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Overview edit

[...] from the beginning of her career, Madonna has been primarily defined not by her music but by her ambition and her ability to present herself in visually interesting and ever-changing guises. There talking points have been repeated in pretty much every magazine profile ever written about her.

—American music critic Steven Hyden (2016)[1]

The fixation on Madonna image has been present since her debut and has defined her career. In Musicologists, Sociologists and Madonna (1993), lecturer John Street from University of East Anglia reports that from both her critics and defenders, her reception "it is devoted almost exclusively to her image and appearance".[2] Madonna's biography at Ohio State University, pinpointed her "image became the source of endless debate among feminists and cultural scholars".[3]

Madonna was almost instantly deemed more a pop icon than a musician shortly after her debut.[4][5] Her music was placed second by many, including Entertainment Weekly, whom staff described her by 1999 as not a musician per se.[6] Martha Bayles described "it is in the extramusical realm that Madonna really made her name",[7] and Annalee Newitz similarly claimed, she "is not a musician" and she has given to the culture, "not a collection of songs" but "a collection of images".[8]

Various reviewers credited Madonna as the "first female" to have a "complete control" over every aspect of her image.[3] Sonya Andermahr from the University of Northampton states she "exercises more power and control over the production, marketing and financial value of her image than any female icon before her".[9] Within the perception, Madonna earned a reputation of being "in control", which was described by a scholar as "legendary".[10] Caryn Ganz from The New York Times commented she "was a pioneer of welding her voice to her image".[11]

Critical reception of her "image" edit

 
Madonna and her alter ego, Madame X in a 2019 interview with MTV International

The way Madonna deployed her image, visuals, fashion and other media representations were theorized and largely detailed by scholars and authors, defining her career. Scholar Sara Mills, in Gendering the Reader (1994) noted that "academic writing on Madonna has seen her as innovative largely in her use of images".[12] In Girl Heroes (2002), academic Susan Hopkins described Madonna as the "quintessential image strategist".[13] She also used alter egos; James Robert Parish and Michael R. Pitts, referred to her "ever-changing show-business alter ego" in Hollywood Songsters: Garland to O'Connor (2003).[14]

Academics used the concept of "identity" that Madonna turned "into a concept" for her career,[15] and became a hallmark noted by her earliest reviewers. Lynne Layton, a clinical professor of psychology at Harvard Medical School, for example, wrote she became "popular because she reflects our own uncertainties about identity",[16] and Manchester Metropolitan University scholars Katie Milestone and Anneke Meyer explained: "She has been heralded as a 'unique female' figure because of the control that she exerts over her identity".[17] According to gender theorist Judith Butler she embodied multiple identities at once.[18] To the extend, in the 2010s, Wesley Morris from The New York Times heralded Madonna as the "first great identity artist",[11] and critic Ty Burr emphasizes that she was "the first postmodern female celebrity in that she considered 'authenticity' to be just one more mask".[19] According to British sociologist David Gauntlett, Madonna was "credited with popularizing the view that identity is not fixed and can be continuosly rearranged and revamped".[20]

Reinvention edit

Madonna's reinvention have defined her career, with biographer Michelle Morgan saying is a word constantly attributed in her career.[21] Swedish author, Maria Wikse, described that "most critics recognise" her reinvention and "how it influences the way in which we read her texts".[22] Authors of Psychoanalyses / Feminisms (2000), defined it as "one of Madonna's cultural meanings".[23] Ludovic Hunter-Tilney from Financial Times explained that "her image changes have launched countless fads and fuelled a boom in jargon-filled academic studies about her as a post-feminist chameleon".[24]

Many reviewers have compared and noted influence from artists like David Bowie and art-world figures like Cindy Sherman and Picasso. Author K. Elan Jung, however, felt "she displayed an almost unique capacity for reinvention".[25]

Criticism edit

According to Vince Aletti, Madonna "has been attacked by critics for being more about image than substance".[26]

Some feminists were concerned about Madonna's reinvention.

On media edit

See also: Madonna on the Late Show with David Letterman in 1994

Madonna's image was defined by her representation on media, with scholars in Keeping the Promise: Essays on Leadership, Democracy, and Education (2007), describing "Madonna is a complex character in media culture", while describing her multiple representations.[27] In sum, Madonna achieved that various academics "analyze[d] [her] media discourses and representations".[28]

Madonna earned a reputation as a "media manipulator" during years. Music critic J. D. Considine, even heralded her "more media manipulator than musician" in a 1995 article for The Baltimore Sun.[29] American journalist Josh Tyrangiel, said that she reached her peak with the advent of her album Like a Prayer.[30] As this perception was deemed more as a positive thing, praises came from critics such as Stephen Thomas Erlewine, who says that "public and media manipulation become in one of her greatest achievements",[31] and the Rock and Roll Hall of Fame commented "no one in the pop realm has manipulated the media with such as savvy sense of self-promotion".[32]

Lucy O'Brien writes the popular negative stereotype is that she is a publicity-hungry or a manipulative ballbreaker.[33]

Personal life edit

 
Ashcombe House, Wiltshire, for a while property of then marriage Madonna-Guy Ritchie

According to Ohio State University, her lifestyle has been discussed more than her music.[3] The Observer columnist Barbara Ellen similarly states "Madonna's life has always been much more vigorously reviewed that her art".[34] Rolling Stone Press commented "her personal life is tracked, scrutinized and documented as a matter of course".[35] Her life generated significant scholarly attention as well.[36]

A "multitude" of reviewers from journalists to academics noted the likeness of her work with elements of her life.[10] Music critic Richard Morrison explained that both Madonna and Michael Jackson offered what can be called an "egocentric" experience, incorporating their private lives, fusing public and private persona. While Morrison recognized is not central just to Madonna, but to our culture, he says "Madonna's whole life revolves around the presentation of her image".[37] Professor Lynne Layton believes "Madonna makes sense of her life. By deliberately making her life a part of her work. Madonna presents us with both a public and a private persona".[16]

Influence edit

Roger Blackwell explained Madonna set up trends in numerous areas, including expressions and lifestyle.[38] British author George Pendle, says she defined a way of living in the 1980s and 1990s, and this led to consistently described her as a "cultural icon".[39] Gail Walker of Belfast Telegraph, comments she was a "full package of a way of living".[40]

Health and appearance edit

 
Madonna in a dance contest during the opening of her Hard Candy Fitness in Germany

In the likes of celebrities such as Jane Fonda, Madonna was associated for her workout regime and diet. Andis Robenznies from Vegetarian Times referred to her "devotion to physical fitness" in 1987.[41] The perception remained in the following decades; author Elizabeth Currid-Halkett described: "Madonna is known for her draconian fitness regime and diet",[42] and Ken McLeod similarly expressed her "attention to fitness and exercise is legendary".[43] In 2018, British journalist Bidisha expressed "it is impossible to talk about Madonna without talking about power [...] she is an athlete",[44] while Caryn Ganz from The New York Times commented "her fitness, flexibility and strength have always been tied to the kind of cultural power she wields".[11]

She became one of the first public female stars devotee to pilates.[45] In 2010, Madonna founded her own international chain of fitness centres called Hard Candy Fitness.[45] She attended to various of its opening events, where she took the opportunity to assist some classes.[45]

When it was revealed she was vegetarian, Vegetarian Times informed that fact "was mentioned in almost every article written about her"; Madonna graced their December 1987 cover.[41] According to authors like Alexander Theroux she adopted a macrobiotic diet since early 1990s.[46]

Criticism edit

Criticism at the height of her popularity, includes those whom claimed she promotes another of celebrities hard-to-reach physical ideal for women, while she had the benefit of working with top trainers among others advantages.[47] Conversely, Richard Sine from medical website WebMD commented despite her advantages, "has been an inspiration for many women".[48]

Lucy O'Brien noted that for a while, Madonna practiced an almost "maniac improbable fitness routines", with an individual commenting at some stage: "Madonna was in danger of burning out completely. She was doing five hours physical workout every day, more than most professional athletes".[33] At some stage of her career, her muscular arms became a tabloid-fixture that garnered her critical headlines and commentaries; Madonna's critic Piers Morgan, described them as "grotesque".[47]

Influence edit

Madonna has also been a huge inspiration to many when it comes to fitness and self-acceptance

—Gulf Today (2020)[47]

Ashley Mateo from Self stated she "is a much a fitness icon as a musical legend".[45] Mateo have mentioned that Madonna inspired some fitness trend over the years.[45] Author Pete McCall in Ageless Intensity (2021), credits Madonna and Cher as one of the first female celebrities to use personal trainers which resulted in the "explosive growth" of women starting to exercise in order to achieve the "fit bodies of the stars".[49] Sine explained that health experts have commented on Madonna's well-being and in his view, "without ever speaking a word on the subject, Madonna may have done more to spur the world's collective fitness than anyone else".[48]

 
Madonna onstage in 1990. Her regime influenced others, and her musculature was commented

To Canadian author Ken McLeod, "Madonna's videos and live shows introduced a new physicality into female pop performance".[43] Spanish music critic Patricia Godes, similarly states "Madonna was the first white Caucasian celebrity to have an athletic physique, with muscular legs [and] shoulders". Godes credits that it helped change a bit the idea of female physique.[50] Another observer, asserted "she made the female body seem more like a machine with cravings and less like a Barbie doll".[51]

James Robert Parish and Michael R. Pitts have delineated Madonna in creating "for a new generation the blonde bombshell image" in the likes of Marilyn Monroe and Jean Harlow.[14] Although somewhat less culturally resonant than Monroe's own, editors of Icons of Beauty, explained that she introduced a concept of celebrity beauty that "was more fluid and mobile"; and her experimentation marked "the beginning of new era in celebrity beauty".[52] In the early 1990s, scholar Camille Paglia suggested that her "most enduring cultural contribution may be that she has introduced ravishing visual beauty and a lush Mediterranean sensuality".[53]

Despite the criticism she received from her muscular arms she didn't bowed of this scrutiny and became for many women an inspiration, both for building her arms or for refusing to bow the negativity she received, as well for her body positivity, self-confidence and fitness.[47] In 2020, Gulf Today dedicated an article where many women personal trainers, fitness influencers or bodybuilders from different ages expressed Madonna's influence on them.[47]

Persona edit

 
Lucy O'Brien (sic) "it has often been asked, who is the 'real' Madonna?",[33] Many authors used the phrase "Who's That Girl"?.

Over her public timelight, Madonna's persona has been a subject of analysis and interpretations by scholars, authors and public. Lucy O'Brien defines that "it has often been asked, who is the 'real' Madonna?".[33] In her view, as wrote in Madonna: Like an Icon (2007), "I have always found her work clear and autobiographical, but her personality complex and disarmingly changeable".[33] Christian author Graham Cray, opined she skilfully developed a persona, but also he believes Madonna "is a complex person and phenomenon requiring detailed analysis".[54]

Remarked aspects edit

American author Rene Denfeld says, Madonna is one of the first female public figures ever to present ambition, power and strength into one empowering package.[55]

Ambition edit

Hailed as the "Blonde Ambition", she earned a reputation of being "ambitious" with German cultural critic Diedrich Diederichsen saying she herself cultivated this legend.[18] Many remarked how she wanted to "rule the world" after declaring it in a 1983 Dick Clark interview,[56] and when she cited, "I'm tough, ambitious, and I know exactly what I want. If that makes me a bitch, okay".[57] Decades after, Madonna told Matthew Todd that her ambition was driven by feeling unloved after the death of her mother,[58] and to Alexis Petridis that....[56]

Her ambition was interpreted variously and have defined her image; for Vanessa Grigoriadis of The New York Times is something that "set her apart".[59] Business theorist Roger Blackwell, explained that her "ambition" has been turned in a "common denominator" in her marketing analysis.[38] American critic Susie Bright commented that "she is considered too ambitious, and therefore too much like a man".[60]

For Madonna's critics like bell hooks, as pinpointed scholars from Nordic Association for American Studies, her ambition is not primarily a blond one, but rather a monetary and a global media ambition.[61] In contrast, author Kay Turner said that "she made outrageous claims about her ambitions, but invited the world to join her in believing that dreams come true".[62] In Madonnaland, Alina Simone wrote she "has never been anything but aggressively honest about her ambition".[63] French academic Georges-Claude Guilbert, interprets her ambition is also to try her hand at every art form.[60]

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Impact on others edit

[Madonna...] had a considerable impact in shaping attitudes

—Publishers Weekly (2012)[64]

More than an author have used the phrase "What would Madonna Do? (WWMD)". Author Andrew Morton documented its usage with two examples, including one used in India Knight's novel My Life on a Plate, when a girl asks this question after being pregnant. At the end, Morton interprets this "merely serves to accentuate the riddle of Madonna".[65] Editor-in-chief of British magazine Elle, dedicated a piece in 2014, to musing "solve life's greatest dilemmas".[66]

Ageism edit

See also: Radio 1 Madonna controversy
 
For Madonna critics, she was "too old" whe entered her thirties. In the image, Madonna at age of 32 during her Blond Ambition World Tour (1990)

The figure of Madonna has been defined by ageism across different decades. Reviewers are aware of older public figures beyond Madonna, and how ageism is generalized in the industry, but many of them noted both conversations and impact on Madonna have been substantial. Matthew Jacobs from HuffPost, says "age is an arbitrary clout metric, but it defines Madonna's image".[67] By 2015, T. Cole Rachel from Pitchfork, asserts "as she gets older she becomes polarizing in new ways".[68]

An aging Madonna coincided with the consolidation of social media; with past and newer detractors, Jacobs pinpointed in the internet culture, "Madonna naysayers had a bigger platform than ever".[67] Spanish activist Roy Galán stated as she got older, some group of "people started systematically ridiculing Madonna",[69] while "no stop" to criticize and questioning everything she does or says, using her age as a weapon.[69]

Madonna's age was not always accompanied of negative tabloid image or critics. Media and cultural institutions celebrated her entrance into her fifties and sixties. At age of 50 in 2008, Australian newspaper The Age states that her birthday were "big news", and a downloaded virtual clock was launched to count down to the moment "Madonna Louise Ciccone Ritchie reaches her half century". The newspaper also summed up from "trashy gossip magazines to esteemed cultural institutions, the queen of pop's entrance into middle age is being chewed over, processed and then dissected again".[70] At age of 60 in 2018, a member from AAR wrote an article for Campaign, where defines it "a major pop culture event".[71] Various outlets dedicated articles to celebrate her sixties milestone; as an example The Guardian dedicated a "series" of articles written by musicians, columnists and many others.[72]

Background and increase edit

Matt Cain said she has suffered of ageism "from the very start of her career".[73] Some commentators traced agesim on her as early as 1990s, when she entered her thirties,[67] thus T. Cole Rachel expressed "people have been asking her about 'aging gracefully' since she entered her thirties".[68] At age of 35 in 1993, Smash Hits dedicated an article under the headline "Madonna calm down grandma". In 2008, Belfast Telegraph editor's Gail Walker held that at age of 40, by many "was supposed to be the end of her creativity and influence".[40] By 2018, arts writer Fiona Sturges from The Guardian wrote that literally every of her move in the past 15 years has been accompanied by a "grim chorus of put it away, grandma".[74]

Entering in her fifties and even, early sixties depending of the point of views, Madonna oscillates between "agelessness" and "ageing".[75] In Gender, Age and Musical Creativity (2016), editors deemed her as "probably the best known and most talked about female musician in her fifties".[76]

Commentaries edit

Around 2000, Rodrigo Fresán deemed an aging Madonna as a "mirror of our days" from an entire generation.[77] Reviewing a Madonna at 57, Rachel said "media outlets talk[ing] about her as if she was 97".[68]

In Purpose and a Paycheck (2019), Chris Farrell wrote "Madonna seems a favorite target of critics telling her to 'act her age'".[78]

A group of commentators similarly agreed that she became a prisoner of her own constructed image.[43] In Too Fat, Too Slutty, Too Loud (2017), American author Anne Helen Petersen questioned if is Madonna battling ageism—or battling for her own particular body to remain forever young?.[79] Similar to Petersen, Canadian author Ken McLeod commented about a middle-age Madonna, saying she appears to be "at pains to be able to maintain the same fitness and ideal body image".[43] Back in 2005, Camille Paglia was critical summarizing "Madonna cannibalizes herself in a misguided attempt to appeal to today's youth".[80]

In 2015, Michael Arceneaux agreed that some artists faced similar challenges, but he added in Madonna two disadvantages: her age and her gender, and that "unfortunately, with age comes a certain disconnect" of things.[81]

Conversely, another group have praised Madonna from many things she has been criticized. At first, some like arts writer Fiona Sturges from The Guardian

Madonna's age was often compared to other fellows. Having mentioned some artists, Jacobs explained that many of them more or less accepted they are "nostalgia acts", and is a status "Madonna is hellbent on avoiding".[67]

Madonna's responses edit

Madonna have responded in diverse opportunities about ageism. As early as in 1992, at age of 34, Madonna asked in an interview with Jonathan Ross: "Is there a rule? Are people just supposed to die when they're 40?".[82]

An editor of The Independent cites, Madonna questioning critics on her age as are more aggressively that at her male contemporaries.[83]

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Sturges, decries the entertainment industry is among the worst culprits when it comes to fading out women, compared the scores of male figures carrying on into their 60s and 70s without a piece of criticisms on their age. She argues, "we can take heart that, as with so many aspects of the female experience, Madonna is doing her damnedest to put it right".[74] Jacobs defines: "That's the great tragedy of Madonna's late career. She wrote the playbook time and again, and she won't be alive to see the world acknowledge it".[67]

References edit

  1. ^ Hyden 2016, p. online
  2. ^ Street, John (1993). "Musicologists, Sociologists and Madonna". Innovation: The European Journal of Social Science Research. 6 (3): 277–289. doi:10.1080/13511610.1993.9968356. Retrieved February 10, 2022.
  3. ^ a b c "Madonna". Ohio State University. Archived from the original on December 16, 2016. Retrieved January 22, 2022.
  4. ^ Harrison 2017, p. 213
  5. ^ Havranek 2009, p. 262
  6. ^ CBS News Staff (November 3, 1999). "Let Us Now Praise Famous Men". CBS News. Retrieved October 2, 2022.
  7. ^ Bayles 1996, p. 334
  8. ^ Newitz, Annalee (November 1993). "Madonna's Revenge". EServer.org. Archived from the original on February 28, 2018. Retrieved September 30, 2022. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; February 28, 2014 suggested (help)
  9. ^ Gnojewski 2017, p. 48
  10. ^ a b Fouz-Hernández & Jarman-Ivens 2004, p. 188
  11. ^ a b c "60 Times Changed Our Culture". The New York Times. August 16, 2018. Archived from the original on July 22, 2020. Retrieved March 30, 2021.
  12. ^ Mills 1994, p. 71
  13. ^ Hopkins 2002, p. 52
  14. ^ a b Parish & Pitts 2003, p. 521
  15. ^ Bosch & Mancoff 2009, p. 642
  16. ^ a b Layton 2013, p. online
  17. ^ Milestone & Meyer 2013, p. online
  18. ^ a b von Lowtzow, Caroline (May 17, 2010). "Aus der Ursuppe des Trash". Süddeutsche Zeitung (in German). pp. 1–2. Archived from the original on July 26, 2020. Retrieved March 31, 2021.
  19. ^ Burr 2012, p. 289
  20. ^ Fouz-Hernández & Jarman-Ivens 2004, p. 171
  21. ^ Morgan 2015, p. online
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  23. ^ Gordon & Rudnytsky 2000, p. 224
  24. ^ "Woman in the News: Madonna". Financial Times. April 25, 2008. Archived from the original on April 30, 2021. Retrieved April 30, 2021.
  25. ^ Jung 2010, p. 169
  26. ^ Aletti, Vince (March–April 2000). "Q&A Madonna: the real views of a modern muse". American Photo. Vol. 11, no. 2. p. 44. Retrieved November 21, 2022.{{cite magazine}}: CS1 maint: date format (link)
  27. ^ Carlson & Gause 2007, p. 327
  28. ^ Schwichtenberg 1993, p. 153
  29. ^ Considine, J. D. (November 7, 1995). "Pure Madonna Album review". The Baltimore Sun. Archived from the original on June 27, 2022. Retrieved June 27, 2022.
  30. ^ Tyrangiel, Josh (January 25, 2010). "All-TIME 100 Albums". Time. Archived from the original on June 27, 2022. Retrieved June 27, 2022.
  31. ^ Erlewine, Stephen Thomas. "Madonna Biography at MTV". MTV. Archived from the original on September 22, 2012. Retrieved April 10, 2015. If necessary, click option Bio
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  33. ^ a b c d e O'Brien 2007, p. 221 Cite error: The named reference "OBrien15" was defined multiple times with different content (see the help page).
  34. ^ Ellen, Barbara (August 1, 2004). "Meet mid-life Madonna". The Guardian. Archived from the original on March 5, 2016. Retrieved February 6, 2022.
  35. ^ Rolling Stone Press 1997, p. 16
  36. ^ Hall & Hall 2010, pp. 445–446
  37. ^ McGregor, Jock (2008). "Madonna: Icon of Postmodernity" (PDF). L'Abri. pp. 1–8. Archived from the original (PDF) on December 7, 2020. Retrieved March 29, 2021. {{cite web}}: |archive-date= / |archive-url= timestamp mismatch; December 7, 2010 suggested (help)
  38. ^ a b Blackwell & Stephan 2004, pp. 173–177
  39. ^ Pendle, George (2005). "I'm Looking Through You On the slip of the icon". Bidoun. Archived from the original on June 7, 2022. Retrieved June 7, 2022.
  40. ^ a b Walker, Gail (August 19, 2008). "Why we're all still so hung up on Madonna". Belfast Telegraph. Retrieved September 30, 2022.
  41. ^ a b Robenznieks, Andis. "Striking a Chord for Vegetarianism". Vegetarian Times. No. 124. p. 36. Retrieved November 22, 2022.
  42. ^ Currid-Halkett 2010, p. 184
  43. ^ a b c d McLeod 2013, p. 64–65
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  45. ^ a b c d e Mateo, Ashley. "Madonna's Workouts Through The Years". Self. Archived from the original on January 31, 2022. Retrieved January 31, 2022.
  46. ^ Theroux 2017, p. 198
  47. ^ a b c d e "How pop icon became a body-positive fitness icon for women". Gulf Today. August 17, 2020. Retrieved November 21, 2022.
  48. ^ a b Sine, Richard. "Madonna's Fountain of Youth". WebMD. pp. 1–4. Archived from the original on November 2, 2016. Retrieved March 22, 2022.
  49. ^ McCall 2021, p. online
  50. ^ Saavedra, David. "Comité de expertos: Madonna a los 60" (in Spanish). Red Bull Music. Retrieved January 22, 2022.
  51. ^ Fouz-Hernández & Jarman-Ivens 2004, p. 162
  52. ^ Bosch & Mancoff 2009, p. 644
  53. ^ Fouz-Hernández & Jarman-Ivens 2004, p. 157
  54. ^ Cray, Graham (July–August 1991). "Post-modernist Madonna". Third Way. Vol. 14, no. 6. pp. 7–10. Retrieved July 12, 2022.
  55. ^ Denfeld 2009, p. online
  56. ^ a b Petridis, Alexis (June 14, 2019). "Madonna: 'I wanted to be somebody – because I felt like a nobody'". The Guardian. Archived from the original on June 24, 2019. Retrieved December 7, 2022.
  57. ^ Cross 2007, p. 106
  58. ^ Todd 2016, p. online
  59. ^ Grigoriadis, Vanessa (June 5, 2019). "Madonna at Sixty". The New York Times. Archived from the original on July 23, 2019. Retrieved March 14, 2022.
  60. ^ a b Guilbert 2015, p. 38
  61. ^ Löfgren & Shima 1998, p. 197
  62. ^ Fouz-Hernández & Jarman-Ivens 2004, pp. 179–180
  63. ^ Simone 2016, p. 122
  64. ^ Barcella, Laura. "Madonna and Me". Soft Skull Press. Archived from the original on July 7, 2022. Retrieved July 11, 2022.
  65. ^ Morton 2001, p. 12
  66. ^ "What Would Madonna Do?". Elle. August 15, 2014. Archived from the original on June 11, 2022. Retrieved June 11, 2022.
  67. ^ a b c d e Jacobs, Matthew (June 24, 2019). "On Hating Madonna". HuffPost. Retrieved March 21, 2022.
  68. ^ a b c Cole Rachel, T. (September 21, 2015). "I Made It Through the Wilderness: On Gay Fandom, and Growing Older with Madonna". Pitchfork. Retrieved October 13, 2022.
  69. ^ a b Zóttola, Maria Flor (March 30, 2020). "¡Contra la reina! Madonna quedó en el ojo del huracán por este grupo que la quiere defenestrar..." (in Spanish). Minuto Neuquén. Retrieved January 20, 2022.
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  71. ^ Lippe Davis, Patricia (August 16, 2018). "Madonna turns 60: Why she's more relevant than ever". Campaign. Retrieved October 22, 2022.
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  73. ^ Cain, Matt (August 16, 2018). "Eight ways Madonna changed the world, from exploring female sexuality to inventing reality TV". The Daily Telegraph. Retrieved September 30, 2022.
  74. ^ a b Sturges, Fiona (August 16, 2018). "All hail Madonna, a 60-year-old woman who won't be quiet". The Guardian. Retrieved October 13, 2022.
  75. ^ Jermyn 2016, p. 125
  76. ^ Haworth & Colton 2016, p. 17
  77. ^ Fresán, Rodrigo (September 3, 2000). "¿Quién es esa mujer?". Página 12 (in Spanish). Archived from the original on October 13, 2016. Retrieved March 3, 2022.
  78. ^ Farrell 2019, p. 42
  79. ^ Petersen 2017, p. online
  80. ^ Paglia, Camille (December 2, 2005). "Dancing as fast as she can". Salon.com. Retrieved October 13, 2022.
  81. ^ Arceneaux, Michael (July 23, 2015). "This Is The Problem With 'Rebel Heart'-Era Madonna". VH1. Retrieved October 13, 2022.
  82. ^ Foreman, Katya (March 10, 2015). "Madonna: Material girl". BBC. Retrieved October 13, 2022.
  83. ^ "Madonna, I'm sorry for calling you 'desperate'". The Independet. June 13, 2019. Retrieved October 13, 2022.

Book sources edit

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

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