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Madonna during the Berlinale in 2008

American entertainer Madonna debuted on media in early 1980s, and was almost instantly named a pop icon and media icon. Popular and critical explorations of her media figure resonated in diverse areas over decades, including media studies and communication studies. Discussion on Madonna's celebrity encompassed a wide range spectrum of themes, including fame, popularity, decline, longevity, at the same reviews often transcended Madonna's own career for noting an impact on others and the celebrity culture as a whole; even decades after her debut. Her early media dominance seen in various multimedia platforms, led her earned various nicknames, including "Queen of MTV", and also both "Queen of All Media" and the "Original Queen of Pop Media". She has also influenced a number of editors and authors.

Madonna has commanded a notable media exposure over her career, being critically labeled as the "first master of viral pop". Alone in the 20th century, her media coverage led some authors to consider her as the most overexposed female artist/celebrity of modern times and was slightly referred to as the most famous women on the planet; an epithet she sustained afterward. She also entered into the Internet age sparking debates online multiple times, although her usage of social media networks polarized her image later. Madonna has appeared in multiple celebrity lists, in terms of power rankings, media coverage and Internet presence. Spanning both the 20th and 21st centuries, a notable amount of international publications and authors, referred or discussed her as the biggest female pop star in several terms. Her rise to fame and media exposure also garnered her criticisms, while she was ambiguously celebrated or criticized as a "media manipulator". She also faced censure, while was also estimated as only a product of media.

Critical background

[...] Madonna had reached such staggering celebrity that scholarly and popular assessments of the meaning of her work for the future of feminism, for the sexual values of the young [...] indeed for virtually any issue one might imagine, had become a growth industry.

—Angela G. Dorenkamp (1995)[1]

Madonna was instantly considered a pop icon rather than a musician, with Martha Bayles saying "it is in the extramusical realm that Madonna really made her name".[2][3][4] Thomas Harrison, a music professor at University of Central Florida compared Cindy Lauper's rise to public eye by saying: "A singer and songwriter first and pop culture icon second; with Madonna, it was largely the opposite".[5] Peter Robinson from The Guardian describes: "Media training is a part of any sensible new popstar's pre-launch fitness regime, but Madonna didn't need it. She wrote the bloody book on it".[6]

German newspaper Süddeutsche Zeitung explained in 2010, that analyzing Madonna was never been only a domain of tabloid media.[7] Critically, she has been analyzed from perspectives such as media studies and communication studies,[8][9] while her rise to celebrity "spurred considerable scholarship", mainly in the 20th century.[9] Speaking of the intellectual response, Annalee Newitz condensed in 1993: "Fields from theology to queer studies have written literally volumes on what Madonna's stardom means for gender relations, for American culture, and for the future".[10] Furthermore, scholars analysed her media discourses and representations.[11] On this, professor Ann Cvetkovich considered analysis of figures like Madonna as important not only because she reveals the "global reach of media culture", but because she exemplifies various issues.[12] British sociologist Ellis Cashmore commented she exploited the expasion of media opportunities,[13] and Hispanic scholar José Igor Prieto-Arranz, considered rather than a singer, she is a global multimedia phenomenon.[14] Although author Tim Delaney also considered what "set the tone for public discourse and analysis" is her "outrageous behaviour".[15]

Media-cultural ubiquity

Context and impact

[With her media appearances] The singer "would be more culturally significant than most of the people who have changed the course of history or thought"

—Spanish philosopher Ana Marta González on her media coverage (2009)[16]

Authors of Media Studies: The Essential Resource (2004), called "cultural forms" and "media event" the reception, including "media talk" when a new Madonna album came out.[17] Authors of Madonnarama (1993), wrote that she has come to occupy that large public media attention, that Madonna functions rather like what environmentalists call a "megafauna".[18] Madonna continued to spark conversations online since her early on, including debates on Internet when American Life (2003) came out,[19] and during her Confessions Tour in 2006.[20] Michelle Orange from New York magazine explored in 2023, how Madonna innovated the "female mainstream avant-pop performance-artist superstar".[21]

Rolling Stone Spain considered Madonna as the first "master" of viral pop, further explaining she impacted multiple media formats, a triumph they compared to that of the Beatles.[22] In 2018, Marissa G. Muller similarly discussed for W how Madonna helped create the idea of monocultural —now known as viral— proto-viral moments back in the the 20th century, and even in modern Internet, citing her MTV Video Music Awards in 2003.[23] In 2015, Vulture's Lindsay Zoladz compared if the Internet is our modern religion, then Madonna is its Old Testament God.[24]

Traditional media and Internet age

Madonna's global Google Searches during 2010—2018

Over best part of her career, Madonna reached an unfathomable media exposure. In 1992, Music Week referred anything she does is news,[25] and similarly Mark Bego described how her every move was "considered front page news".[26] He also described "not since the days of Marilyn Monroe had a blonde American performer caused such a stir".[27] As a constant headline creator, many of her moves were also labeled as "news-making events".[28] In sum, she garnered maximum exposure through magazines, newspapers, and any other medium possible.[29] After reviewing the end of the 20th century with Madonna, academic William G. Doty described in Mythography (2000), that "nor can any late-twentieth-century theory satisfactorily explain the momentary appeal" of Madonna.[30] In 2023, The New York Times wrote since 1982, she has been "ubiquitous but also astonishing, when you consider the usual fleeting arc of pop stardom".[31]

Before the massively use of Internet, Matthew Jacobs from HuffPost considered that only Michael Jackson rivaled with her media coverage, labeling it a "feat" without of today "ever-rapid news cycle".[32] In Cashmore's words, she got more saturation, media coverage than anyone, present and past.[13] In Profiles of Female Genius (1994), author said: "The press has in turn made Madonna the most visible, photographed, and debated female in modern times".[33] Similar to Jacobs, Laura Craik from The Daily Telegraph said "before information was a quick Google away, Madonna was a rare and precious conduit, a woman who seemed plugged into the white-hot centre of the universe, yet all the while appearing to be her own current".[34]

On Internet exposure, Frances Wasserlein on Karlene Faith's Madonna, Bawdy & Soul (1997), commented her presence on the Net as billions of bytes devoted to her, on web sites "all over the world".[35] Alina Simone described in Madonnaland (2016) her presence on Internet as "crushing" further saying "trying to ingest it all, let alone wreath it in words, feels like trying to give the population of Indonesia a hug—a task further complicated by the fact that both are simultaneously growing".[36]

Fame

Critical and sizing discussions

Critically, Madonna's celebrity condition was praised for early authors over her other roles. Author Mark Bego said she turned it "a role unto itself".[37] Music critic Robert Christgau echoed her "celebrity is her true art".[38] Her "megastardom" also made her a "person-turned-idea".[39] Writing for The Observer in 2004, Barbara Ellen said arguably, "Madonna has transcended pop stardom to become the first great reality show".[40]

Speaking about her early fame, Christgau described it as so "far-reaching" that it is "difficult even to measure".[38] Decades after her heydays, according to the Rock and Roll Hall of Fame in 2008, she is one of the most "recognizable names in the world" beyond music.[41] In 2013, Liverpool John Moores University Lecturer, Dr Ron Moy, described her a "global pop star" whose notoriety have rendered her "one of the most recognisable human beings on the planet".[42]

Female condition

She was included among Paul Fraser Collectibles's Top 10 Most Valuable Living Autographs (2000—2014).[43]

Madonna reached an unprecedented level of fame as a woman in media or by a female artist. University of Leeds' Stan Hawkins considered she was the first female solo artist to gain superstar status in the 1980s.[44] Historian Gil Troy said she was "the 1980's dominant female star",[45] and similarly Arie Kaplan called her the most powerful female pop icon of the decade.[46] She also emerged for others, including Hawkins, as a central female icon of the twentieth century.[44] In MTV: The Making of a Revolution (1996), Madonna is called the "quintessential star of the 1980s and 1990s".[47] Overall speaking, music critic Neil McCormick wrote for The Daily Telegraph in 2023:

There was no one like Madonna before Madonna. She was really the first female global superstar and had to fight for every inch of space she occupied. There had, of course, been huge female stars before (Barbra Streisand, Dolly Parton, Tina Turner and Diana Ross to name a few) but Madonna's success has been on a whole other scale, stamping her forceful character on music, dance, fashion, video, film and all the connective cultural tissue in between.[48]

Back in 1995, American Photo considered "more than anyone else, Madonna challenged the terms of celebrity for women".[49] In The Greenwood Encyclopedia of Rock History (2006), MaryAnn Janosik acknowledges Madonna's rise as a self-made star, saying she helped demonstrate to a large audience that "power is accessible to all, including women".[50]

"Most famous woman"

It is not enough to have one, two or three personal transformations if you want to become and remain for decades perhaps the most famous woman in the world.

—Richard Koch (2020)[51]

On pair with a very few media female icons, Madonna was particularly both discussed or referred to as arguably "The Most Famous Women" in the world by multiple international publications and authors, spanning the 20th and 21st centuries.[52] According to Mary Gabriel, she was prone to statements like "I'm going to be the most famous woman in the world".[53] In 2020, Thomas Ferraro similarly referred "she seemed to have been intent on becoming the most famous woman in the world, and then did".[54] American journalist Vanessa Grigoriadis commented for The New York Times in 2019: "The conventional wisdom is that Madonna became more famous than everyone else because she was dying to became famous".[55]

French scholar Georges-Claude Guilbert asserts in Madonna as Postmodern Myth (2002): "In the American, British, Australian, and French press [...], it is generally taken for granted that Madonna is the most famous female in the world".[56] In American Icons (2006), associated professor Diane Pecknold echoed the "claim to distinction as 'the world's most famous women' seems to require no defense".[38] In 2008, economist Robert M. Grant referred to her as "the best known woman on the planet".[57] Other authors including Simon Frith (1993), Frances Negrón-Muntaner (2004) and Jancee Dunn (2012) also discussed or referred to her as such.[58][59][60] Furthermore, Matt Cain from The Daily Telegraph called her "one of the most famous women ever to have lived" in 2018.[61] In Madonna (2001), Andrew Morton referred to her as "the most wanted woman in the world".[62]

On her role as artist, in Madonnaland (2016), Alina Simone named her "the most famous female performer of all time".[36] In Myth, Mind and the Screen (2001), John Izod as the "possibly the most famous female media star of her epoch".[63]

Impact on celebrity culture

File:1996-paparazzi-buenos-aires-05-3.webp
Madonna in Buenos Aires, Argentina in 1996

Madonna's reinforced, ushered or introduced various connotations in celebrity culture. Sociologist Ellis Cashmore says she "didn't single handedly star celebrity culture",[64] but says she effected a change in style and the manner in which starts engaged with the media.[65] He also gave credits in usage of "scandal", something that become "a holy grail for celebrities".[66] In similar connotations, British art historian John A. Walker wrote in Art and Celebrity (2003) that her celebrity tactics "are now everywhere".[67] Billboard staffers declared in 2018, she set "the template for what a pop star could and should be".[68]

It is also cited that her expertise in attracting and maintaining the attention of the world's media throughthout the 20th century, "helped to redefine the nature of celebrity".[69] In 2019, The A.V. Club called her "modern pop's original icon".[70] Decades prior, considering entertainers with most impact in the last 50 years by 1999, Entertainment Weekly staffers called her as the "epitome of the modern entertainer".[2] She is also considered the archetypal postfeminist pop icon.[69] T. Cole Rachel from Pitchfork Media also agreed and stated "she devised the archetype of pop stardom as we know and understand it today".[71] In 2015, Elysa Gardner from USA Today held that "no single artist" was more crucial in shaping our modern view of celebrities.[72]

Erin Skarda wrote for Time magazine in 2012, that "she essentially redefined what it meant to be famous in America".[73] British author Peter Robinson felt "Madonna pretty much invented contemporary pop fame so there is a little bit of her in the DNA of every modern pop thing".[74] Furthermore, Brandon Sanchez from The Cut acknowledges Madonna's role for helping "standardized the script for the reception of —and debates surrounding— pop stars".[75] In Madonna as Postmodern Myth (2002), Georges-Claude Guilbert explored how some "celebrities seeking publicity do not hesitate to use Madonna's name".[76]

Pop condition

Madonna's career was always measured and objected in terms of relevancy and popularity. Michele Yeo explained for Entertainment Tonight Canada in 2018, that "much ink and cyber space have been devoted to debating" her "relevancy".[77] Madonna's figure was also often measured with an expiration date; In 2001, Chuck Myers from Sun Sentinel considered that "long ago, many detractors wrote off Madonna's staying power".[78]

Discussions about permanency

As early as 1985, Madonna was labeled by that moment as "the hottest draw in show biz" by Time magazine.[79] Years later, in Women Creating Lives (1994), Madonna's popularity was highly considered to have crosses lines of "gender, race, class" and "even education".[80]

Commentaries and analysis of her decline has been also addressed. In the views of American authors and academics such as Lynn Spigel and Andrew Ferguson in the 1990s, her "real crime" was her own longevity.[81] In 1996, British author Mark Watts describes "rise and (perceived) decline of Madonna has gone, so to say, hand-in-hand with that of postmodern theory — but none the less pervasively influential for that".[82] Even more, in the 1990s, Jean-Luc Godard criticized she "isn't popular, she's popularized. That's very different".[83] Argentine writer Rodrigo Fresán commented in 2008, that "Madonna now lives off the shock wave of a Big Bang" describing her as a "dead star" but very "intelligent".[84] In 2018, Cashmore said "thereafter, her presence might have faded, but her influence remained".[65] "Frequency is generally steady until key moments in her career produce intense spikes of activity", Deborah Jermyn from University of Roehampton commented in 2016.[85] Jermyn also explored the growing proliferation of "negative discourses surrounding her continued body project to remain" in the stage.[85]

On the contrary, her ability to stay in the spotlight of pop culture in many arenas were both praised and noted for others. A Denver Post correspondent commented in 2012, her permanence "at the center of things has come and gone".[86] Reviewers alone in the 21st century, includes Rolling Stone acknowledging in 2021 her "ability to say at the center of pop culture for longer than nearly anyone".[87] In the 2010s, during a panel head by Spaniard critic Víctor Lenore, Madonna was understood as "the most influential female performer of popular culture" at that time.[88] In 2015, Elysa Gardner from USA Today called her "our most durable pop star".[72] Back in the 2000s, a Belfast Telegraph columnist Gail Walker editor commented "not even male icons have stayed at the front of popular culture the way she has",[89] while business professor Oren Harari quoted a critic describing her as "the most durable pop symbol of her generation".[90]

Madonna's responses: Madonna has responded various times, mainly to the criticisms of her permanency. Professor Robert Miklitsch, said she sardonically ask her critics in "Human Nature" about her longevity and controversies with the phrase: "Did I stay too long?".[91] At the 2016 Billboard Women in Music, she told the audience: "I think the most controversial thing I have ever done is to stick around".[92]

Longevity-success

See also: Madonna (nickname)

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

—David Thomas from MTV Australia (2013).[93]

Background: She debuted with many critics, including Robert Hilburn, Dave Marsh and Paul Grain (Billboard), labeling her a one-hit wonder, and predicting a rapid decline.[94] In a short span, Madonna perpetuated an image of career riskier as various described various times how her career ended because she "gone too far".[92] On this, editor Jed La Lumiere commented: "Over the years, Madonna has walked a fine line between having gone too far, and getting her point across. To me she is the quintessential icon of 'you don't know until you try'".[95] While she outsurvived the critics, Billboard recalled after naming her "Artist of the Decade" in 1989, she "has always stayed one step ahead our expectations".[96]

Timeline: Before having a 10-years career, media begun to address her longevity in early 1990s.[32] Jon Pareles called her in 1991 "veteran" and her permanency was labeled as the "equivalent to five lifetimes in rock-star years" by a The Philadelphia Inquirer correspondent.[97][98] In 1992, Australian newspaper The Canberra Times attributed her ability to change her image frequently as the "secret of Madonna's longevity".[99] In 2022, Helen Brown from Financial Times explained the epoch by saying "average chart-life of a pop singer was two to six years, generally shorter for women that men".[92] While there were performers of lenghty careers over Madonna, media scholar David Tetzlaff brought the nostalgia value, including Elvis Presley, Liz Taylor and even the Rolling Stones.[100] In 1995, critic Gina Arnold compared her with contemporary artists, saying "her longevity alone proves which one of those three artists truly altered the face of popular culture".[101] In 1999, Thales de Menezes from Brazilian newspaper Folha de S.Paulo considered her a "rare case" of lasting relationship with success.[102] In the next decades, authors addressed similar discussions, including Jennifer Egan (2002) and LZ Granderson (2012).[103][104]

Cultural impact: Various sectors and communities praised both her multi-decades success with longevity. They praised it as having little or non-existed nostalgia and comeback values. In Profiles of Female Genius (1994), author asserted: "Her success has made her the most visible show business personality of the era, and arguably of the century".[33] By 2013, professor Roy Shuker defines that "the continued success of Madonna provides a fascinating case study" in popular music.[105] Tony Sclafani from MSNBC considered by 2008, that her successive hit records "opened people's minds as to how successful a female artist could be".[106] Professor Thomas Harrison, similarly claimed she "had a profound impact" on what artists needed to do be successful in the 1980s and the decades afterward.[107] Even more, Time magazine commented in 2010 that "every pop star" of the past two or three decades, "has Madonna to thank in some part for his or her success".[108] Mary Cross similarly wrote in Madonna: A Biography (2007), "new pop icons [...] owe Madonna a debt of thanks for the template she forged".[109] Cashmore especially praised the fact she both epitomized and helped usher in an age in which the epithets "shocking", "disgusting" or "filthy" didn't presage "the end of a career".[65]

Cultural estimations

For the 1980s, media historian James L. Baughman called her "nation's most popular female singer".[110] In 2008, The Seattle Times regarded her as "the most popular female singer of her generation".[111] In Media Culture (2003), Douglas Kellner similarly recognized her as "the most popular woman entertainer of her era" and even perhaps of all time.[112]

On longevity-success, Madonna was immediately called "the most successful female solo pop performer ever" by Women's Review on 1986 or so before.[29] The Guinness Book of World Records referred to her as the "most successful" female artist or female solo artist spanning both 20th and 21st centuries.[113] In 2020, Journal of Business Research collaborators estimated her as "probably the most successful female music artist ever" in several terms.[114] In 2015, gender scholar Laura Viñuela in a Madonna class at University of Oviedo felt she was "the only woman who has such a long and massively successful career" in music world up that point.[115] British musicologist David Nicholls also suggested in late 1990s: "Madonna became the most successful woman in music history by skillfully evoking, inflecting, and exploiting the tensions implicit in a variety of stereotypes and images of women".[116]

Print media

Newsstands

Madonna's ubiquity in newsstands (mainly for magazine covers) was commented on,[117] leading a scholar describing in early 1990s that "this alone makes Madonna a phenomenon worthy of analysis".[14] Bego said that magazines or calendars "sell out in record numbers when her name or likeness is on them".[118] According to author of Madonna: Queen of The World (2002), Madonna regularly sold "huge amounts" of newspapers and magazines, and media often "wanting to duck into the pot of gold she creates".[119]

Magazine and calendars

See also: List of best-selling individual magazine covers
Brazilian singer Rodrigo Sá, holding a magazine in which Madonna cover appears for Q

As of 2020, Madonna had graced the covers of an estimated 4,700 magazines worldwide,[120] ranging from fan to high fashion periodicals weighing six pounds.[121] Cindy Crawford and Madonna were the most featured cover girls of the 1980s and 1990s.[122] Commenting about the 1980s, media historian James L. Baughman referred: "It was hard to find a magazine rack in the late 1980s that did not have one or mores periodicals with her picture gracing the cover".[110] In 1989, she was the most popular and best-selling pin-up girl in Singapore.[123] In 1992 alone, Madonna was the most commercial cover girl in the U.S.[124] More people picked up her cover in 1992 on Entertainment Weekly that any other of their issues that year.[125]

Notable sales include her debut in American Vogue in 1989, which was seen by its director Anna Wintour as "something extraordinary, like forty percent".[126] In 1985, Penthouse and Playboy magazines published a number of nude photos of Madonna. They had their Madonna issues on newsstands weeks earlier than usual, and increased their print run up to 15 and 10 percent respectively.[118][127] Madonna's issues in Penthouse and Playboy were distributed at 5 million copies each.[127][128][129] Her 1997 March's Vanity Fair cover titled "Madonna and Child" was featured among the best-selling covers of 1998 with editor Graydon Carter commenting that "Madonna always sells phenomenally well".[130] Infobae noted how she has been featured in many of their international editions, selling its copies in matters of days.[131]

Her cover issue for W in 2003, titled X-STaTIC PRo=Cess, became the magazine's best-selling edition.[132] The same year, a celebrity calendar firm in the UK placed her third among the best-selling woman in their 25th anniversary.[133] She was also ranked as the fifth all-time bestselling female celebrity calendar on Amazon UK in 2011.[134] She donned special anniversaries cover for some magazines. To celebrate their 50th anniversary, she graced four Cosmopolitan issues.[135] She graced a special cover highlighting the 150th anniversary of Harper's Bazaar in 2017; and observer referred to her as a "favorite" for the magazine an noted her likeness in multiple editions.[131][136] Commemorating their seventh anniversary, the staff of Spin highlighted two Madonna's covers in their own narrative of Genesis creation.[137]

Madonna's authorship

Landon Palmer, professor at University of Alabama, comments her impact in popular culture include areas like publishing realm.[138] Madonna herself, had been inspired by diverse poets and authors developing an "intense interest in poetry" while many of her songs have roots in poetry and philosophy.[139]

She achieved various industry records with her books. Her first book Sex became the best and fastest-selling coffee table book.[140][141] It had the largest initial release of any illustrated book and remains as one of the most in-demand out-of-print publications of all time.[142][143] Two of her children books are among the largest publishing titles in history by its number of translations. Alone The English Roses had the largest simultaneous multi-language debut for a book, with a target of more than 100 countries and 30 languages.[144] It became the fastest-selling picture book by a debutant children's author.[145]

Influence on others

See also: Bibliography of works on Madonna and Madonna studies
Madonna has influenced editors like Natalia Mardero, whom was referred as Madonna's "goddaughter".

Madonna was one of the contributors to spread interest in Rumi's poetry according to publisher DK.[146] Novelists including Paulo Coelho and Lynne Truss have expressed admiration towards her.[147][148] With her success in children literature, Ed Pilkington from The Guardian felt that she "lured a host of other celebrities and publishers into the [children's book] market".[149]

By the 20th century, biographer Adam Sexton expressed that an author can't even write a book-length essay on the writer he's obsessed by without mentioning Madonna's name.[150] "Cut Madonna, and ink comes out", once described a Time contributor.[151] Madonna was also cited by a number of editors and authors as an influence. Having been an influence for him, Matthew Rettenmund made his publishing career debut writing about her in 1995.[152] Italian writer Francesco Falconi cited her as an influence and dedicated his non-fictional debut to a Madonna's biography.[153] Australian editor Marc Andrews, former contributor for Mediaweek was inspired by both Madonna and Kylie Minogue for transitioning from local to international coverage.[154] Madonna and Me (2012) by Jessica Valenti and Laura Barcella, as write critics Eric Weisbard and Steven Hyden, is a book about dozens of women writers tracing their relationship with Madonna over the years.[155][156] Writers and journalists have devoted articles discussing Madonna's influence on them, including Natalia Mardero and two 2018's articles from Belfast Telegraph and HuffPost.[157][158][159] A publication even referred to Mardero as Madonna's "goddaughter".[159]

Associate professor Diane Pecknold in American Icons (2006) also notes she helped popularize words and phrases in the English lexicon, including the term wannabe, and Desesperately Seeking [...] considering media headlines.[38] People staffers said she "coined" the term for "Get rid of it".[160]

Visual media

See also: Super Bowl XLVI halftime show
Madonna with CeeLo Green and the Center Grove High School drum line during the 2012 halftime show

Her presence on TV, also achieved notable ratings, including then the highest-rated for an Arsenio Hall Show in 1990,[161] and then highest HBO's most-watched nonsports event ever with the broadcast of the Blond Ambition World Tour Live.[162] Madonna's halftime show of 2012, became then the most-watched in the event's history, and remains one of the 10 most-watched as of 2023.[163]

VH1

Madonna was an important figure for VH1 been called one of VH1's all-time top artists who personified the VH1 audience.[164] In 1995, she participated along with Sting and Sheryl Crow in channel's most important consumer advertising campaign since the network's launch in 1985. The network of 50 million households by that time, described her presence in the campaign "lends undeniable star power to the spots" and also "imbues the network with the kind of credibility".[164]

MTV

[She] gave the MTV Video Music Awards a still-standing reputation as home to the most shocking moments ever seen on an awards show [and] planted MTV's flag firmly in the pop culture landscape. (Thanks, Madge!).

—MTV Staff on Madonna (c. 2008).[165]

Madonna's impact on MTV was significant on par with Michael Jackson. Although Arie Kaplan claims that "she was the first artist to really use MTV to establish her popularity",[46] the rise of MTV and Madonna were nearly "synonymous".[166] Both had contributed substantially to each other's success,[167] with Mark Bego saying "Madonna helped make MTV as much as [MTV] helped make her".[167] More than one author considered it as a "symbiosis", including professor Ian Inglis.[168] A Rolling Stone editor commented as Madonna morphed into "the world's most famous woman, so, too, did MTV evolve into a sleek superpower".[169]

Madonna during a MTV International interview in 2019

In 2019, Rolling Stone staffers including Bilge Ebiri and Maura Johnston considered "no artist conquered the medium" like her, with her videos defining the MTV era and changing "pop culture forever".[170] "Quite simply there was no one else like her", stated Carrie Havranek in Women Icons of Popular Music (2009).[166] Associate professor Diane Pecknold, called her the "MTV ideal".[38] Although biographer Chris Dicker stated she transceded her "MTV persona",[171] while other journalist stated she is "the first pop star of the MTV era to remain prolific at 60".[32]

According to The New York Times in 2018, Madonna gave the network more media headlines than any other artist.[172] Publications including The New York Times and MTV itself, have agreed how Madonna set the tone for the MTV Video Music Awards followed by decades.[172][165] Inglis in a lenghty exploration, concludes that the more important legacy of "Like a Virgin" is the "legitimacy it lent to MTV at a time when MTV was trying to convince the world of the worthiness of music video".[168] However, writing for National Review in 2015, David French was less impressed in how the channel have appealed Madonna's 1984 formula when pop music is supposed to be about the "now", saying "since then, it's been all Madonna, all the time".[173]

Cinema

Not only changed the way filmmakers explored the world of celebrity, but also had a profound impact on LGBTQ representation in film [...] become the highest-grossing documentary of all time.

—Laura Martin from Esquire on Truth or Dare (2022).[174]

Madonna's main impact on cinema was with Truth or Dare (1991); Guy Lodge from The Guardian named the movie her "most significant contribution to cinema".[175] Joe Coscarelli from The New York Times said it "presaged the celeb-reality complex";[176] it shows the "real" Madonna and the "celebrity". That perception of a major star was something unusual at that point as celebrities of Madonna's magnitude were often prized for their "distant mystique" not their "familiarity".[175] The film is often referred as a precursor of the reality television,[177] released one year before MTV's premiere of Real World that also is cited as a chief impact on the format.[23]

Madonna has been taken as inspiration for others in the industry. In the case of Mexican actress Salma Hayek, she told Hispanic press that took inspiration from her for the role Tale of Tales.[178] Katy Perry did the same for her documentary concert film Katy Perry: Part of Me.[179] Madonna even inspired photorealism in Avatar (2009).[180] She also impacted fashion with some movies; in the case of Evita, professor of cinema studies David Desser concurred saying she "illuminated changes in Hollywood's fashion mettle through her role".[181]

Ambiguities

Criticisms

In 1992, Mexican newspaper El Siglo de Torreón called Madonna the best example of a self-advertise and overexposed star in media, saying that appearing everywhere often damage the image of any artist.[182] Media theorist Douglas Rushkoff explained that "Madonna's career has been more dependent on media backlash than it has on positive excitement or artistic achievement in the traditional sense".[183]

Her raise to fame and celebrity status also garnered her criticisms. In the 1990s, an author described her "raunchy" reputation brought her fame and fortune while called her also "Hollywood's most controversial star".[184]

"Media manipulator"

Madonna was often positioned as a media manipulator, attaining both highly positive comments and criticisms. Although he was generally positive towards Madonna, Bego referred she was "the selfcreated product of shameless media manipulation".[118] Music critic J. D. Considine considered her "more media manipulator than musician".[185] American journalist Josh Tyrangiel said that she reached her peak with the advent of her album Like a Prayer.[186] In 1992, Mark Brown correspondent from Telegraph Herald called Madonna the "reigning queen". Although also considered perhaps even better at manipulating the media, though, was Sinead O'Connor.[187] In response to being called a "media manipulator", Madonna was quoted as saying in 1991:

In the business world and in the world of politics, it's considered an asset. But in the entertainment industry, it's easier for people to deal with me by undermining my talents by saying that I'm not a good actress, not a good singer, not a good musician — or anything like that [...] They take everything else away from me, but give me that.[188]

The label was not always accompanied of negative connotations. Rock and Roll Hall of Fame stated in 2008, that "no one in the pop realm has manipulated the media with such a savvy sense of self-promotion".[41] For music critic Stephen Thomas Erlewine, the public and media manipulation become in one of her greatest achievements.[189][190] Authors in The Best Value Beauty Book Ever! (2007) described her as "perhaps the most media-savvy female performer ever".[191] Although decades later with the advent of social media, her then-well received "media manipulator" image, turned "inauthentic" for many.[192]

Relationship with media

File:1996-evita-press-conference-buenos-aires-12.webp
Press conference in Buenos Aires, 1996 for the film Evita

The media have always drawn on Madonna for sensational news, yet they have also been quite relentless in their criticism of her.

—University of Macerata scholars (2022).[193]

In Keeping the Promise: Essays on Leadership, Democracy, and Education (2007), scholars called her a "complex character in media culture".[194] For years, Madonna earned a reputation as a "tough interviewee".[195] While she continued to attract media interest into the 21st century, she was known as an elusive figure. For instance, her first Chilean interview occurred until 2012 with Andrés Caniulef's Canal 13; it attracted coverage of national outlets and was considered a "feat" for a national media.[196] In Howard Stern Comes Again (2019), radio personality Howard Stern cites Gary Dell'Abate explaining that took "about thirty years" to have an interview with the singer (March 2015), accommodating their schedule to coincide with her, and saying "that's the only time I've ever done that [...] That's how important it was to have Madonna on".[197] Madonna: The Rolling Stone Files (1997), chronicles Madonna's relationship with Rolling Stone magazine, described by them inside the book: "From the beginning, Rolling Stone was as fascinated by Madonna as were its readers".[198]

Madonna has also became "one of the most famous tabloid fixtures in the world", possibly second to Princess Diana at some stage wrote author Erin Carlson.[194] Upon the release of her film W.E. in 2012, Naomi Wolf explored reactions to her "media detractors".[199]

Incidents

See also: Radio 1 Madonna controversy, Madonna on the Late Show with David Letterman in 1994, and Censorship on MTV
File:1996-paparazzi-buenos-aires-09-3.webp
Madonna seen from her privacy in a hotel. Photography taken in Argentina (1996)

Biographer Carol Gnojewski describes how Madonna's popularity also contributed to her first marriage undoing with Sean Penn. She describes the media had already begun to consider her "public property".[200] In December 2008, media informed Madonna sued The Mail on Sunday from an alleged sum of £5 million in damages of breaching her privacy and copyright in publishing 11 pictures of her wedding with Guy Ritchie in 2000, followed news their marriage had broken down. According to The Guardian then, if her claim was accepted would be the biggest ever payout in a privacy case in the UK.[201] On October 2009, People magazine informed Madonna won the court, and Associated Newspapers paid an undisclosed amount. The proceeds were announced to be donated to Madonna's charity, Raising Malawi.[202]

Madonna had also suffered of censure due her provocative tones. Her appearance in 1994 at the Late Show with David Letterman became the most censored episode in American network television talk-show history.[203] Madonna was censured in Texarkana HITS 105 Radio, due a provocative speech at 2017 Women's March against Donald Trump. Its general manager, Terry Thomas, explained in a statement that "banning all Madonna songs at HITS 105 is not a matter of politics, it's a matter of patriotism", after they perceived she shown un-American sentiments.[204]

Achievements

Nicknames

Madonna was called a "media icon".[29] Authors of Sound-Bite Saboteurs (2010), referred to Madonna as an "icon of our media culture".[205] In 1987, American critic Kristine McKenna called her the "Goddess of Mass Communications".[206] Bego similarly explored how Madonna surpassed the moniker of "star" and ascended to the role of "Media Goddess".[26] According to James Robert Parish and Michael R. Pitts in Hollywood Songsters: Garland to O'Connor (2003), Madonna became the latest "Queen of the Media".[28] Madonna was also called "Queen of MTV".[207] CNN staff commented in 1998, MTV could stand for "Madonna Television".[208]

Retrospectively, Peter Robinson from The Guardian highlighted her as the "Original Queen of Pop Media".[6] In 2013, professor Mathew Donahue from Bowling Green State University referred to her as "Queen of All Media".[209]

Considerations

Immediate and retrospectively, Madonna's celebrity was placed high. MaryAnn Janosik denoted limitations of encapsulate her in a single decade, by saying "calling Madonna the biggest female star of the mid-late 1980s would be as limiting a profile as identifying Michael Jackson as African American or Bruce Springsteen as a New Jersey Catholic".[210] In the 2000s, she was called "arguably the biggest female pop star in American history" by Christopher John Farley and "America's greatest female pop star ever" by Utrecht University professor Anne-Marie Korte.[20] By 2003, Merle Ginsberg described her "perhaps the biggest star who ever lived".[211] Similarly, Louis Virtel for Uproxx in 2014, called her as the "greatest celebrity of all time".[212] In 2023, Billboard referred to her as "the biggest pop diva the world has ever seen".[213] In Profiles of Female Genius (1994), author wrote that only her inability to conquer movies has kept her from being acknowledged as the greatest entertainment phenomenon ever.[33]

Selected media records

Madonna scored various MTV records. According to El Telégrafo, "La Isla Bonita" became the most requested video in the channel's history for a record-breaking 20 consecutive weeks.[214] According to John W. Whitehead, Madonna was the artist with "most videos released" in the network.[215] Similarly, editors of Encyclopedia of Contemporary American Culture (2005) said that "MTV plays her music videos more than any other artist's".[216]

On Internet, Madonna was also able to achieve some records. She set the record of the largest live webcast after attracting more than 11 million users during a concert at London's Brixton Academy in 2000, surpassing Paul McCartney's 3 million users.[217] According to some media reports, her kiss with Britney Spears at the 2003 MTV Video Music Awards became then the most searched image in the history of Internet.[218] After her performance at the Super Bowl XLVI halftime show in 2012, Madonna set the record as the most-tweeted subject on Twitter.[219] With the release of MDNA (2012) she set the largest day of pre-orders for an album in iTunes.[220] In 2019, Madonna became the first female artist to have videos from four different decades with over 100 million views on YouTube.[221]

Celebrity lists

Madonna has appeared in several power and media coverage lists. For instance, she was included among the 101 Most Powerful People in Entertainment by Entertainment Weekly in 1991,[222] and voted the Best Entertainer of the Year and Most Overexposed Actor/Actress the following years in a US poll.[223] From 1998 until 2016, Madonna made appearances in various Forbes Celebrity 100, which ranks several metrics such as earnings, media coverage, social media following and magazine covers.

In 2003, Alvin Hall ranked Madonna for BBC as the "most powerful celebrity".[224] Madonna also ended as the most played artist of the 2000s in the United Kingdom according to Phonographic Performance Limited (PPL), and the most-talked about celebrity according to Kantar Group.[225][226] In 2021, PPL ranked her second, as the most played women in the 21st century in UK.[227] In 2022, Liberty Games ranked her the most popular musician in history based on an analysis of over 6,500 songs from the top 100 Billboard charts.[228]

Internet rankings

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

—Madonna on Who's Bigger?: Where Historical Figures Really Rank (2013), "1,000 people in history"[229]

Madonna also appeared in various lists of Internet culture. According to Orlando Sentinel, Cornell University ranked Madonna in 2014 as the "most influential woman in history" based on a study of Wikipedia algorithms.[230] In 2017, Madonna topped ThoughtCo's list of "Top 100 Women in History", calling Madonna "the number one woman of history searched for year after year on the Net".[231] In 2014, Madonna was ranked third —highest-ranked woman— at Time's magazine "The 100 Most Obsessed-Over People on the Web", only behind George W. Bush and Barack Obama.[232]

All-time pop culture lists

Madonna on entertainer lists and publications (all-time/century)[a]
Year/era Publication(s) List or Work Rank Ref.
1998 Time Life Time 100: Leaders & Revolutionaries[b] n/a [233]
1999 Entertainment Weekly 100 Greatest Entertainers[c] 5 [2]
2003 People 200 Greatest Pop Culture Icons 9 [234]
2003 VH1 200 Greatest Pop Culture Icons 7 [235]
2004 100 Greatest Pop Culture Icons 2 [236]
2005 Variety 100 Icons of the Century n/a [237][238]
2008 Record Collector 100 Most Collectable Divas 1 [239]
2013 ABC-CLIO 100 Entertainers Who Changed America n/a [240]
2016 Encyclopædia Britannica, Inc. The 100 Most Influential Entertainers of Stage and Screen n/a [241]

Notes

  1. ^ Listicles limited to only ten publications.
  2. ^ Section of "artists & entertainers"
  3. ^ From the "past half-century"

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Book sources

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

External links

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