-twentieth-century theory satisfactorily explain" her momentary appeal. ^[50] She was dubbed the reigning "queen of popular culture" or the "queen of global culture" by writers and academics Marsha Kinder and Vincent Ryan Ruggiero in the 1990s. ^{[51] [52]}

Madonna's impact wadded turning into the 21st century, but she continued to left a mark and been retrospectively recognized by others. In Morning in America (2013), Gil Troy said that her enduring celebrity made her a "cultural force". ^[53] Commenting about her multi-decades career, in 2018, The New York Times reflected she "made real cultural change" despite the short-memory of pop culture things. ^[6] Others, including scholars in Ageing, Popular Culture and Contemporary Feminism (2014) and Ellis Cashmore (2022), noted how her "status as a cultural icon is acknowledge" even in her sixties. ^{[54] [55]} Some observers ranging from Matt Cain to Cashmore have also explored how she helped significantly change pop culture landscape in her time. ^{[56] [57]} Back in 2001, Noah Robischo commented for Entertainment Weekly that she was able to "defined, transcended, and redefined pop culture". ^[58] In addition, Cashmore compared that women like Madonna, Margaret Thatcher and Rosa Parks, became one of the most influential of the past 100 years, which lead him to add "we can feel the effect of the changes she triggered in our everyday life". ^[57]

In the views of various commentators, Madonna transcended the definition of pop icon to became a cultural icon, including music critic Robert Christgau in the 1980s to PRS for Music's Russel Iliffe in early 2010s, ^{[59] [60]} with British author George Pendle noting in 2005, that she has been "consistently described as a 'cultural icon'". ^[61] On the same point, Kathleen Sweeney wrote in Maiden USA (2008), that some entertainers like Madonna or Marilyn Monroe, "reach a status beyond mere celebrity in public consciousness to become enduring cultural icons". ^[62] In the 2010s and 2020s, author Mary Gabriel and scholar Camille Paglia deemed her as one of the "most significant figures of modern times" and a historical figure, respectively. ^{[63] [64]}

Other areas

According to cultural organization MiratecArts in 2009, her impact was significant to the point, it extended "into the subconscious world of imagination, fantasy and dreams". ^[65] On the lattermost point, editors of Mythic Astrology Applied (2004), commented: "Many men and women have reported Madonna appearing in their dreams. As she become a living archetype in our culture, it is no wonder that this is so". ^[66] Sandra Bernhard wrote in her book Confessions of a Pretty Lady (1989), "I dream about Madonna more than anyone I know (or don't know)". ^[67] A decade later, in 1999, Prince dedicated an article titled An Open Letter To Madonna in which he recounts a dream related to Madonna. ^[68] Andrew Morton also documented in Madonna (2001), the case of an artist dreaming about her every night for five years. ^[69] Folklorist scholar Kay Turner, 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. ^[70] The New York Social Diary dedicated a dream analysis to a Madonna dream that the singer herself related in a Vogue interview in 1996. ^[71] Virtel compared her career amounts to "living mythology". ^[20]

Multiculturalism

Madonna singing French song "La Vie en rose" in 2015. She has ventured to perform/record songs in other languages rather than English.

Madonna's daughter Lourdes Leon and Madonna (on the chairs) during the Celebration Tour. She has a multiracial family.

Multiculturalism and race would largely define Madonna's career, including public perception in forms of criticisms, impact and her lifetime relationships. A subject of racial studies approaches, authors of Encyclopedia of Women in Today's World (2011), described that such studies revealed her as a "critical nexus of race". ^[11] In 1993, the Australasian Gay & Lesbian Law Journal wrote that "it is not possible to read/interpret Madonna without a recognition of elements such as race, class [and] ethnicity", present in "almost" all of her texts. ^[73] As noted Bowling Green State University's Matthew Donahue, she blend a variety of styles in her body of work, including world music. ^[74] In 2012, American music critic Ann Powers complimented Madonna's inclusivity and cultural diversity both in her life and work, saying "her virtual workplace was multicultural long before that was a mandated corporate goal". ^[75]

Raised in a multicultural-ethnic environment, ^[76] author Mary Gabriel explains that her father made a "very deliberate effor to introduce his children to cultures". ^[77] During her career, she spoke about her cultural influences, including about Latinos in her life and work. During a Canadian interview in 1996, she remarked: "I've always been very attracted and intrigued by Latin culture, I mean I'm half-Italian, so I suppose I'm Latin [...] I love Latin music. I love Latin men. I feel an affinity toward the Latin world". ^[78] Madonna's 2019 studio album, Madame X was creatively influenced by her expatriate life in Lisbon, Portugal.

Perceptions and impact

See also: Audience studies on Madonna and Economic impact of Madonna

The way Madonna was influenced by cultures, and the way she also influenced and opened up market and opportunities was remarked by publications. Others focused on critical perspectives.

• Asia/Africa:

Madonna was a leading figure to spread Orientalist fascination, as India Today said that in the mid-1990s, it took a new and mass-marketed turn with her. ^[79] Academics, including Gayatri Gopinath, Douglas Kellner or Christopher Partridge similarly explored how Madonna's introduced into the West and mainstream culture, elements of Asian cultures, ^{[80] [81] [82]} especially flourished in an era nondominated by Internet. According to geopolitic author Parag Khanna, Madonna helped "put Malawi on the map". ^[83] In 2013, BBC compared how with Madonna, the country was "enjoying a boom in visitors" up 181% in the last seven years. ^[84] In 2018, Malawi Tourism Council (MTC) also acknowledges her inputs in a discussion with The Nation . ^[85]

• Hispanics/Latin:

Her Latin-pop style song "La Isla Bonita" would benefit Belize's San Pedro Town tourism according to country's ministry of tourism. ^[86]

A car with the slogan, "Italians Do It Better", a phrase that Madonna debuted in her video of "Papa Don't Preach" (1986) ^[87]

Professor Santiago Fouz-Hernández, considered Hispanic/Latin as "perhaps the most influential and revisited 'ethnic' style in her work". ^[88] In Boricua Pop (2004), Frances Negrón-Muntaner largely explored Madonna's impact and relationship with both Boricuas and Hispanic culture in late twentieth-century American culture, saying "Madonna's nod created the illusion of insider status for Latinos of all sexualities in U.S. culture". ^[89] She also detailed how Madonna became the "first white pop star to make Boricuas the over object of her affections", believing that she produced a "queer juncture for Puerto Ricans representation in popular culture", and making Boricua men desirable to an "unprecedented degree (and through) mass culture". ^[89] Like Negrón-Muntaner, reviewers such as Carlos Pabón in De Albizu a Madonna (1995) and Carmen R. Lugo-Lugo in The Madonna Experience (2001) would discuss Madonna's impact or her societal reception in Puerto Rican society of the 20th century. ^[90] Overall, Sal Cinquemani from Billboard said in 2019, that she has been "fervently embraced by Latin audiences over the years". ^[91] Indeed, scholars like Fouz-Hernández would call her a precursor of the so-called "Latino boom" started in the 1990s with various American pop singers, due her constant references to Latino community. ^[88]

• Italianness:

As an Italian American, in The Italian American Heritage (1998), authors said she served as a "vehicle for the expression of many of the qualities that are exclusive not only to Italian" but to Italian Americans. ^[92] In Feeling Italian (2005), Thomas Ferraro extensively analyzed her Italianness feeling that she has consistently talked about her background. ^[93] An independent record label Italians Do It Better was named after Madonna's phrase display in the video of "Papa Don't Preach" (1986) on a T-shirt. ^[87] In Colored White (2003), historian David Roediger called her as the most popular United States Italian American entertainer of our time", ^[94] and author of The European American Experience (2010), called both Madonna and Lady Gaga the most famous examples of the Italian American musical tradition in modern times. ^[95]

• Other ethnicities/cultures:

Graffitis of Madonna in Europe, France and Portugal, respectively

Scholar José I. Prieto‐Arranz, wrote in The Journal of Popular Culture (2012) that various critics agreed that rather than "export American music", she imported new and mostly European trends into her country. ^[96] Some like Fouz-Hernández found also influence of England heritage in her work, particularly when she was living in the United Kingdom, but said that her exploration of "intra-Caucasian identities" has received "little academic attention". ^[97]

Mostly during the height of her career in the late-twentieth century, Madonna's cultural perception among American Black culture found also a significant reception, including criticisms. Some like Mary Cross recall how she was subtly marketed as if she were a Black singer before her face was revealed to the public in her early career. ^[98] A 1990 article from CineAction! referred that her "'blackness' is a common, though poorly articulated theme of popular press literature". ^[99] bell hooks was a vocal critic of Madonna in the 1990s, criticizing her when she declared that as a child she wanted to be Black. ^[100] Madonna's personal and professional interracial relationship was remarked to the point, Ferraro called her as the "most accomplished Italian-to-black crossover artist in history", and that she was the "white pop star ever owing more to black male producers" as she spent more than other diva, more time on camera and off with men of color, professionally and romantically. ^[101]

Representations

A world map showing countries where Madonna has performed (2021)

Details magazine referred to her as "Queen of Cultural Juice" in 2004. ^[102] Frances Negrón-Muntaner called her "last century's American transcultural dominatrix". ^[89] Professor George J. Leonard called her "the last ethnic and first postethnic diva". ^[103]

BBC Four broadcast the documentary There's Only One Madonna (2020) which charts "Britain's relationship with Madonna", "examining the influence" she has had "on British music and fashion". ^[104] In 2022, France 5 broadcast the documentary In France with Madonna, exploring her connectivity with the country. ^[105] Newspapers including, El País documented Madonna's relationship with Spain, ^[106] South China Morning Post with Hong Kong, ^[107] and Clarín with Argentina. ^[108] With the later country, La Nación commented she achieved great milestones during her career in the country. ^[109]

Contradictory perspectives

Scope and ambivalences

Madonna was equally criticized from vastly different and varied of perspectives, including social and moral status quo through her artistic freedom. ^{[110] [111]} Professor Ann Cvetkovich held that "global phenomenon[s] like Madonna", can be "articulated in highly contradictory ways". ^[112] Social critic Stuart Sim asserts in The Routledge Companion to Postmodernism (2001) that she "attained the status of cultural icon" but she is an "extremely problematic one" because depending on one's point of view, and which lead him to conclude this makes her "exceedingly difficult to categorize". ^[113]

In Cool: How the Brain's Hidden Quest for Cool Drives Our Economy and Shapes Our World (2015), authors considered her as perhaps the cultural icon of the last three decades whose have sparked more debate. ^[114] In 2019, Matthew Jacob from HuffPost reflected that "it's hard to think" of any star with "as many singular achievements and such a durable place in Western media who provokes so much ire and indifference". ^[115]

Generalized cultural and social criticisms

The Parental Advisory label introduced in 1985 and whose committee Parents Music Resource Center targeted high-profile artists such as Madonna.

Scholars in Representing Gender in Cultures (2004) categorizes Madonna within generalized perspectives of those whose denounce popular culture as an "obedient mechanism of ideology". ^[116] Spaniard philosopher Ana Marta González in 2009, explained how she didn't see a cultural prominence surrounding her figure, although considered that depends on point of views. ^[117]

Madonna and other high-profile artists were discussed during a moral panic among parents and conservative sectors in the 1980s and beyond. Mary Maino, director of the St. Clair College Women's Centre commented on the issue in 1985, "Madonna, like so many symbols before, provides a fantasy life for the youngster. The symbols have changed but the reality of dealing with them hasn't' changed". ^[118] As reported New York magazine in 1986, Madonna and other artists such as Michael Jackson, Mötley Crüe, Prince, Sheena Easton, and Cyndi Lauper, were single out by members of Parents Music Resource Center for their "destructive influence" on youth culture, highlighting their lyrical content. They previously equated rock music with the evils of "broken homes", said New York's magazine reporter. ^[119] In addition, authors of The Madonna Connection (1993) commented that Madonna herself was considered the "lowest form of popular culture" by that time. ^[110] Around this decade, philosopher Isaiah Berlin lamented the mass culture exemplified by the singer. ^[120]

The New York Times staffers dedicated an article to her impact in 2018, noting also she "caused a few cultural crises". ^[6] Sean MacLeod in Leaders of the Pack (2015), commented that her moral integrity and responsibility have been considered a "subject of debate". ^[121] In Madonna: A Biography (2007), Mary Cross also noted how she has been considered a "corrupting influence". ^[122] In 1991, educator John R. Silber lumped her in the same category of Adolf Hitler and Saddam Hussein. ^[123] In Women and the Media: Diverse Perspectives (2005), authors wrote that Madonna challenged the American value system, and continued to challenge it. ^[124] In Madonnaland (2016), musician-turned writer Alina Simone explored aspects of how Madonna's hometown Bay City, Michigan reception and their refusal to have a commemoration sign about her. ^[125]

Racial and cultural appropriation

In 2017, Jaap Kooijman from University of Amsterdam explains she "provided a challenge views on racial perspectives". ^[126] In 1997, Canadia scholar Karlene Faith wrote that her mixed cultural diversity in her works, offended many opposing sexism, racism or classism. ^[127] In Film Theory Goes to the Movies (1993), authors considered the position of "the beautiful, white, middle-class woman" like Madonna in cultural representations as a "double-edge". ^[128] Scholar Douglas Kellner noted she was particularly criticized by Black critics. ^[129] In early 1990s, bell hooks problematized her as a cultural icon, calling the singer "dangerous" and the "Italian girl wanting to be black". ^[130] She said that Madonna never articulates the "cultural debt she owes to black females". ^[131] In 1996, Barbadian-British historian Andrea Stuart, believes she "deliberately affected black style to attract a wider audience". ^[132]

Other criticisms were rooted within the cultural appropriation discourse, being labeled as the "Queen of Cultural Appropriation" by Richard Appignanesi and David Garratt in 2010. ^[133] British professor Yvonne Tasker said that "her appropriation does at times work to question assumptions". ^[134] In Representing Gender in Cultures (2004), scholars referred that her "privileged position and her status as a powerful icon do little to improve the problems of minorities from which she borrows". ^[116] According to Australian magazine The Music in 2019, she has been called a "culture vulture". ^[135] Editors such as Maura Johnston dedicated lengthy articles discussing in their views how she "stole" ideas. ^[136]

Globalized and Transcultural criticisms

"Long live Evita, out with Madonna" denotes the initial backlash she faced mostly among peronistas during the announce and filming of Evita (1996) in Argentina

Madonna was retrospectively called a hyperglobalist, in the likes of McDonald's. ^{[137] [138]} Professor Mita Banerjee in Global Fragments: (dis)orientation in the New World Order (2007), explored the idea if Madonna was "the beginning or the end of Western civilization as we know it". ^[139] A number of scholars used her name to articulate globalization, including its ambiguity:

• Madonna-economy: Defined at the 1993 International Federation for Information Processing held in Namur, Belgium, under the concept of global cultural industry as "risks to become an aggressive and arrogant phenomenon", for example by imposing the transformation of all cultural activities into "cultural goods". ^[140] Conversely, the Group of Lisbon, an international consortium of 19 scholars from different disciplines, ^[c] described it as a "process that is unifying (essentially by homogenization) the consumption of information and communication goods" in the same way Coca-Cola did. ^[142] German scholar Frank Sowa from Technische Hochschule Nürnberg lumped the term with others such as McDonaldization, McWorld and the Cocacolonization. ^[143]

• Madonnanization: Economist Tyler Cowen from Forbes used the term in the context of the performing arts as a "homogeneous global culture of the 'least common denominator'". ^[144] 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". ^[145]

Many worry that a homogenized and Americanized global culture is destroying local traditions and religious customs. The invasion of Western icons irritates those who regard McDonald's restaurants and Madonna's music as affronts to their culture and religion.

—An Introduction to World Politics: Conflict and Consensus on a Small Planet (2012). ^[146]

During best part of her career, she was significantly criticized in different international societal sectors, although some criticism were broadly rooted against things suchs as Anti-Americanism or Anti-Western sentiments. Particularly in the late-twentieth century, these criticisms to Madonna along with other prominent American symbols and major public figures were notated by some; for instance an Islamic political party in Pakistan, "unsuccessfully demanded" Michael Jackson and Madonna as "cultural terrorists" for "destroying" humanity according to author Craig A. Lockard. ^[147] Academic Malise Ruthven cites a Pakistani religious scholar who called both singers as "torchbearers of American society with their cultural and social values". ^[148] French sociologist Bruno Étienne reacted with "horror" for both singers and their "ghettozoided" politics, as "the means by which values are transmitted in such society". ^[149] In Israel, Madonna was also cited within Post-Zionism discourses, including then president Ezer Weizman, who criticized the Americanization of the country and the perceiving losing of the national identity. He further blamed "the three Ms" (Madonna, Michael Jackson and McDonald's). ^[150] Japanese artist Yasumasa Morimura, renowened for his artistic appropriations of social figures from Western culture, parodied both Jackson and Madonna in Psychobor 22 (1994) as a critique of the Japanese obsession with them, a palpable sign of the growing global celebrity and the "Westernization" of East Asian culture. ^[151] In 1994, middle East scholar Patrick Clawson informed about the rejection of Madonna from Iranian radicals. ^[152] In the 2000s, political commentator Aaron Klein also reported a rejection in groupings in the Middle East such as terrorits. He said that "everyone has heard of her [and] when sheikh cite samples of the U.S. attempting to pervert" they speak of Madonna. ^[153] In 2006, German author Josef Joffe lumped her as an example of the U.S. soft power. ^[154]

In the 2000s, media theorist Douglas Rushkoff was quoted as saying she "brought down the Berlin Wall" in a certain sense. ^[155] Having cited Rushkoff's view, an author reminds Madonna's prominent role with MTV in the 1980s, further explaining that the network represented one of the challenges faced by the former Soviet Union. ^[155] According to scholar Alexei Yurchak, an "extensive list" of Western entertainers like Madonna, Elvis Presley, Michael Jackson, Donna Summer or Pink Floyd were censured in the Soviet Union, as they represented challenged moral views to their society. ^[156] In 1987, USSR's official newspaper Pravda informed that the censorship against Madonna or Presley was lifted up, although they gone to criticize the performers. ^[157] In 2016, head of a British pro-North Korea group, literally blamed Madonna and other brands for "the collapse" of Soviet Union by making people listen to "the most rubbishy aspects of bourgeois imperialist pop culture". ^[158] In 2012, Russian journalist Maksim Shevchenko referred to her as a "vivid symbol of everything superficial, deceitful and hateful that the West exhibits toward Russian". ^[159] In 2023, news agency Ukrinform informed that a fake Madonna's video served as Russian propaganda. They explained that Russian propaganda had used her name to spread fake propaganda in the past. ^[160]

Censorship and death threats

The Guardian 's music blogger Alan McGee said she "has been banned by countries". ^[161] In mid-2010s, various media outlets assumed that her name was banned by the Islamic State (ISIS) for "good measure", along with other brands. ^[162] The International Music Council was informed that ISIS classified her music and performances as haram stating that they "represent anti-Islamic values" and specified that "anyone caught listening to her music will be punished with 80 lashes". ^[163]

She has also received significant death threats by other extremist or radical groups. In the 2000s alone, the Australian Associated Press (AAP) informed that Palestinian terrorists threatened to kill her "because she represents many things they hate about the West". ^[164] Klein informed about a spokesman from Popular Resistance Committees, who was recorded as threatening, he would personally kill Madonna and also Britney Spears. ^[153] In 2006, it was reported that crime bosses from Russian mafia threatened to kill her when she was on tour, assumaly for her provocative performance of "Live to Tell" during the Confessions Tour. ^[165] In 2009, media reported again death threats from Muslim extremists in Israel according to Yossi Melman, ^[166] and same situation occurred in Serbia according to IANS agency. ^[167]

Image

Main article: Public image of Madonna

Madonna's multivalent image largely became a defining aspect of public perception about her figure, including criticisms and a documented impact in multiple aspects and industries. On the point, Brian Longhurst defined her in Popular Music and Society (2007): "Madonna is not simply a recording artist, but an image that connects a number of different areas of culture". ^[168]

In Musicologist, Sociologists and Madonna (1993), scholar John Street addressed that her reception has been "devoted almost exclusively to her image and appearance" for both her critics and defenders, ^[169] while her biography at the Ohio State University said, that her "image became the source of endless debate among feminist and cultural scholars". ^[170]

Public persona

Lucy O'Brien (sic) "it has often been asked, who is the 'real' Madonna?", with many using the phrase "Who's That Girl"?

Madonna's public persona has been scrutinized both immediate and retrospectively to the point, Swedish author Maria Wikse said in 2006, that most of her critics recognize her ever-changing persona and it influenced the way she was "read". ^[172] In American Icons (2006), professor Diane Pecknold held that her persona also contributed to the rise of the Madonna studies. ^[31] In 1991, Christian author Graham Cray opined that she has "skilfully developed a persona" complementing her as a "complex persona and phenomenon" that requires a "detailed analysis". ^[173] She was described as a woman constantly searching for a "new self", ^[174] and self-actualization. ^[175]

In her Madonna biography, Lucy O'Brien was critical in this aspect, saying: "I have always found her work clear and autobiographical, but her personality complex and disarmingly changeable". ^[171] Dick Weissman considered her the "Queen of role reversal", but also noting that "complex analyses of her persona" are "difficult". ^[176] In Popular Music: The Key Concepts (2002), lumps Madonna within general aspects of music star's changing personas (that may change across time). ^[177] British music journalist Paul Morley was positive, saying "What made her so ahead of her time, knowing it and not knowing it, is that you can use her, colourise her, mix her, remix her, as part of your own narrative of meaning". ^[178] For both her image changes and personas, author Jasmina Tešanović was overall positive, saying "would you expect a magician to be sincere once he performs his tricks in order to marvel you? [...] I would call Madonna as one of the most honest performers in pop culture. She always showed us the dirty laundry in the pop business". ^[179]

As a result, Madonna's reputation might are varied to public opinion, playing both for and against her. Long considered calculated with her image, Chris Smith said in 101 Albums That Changed Popular Music (2007) that it helped her reach a status of "near-legendary cultural phenomenon". ^[180] Fouz-Hernández even said that a research dedicated to her in 1993, showed that her image of taking control was seen positively. ^[181] To some, Madonna was labeled as "the first female" to have a "complete control" overly every aspect of her image/career. ^[170] On the point, Sonya Andermahr from University of Northampton elaborated: "She exercises more power and control over the production, marketing and financial value of her image than any female icon before her". ^[182] It also left a mark in her industry, although Karla Starr from Seattle Weekly said in 2008, that "the fact she is seen as the first female artist with complete control over her image [...] is now so ingrained that we forget how significant it really is". ^[183]

At the same time, her hyperactivity and open personality also played both for and against her, with Roger Blackwell and Tina Stephan agreeing that her "personally usually overshadows her musical product". ^[184] She became known more for who she is than for what she does, in the view of American author Ethan Mordden. ^[185] "She's remembered for her antics outside of the recording studio as much as her ability to create some great music", opined Christopher Toh from Singaporean newspaper Today in 2011. ^[186]

Reinvention

Reinvention is a word that defined her career; it "fuelled a boom in jargon-filled academic studies about her" said Financial Times 's art critic Ludovic Hunter-Tilney. ^[187] She was called a "master of the unexpected", ^[188] that it lead film critic Roger Ebert defines that her changes images were so quickly that she was ahead of her audience. ^[189]

As per MTV's Erica Rusell in 2019, Madonna have had a long lasting influence within the concept of reinveinting her image and styles, ^[190] and British journalist Matt Cain credited her for popularizing reivention in popular music. ^[56] Her impact was attested outside of the music sphera, including among some business and corporations. Speaking about her impact, Vanity Fair 's Chris Murphy elaborated: She "laid the blueprint for aspiring female pop star to continue evolving [...] it wouldn't be a stretch to say Taylor Swift owes the entire concept of having various 'eras' to Madonna's legacy". ^[191]

Appearance

See also: Fashion of Madonna

During the height of her career, Madonna's changes introduced fresh connotations of female beauty as per was discussed by multiple commentators. In Hollywood Songsters (2003), James Robert Parish and Michael R. Pitts said that in the likes of Marilyn Monroe and Jean Harlow, she helped create a new generation of blonde bombshell image. ^[192] She introduced a concept of celebrity beauty that was "more fluid and mobile", according to authors of Icons of Beauty (2009) and it perhaps marked "the beginning of new era in celebrity beauty". ^[193] Even in early 1990s, Paglia considered that her "most enduring cultural contribution may be that she has introduced ravishing visual beauty and a lush Mediterranean sensuality". ^[194] To author Ken MacLeod, "Madonna's videos and live shows introduced a new physicality into female pop performance". ^[195] Spanish music critic Patricia Godes opined that Madonna was the first white Caucasian celebrity to have an athletic physique with muscular legs and shoulders and felt "it changed a little the idea of female physique". ^[196]

Fitness

Madonna (center) during the opening of her Hard Candy Fitness in Germany, 2013

During the height of her physical activity, and career, Madonna became a fitness icon, ^[197] with American medical website WebMD discussing her impact in 2006, although noting also ambivalences. ^[198] In 2020, Gulf Today reported she influenced a number of personal trainers, fitness influencers or bodybuilders from different ages. ^[199] She also influenced a number of dancers, including Sofia Boutella, her former dancer. ^[200] Blond Ambition World Tour's dance troupe (including Kevin Stea, Carlton Wilborn, Luis Xtravaganza Camacho and Jose Gutierez Xtravaganza), were according to Jim Farber from The New York Times, "the only dance troupe on a pop tour ever to achieve a fame of their own". ^[201]

Having mentioned Madonna and Cher as one of the first celebrities to hire a personal trainer, McCall described it resulted in "the explosive growth of women starting to exercise in order to achieve the lean and fit bodies of the stars". ^[202] Apple Fitness dedicated a full Madonna-devoted month in 2023 for their Pride playlist inspired in her workouts, ^[203] and in the same year, a trend in TikTok called "The Madonna squat" challenge became viral. ^[204] Vogue's Liana Satenstein also said that Madonna "influenced the way we dress for the gym". ^[205] Her wide range impact in the sector was defined by L. Fuller in Sport, Rhetoric, and Gender: Historical Perspectives and Media Representations (2006):

Perhaps the most pronounced example of a celebrity whose active body has been marketed and consumed in diverse and ambiguous ways is singer/actress Madonna, not an "athlete" per se. There are instances in the sociology of sport literature where bodies like Madonna's that transcend various popular culture genres are referred to. ^[206]

Personal and professional relationships

Madonna's relationships and interaction with people defined part of her public image. She also mentored others, including Alanis Morissette (pictured)

Madonna's interaction with other people also became a centre of opinions, playing both for and against her. Since the 1980s, media referred as her protégé figures in the industry such as Nick Kamen and Guy Oseary, ^{[207] [208]} with the later crediting her "with pretty much everything" in his career. ^[209] In the 1990s and beyond, Madonna mentored signed artists in her own record label Maverick Records, notoriously Alanis Morissette, whom declared to Rolling Stone in 2020, how "generous" she was as mentor. ^[210]

In her early career, Madonna earned a reputation of "using" and "discarding" people of both sexes, including boyfriends and whoever could help "advance" her career, including commentaries of critics like Chris Connelly. ^[211] In Desperately Seeking Madonna (1993), author quotes Madonna as saying: "If anybody wants to know, I never fucked anyone to get anywhere. [...] Yes, all my boyfriends turned out to be very helpful to my career, but that's not the only reason I stayed with them. I loved them very much". ^[211] As Madonna responses to the subject were documented, author of Profile of Female Genius (1994), refers "what confidence and positive perspective she has about a negative part of her career building". ^[212] On the point, in 2003, Spanish music journalist Diego A. Manrique wrote in El País that the "scandals" derived from the fact she never "deviated" from her goals, avoiding becoming the puppet of others, whether they were bedfellows or not, it would not shocked the music industry if the protagonist was a male artist. ^[213]

Others have referred to her matriarchy-like role, with some authors claiming her "pop matriarch" status "has been atomized with exhaustive diligence" in some works. ^[214] She helped create hype to relative-unknown artists, including Katy Perry in late 2000s. ^[215] Starting in the 2010s, however, her "matriarch status" was criticized by some journalists, including Washington Post's Chris Richards. ^[216] On the point, in 2012, music critic Ann Powers said she realized it in a "complex and sometimes controversial ways", but she reacted mostly positive to her "symbolic matriarch" status calling her the "Mother of Pop". ^[217] In 2015, MTV dedicated an article about "9 Princesses of Pop Who Have Earned Madonna's Blessing", noting her supporting manner. ^[218]

Age and cross-polarization

See also: Radio 1 Madonna controversy

Madonna at age of 48 in 2006 interpreting "Hung Up". She sets some age chart records, including being recognized by the Guinness World Records as the "Oldest artist to simultaneously top the UK singles and album charts" with "Hung Up" and Confessions on a Dance Floor .

Madonna's age has also defined her career, ^[115] and on occasions generating a controversial reception and conversations in related themes, including ageism, ^[220] for her sometimes radicalized and deliberately anti-beauty statements, in the view of O'Brien. ^[221] In 2023, Jennifer Weiner opined retrospectively for The New York Times that every new Madonna was both a look and a commentary on looking, a statement about the artifice of beauty, saying also that whatever her intentions now, she also set conversations about "how good looks are subjective and how ageism is pervasive". ^[222] Viral moments of Madonna's stage performances and appearances were sometimes attached to her age, with Maeve McDermott from USA Today compiling some of them in 2018. ^[223] Nonetheless, incidents like her performance at the 2015 Brit Music Awards saw a raise of life insurance sales closely related to Madonna. ^[224]

Timeline

Commentators have dedicated pieces analyzing focus on Madonna's age before its consolidation with Cult MTL's Toula Drimonis saying that she has fighting ageism long before she was old. ^[225] Similarly, writing for The New York Times in 2023, Mary Gabriel said that since her late 20s, in the 1980s, the press began aloud about when she might retire, but with each decade, the same question persisted with "varying degrees of cruelty". ^[226] Her entrance into her 40s, according to a Belfast Telegraph columnist in 2008, was a moment that many considered it was "was supposed to be the end of her creativity and influence". ^[227] Back in early 1990s, Smash Hits dedicated a headline to Madonna at age of 35 in 1993: "Madonna calm down grandma". ^[228]

Views of Madonna

Madonna's responses to remarks on age has been varied in tones over the times along with the varied criticisms she faced, with Bethany Minelle from Sky News saying that her responses have received widespread media coverage. ^[229] At of 34, in 1992, she responded to Jonathan Ross: "Is there a rule? Are people just supposed to die when they're 40?". ^[230] She would later made an emphasis on aged woman in media embracing their sexuality and certain behaviour, feeling that when they reach a certain age, they're not allowed to behave a certain way, ^[222] and that she felt responsible for opening that door. ^[231] Commenting for The Guardian in 2023, Nancy Jo Sales sees Madonna doing it all with a "sense of humor knowing full well that she doesn't look like the dazzling young woman she once was". ^[232] In 2018, American commentator Mary Elizabeth Williams sees it as her most radical act, the fact she being as polarizing as ever, but calling her also a pioneer. ^[233] At the Andrew Denton's Interview in 2019, interviewer sees Madonna to refuses to limit herself 30 years into her career, after being quoted as saying: "I've always been criticized no matter what age I was". ^[234]

Impact

Aside criticisms, Madonna's age also received a significant cultural response. Discussing her entrance in her 50s, in 2008, Australian newspaper The Age commented that it represented "big news", and "so big" to the point a virtual clock counted down to the moment she reachers her half-century, also noting: "From trashy gossip magazines to esteemed cultural institutions, the queen of pop's entrance into middle age is being chewed over, preocessed and then dissected again". ^[235] Her entrance into her 60s, was defined by a member of AARP for Campaign, as a "major pop culture event", ^[236] and media outlets including The Guardian , dedicated a "series" of articles celebriting that milestone, written by musicians and columinists. ^[237] A hashtag #MadonnaAt60 was also used by her fans and celebrities. ^[238] Back during her entrance into her 40s, music magazines reported a "media frenzy" resulting an increase for her record sales in the U.S. and U.K charts according to Billboard and Music Week . ^{[239] [240]} Her critical-academic reception as an aged woman was described by authors of Gender, Age and Musical Creativity (2016), that she perhaps became the "best known and most talked about female musician in her fifties", ^[241] and by authors of Ageing, Popular Culture and Contemporary Feminism (2014), that "she has continued to dominate recent academic debate about the role of ageing women in pop". ^[54]

Madonna and critics

Correspondence between Madonna and critics have been noted, with musicologist Keith E. Clifton saying that her "stormy relationship with the critics is a well-established and crucial aspect" of her career. ^[242] As her career advanced, and Madonna took more risks, becoming "controversial" many times, she has alineated critics; some of them at first praised her, were reportedly been "disillusioned". ^[243] Other of her critics like author Jennifer Egan would retrospectively recognize positive point of views in their point of views towards Madonna, while labeling as cliché some of the criticisms. ^[244] On the other hand, John E. Seery cites that her critics are "many" and some of the critical issues include: "She is not to be taken seriously [...] she is, at bottom, a joke". ^[245] In Understanding Popular Music (2013), Roy Shuker said that she is a "star whom many critics [...] love to hate". ^[246]

As a contested figure, correspondence among critics were also noted. Academic John Street in Musicologists, Sociologists and Madonna (1993) compared the extravagant negative reactions saying that others have "defended" her in "equally extravagant terms". ^[169] Professor of marketing at University of Ulster, Stephen Brown reflected in 2003, "what people say about Madonna says more about them that it says about the singer". ^[32] In Madonna as Postmodern Myth (2002), Frenchman Georges-Claude Guilbert similarly compared that some "journalists enjoy being particularly venomous when writing about Madonna", but feeling it also reveal "more about themselves than anything else". ^[247]

Madonna's views

Madonna during the MDNA Tour (2012), performing "Human Nature", an answer song to her critics during her provocative releases of early 1990s

Thorught her career, she responded to her critics through her works, conduit and statements. Acknowledging her risks, she declared: "I've been popular and unpopular, successful and unsuccessful, loved and loathed and I know how meaningless it all is. Therefore, I feel free to take whatever risks I want". ^[248] She has responded to punctual criticisms, including historical charges about cultural appropriation amid the release of her album Rebel Heart in 2015. ^[249]

Madonna perpetuated an image of provocateur and controversialist. She also acknowledges her reputation, but declared: "I think it's kind of a wast of time to provoke just for the sake of provocation. I think you have to have a lesson or something that you want to share. You have to have a reason for it". ^[250] She maintened her view by saying at the 2023 Grammy Awards audience that if an artist is labeled "scandalous" or "problematic" are "definitely on to something". ^[251] The same year, in a devoted article to her by Vanity Fair Italia, Simone Marchetti noted Madonna as an artist "who challenged everyone", and remarks her words: "It was my destiny [...] I feel that it is a necessary part of the journey I am on and it's a price I have accepted". ^[252] Prior in 2013, Rolling Stone noted an opinion piece by Madonna in Harper's Bazaar: "I like to provoke; it's in my DNA [...] But nine times out of 10, there's a reason for it". ^[253]

Views on criticisms and on Madonna's responses

In 2016, scholar Deborah Jermyn noted that "numerous academic studies have considered the way Madonna polarises views". ^[254] MacLeod condensed in Leaders of the Pack (2015) that "despite the criticisms, many have seen her vast contribution, lyrically, musically, and artistically to the world of popular culture". ^[121]

Scholars whose dedicated works to her and remarked positive aspects on Madonna, including Douglas Kellner and E. Ann Kaplan, also remarked negative or ambiguous views in their assessment on Madonna, calling her a site of contraditions, as Shuker remarks she "provides a range of contradictory readings and evaluations", ^[246] while Kaplan expanded, that "together produce the divergent images in circulations". ^[255] Musicologist Susan McClary, sees Madonna as engage to rewrite some Western thought. ^[256]

Other reviewers have favored rethinking and other approaches. For instance, Gayle Stever in The Psychology of Celebrity (2018) noted how the "attention Madonna received from being controversial" also "opened up an entire new way of thinking" on others. ^[257] "There is no avoiding Madonna, so we might as well study her", wrote Maria Gallagher for The Philadelphia Inquirer in 1992, where scholar Cindy Patton considered her a "social critic in a certain way", and that she has an "instinct for not just what's going to get people upset, but what's going to get people thinking". ^[258] Similarly, during an international congress in 2005, Lydia Brugué from Universitat de Vic concluded she is an artist with "multiple messages" leading frequently to ambiguity and certainly, it "provokes" but "it goes beyond creating controversy". ^[259] Specific issues like cultural appropriation were discussed by reviewers like music critic Ann Powers, whom was mostly positive towards Madonna. ^[75]

In 2020, Glamour's Christopher Rosa, acknowledges her impact in the music industry, at the same notes a negative side, but overall feeling it was "most of the time for the best". ^[260] While Madonna has been both appreciated and castigated by feminists, reviewers noted significant criticisms rooted within misogyny, including scholar Lynne Layton in Who's That Girl? Who's That Boy? (1998). ^[261] In 2008, Guy Babineau from LGBT-targeted publication Xtra Magazine , compared that "men in music, industry and politics who are much richer and more powerful, and who do much worse things, are admired". ^[262]

Others seen Madonna to have outlive her critics. In The Madonna Connection (1993), an author deemed her "one step ahead of her commentators". ^[263] Similarly, in 2008, critic Jon Pareles for The New York Times describes: "Since the beginning of her career she has telegraphed her intentions and labeled herself more efficiently than any observer". ^[264] Author Mary Gabriel, as told USA Today in 2023, notes a Madonna as to having enriched "so many people", and in the process, "she's had to defend herself every step of the way". ^[265] Bowling Green State University's Matthew Donahue made similar remarks in 2024. ^[74]

Cultural depictions

Madonna has been depicted in various domains, including arts.

See the categories Cultural depictions of Madonna and Works about Madonna

See also: Madonna impersonator

Madonna and her likeness has been depicted in various domains; in Madonna as Postmodern Myth (2002), Guilbert explored and referred to "several domains", including museums depictions. ^[145] In 2011, The Guardian's Peter Robinson felt and stated there is a "little bit of her in the DNA" in several "modern pop thing[s]". ^[266]

Science and cultural tributes

Madonna appeared in official stamps in Grenada (1989), ^[267] in St. Vicent (1991), ^[268] and was considered to be featured in early 1990s in the stamps by the United States Postal Service. ^[269] In 2001, a commemorative tartan, called "Romantic Scotland (Madonna)" was dedicated to her by the Scottish Register of Tartans. ^[270] A segment was dedicated to her during the L'International des Feux Loto-Québec of 2015. ^[271] On science references, Echiniscus madonnae is a water bear specie named after Madonna in 2006. The zoologists commented: "We take great pleasure in dedicating this species to one of the most significant artists of our times". ^[272] Quadricona madonnae is a fossil Bradoriid from the Cambrian of South Australia named after her; in reference to the nodes on each valve resembling her conical bustiers. ^[273]

Cultural critics' lists, reference works and polls

Madonna made appearance in lists and references dedicated to significant personalities from the 20th century. She was included on TV Guide's 101 People Who Made the 20th Century, season one, which was a "look" of influential people who made "dramatic impacts" during that century. ^[274] She was also included in the Ultimate Biography: Inside the Lives of the World's 250 Most Influential People (2002), which is based on the longest-running, single-topic documentary series Biography by A&E. ^[275] She was also the highest ranking female musical artist, in any genre in the Who's Bigger?: Where Historical Figures Really Rank (2013), a rank of "1,000 people in history". ^[276]

Madonna on genderless cultural critics' lists and polls (all-time/century) ^[d]

Year	Publication or institution	List or Work	Ref.
1998	Carol Publishing Group	The Italian 100 (A Ranking of the Most Influential Cultural, Scientific, and Political Figures, Past and Present)	[277]
2002	Life	50 Most Influential Boomers	[278]
2005	Discovery Channel	100 Greatest Americans	[279]
2008	Encyclopædia Britannica	100 Most Influential Americans	[280]
2008	National Geographic Society	1001 People Who Made America	[281]
2013	Steven Skiena	Who's Bigger?: Where Historical Figures Really Rank (1,000 people in history)	[276]
2014	Smithsonian Institution	100 Most Significant Americans of All Time	[282]

Superlatives in popular press

Up to early 2020s, Madonna remains as the best-selling musical female artist.

Some have noted how she has been given and earned superlatives, including The A.V. Club 's editors in 2019 and American journalist Meredith Vieira in 2006. ^{[284] [285]}

Across her multi-decades career, both immediate and retrospectively, Madonna has been celebrated as one of the greatest and influential female artists of all-time; ^[286] prominent journalist Norman Mailer considered her "our greatest living female artist", ^[64] while a non minor portion of international authors, critics and media publications would further call her as arguably "the most influential female" in contemporary music. This was noted by announcer Juanma Ortega in 2020, ^[287] while American journalist Michael Musto claimed in 2015, that she emerged as "the most influential" for decades. ^[288] Specific examples include pieces from media outlets around the world, including Stephanie Busari from CNN in 2008, Radio Free Europe/Radio Liberty (2008) and Vogue Mexico (2020). ^{[289] [290] [291]} Other references include in "pop history", ^{[292] [293]} or from American music history according to MTV or BET. ^{[294] [295]} In 2018, Ben Kelly from The Independent argued that she "ensured her legacy as the greatest female artist of all time". ^[296] VH1 placed her twice as the Greatest Woman in Music, in 2002 as a result of a poll, and in 2012. ^{[297] [298]}

Sobriquetes on popular culture

According to Australian magazine The Music in 2019, Madonna has been called "many things" both negative and positive. ^[135] In Celebrity Colonialism (2009), University of Tasmania's professor Robert Clarke also noted the "range of nicknames" in media reports referring to her "big business pop career". ^[299] On the point, Chilean magazine Qué Pasa commented in 1996, that to "Madonna can be attributed many titles and never be exaggered", further calling her the "undisputed Queen of Pop". ^[300] Other examples include "Queen of Rock" during the 20th century, ^[301] and "Queen of Music" industry over the years. ^[302]

Madonna began to be referred to as "Madge" in mid-80s by British music magazines like Sounds , ^[303] with their editor John Harris calling her in 1991, "Our Madge". ^[304] Turning the late 1990s, authors like Christopher Zara noted how the generalized British press, especially tabloids, began to call her "Madge", which is a local shorthand for "Your Madgesty". ^[305] Press overseas have adopted both references, ^[306] with Alex Hopper from American Songwriter saying "she was given that title because of her Queenliness in the music industry". ^[307]

Music industry

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

— Billboard staffers (2018). ^[308]

"Madonna has been able to impact her industry as much as any woman in history", commented the author of Profile of Female Genius (1994). ^[309] In 2023, V magazine called her an "industry heroine". ^[310] Her varied impact in the music industry has been found in terms of "sound, image, performance, sex, fandom and reinvention", said Greek author Constantine Chatzipapatheodoridis. ^[311]

Markets, genres and popularizing of things

Madonna performing "American Life" (2003) in the Re-Invention World Tour (2004). It is the first or second song to have ever debut with Internet sales alone on the Billboard Hot 100.

In 2014, Xavi Sancho from El País considered that during the height of her career, her releases were not only mere musical and commercial events, but rather, they marked a way forward. ^[314] Author Marshawn Evans commented she helped revolutionize in her generation how music was performed, delivered to the public, purchased, packaged and downloaded. ^[315] A 1984 article inside Billboard, echoed that the simultaneous releases of LP, cassette and CD was pioneered by Madonna within WEA-Warner branches. ^[316] Madonna would later have the biggest first-week album shipments in the history of Warner Music and one of the largest overall, with Ray of Light (1998) and Music (2000). ^[317] Furthermore, Madonna popularized the usage of the Korg M1, as The Vinyl Factory reports, ^[318] while The Immaculate Collection was the first album to implement the QSound effect. ^[319] Madonna would also affect music video industry, called as her "main contribution" to the industry by some insiders ahead of her induction into the Rock and Roll Hall of Fame in 2008. ^[320] For instance, she released the first video single in the U.S. "Justify My Love", ^[321] which remains the best-selling video single. ^[322] Madonna also influenced mainstream pop stage shows, particularly with her Blond Ambition World Tour, according to The New York Times, ^[6] while her performance shows inspired others over decades, according to author of The Twisted Tale of Glam Rock (2010). ^[323]

Madonna's chief impact in music was in the pop music realm. She was a pioneer to popularize dance-pop according to Arie Kaplan. ^[324] According to music critic Stephen Thomas Erlewine, Madonna also had a "huge role" in popularizing dance music with her debut album, marked by a lack of credibility for disco music at that time. ^[325] At the end of the decade, an article published by The Spokesman-Review also detailed her significant impact in the dance musical scene. ^[326] Bob Tannenbaum from The New York Times credits her for help to the evolution of remixing from underground to a standard practice. ^[327] Other critics and scholars credited Madonna for help to introduce electronic music into the stage of popular music to the masses, ^[328] or at least within mainstream American pop culture, according to British scholar David Gauntlett, ^[329] as the genre was most popular among Europeans. In 2019, MTV's Erica Russell stated she "reignite interest" in the concept album within mainstream pop after the decline of the rock-oriented concept album in the 1980s. ^[190]

Female figure and paradigm shifts

See also: Madonna (nickname) and Feminism of Madonna

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.

—Music critic Dave Marsh, New Book of Rock Lists (1994) ^[330]

According to the Rock and Roll Hall of Fame, she helped dissolve gender boundaries. ^[18] Tony Sclafani from MSNBC said the word "female" is significant in her assessment, ^[331] and English music journalist Dylan Jones referred she was "genuinely influential". ^[332] In Music in American Life: A-C (2013), scholar Jacqueline Edmondson studied different female artists and said about Madonna that she "deserves special attention", labeling her "legacy" as "important to understanding issues surrounding gender and the music industry in the twenty-first century". ^[333]

A number of international music critics, authors, and publications, addressed how Madonna played a major role in establishing the contemporary global pop music stage, ^[334] emphasizing the fact she made her debut during a male-dominant and rock-defining era, and how female singers would go on to later dominate different areas. Deborah Wilker, pop music writer for Sun Sentinel commented in 1996, that Madonna expanded the role of woman in pop further that others. ^[335] In 2017, British music journalist David Hepworth said that "most of biggest of 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". ^[336] In 2014, Spaniard music journalist Diego A. Manrique described the dominance of female singers on record charts as the "Madonna era". ^[337] Gillian Branstetter from The Daily Dot , who also dedicated a lengthy article to her influence, said: "The vast majority of the top artists in the world were men" when Madonna debuted. ^[293] In Popular Texts in English (2001), authors referred to her as an "atypical female phenomenon in the world of pop", ^[338] while German media Deutsche Welle would later call her as "the first woman to dominate the male world of pop". ^[339] Washington Post 's Richard Harrington said in 1990, that Madonna heralded "the arrival of female mega-stars". ^[340]

Her impact was further attested in the way future generations of female popular singers were subsequently scrutinized. On this, a Vice contributor said that "reviews of her work have served as a roadmap for scrutinizing women at each stage in their music career". ^[341] Similarly, scholars in Ageing, Popular Culture and Contemporary Feminism (2014) agreed that her figure is "widely considered to have defined the discursive space for examining female popular music". ^[54] Eric Thompson from City Pages also commented in 2011, that her influence is "felt in the way modern female musicians are viewed, regarded and accepted". ^[342] In 2013, Dutch scholars in Celebrity Studies noted how female artists were "very often measured against the yardstick that Madonna has become". ^[12] Linda Lister classifies among three different designations, three categories of "deification of modern female pop stars" in 2001, including prima donnas known for their vocal abilities, and Madonnas, for their innovation. ^[334]

However, Madonna attained significant criticisms amid the rock scene in the 1980s, remarked by authors such as Jennifer Egan whom she retrospectively included herself in 2002 among that perception. ^{[244] [343]} Noting also the criticism, Paglia said "our minds were formed by rock music". ^[277] As early as 1985, The Canberra Times would referred her impact saying she "nearly reversed the typical pattern of rock idol analysis", ^[344] while the Encyclopedia of American Social History (1993) describes her as "the antithesis of the women found in early rock and roll". ^[345] According to the Rock and Roll Hall of Fame in 2008, she became an emblem of women in rock; ^[18] scholar Landon Palmer, recalls that she was frequently described as a "rock star" by media and official institutions, saying that Madonna served as an example of how the label exceeded the distinctions of genre. ^[346]

Musicability

See also: Madonna and contemporary arts

While no virtuous, Madonna has ventured to play some instruments, including Ukulele in the Rebel Heart Tour and plays regularly the Guitar.

During best part of her decades-long career, her role as a musician was said to be placed second compared to her image and societal impact. Along with criticisms, Madonna's musicability would proven found also impact.

Ambivalences

Ambivalences between musical and cultural impact was noted by Michael Campbell in Popular Music in America (2012), saying that "neither [Michael] Jackson nor Madonna has been a musical innovator" and "their most influential and innovative contributions have come in other areas". ^[347] According to music critic Robert Christgau in Grown Up All Wrong (2000), Madonna was "honored less as an artist than as a cultural force". ^[348] A scholar also noted how in the "field of musicology, serious discussion of Madonna has been even rarer than in the popular press". ^[242]

In Representing Gender in Cultures (2004), authors also explained that she has been "consistently denied a status of a 'real' musician". ^[349] One of the focal critical views is a general agreement that her own "artistic talents" are considered to be "limited" by critics. ^[121] Other critics have also complained that the content of her songs are "empty". ^[350]

To musicologist Ketih E. Clifton at Central Michigan University, Madonna as a composer, arranger and singer, is anything but "one-dimensional" artist. ^[242] In 1990, critic Stephen Holden commented for The New York Times that her "abilities as a singer and songwriter were developed" after she became famous. ^[351]

Vocals

Madonna's vocals would define perceptions of her.

Madonna's vocals would define her career, mostly generally marked by a mixed-to-negative perceptions; as noted author Lucy O'Brien in Madonna: Like an Icon (2007): "Over the years many have criticized Madonna's vocal ability, saying she is a weak singer". ^[352] In Popular Music and the Politics of Hope (2019), authors similarly stated that "she is routinely dismissed by scholars, critics, and fellow artists alike as someone who 'can't sing'". ^[343]

Despite criticism, other were symphatetics and appreciated her evolution. Musicologist Clifton recognizes her vocal "metamorphosis" saying is a "under-theorized aspect of her career". ^[242] He notes how her voice evolved and shifted, identifying five "vocal styles" or "vocal tropes", but also saying it was "difficult to establish a single prevailing vocal style". ^[242] Similarly, Dutch linguist Theo van Leeuwen cited her as perhaps "the first singer who used quite different voices for different songs". ^[353] In Popular Music and the Politics of Hope (2019), authors said that her voice has "certainly changed since the 1980s, showing the signs of age, vocal coaching, and rigorous vocal exercises". ^[343] O'Brien cited a guitarrist as saying that she is an enough "strong interpreted [that] doesn't over-embellish things". ^[352]

Through Madonna's case, some have broader remarked the nature of vocals in pop music stage and connections to social aspects to the point, 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", ^[354] while in 2013, Rolling Stone referred Madonna as "the most important female voice in the history of modern music". ^[355] Critical commentaries include Financial Times 's art critic Ludovic Hunter-Tilney, who commented in 2008 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". ^[187] Scholars in The SAGE Handbook of Popular Music (2014), similarly commented that for pop singers in the style of Madonna, "brilliant singing ability is not of utmost important" compared to performers of Soul and R&B music, "whose considerable vocal skill" are a crucial aspect for them. ^[356] While sociologist Stanley Aronowitz labeled her more a performance artist, he says that she 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". ^[357]

Songwriting

One of Rolling Stone's 100 Greatest Songwriters of All Time, aspects of Madonna's songwriting would influence artists such as Kylie Minogue and Diplo

Aside criticisms, Madonna also found success and impact as a songwriter. Named one of the 100 Greatest Songwriters of All Time by Rolling Stone, she once held records such as the songwriter with most number-one songs on the Billboard Hot 100, ^[358] and was also recognized by the Guinness World Records as the "most successful female songwriter in Britain". ^[359] Spin 's Barry Walters called her a "great songwriter" in 1995. ^[360] Writer Andrew Morton called her a "musical poet in motion", ^[361] and biographer Carol Gnojewski a "prolific writer". ^[362]

Musicologist Susan McClary noted that she writes or co-writes most of her own material. ^[256] In 1998, The Straits Times called Mariah Carey as "the only singer in the pop diva league besides Madonna who writes and produces her own material". ^[363] While American Songwriter commented her image as a pop star led some people assume "she didn't write her own songs", ^[364] Maria Muller from W said that Madonna "normalized the idea that pop stars could and should write their own songs". ^[365] She was reportedly to influence other singer-songwriters. ^[227] For instance, Australian music editor Marc Andrews noted how Kylie Minogue was influenced in part by Madonna to start writing her own songs. ^[366] In 2015, producer Diplo said Madonna "showed me a whole other level of dedication and old school work ethic when it comes to writing". ^[367]

Production and involving process

See also: Maverick (company)

Musical positivity scores by album and most common scales in Madonna's songs according to Spotify (1983—2018)

A number of scholars noted criticisms about how Madonna has worked with various producers—especially men—in her career, assuming they were the solely responsible for her creative output. ^{[368] [369]} In 1995, critic Gina Arnold commented for Metro Silicon Valley , that she certainly hires "well-producers" but applauded Madonna's consistency and personal injection, further considering her as the most "consistent than any of other artist of the last decade" with a vision of "incredibly broad". ^[37]

During an interview with Peter Robinson in 2005, producer Stuart Price told: "You don't produce Madonna, you collaborate with her... She has her vision and knows how to get it". ^[370] Billboard magazine made similar remarks. ^[371] Producer 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". ^[171]

Madonna would also impact the career of some producers, mostly from then-underground scene, including William Orbit, Mirwais Ahmadzaï and Price, as Billboard commented she "plucked" them from "electronic music obscurity". ^[371] According to the Guinness World Records, Madonna is the most remixed act. ^[219]

Influence on other entertainers

Madonna inspired rock frontmen Liam Gallagher (Oasis) and Chester Bennington (Linkin Park) to become musicians ^{[372] [373]}

Madonna's as a source of inspiration or influence on other entertainers became an articulated aspect of her impact. Some devoted articles discussing it, including The Spokesman-Review in 1989 among dance-music performers. ^[326] In 2018, the Canadian Broadcasting Corporation dedicated a listicle of Canadian artists influenced by Madonna, ^[374] while in early 2000s, British media scholar David Gauntlett discussed her influence on other female performers denoting "four key" themes, calling many of them as Madonna's "musical daughters" in the "very direct sense" they grew up listening to and admiring her. ^[329] Spanish music journalist Diego A. Manrique similarly called various high-profile female artists as her "heirs". ^[337] Discussing her 20-years plus career, in 2003, BBC's Ian Youngs said "her influence on others has come as much from her image as her music". In addition, he called Madonna the "pop queen mother". ^[375]

Commentators particularly noted how her career and works influenced generation of female pop stars, including MacLeod who said she influenced "many girls" in popular music. ^[121] Noting constant citations from diverse artists, scholars in Ageing, Popular Culture and Contemporary Feminism (2014), said that "judging by the citations she receives from almost every female pop star", she remains "the single biggest female influence on the nature and style of pop music over the course of the late twentieth century". ^[54]

Examples

Jason Derulo

Adele

Beyoncé

Tate McRae

Aaron Bruno

Taylor Swift

Shakira

Sabrina Carpenter

Aspects of Madonna's career and works, have influenced varied of artists of diverse genres and generations, including those pictured above.

Madonna's career and works has inspired numerous international vocalists and popular singers from diverse genres across decades. The following are illustrative examples:

• Aaron Bruno: ^[376]
• Adam Lambert: ^[377]
• Adele: ^[378]
• Agnez Mo
• Alesha Dixon: ^[379]
• Alexandra Stan: ^[380]
• Alice Chater: ^[381]
• Amanda Magalhães: ^[382]
• Anitta: ^[383]
• Anne-Marie
• Ariana Grande: ^[384]
• Ashanti:
• Ayumi Hamasaki: ^[385]
• Ava Max: ^[386]
• Bebe Rexha: ^[387]
• Beth Ditto: ^[266]
• Beyoncé: ^[388]
• Britney Spears: ^[389]
• Cobra Starship: ^[390]
• Carly Rae Jepsen: ^[391]
• Charli XCX: ^[392]
• Christina Aguilera: ^[393]
• Ciara:
• Dua Lipa: ^[394]
• Esperanza Spalding: ^[395]
• Filippa Giordano: ^[396]
• Gwen Stefani: ^[397]
• Hailee Steinfeld: ^[398]
• Hot Milk: ^[399]
• Iggy Azalea: ^[400]
• Jason Derulo: ^[401]
• Jennifer Lopez: ^[402]
• Kat Graham: ^[403]
• Katy Perry: ^[404]
• Kesha: ^[405]
• Kim Petras: ^[406]
• Kylie Minogue: ^[407]
• Lady Gaga: ^[408]
• La Roux: ^[409]
• Lil' Kim: ^[410]
• Lindsay Lohan: ^[411]
• LMFAO: ^[412]
• Marina And The Diamonds: ^[413]
• Miley Cyrus: ^[414]
• Miranda!: ^[415]
• Mya  : ^[416]
• Mylène Farmer: ^[417]
• Nelly Furtado: ^[374]
• Nicki Minaj: ^[418]
• Normani: ^[419]
• Paris Hilton: ^[420]
• Paula Abdul: ^[135]
• Paulina Rubio: ^[421]
• Pink: ^[422]
• Poppy: ^[423]
• Rêve: ^[424]
• Rihanna: ^[425]
• Rina Sawayama: ^[426]
• Rita Ora: ^[427]
• Robyn: ^[428]
• Sabrina Carpenter: ^[429]
• Selena: ^[430]
• Shakira: ^[431]
• Shygirl: ^[432]
• Sky Ferreira: ^[433]
• Spice Girls: ^[434]
• Taio Cruz: ^[435]
• Tate McRae: ^[436]
• Taylor Swift: ^[437]
• The Ting Tings: ^[438]
• Troye Sivan
• Victoria Justice: ^[439]
• Victoria Vox: ^[440]
• Wanessa Camargo: ^[441]

Depictions and tributes by other musicians

See also: List of cover versions of Madonna songs and List of Madonna tribute albums

See also: Category:Musical tributes to Madonna

Rock acts Sonic Youth (Ciccone Youth) and Stephen Bair (Madonna Wayne Gacy) adopted Madonna's name into their stage name at some point

Since the 1980s, Madonna's music has been covered and sampled by multiple artists, including Kelly Clarkson whom made various covers, including during her first-ever American Idol audition in 2002. ^[442] Beyoncé's sampled Madonna's "Vogue" for the remix of "Break My Soul", which is also a collaborative project among the pair, and where Beyoncé calls her "Queen Mother". ^[388]

Musicians including Kylie Minogue and the Weeknd once declared to desire work with her, ^[443] while artists like Tony Bennett have expressed admiration towards Madonna. ^[444] In a tribute article dedicated to Madonna at The Guardian in 2018, Sophie described "Her work is so vast" that "there's a reference for any situation" and that she "created the blueprint of modern stars". ^[445]

Other fields

Madonna would impact or influence a number of other entertainers and professionals, including painters, designers/videographers, and authors/editors. Writing her first-ever-article—a review of Madonna's Erotica album for the London Evening Standard — Australian Broadcasting Corporation's Anita Barraud said that it helped launch Emma Forrest career. ^[446] The Herald reporter Lorna Martin achieved the 2001 Scoop of the Year at the Scottish Press Awards, after revealing details of Madonna's wedding with Guy Ritchie, which was labeled to had a "worldwide impact and significance" that world's press descended upon Dornoch. ^[447]

Aspects of Madonna's career and works also influenced other entertainment fields, including videogames and movies. She influenced photorealism for Avatar (2009), which lead CinemaBlend to conclude her influence "know no bounds" as she affected virtually, every inch of pop culture. ^[448] She also influenced the haunting atmosphere of Silent Hill 2. ^[449]

See also

Madonna's impact and criticisms on Madonna through other areas:

Culture aspects

• Fashion of Madonna
• Feminism of Madonna
• Madonna and contemporary arts
• Madonna and business
• Madonna and religion
• Madonna and sexuality
• Philanthropy and activism of Madonna

Groupings and subcultures

• Madonna as a gay icon
• Madonna fandom
• Madonna impersonator
• Madonna wannabe
• Madonna (nickname)

Academia and media

• Bibliography of works on Madonna
• List of academic publishing works on Madonna
• Madonna in media
• Madonna studies

Statistics and achievements

• List of Madonna records and achievements
• List of awards and nominations received by Madonna

Notes

1. Top to bottom: During the Confessions Tour (2006), then highest-grossing female tour by that time, performing "Hung Up", also recognized by the Guinness World Records as the song topping the chart in most countries. ^{[42] [43]} During the Super Bowl XLVI halftime show (2012), a show that attracted then the largest TV audience for a Super Bowl half-time performance. ^[44] During the Celebration Tour in 2023, a tour which debuted the largest audience for a stand-alone concert and the largest all-time crowd for a female artist, through a free concert in Brazil (2024). ^[1]
2. Madonna has ventured to record/perform songs in other language rather than English, partial or fully. Examples include Spanish ("Verás" or "Lo Que Siente La Mujer"), French ("La Vie en rose" or "Je t'aime... moi non plus"), Portuguese ("Faz Gostoso" or "Fado Pechincha"), Sanskrit ("Shanti/Ashtangi") and Euskara ("Sagarra jo")
3. Integrated by public spearks and 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. ^[141]
4. Limited to genderless cultural lists. For all-time/century appearances in reference works and critics' lists, among females (see Feminism of Madonna), entertainers/pop culture (see List of Madonna records and achievements), gay icons (see Madonna as a gay icon), sex symbols (see Madonna and sexuality) or fashion icons (see Fashion of Madonna)

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Book sources

See also: Bibliography of works on Madonna and List of academic publishing works on Madonna

• Arts and Entertainment Network (2002). Ultimate Biography: Inside the Lives of the World's 250 Most Influential People. DK. ISBN   0789484269.
• Aronowitz, Stanley (2013). Dead Artists, Live Theories, and Other Cultural Problems. Routledge. ISBN   978-1136040702.
• Ballesteros González, Antonio (2001). Mora González, Lucía (ed.). Popular Texts in English: New Perspectives. University of Castilla–La Mancha. ISBN   8484271269.
• Bartels, Anke; Wiemann, Dirk (2007). Global Fragments: (dis)orientation in the New World Order. Rodopi. ISBN   978-9042021822.
• Benson, Carol; Metz, Allen (1999). The Madonna Companion: Two Decades of Commentary. Music Sales Group. ISBN   0-02-864972-9.
• Bennett, Andy; Waksman, Steve (2014). The SAGE Handbook of Popular Music. SAGE Publishing. ISBN   978-1473910997.
• Berleur, J.; Beardon, Colin; Laufer, Romain (1993). Facing the Challenge of Risk and Vulnerablity in an Information Society. Vol. 33. North-Holland. ISBN   0-444-89878-6.
• Berger, Arthur Asa (2002). The Art of the Seductress. iUniverse. ISBN   0-595-23077-6.
• Bernhard, Sandra (1989). Confessions of a Pretty Lady . Harper & Row. ISBN   0060916206.
• Birnbaum, Pierre (2008). Geography of Hope: Exile, the Enlightenment, Disassimilation. Stanford University Press. ISBN   978-0804752930.
• Bosch, Lindsay J.; Mancoff, Debra N (2009). Icons of Beauty: Art, Culture, and the Image of Women. Greenwood Press.
• Buikema, Rosemarie; Liedeke, Plate; van der Tuin, Iris; Thiele, Kathrin (2009). Doing Gender in Media, Art and Culture. Taylor & Francis. ISBN   978-1-134-00641-0.
• Blackwell, Roger; Stephan, Tina (2004). Brands That Rock. Wiley. ISBN   978-0-471-48344-1.
• Brunner, Diane DuBose (1998). Between the Masks: Resisting the Politics of Essentialism. Rowman & Littlefield. ISBN   084768895X.
• Brunsdon, Charlotte; Spigel, Lynn (2007). Feminist Television Criticism: A Reader. McGraw Hill Education. ISBN   978-0335225453.
• Campbell, Michael (2012). Popular Music in America:The Beat Goes On. Cengage. ISBN   978-1133712602.
• Carilli, Theresa; Campbell, Jane (2005). Women and the Media: Diverse Perspectives. University Press of America. ISBN   0761830405.
• Cashmore, Ellis (2022). The Destruction and Creation of Michael Jackson. Bloomsbury Publishing. ISBN   978-1501363634.
• Cayton, Mary Kupiec (1993). Encyclopedia of American Social History. Vol. 3. Scribner. ISBN   0684192462.
• Chan, Kwok-Bun (2014). Chinese Entertainment. Taylor & Francis. ISBN   978-1317977995.
• Chatzipapatheodoridis, Constantine (2021). The Music Diva Spectacle. Intellect Books. ISBN   978-1789384383.
• Collin, Richard Oliver; Martin, Pamela (2012). An Introduction to World Politics: Conflict and Consensus on a Small Planet. Rowman & Littlefield Publishers. ISBN   978-1442218031.
• Collins, Ava; Radner, Hilary; Collins, Jim (1993). Film Theory Goes to the Movies. Routledge. ISBN   0415905761.
• Cornwell, Grant Hermans; Stoddard, Eve Walsh (2001). Global Multiculturalism: Comparative Perspectives on Ethnicity, Race, and Nation. Rowman & Littlefield. ISBN   0742508838.
• Christgau, Robert (2000). Grown Up All Wrong. Harvard University Press. ISBN   0674003829.
• Clarke, Robert (2020). Celebrity Colonialism. Cambridge Scholars Publishing. ISBN   978-1527554757.
• Clawson, Patrick (1994). Iran's Strategic Intentions and Capabilities. National Defense University. ISBN   0788136771.
• Cross, Mary (2007). Madonna: A Biography. Greenwood Publishing Group. ISBN   978-0-313-33811-3.
• Cvetkovich, Ann (2018). Articulating The Global And The Local: Globalization And Cultural Studies. Taylor & Francis. ISBN   978-0429981814.
• D'Acierno, Pellegrino; Leonard, George J. (1998). The Italian American Heritage. Taylor & Francis. ISBN   0815303807.
• Doty, William G. (2000). Mythography: The Study of Myths and Rituals. University of Alabama Press. ISBN   0817310061.
• Ebert, Roger (1993). Roger Ebert's Video Companion, 1994. Andrews McMeel Publishing. ISBN   0836262441.
• Edmondson, Jacqueline (2013). Music in American Life: A-C. Greenwood. ISBN   978-0313393471.
• Encyclopædia Britannica (2008). Britannica Guide to 100 Most Influential Americans. Encyclopaedia Britannica, Inc. ISBN   978-1593398576.
• Evans, Marshawn (2013). S.K.I.R.T.S in the Boardroom. Wiley. ISBN   978-1118747247.
• Faith, Karlene; Wasserlein, Frances (1997). Madonna, Bawdy & Soul. University of Toronto Press. ISBN   0-802-04208-2.
• Fast, Susan; Jennex, Craig (2019). Popular Music and the Politics of Hope: Queer and Feminist Interventions. Routledge. ISBN   978-1351677813.
• Ferraro, Thomas J. (2005). Feeling Italian: The Art of Ethnicity in America. NYU Press. ISBN   0814728391.
• Fouz-Hernández, Santiago; Jarman-Ivens, Freya (2004). Madonna's Drowned Worlds: New Approaches to her Cultural Transformations, 1983-2003. Routledge. ISBN   1351559540.
• Fuller, L. (2006). Sport, Rhetoric, and Gender: Historical Perspectives and Media Representations. Palgrave Macmillan. ISBN   0230600751.
• Gardner, Abigail (2016). 'Rock On': Women, Ageing and Popular Music. Routledge. ISBN   978-1317189091.
• Geczy, Adam; Karaminas, Vicki (2021). Gaga Aesthetics: Art, Fashion, Popular Culture, and the Up-Ending of Tradition. Bloomsbury Publishing. ISBN   978-1350102712.
• Gnojewski, Carol (2007). Madonna: Express Yourself. Enslow Publishers. ISBN   978-0766024427.
• Gnojewski, Carol (2017). Madonna: Fighting for Self-Expression. Enslow Publishers. ISBN   978-0766095526.
• González, Ana Marta [in Spanish] (2009). Ficción e identidad. Ensayos de cultura postmoderna. Ediciones Rialp. ISBN   978-84-321-3728-0.
• Gopinath, Gayatri (2005). Impossible Desires: Queer Diasporas and South Asian Public Cultures. Duke University Press. ISBN   0822386534.
• Graham-Jones, Jean (2014). Evita, Inevitably: Performing Argentina's Female Icons Before and After Eva Perón. University of Michigan Press. ISBN   978-0-4720-5233-2.
• Group of Lisbon (1995). Limits to Competition. MIT Press. ISBN   0-262-07164-9.
• Guilbert, Georges-Claude (2015). Madonna as Postmodern Myth. McFarland. ISBN   978-0-786-48071-5.
• Guttman, Ariel; Guttman, Gail; Johnson, Kenneth (2011). Mythic Astrology Applied: Personal Healing Through the Planets. Llewellyn Worldwide. ISBN   978-0-7387-0425-8.
• Hall, Dennis; Hall, Susan G (2006). American Icons. Greenwood Publishing Group. ISBN   978-0-275-98431-1.
• Haworth, Catherine; Colton, Lisa (2016). Gender, Age and Musical Creativity. Taylor & Francis. ISBN   978-1317130062.
• Held, David (1999). Global Transformations: Politics, Economics and Culture. Stanford University Press. ISBN   0-8047-3627-8.
• Hepworth, David (2017). Uncommon People: The Rise and Fall of The Rock Stars. Henry Holt and Company. ISBN   978-1-250-12413-5.
• Hoesterey, Ingeborg (2001). Pastiche: Cultural Memory in Art, Film, Literature. Indiana University Press. ISBN   0253338808.
• Hyder, Rehan (2017). Brimful of Asia: Negotiating Ethnicity on the UK Music Scene. Routledge. ISBN   978-1351218085.
• Jeansonne, Glen (2006). A Time of Paradox: America Since 1890. Rowman & Littlefield Publishers. ISBN   1461636388.
• Jermyn, Deborah (2016). Female Celebrity and Ageing: Back in the Spotlight. Taylor & Francis. ISBN   978-1134924868.
• Jones, Dylan (2021). Shiny and New: Ten Moments of Pop Genius that Defined the '80s. Hachette. ISBN   978-1474620086.
• Kallenborn, Roland (2016). Implications and Consequences of Anthropogenic Pollution in Polar Environments. Springer Science+Business Media. ISBN   978-3-642-12315-3.
• Kaplan, Arie (2012). American Pop: Hit Makers, Superstars, and Dance Revolutionaries. Twenty-First Century Books. ISBN   978-1-4677-0148-8.
• Karsh, David (2003). Israel: Israel in the international arena. Frank Cass. ISBN   1-317-87329-7.
• Kellner, Douglas (2003). Media Spectacle. Psychology Press. ISBN   041526829X.
• Kellner, Douglas; Hammer, Rhonda (2009). Media/cultural Studies: Critical Approaches. Peter Lang. ISBN   978-0-8204-9526-2.
• Khanna, Parag (2011). How to Run the World: Charting a Course to the Next Renaissance. Random House. ISBN   978-0679604280.
• Kinder, Marsha (1997). Blood Cinema: The Reconstruction of National Identity in Spain. University of California Press. ISBN   0520913477.
• Klein, Aaron (2007). Schmoozing With Terrorists: From Hollywood to the Holy Land, Jihadists Reveal Their Global Plans-- to a Jew!. WND Books. ISBN   978-0-9790451-2-7.
• Landrum, Gene N. (1994). Profiles of Female Genius: Thirteen Creative Women who Changed the World. Prometheus Books. ISBN   0-87975-892-9.
• Layton, Lynne (2013). Who's That Girl? Who's That Boy?: Clinical Practice Meets Postmodern Gender Theory. Routledge. ISBN   978-1135891435.
• Leibetseder, Doris (2016). Queer Tracks: Subversive Strategies in Rock and Pop Music. Taylor & Francis. ISBN   978-1317072584.
• Lenig, Stuart (2010). The Twisted Tale of Glam Rock. ABC-CLIO. ISBN   978-0313379871.
• Lockard, Craig A. (2011). Societies, networks, and transitions: a global history. Cengage. ISBN   978-0495897309.
• Longhurst, Brian (2007). Popular Music and Society. Wiley. ISBN   978-0745631622.
• Lysloff, René T. A.; Gay, Leslie C. Jr. (2013). Ross, Andrew (ed.). Music and Technoculture. Wesleyan University Press. ISBN   978-0819574411.
• Magill, Frank Northen (1998). Chronology of Twentieth-century History. Vol. 2. Fitzroy Dearborn Publishers. ISBN   1-884964-66-4.
• MacLeod, Sean (2015). Leaders of the Pack: Girl Groups of the 1960s and Their Influence on Popular Culture in Britain and America. Rowman & Littlefield. ISBN   978-1442252028.
• Marsh, Dave; Bernard, James (1994). New Book of Rock Lists. Simon and Schuster. ISBN   0671787004.
• McAleer, Dave (2004). Hit Singles: Top 20 Charts from 1954 to the Present Day. Hal Leonard Corporation. ISBN   0879308087.
• McCall, Pete (2021). Ageless Intensity: High-Intensity Workouts to Slow the Aging Process. Human Kinetics. ISBN   1718200765.
• McClary, Susan (2017). Reading Music: Selected Essays. Routledge. ISBN   978-1351552219.
• McLeod, Ken (2013). We are the Champions: The Politics of Sports and Popular Music. Ashgate Publishing. ISBN   978-1409494508.
• McWhirter, Norris; McFarlan, Donald (1989). The Guinness book of records: 1989. Guinness Pub. ISBN   0851128785.
• Mordden, Ethan (2016). When Broadway Went to Hollywood. Oxford University Press. ISBN   978-0199395422.
• Morley, Paul (2015). Words & Music: A History of Pop in the Shape of a City. Bloomsbury Publishing. ISBN   978-1408864340.
• Morton, Andrew (2001). Madonna . Macmillan Publishers. ISBN   0-312-98310-7.
• Munford, Rebecca; Waters, Melanie (2014). Feminism and Popular Culture: Investigating the Postfeminist Mystique. Rutgers University Press. ISBN   978-0813567426.
• National Geographic Books (2008). Axelrod, Alan (ed.). 1001 People Who Made America. National Geographic Society. ISBN   978-1426202681.
• Negrón-Muntaner, Frances (2004). Boricua Pop. NYU Press. ISBN   0814758789.
• Oberoi, Roopinder; Halsall, Jamie P. (2018). Revisiting Globalization: From a Borderless to a Gated Globe. Springer Publishing. ISBN   978-3-319-79123-4.
• O'Brien, Lucy (2007). Madonna: Like an Icon. Bantam Press. ISBN   978-0-593-05547-2.
• Oleksy, Elżbieta H.; Rydzewska, Joanna (2004). Representing Gender in Cultures. Peter Lang. ISBN   0-820-46546-1.
• Palmer, Landon (2020). Rock Star/Movie Star: Power and Performance in Cinematic Rock Stardom. Oxford University Press. ISBN   978-0190888404.
• Partridge, Christopher (2017). The Bloomsbury Handbook of Religion and Popular Music. Bloomsbury Publishing. ISBN   978-1474237352.
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External links

• Official website