text:
Madonna (entertainer)
Madonna | |
Madonna performing during The MDNA Tour, August 2012
Background information | |
Birth name | Madonna Louise Ciccone |
Also known as |
Born | Bay City, Michigan, U.S. |
August 16, 1958
Origin | New York City, U.S. |
Genres | Dance, electronic, pop, rock |
Occupations | Singer-songwriter, record producer, dancer, author, director, entrepreneur, philanthropist, actress |
Instruments | Drums, guitar, percussion, synthesizer, vocals |
Years active | 1979–present |
Labels | Interscope, Live Nation, Maverick, Sire, Warner Bros. |
Associated acts | Breakfast Club, Emmy and the Emmys |
Website | www.madonna.com |
Madonna Louise Ciccone[1] (/tʃɪˈkoʊneɪ/ chi-KOH-nay; born August 16, 1958) is an American singer-songwriter, actress and entrepreneur. One of the most prominent cultural icons for over three decades, she has achieved an unprecedented level of power and control for a woman in the entertainment industry. Madonna is known for continuously reinventing both her music and image, and for retaining a standard of autonomy within the recording industry. She attained immense popularity by pushing the boundaries of lyrical content in mainstream popular music and imagery in her music videos, which became a fixture on MTV. Music critics have praised her diverse and innovative musical productions which have also been known to induce controversy. Cited as an influence among numerous artists around the world, she is often referred to as the "Queen of Pop".
Born in Bay City, Michigan, Madonna moved to New York City in 1977 to pursue a career in modern dance. After performing in the music groups Breakfast Club and Emmy in the late 1970s and early 1980s, she signed with Sire Records (an affiliate of Warner Bros. Records) in 1982 and released her self-titled debut album the following year. She followed it with a series of commercially successful albums, including the Grammy Award winners Ray of Light (1998) and Confessions on a Dance Floor (2005). Throughout her career, she has written and produced most of her songs, with many of them have hit number one on the record charts, including "Like a Virgin", "Into the Groove", "Papa Don't Preach", "Like a Prayer", "Vogue", "Frozen", "Music", "Hung Up", and "4 Minutes".
Madonna's popularity was further enhanced by her critically successful role in film Desperately Seeking Susan (1985). However, most of her film appearances received harsh feedback. She garnered critical acclaim and a Golden Globe Award for Best Actress in Motion Picture Musical or Comedy for Evita (1996). Her other ventures include: fashion design, writing children's books, and film directing and producing. She has been acclaimed as a businesswoman, most notably after she founded entertainment company Maverick (including the label Maverick Records) in 1992 as a joint venture with Time Warner. In 2007, she signed an unprecedented US $120 million 360 deal with Live Nation.
Madonna has sold more than 300 million records worldwide and is recognized as the best-selling female recording artist of all time by Guinness World Records. Madonna is the best-selling female rock artist of the 20th century and the second best selling female artist in the United States, with 64.5 million certified albums. In 2008, Billboard ranked her at number two, behind only The Beatles, on the Billboard Hot 100 All-Time Top Artists, making her the most successful solo artist in the history of the American singles chart. The publication also declared Madonna as the top-touring female artist of all time. Due to her major influence in contemporary music, Madonna has been included in the list of "25 Most Powerful Women of the Past Century" by Time and was crowned the "Greatest Woman In Music" by VH1. She became one of the five founding members of the UK Music Hall of Fame and was inducted into the Rock and Roll Hall of Fame in her first year of eligibility.
- 1 Life and career
- 1.1 1958–81: Early life and career beginnings
- 1.2 1982–85: Madonna, Like a Virgin and marriage to Sean Penn
- 1.3 1986–91: True Blue, Like a Prayer and the Blond Ambition Tour
- 1.4 1992–97: Maverick Records, Sex, Erotica, Bedtime Stories and Evita
- 1.5 1998–2002: Ray of Light, Music and marriage to Guy Ritchie
- 1.6 2003–06: American Life, children's books and Confessions on a Dance Floor
- 1.7 2007–09: Live Nation, Hard Candy and the Sticky & Sweet Tour
- 1.8 2010–12: W.E., MDNA and business ventures
- 1.9 2013–present: secretprojectrevolution and upcoming thirteen studio album
- 2 Artistry
- 3 Legacy
- 4 Kabbalah Centre
- 5 Discography
- 6 Tours
- 7 See also
- 8 References
- 9 Bibliography
- 10 Further reading
- 11 External links
Life and career
1958–81: Early life and career beginnings
Madonna Louise Ciccone was born in Bay City, Michigan, on August 16, 1958. Her father, Silvio Anthony Ciccone, is a first-generation Italian American (with roots in Pacentro, Italy), while her mother, Madonna Louise (née Fortin), was of French Canadian descent.[2] Her father worked as a design engineer for Chrysler and General Motors. As Madonna had the same name as her mother, family members called her "Little Nonni".[3] The third of six children from her father's first marriage, her full-blood siblings are: Martin, Anthony, Paula, Christopher, and Melanie.[3]
Madonna was raised in the Roman Catholic faith. Upon receiving confirmation in 1966, she adopted Veronica as an additional confirmation name.[4] She was raised in the Detroit suburbs of Pontiac and Avon Township (now part of Rochester Hills). Her mother died of breast cancer at the age of 30, in 1963.[5] Months before her mother's death, Madonna noticed changes in her behavior and personality, although she did not understand the reason.[5] Mrs. Ciccone, at a loss to explain her medical condition, would often begin to cry when questioned by Madonna. Madonna later acknowledged that she had not grasped the concept of her mother dying.[6]
Madonna turned to her grandmother in the hope of finding some solace and some form of her mother in her. The Ciccone siblings resented housekeepers and invariably rebelled against anyone brought into their home ostensibly to take the place of their beloved mother.[5] In an interview with Vanity Fair, Madonna commented that she saw herself in her youth as a "lonely girl who was searching for something. I wasn't rebellious in a certain way. I cared about being good at something. I didn't shave my underarms and I didn't wear make-up like normal girls do. But I studied and I got good grades ... I wanted to be somebody."[5] Terrified that her father could be taken from her as well, Madonna could often not sleep unless she was near him.[5]
In 1966, Madonna's father married the family's housekeeper Joan Gustafson, and they had two children: Jennifer and Mario Ciccone.[3] At this point, Madonna began to express unresolved feelings of anger towards her father that lasted for decades, and developed a rebellious attitude.[5] She attended St. Frederick's and St. Andrew's Catholic Elementary Schools, and then West Middle School. She was known for her high grade point average, and achieved notoriety for her unconventional behavior: she would perform cartwheels and handstands in the hallways between classes, dangle by her knees from the monkey bars during recess, and pull up her skirt during class—all so that the boys could see her underwear.[7]
Madonna later attended Rochester Adams High School where she became a straight-A student and a member of the cheerleading squad.[8] After graduating, she received a dance scholarship to the University of Michigan.[9] She convinced her father to allow her to take ballet lessons[10] and was persuaded by Christopher Flynn, her ballet teacher, to pursue a career in dance.[11] In 1978, she dropped out of college and relocated to New York City.[12] She had little money and worked as a waitress at Dunkin' Donuts and with modern dance troupes.[13] Madonna said of her move to New York, "It was the first time I'd ever taken a plane, the first time I'd ever gotten a taxi cab. I came here with $35 in my pocket. It was the bravest thing I'd ever done."[14] She started to work as a backup dancer for other established artists. During a late night, Madonna was returning from a rehearsal, when she was dragged up an alleyway by a pair of men at knifepoint and forced to perform fellatio.[15] Madonna characterized the attack as rape; she later commented that "the episode was a taste of my weakness, it showed me that I still could not save myself in spite of all the strong-girl show. I could never forget it."[16][17]
While performing as a dancer for the French disco artist Patrick Hernandez on his 1979 world tour,[7] Madonna became romantically involved with musician Dan Gilroy. Together, they formed her first rock band, the Breakfast Club,[18][19] for which Madonna sang and played drums and guitar. In 1980[3] or 1981[20] she left Breakfast Club and, with her former boyfriend Stephen Bray as drummer, formed the band Emmy. Their music impressed DJ and record producer Mark Kamins who arranged a meeting between Madonna and Sire Records founder Seymour Stein.[20]
1982–85: Madonna, Like a Virgin and marriage to Sean Penn
After Madonna signed a singles deal with Sire, her debut single, "Everybody", was released in October 1982, and the second one, "Burning Up", in March 1983. Both became big club hits in the United States, reaching number three on Hot Dance Club Songs chart compiled by Billboard magazine.[21] After this success, she started developing her debut album, Madonna, which was primarily produced by Reggie Lucas, a Warner Bros. producer.[22] However, she was not happy with the completed tracks and disagreed with Lucas' production techniques, so decided to seek additional help. Madonna moved in with boyfriend John "Jellybean" Benitez, asking his help for finishing the album's production.[22] Benitez remixed most of the tracks and produced "Holiday", which was her third single and her first global hit. The overall sound of Madonna was dissonant and in the form of upbeat synthetic disco, utilizing some of the new technology of the time, like the Linn drum machine, Moog bass and the OB-X synthesizer.[22][23] The album was released in July 1983 and peaked at number eight on the Billboard 200 six months later, in 1984. It yielded two more hit singles, "Borderline" and "Lucky Star".[24][25]
"I was surprised by how people reacted to "Like a Virgin" because when I did that song, to me, I was singing about how something made me feel a certain way—brand-new and fresh—and everyone interpreted it as 'I don't want to be a virgin anymore. Fuck my brains out!' That's not what I sang at all. 'Like a Virgin' was always absolutely ambiguous."
Madonna's look and style of dressing, her performances, and her music videos influenced young girls and women and her style became one of the female fashion trends of the 1980s. It was created by stylist and jewelry designer Maripol and the look consisted of lace tops, skirts over capri pants, fishnet stockings, jewelry bearing the crucifix, bracelets, and bleached hair.[28][29] Madonna achieved global recognition after the release of her second studio album, Like a Virgin, in November 1984. It topped the charts in several countries and became her first number one album on the Billboard 200.[24][30] The title track, "Like a Virgin", topped the Billboard Hot 100 chart for six consecutive weeks.[31] It attracted the attention of organizations who complained that the song and its accompanying video promoted premarital sex and undermined family values,[32] and moralists sought to have the song and video banned.[33]
Madonna came under further fire when she performed "Like a Virgin" at the first MTV Video Music Awards (VMA) where she appeared on stage atop a giant wedding cake, wearing a wedding dress and white gloves. The performance is noted by MTV as an iconic moment in VMA history.[34] In later years, Madonna commented that she was actually terrified of the performance. The next hit was "Material Girl" promoted by the iconic video, which was a mimicry of Marilyn Monroe's performance of the song "Diamonds Are a Girl's Best Friend" from the 1953 film Gentlemen Prefer Blondes. While filming this video Madonna started dating actor Sean Penn and married him on her birthday in 1985.[35] Like a Virgin was certified diamond by the Recording Industry Association of America and sold more than 21 million copies worldwide.[36]
Madonna entered mainstream films in February 1985, beginning with a brief appearance as a club singer in Vision Quest, a romantic drama film. Its soundtrack contained two new singles, her U.S. number-one single, "Crazy for You" and "Gambler".[37] She also appeared in the comedy Desperately Seeking Susan in March 1985, a film which introduced the song "Into the Groove", her first number one single in the United Kingdom.[38] Although not the lead actress for the film, her profile was such that the movie widely became seen (and marketed) as a Madonna vehicle.[39] The New York Times film critic Vincent Canby named it one of the ten best films of 1985.[40] In February 1984, according to the film director Sir Richard Attenborough, Madonna auditioned at the Royale Theatre on Broadway for a dance role in his movie version of A Chorus Line using her birth-name of Ciccone, but he rejected her.[41]
Beginning in April 1985, Madonna embarked on her first concert tour in North America, The Virgin Tour, with the Beastie Boys as her opening act. She progressed from playing CBGB and the Mudd Club to playing sporting arenas. At that time she released two more hit singles from the album, "Angel" and "Dress You Up".[42] In July, Penthouse and Playboy magazines published a number of nude photos of Madonna, taken in New York in 1978. She had posed for the photographs as she needed money at the time, and was paid as little as $25 a session.[43] The publication of the photos caused a media uproar, but Madonna remained defiant and unapologetic."[44] The photographs were ultimately sold for up to $100,000.[43] She referred to the whole experience at the 1985 outdoor Live Aid charity concert saying that she would not take her jacket off because "[the media] might hold it against me ten years from now."[44][45]
1986–91: True Blue, Like a Prayer and the Blond Ambition Tour
In June 1986, Madonna released her third studio album, True Blue, which was inspired by and dedicated to Sean Penn.[46] Rolling Stone magazine was generally impressed with the effort, writing that the album "sound[s] as if it comes from the heart".[47] It spawned three number-one singles on the Billboard Hot 100: "Live to Tell", "Papa Don't Preach" and "Open Your Heart", and two more top-five singles: "True Blue" and "La Isla Bonita".[25][37] The album topped the charts in over 28 countries worldwide, an unprecedented achievement at the time and became her best-selling studio album of her career to this date with sales of 25 million.[48] In the same year, Madonna also starred in the critically panned film Shanghai Surprise for which she was awarded the Golden Raspberry Award for "worst actress". She also made her theatrical debut in a production of David Rabe's Goose and Tom-Tom, both co-starring Penn.[49] The next year, Madonna's second feature film, Who's That Girl, was released. She contributed four songs to its soundtrack, including the title track and "Causing a Commotion".[25]
Madonna embarked on the Who's That Girl World Tour in July 1987, which continued until September.[50] The tour was inspired by Madonna's belief that, with the help of people, she could turn herself into something else.[51] It broke several attendance records, including over 130,000 audience in a concert in Paris, which remains her biggest concert attendance ever.[52] Later that year, she released a remix album of past hits, titled You Can Dance, which reached number 14 on the Billboard 200.[24][53] After an annulment in December 1987, Madonna filed for divorce from Penn in January 1989 citing irreconcilable differences.[35]
"In Like a Prayer I've been dealing with more specific issues that mean a lot to me. They're about an assimilation of experiences I've had in my life and in relationships. They're about my mother, my father and my bonds with my family about the pain of dying, or growing up and letting go. [The album] was a real coming-of-age record for me emotionally ... I had to do a lot of soul-searching and I think it is a reflection of that."
In January 1989, Madonna signed an endorsement deal with soft-drink manufacturer, Pepsi. In one of her Pepsi commercials, she debuted her song "Like a Prayer". The corresponding music video featured many Catholic symbols such as stigmata and cross burning, and a dream about making love to a saint, leading the Vatican to condemn the video. Religious groups sought to ban the commercial and boycott Pepsi products. Pepsi revoked the commercial and canceled her sponsorship contract.[56][57] The song was included on Madonna's fourth studio album, Like a Prayer, which was co-written and co-produced by Patrick Leonard and Stephen Bray.[58] Rolling Stone wrote that it was "as close to art as pop music gets".[59] Like a Prayer peaked at number one on the Billboard 200 and sold 13 million copies worldwide, with 4 million copies sold in the U.S. alone.[24][60] Six singles were released from the album, including "Like a Prayer", which reached number one, and "Express Yourself" and "Cherish", both peaking at number two.[25][37] By the end of the 1980s, Madonna was named as the "Artist of the Decade" by MTV, Billboard and Musician magazine.[61][62][63]
Madonna starred as "Breathless" Mahoney in the film Dick Tracy (1990), with Warren Beatty playing the title role.[64] To accompany the film, she released the soundtrack album, I'm Breathless, which included songs inspired by the film's 1930s setting. It also featured the U.S. number-one hit, "Vogue",[65] and "Sooner or Later", which earned songwriter Stephen Sondheim an Academy Award for Best Original Song in 1991.[66] While shooting the film, Madonna began a relationship with Beatty which dissolved by the end of 1990.[67][68]
In April 1990, Madonna began her Blond Ambition World Tour, which was held until August.[69] Rolling Stone called it an "elaborately choreographed, sexually provocative extravaganza" and proclaimed it "the best tour of 1990".[70] The tour was met with strong reaction from religious groups for her performance of "Like a Virgin", during which two male dancers caressed her body before she simulated masturbation.[50] The Church of England and the Catholic Church criticized her performance and the Pope asked the general public and the Christian community not to attend the concert.[71] A private association of Catholics calling themselves Famiglia Domani also boycotted the tour for its eroticism.[72] In response, Madonna said, "The tour in no way hurts anybody's sentiments. It's for open minds and gets them to see sexuality in a different way. Their own and others".[73] The Laserdisc release of the tour won Madonna a Grammy Award in 1992 for Best Long Form Music Video.[74]
The Immaculate Collection, Madonna's first greatest-hits compilation album, was released in November 1990. It included two new songs, "Justify My Love" and "Rescue Me".[75] The album was certified diamond by RIAA and sold over 30 million copies worldwide, becoming the best-selling compilation album by a solo artist in history.[76][77] "Justify My Love" reached number one in the U.S. and top ten worldwide.[37][78] Its music video featured scenes of sadomasochism, bondage, same-sex kissing and brief nudity.[79][80] The video was deemed too sexually explicit for MTV and was banned from the network.[79] Madonna responded to the banning: "Why is it that people are willing to go and watch a movie about someone getting blown to bits for no reason at all, and nobody wants to see two girls kissing and two men snuggling?"[81] The second single, "Rescue Me", became the highest-debuting single by a female artist in Hot 100 chart history at that time, entering at number 15 and peaking at number nine.[75]
In December 1990, Madonna decided to leave Jennifer Lynch's film, Boxing Helena, which she had previously agreed to star in, without any explanation to the producers.[82] Around this time, Madonna had an eight-month relationship with rapper Vanilla Ice; he ended their relationship because of Madonna's Sex book.[83] Her first documentary film Truth or Dare (known as In Bed with Madonna outside North America)[84] was released in mid-1991. The documentary chronicled her Blond Ambition World Tour.[20]
1992–97: Maverick Records, Sex, Erotica, Bedtime Stories and Evita
In 1992, Madonna had a role in A League of Their Own as Mae Mordabito, a baseball player on an all-women's team. She recorded the film's theme song, "This Used to Be My Playground", which became a Hot 100 number one hit.[37] The same year, she founded her own entertainment company, Maverick, consisting of a record company (Maverick Records), a film production company (Maverick Films), and associated music publishing, television broadcasting, book publishing and merchandising divisions. The deal was a joint venture with Time Warner and paid Madonna an advance of $60 million. It gave her 20% royalties from the music proceedings, one of the highest rates in the industry, equaled at that time only by Michael Jackson's royalty rate established a year earlier with Sony.[85] The first release from the venture was Madonna's book, titled Sex. It consisted of sexually provocative and explicit images, photographed by Steven Meisel. The book caused strong negative reaction from the media and the general public, but sold 1.5 million copies at $50 each in a matter of days.[86][87] At the same time she released her fifth studio album, Erotica, which debuted at number two on the Billboard 200.[24][87] Its title track peaked at number three on the Billboard Hot 100.[37] Erotica also produced five further singles: "Deeper and Deeper", "Bad Girl", "Fever", "Rain" and "Bye Bye Baby".[88] The provocative imagery continued in the 1990s with the erotic thriller, Body of Evidence, a film which contained scenes of sadomasochism and bondage. It was poorly received by critics.[89][90] She also starred in the film Dangerous Game, which was released straight to video in North America. The New York Times described the film as "angry and painful, and the pain feels real."[91]
In September 1993, Madonna embarked on The Girlie Show World Tour, in which she dressed as a whip-cracking dominatrix surrounded by topless dancers. The show faced negative reaction, specifically in Puerto Rico where she rubbed the island's flag between her legs on stage.[50] In March 1994, she appeared as a guest on the Late Show with David Letterman, using profanity that was required to be censored on television and handing Letterman a pair of her underwear and asking him to smell it.[92] The releases of her sexually explicit films, albums and book, and the aggressive appearance on Letterman all made critics question Madonna as a sexual renegade. She faced strong negative publicity from critics and fans, who commented that "she had gone too far" and that her career was over.[93]
According to biographer J. Randy Taraborrelli, the ballad "I'll Remember" (1994), was an attempt to tone down her provocative image. The song was recorded for Alek Keshishian's film With Honors.[94] She made a subdued appearance with Letterman at an awards show and appeared on The Tonight Show with Jay Leno after realizing that she needed to change her musical direction in order to sustain her popularity.[95] With her sixth studio album, Bedtime Stories (1994), Madonna employed a softer image to try to improve the public perception of her.[95] The album debuted at number three on the Billboard 200 and produced four singles, including "Secret" and "Take a Bow", the latter topping the Hot 100 for seven weeks, the longest period of any Madonna single.[96] At the same time, she became romantically involved with fitness trainer Carlos Leon.[97] Something to Remember, a collection of ballads, was released in November 1995. The album featured three new songs: "You'll See", "One More Chance", and a cover of Marvin Gaye's "I Want You".[37][98]
1996 saw the release of Evita, in which Madonna played the title role of Eva Perón.[99][100] For a long time, Madonna had desired to play Perón and even wrote to director Alan Parker, explaining how she would be perfect for the part. She stated, "This is the role I was born to play. I put everything of me into this because it was much more than a role in a movie. It was exhilarating and intimidating at the same time ... And I am prouder of Evita than anything else I have done."[101] After securing it, she underwent vocal training and learned about the history of Argentina and Perón. During shooting she fell sick many times due to the intense emotional effort required.[102] Evita was a period drama and almost 6,000 costumes were needed for the scenes, a Guinness World Record for the most costume changes in a film.[100]
After its release, Evita garnered critical appreciation. Zach Conner from Time magazine commented "It's a relief to say that Evita is pretty damn fine, well cast and handsomely visualized. Madonna once again confounds our expectations. She plays Evita with a poignant weariness and has more than just a bit of star quality. Love or hate Madonna-Eva, she is a magnet for all eyes."[103][104] Madonna won a Golden Globe Award for Best Actress in Motion Picture Musical or Comedy for the role.[105] She released three singles from the Evita soundtrack album including "You Must Love Me" (which won an Academy Award for Best Original Song in 1997) and "Don't Cry for Me Argentina".[106] On October 14, 1996, Madonna gave birth to Lourdes Maria Ciccone Leon, her daughter with Leon.[107]
1998–2002: Ray of Light, Music and marriage to Guy Ritchie
After Lourdes' birth, Madonna became involved in Eastern mysticism and Kabbalah. She was introduced to Jewish mysticism by actress Sandra Bernhard in 1997.[108] Her seventh studio album, Ray of Light, (1998) reflected this change in her perception and image.[109][110] She collaborated with then relatively unknown electronica producer William Orbit and wanted to create a sound that could blend dance music with pop and British rock.[111] American music critic Ann Powers explained that what Madonna searched for with Orbit "was a kind of a lushness that she wanted for this record. Techno and rave was happening in the 90's and had a lot of different forms. There was very experimental, more hard stuff like Aphex Twin. There was party stuff like Fatboy Slim. That's not what Madonna wanted for this. She wanted something more like a singer-songwriter, really. And William Orbit provided her with that."[111] The album garnered critical acclaim and Slant Magazine declared it as "one of the great pop masterpieces of the '90s".[112] Ray of Light was honored with four Grammy Awards, and listed as one of Rolling Stone's "500 Greatest Albums of All Time".[113][114] Topping the charts in Australia, Canada, New Zealand, UK and mainland Europe, the album debuted at number two on the Billboard 200—held off from the top spot by the soundtrack to the film Titanic—and sold 16 million copies worldwide.[115] The album's first single, "Frozen", became Madonna's first single to debut at number one in the UK, while in the U.S. it became her sixth number-two single and set another record for Madonna as the artist with the most number two hits.[37][116] The second single, "Ray of Light", debuted at number five on the Billboard Hot 100.[117]
Madonna's relationship with Carlos Leon ended in December 1998; she declared that they were "better off as best friends."[118] Following their break-up, Madonna signed to play a violin teacher in the film Music of the Heart but left the project, citing "creative differences" with director Wes Craven.[119] She followed Ray of Light with the single "Beautiful Stranger", recorded for the 1999 film Austin Powers: The Spy Who Shagged Me. It reached number 19 on the Hot 100 solely on radio airplay and earned Madonna a Grammy Award for "Best Song Written for a Motion Picture, Television or Other Visual Media".[37][74] In 1998, the Guinness Book of World Records stated: "No female artist has sold more records than Madonna around the world".[120]
In 2000, Madonna starred in the film, The Next Best Thing, and contributed two songs to the film's soundtrack: "Time Stood Still" and the international hit "American Pie", a cover version of Don McLean's 1971 song.[121] She released her eighth studio album, Music, in September 2000. It featured elements from the electronica-inspired Ray of Light era, and catered to her gay audience.[122] Collaborating with French producer Mirwais Ahmadzaï, Madonna commented: "I love to work with the weirdos that no one knows about—the people who have raw talent and who are making music unlike anyone else out there. Music is the future of sound."[122] Stephen Thomas Erlewine from Allmusic felt that "Music blows by in a kaleidoscopic rush of color, technique, style and substance. It has so many depth and layers that it's easily as self-aware and earnest as Ray of Light."[123] The album took the number-one position in more than 20 countries worldwide and sold four million copies in the first ten days.[113] In the U.S., Music debuted at the top, and became her first number-one album in eleven years since Like a Prayer.[124] It produced three singles: the Hot 100 number one "Music", "Don't Tell Me" and "What It Feels Like for a Girl".[37] The music video of "What It Feels Like for a Girl" depicted Madonna committing acts of crime and vandalism, and was banned by MTV and VH1.[125]
Around the same time as the release of the Music album, Madonna began a relationship with Guy Ritchie, a film director she had met in 1999 through mutual friends Sting and his wife, Trudie Styler. On August 11, 2000, she gave birth to their son, Rocco Ritchie.[126] In December, Madonna and Ritchie were married in a ceremony in Scotland.[127] Her fifth concert tour, titled Drowned World Tour, started in April 2001.[50] The tour visited cities in the U.S. and Europe and was the highest-grossing concert tour of the year by a solo artist, earning $75 million from 47 sold-out shows.[128] She also released her second greatest-hits collection, titled GHV2, to coincide with the home video release of the tour. GHV2 debuted at number seven on the Billboard 200.[129]
Madonna starred in the film Swept Away, directed by Ritchie. Released direct-to-video in the UK, the film was a commercial and critical failure.[130] In May 2002 she appeared in London in the West End play Up For Grabs at the Wyndhams Theatre (billed as 'Madonna Ritchie'), to universally bad reviews and was described as "the evening's biggest disappointment" by one.[131][132][133] Later that year, she released "Die Another Day", the title song of the James Bond film Die Another Day, in which she had a cameo role, described by The Guardian film reviewer as "incredibly wooden".[134] The song reached number eight on the Billboard Hot 100 and was nominated for both a Golden Globe Award for Best Original Song and a Golden Raspberry for Worst Song.[37]
2003–06: American Life, children's books and Confessions on a Dance Floor
Following Die Another Day, Madonna collaborated with fashion photographer Steven Klein in 2003 for an exhibition installation named X-STaTIC Pro=CeSS. It included photography from a photo shoot in W magazine, and seven video segments. The installation ran from March to May in New York's Deitch Projects gallery. It then traveled the world in an edited form.[135] The same year, Madonna released her ninth studio album, American Life, which was based on her observations of American society, and received mixed reviews.[136] She commented, "[American Life] was like a trip down memory lane, looking back at everything I've accomplished and all the things I once valued and all the things that were important to me."[137] Larry Flick from The Advocate felt that "American Life is an album that is among her most adventurous and lyrically intelligent" while condemning it as "a lazy, half-arsed effort to sound and take her seriously."[137][138] The title song peaked at number 37 on the Hot 100.[37] Its original music video was canceled as Madonna thought that the video, featuring violence and war imagery, would be deemed unpatriotic since America was then at war with Iraq.[139] With only four million copies sold worldwide, American Life was the lowest-selling album of her career.[140]
Madonna gave another provocative performance later that year at the 2003 MTV Video Music Awards, while singing "Hollywood" with Britney Spears, Christina Aguilera and Missy Elliott. Madonna kissed Spears and Aguilera suggestively during the performance, triggering a tabloid frenzy.[141][142] In October 2003, Madonna provided guest vocals on Spears' single "Me Against the Music".[143] It was followed with the release of Remixed & Revisited. The EP contained remixed versions of songs from American Life and included "Your Honesty", a previously unreleased track from the Bedtime Stories recording sessions.[144] Madonna also signed a contract with Callaway Arts & Entertainment to be the author of five children's books. The first of these books, titled The English Roses, was published in September 2003. The story was about four English schoolgirls and their envy and jealousy of each other.[145] Kate Kellway from The Guardian commented, "[Madonna] is an actress playing at what she can never be—a JK Rowling, an English rose."[146] The book debuted at the top of The New York Times Best Seller list and became the fastest-selling children's picture book of all time.[147]
The next year, Madonna and Maverick sued Warner Music Group and its former parent company Time Warner, claiming that mismanagement of resources and poor bookkeeping had cost the company millions of dollars. In return, Warner filed a countersuit alleging that Maverick had lost tens of millions of dollars on its own.[148][149] The dispute was resolved when the Maverick shares, owned by Madonna and Ronnie Dashev, were purchased by Warner. Madonna and Dashev's company became a wholly owned subsidiary of Warner Music, but Madonna was still signed to Warner under a separate recording contract.[148]
In mid-2004, Madonna embarked on the Re-Invention World Tour in the U.S., Canada and Europe. It became the highest-grossing tour of 2004, earning around $120 million.[150] She made a documentary about the tour named I'm Going to Tell You a Secret.[151] In November 2004, she was inducted into the UK Music Hall of Fame as one of its five founding members, along with The Beatles, Elvis Presley, Bob Marley and U2.[152] In January 2005, Madonna performed a cover version of the John Lennon song "Imagine" at Tsunami Aid.[153] She also performed at the Live 8 benefit concert in London.[154]
"I tried several different things when Stuart [producer Stuart Price] brought me music. And it was like divine inspiration. It just clicked, like: 'This is the direction of my record.' That's what we intended, to make a record that you can play at a party or in your car, where you don't have to skip past a ballad. It's nonstop."
Her tenth studio album, Confessions on a Dance Floor, was released in November 2005. Musically the album was structured like a club set composed by a DJ with Keith Caulfield from Billboard commented that the album was a "welcome return to form for the Queen of Pop."[156] The album won a Grammy Award for "Best Electronic/Dance Album".[74] Confessions on a Dance Floor and its lead single, "Hung Up", went on to reach number one in 40 and 41 countries respectively, earning a place in Guinness World Records.[157] The song contained a sample of ABBA's Gimme! Gimme! Gimme! (A Man After Midnight), only the second time that ABBA has allowed their work to be used. ABBA songwriter Björn Ulvaeus remarked "It is a wonderful track—100 per cent solid pop music."[158] "Sorry", the second single, became Madonna's twelfth number-one single in the UK.[38]
Madonna embarked on the Confessions Tour in May 2006, which had a global audience of 1.2 million and grossed over $193.7 million, becoming the highest-grossing tour to that date for a female artist.[159] Madonna used religious symbols, such as the crucifix and Crown of Thorns, in the performance of "Live to Tell". It caused the Russian Orthodox Church and the Federation of Jewish Communities of Russia to urge all their members to boycott her concert.[160] The Vatican condemned her mock-crucifixion as blasphemous. Madonna replied that performance was neither anti-Christian, sacrilegious or blasphemous and was intended to encourage mankind to help one another and to see the world as a unified whole.[161] In the same year, the International Federation of the Phonographic Industry announced officially that Madonna had sold over 200 million copies for her albums alone worldwide.[162]
While on tour, Madonna participated in the Raising Malawi initiative by partially funding an orphanage in and traveling to that country.[163] On October 10, 2006, she filed adoption papers for a boy from the orphanage, David Banda Mwale. He was later renamed David Banda Mwale Ciccone Ritchie.[164] The adoption raised strong public reaction, because Malawian law requires would-be parents to reside in Malawi for one year before adopting, which Madonna did not do.[165] She addressed this on The Oprah Winfrey Show, saying that there were no written adoption laws in Malawi that regulated foreign adoption. She described how Banda had been suffering from pneumonia after surviving malaria and tuberculosis when she first met him.[166] Banda's biological father, Yohane, commented, "These so-called human rights activists are harassing me every day, threatening me that I am not aware of what I am doing ... They want me to support their court case, a thing I cannot do for I know what I agreed with Madonna and her husband."[167] The adoption was finalized on May 28, 2008.[168]
A clothing line titled M by Madonna, in collaboration with Swedish clothing retailer H&M, was launched internationally in 2006.[169] The collection consisted of leather trench coats, sequined shift dresses, cream-colored calf-length pants and matching cropped jackets. H&M said the collection reflected Madonna's "timeless, unique and always glamorous style."[170]
2007–09: Live Nation, Hard Candy and the Sticky & Sweet Tour
Madonna released the song "Hey You" for the Live Earth series of concerts. The song was available as a free download during its first week of release. She also performed it at the London Live Earth concert.[171] Madonna announced her departure from Warner Bros. Records, and a new $120 million, ten-year 360 deal with Live Nation.[172] She produced and wrote I Am Because We Are, a documentary on the problems faced by Malawians. The documentary was directed by Nathan Rissman, who worked as Madonna's gardener.[173] She also directed her first film Filth and Wisdom. The plot of the film revolved around three friends and their aspirations. The Times said she had "done herself proud" while The Daily Telegraph described the film as "not an entirely unpromising first effort [but] Madonna would do well to hang on to her day job."[174][175]
In December 2007, the Rock and Roll Hall of Fame announced Madonna as one of the five inductees of 2008.[176] At the induction ceremony on March 10, 2008,[177] Madonna did not sing but asked fellow Hall of Fame inductees and Michigan natives The Stooges to perform her songs "Burning Up" and "Ray of Light". She thanked Christopher Flynn, her dance teacher from 35 years earlier, for his encouragement to follow her dreams.[178]
Madonna released her eleventh studio album, Hard Candy, in April 2008. Containing R&B and urban pop influences, the songs on Hard Candy were autobiographical in nature and saw Madonna collaborating with Justin Timberlake, Timbaland, Pharrell Williams and Nate "Danja" Hills.[179] Rolling Stone complimented it as an "impressive taste of her upcoming tour."[180]
"Probably in many respects most of the songs [on Hard Candy] are [autobiographical]. But in more of an unconscious way. I don't really think about telling personal stories when I'm writing music. It just comes. And then a lot of times, six months later, eight months later, I go, 'Oh, that's what I wrote that song about.' But that's when I play the song for lots of people and they all go, 'Oh, I can totally relate to that.'"
The album debuted at number one in thirty seven countries and on the Billboard 200.[182][183] It received generally positive reviews worldwide though some critics panned it as "an attempt to harness the urban market".[184][185] Its lead single, "4 Minutes", reached number three on the Billboard Hot 100. The song was Madonna's 37th Hot 100 top-ten hit—it pushed Madonna past Elvis Presley as the artist with the most top-ten hits.[186] In the UK, she retained her record for the most number-one singles for a female artist; "4 Minutes" becoming her thirteenth.[187] At the 23rd Japan Gold Disc Awards, Madonna received her fifth "Artist of the Year" trophy from Recording Industry Association of Japan, the most for any artist.[188] To further promote the album, Madonna embarked on the Sticky & Sweet Tour; her first major venture with Live Nation. With a gross of $280 million, it became the highest-grossing tour by a solo artist then, surpassing the previous record Madonna set with the Confessions Tour; it was later surpassed by Roger Waters' The Wall Live.[189][190] It was extended to the next year, adding new European dates, and after it ended, the total gross was $408 million.[189][191]
Life with My Sister Madonna, a book by Madonna's brother Christopher Ciccone, debuted at number two on The New York Times bestseller list.[192] The book caused some friction between Madonna and her brother, because of the unsolicited publication.[193] Problems also arose between Madonna and Ritchie, with the media reporting that they were on the verge of separation. Ultimately, Madonna filed for divorce from Ritchie, citing irreconcilable differences, which was finalized in December 2008.[194][195] She decided to adopt again from Malawi. The country's High Court initially approved the adoption of Chifundo "Mercy" James; however, the application was rejected because Madonna was not a resident of the country.[196] Madonna appealed, and on June 12, 2009, the Supreme Court of Malawi granted Madonna the right to adopt Mercy James.[197] She also released Celebration, her third greatest-hits album and final release with Warner. It contained the new songs "Celebration" and "Revolver" along with 34 hits spanning her career.[198] Celebration reached number one in the UK, tying her with Elvis Presley as the solo act with most number one albums in the British chart history.[199] She appeared at the 2009 MTV Video Music Awards on September 13, 2009, to speak in tribute to deceased pop star Michael Jackson.[200]
Madonna ended the 2000s as the best-selling single artist of the decade in the U.S. and the most-played artist of the decade in the UK.[201][202] Billboard also announced her as the third top-touring artist of the decade—behind only The Rolling Stones and U2—with a gross of over $801 million, 6.3 million attendance and 244 sell-outs of 248 shows.[203]
2010–12: W.E., MDNA and business ventures
Madonna performed at the Hope for Haiti Now: A Global Benefit for Earthquake Relief concert in January 2010.[204] In April she released her third live album, Sticky & Sweet Tour. It was her first release under Live Nation, but was distributed by Warner Bros.[205] Madonna granted American TV show Glee the rights to her entire catalogue of music, and the producers planned an episode featuring Madonna songs exclusively.[206] Titled "The Power of Madonna", the episode was approved by her, telling Us Weekly that she found it "brilliant on every level", praising the scripting and the message of equality.[207] Glee: The Music, The Power of Madonna, an EP containing eight cover versions of Madonna songs featured in the episode, was released afterward and debuted at number one on the Billboard 200.[208]
Madonna released the Material Girl clothing line, which she designed with her daughter, Lourdes.[209] The 1980s inspired clothing line, borrowed from Madonna's punk-girl style when she rose to fame in the 1980s, was released under the Macy's label. Madonna also opened a series of fitness centers around the world named Hard Candy Fitness. The gyms are a partnership between Madonna, her manager Guy Oseary and Mark Mastrov, the founder and CEO of 24 Hour Fitness.[210] The first of the gyms was opened at Mexico City in November 2010, as Madonna believed that the city served as "a great test market before bringing the gyms to cities around the world."[211] In November 2011, Madonna and MG Icon announced the release of a second fashion brand called Truth or Dare by Madonna to include footwear, underclothing, and accessories. The brand represents a second partnership between MG Icon and Macy's.[212]
She directed her second feature film, W.E., a biographical film about the affair between King Edward VIII and Wallis Simpson; it was co-written with Alek Keshishian.[213] The film premiered out of the main competition at the 2011 Venice Film Festival, where it received mixed reviews.[214] Critical response to the film has been overwhelmingly negative, as reflected at Rotten Tomatoes website.[215][216] Madonna also contributed the ballad "Masterpiece" for the film's soundtrack, which won her a Golden Globe Award for Best Original Song.[217]
Madonna performed at Super Bowl XLVI halftime show,[218] which was visualized by Cirque Du Soleil and Jamie King and featured special guests LMFAO, Nicki Minaj, M.I.A. and Cee Lo Green. It became the most-watched Super Bowl halftime show in history with 114 million viewers, higher than the game itself.[219] It was revealed that the singer had signed a three-album deal with Interscope Records, who would act as the distributor in partnership with her 360 deal with Live Nation.[220] Her twelfth studio album, MDNA, was released in March 2012 and saw collaboration with various producers, most notably with her long-time collaborator William Orbit and Martin Solveig.[221] The album was well received by music critics.[222] Priya Elan from NME called the album "a ridiculously enjoyable romp", citing its "psychotic, soul-bearing stuff" as "some of the most visceral stuff she's ever done."[223] MDNA debuted at number one on the Billboard 200 and many other countries worldwide.[224] Madonna surpassed Elvis Presley's record for the most number-one album by a solo artist in the United Kingdom.[225] The lead single "Give Me All Your Luvin'", featuring guest vocals from Nicki Minaj and M.I.A., became Madonna's record-extending 38th top-ten hit on the Billboard Hot 100.[226]
The MDNA Tour, which further promoted the album, began in May 2012 in Tel Aviv, Israel.[227] The tour has received positive critical reception,[228][229] but featured controversial subjects such as violence, firearms, human rights, nudity and politics. Lawsuits threatened against Madonna have also been engaged from the tour. It was a box office success and many venues were instantly sold out. Grossing over $305.2 million from 88 sold-out shows, The MDNA Tour ended as the highest-grossing tour of 2012 and the tenth highest-grossing tour of all time. At the 2013 Billboard Music Awards, Madonna won three trophies for Top Touring Artist, Top Dance Artist and Top Dance Album.[230] In August 2013, Madonna was named the top-earning celebrity of the year by Forbes, earning an estimated $125 million, due to the success of the tour.[231]
In December 2012, it was announced that Madonna's Raising Malawi organization has built ten schools to educate 4,871 children in different locations in Malawi. The enterprise was in association with buildOn and follows the original announcement of building an Academy for Girls which was scrapped.[232] When Madonna visited the schools in April 2013, President of Malawi Joyce Banda expressed criticism of Madonna and her charity, accusing her of exaggerating her charity's contribution.[233] Madonna responded by releasing a statement saying she was saddened that Banda had chosen to act negatively about her endeavors. "I have no intention of being distracted by these ridiculous allegations," she added. Later, it was confirmed that Banda had not approved the statement released written by her press team and was "incandescent with anger" over the mix-up.[234]
2013–present: secretprojectrevolution and upcoming thirteen studio album
Working with photographer Steven Klein, Madonna completed a 17-minute film called secretprojectrevolution.[235] The BitTorrent company, which has released "Bundles" with artists such as Public Enemy, the Pixies, and Linkin Park, was selected by Madonna to release the film as part of a Madonna Bundle. Also stylized as #secretprojectrevolution, the Bundle was released on September 24, 2013, and consisted of the 17-minute film, stills from the film, and an option for those users who submit their email addresses and make a donation that includes HD and 2K versions of the film, a VICE interview, and a message from Madonna.[236] Madonna appeared at 56th Annual Grammy Awards in January 2014, performing "Open Your Heart" alongside rappers Macklemore & Ryan Lewis and singer Mary Lambert who sang their single "Same Love", as 33 couples were wed onstage, officiated by Queen Latifah.[237] A few days later, she joined singer Miley Cyrus on her MTV Unplugged special, singing a mash-up of "Don't Tell Me" and Cyrus' single "We Can't Stop" (2013).[238] In February 2014, Madonna premiered MDNA Skin, a range of skin care products, in Tokyo, Japan. The product was developed in collaboration with MTG, one of the foremost beauty care product developers in Japan.[239] During an interview at the opening of her fitness center in Toronto, Canada, Madonna confirmed that she has already begun working on her thirteen studio album.[240]
Musical style
"[Madonna] is a brilliant pop melodist and lyricist. I was knocked out by the quality of the writing [during Ray of Light sessions]. The lyrics to "The Power of Good-Bye" are stunning. I love Madonna as an artist and a songwriter... I know she grew up on Joni Mitchell and Motown, and to my ears she embodies the best of both worlds. She is a wonderful confessional songwriter, as well as being a superb hit chorus pop writer... She doesn't get the credit she deserves as a writer."
Madonna's music has been the subject of much analysis and scrutiny by critics. Robert M. Grant, author of Contemporary Strategy Analysis (2005), commented that what has brought Madonna success is "certainly not outstanding natural talent. As a vocalist, musician, dancer, songwriter, or actress, Madonna's talents seem modest."[242] He asserts Madonna's success is in relying on the talents of others, and that her personal relationships have served as cornerstones to the numerous reinventions in the longevity of her career.[242] Madonna's approach was far from the music industry wisdom of "Find a winning formula and stick to it." Her musical career has been a continuous experimentation with new musical ideas and new images and a constant quest for new heights of fame and acclaim. Grant concluded that "having established herself as the queen of popular music, Madonna did not stop there, but continued re-inventing."[243] Musicologist Susan McClary wrote that "Madonna's art itself repeatedly deconstructs the traditional notion of the unified subject with finite ego boundaries. Her pieces explore, varios ways of constituting identities that refuse stability, that remain fluid, that resist definition."[244]
Mark Kamins, her first producer, believed that Madonna is "a much underrated musician and lyricist."[245] Musician Andy Paley commented: "She is the easiest person I know to write songs with. She has a very clear vision, the most direct person you will ever work with."[245] According to Freya Jarman-Ivens, Madonna's talent for developing "incredible" hooks for her songs allows the lyrics to capture the attention of the audience, even without the influence of the music. As an example, Jarman-Ivens cites the 1985 single "Into the Groove" and its line "Live out your fantasy here with me, just let the music set you free; Touch my body, and move in time, now I know you're mine."[246] Madonna's lyrics often suggest an identification with the gay community. Santiago Fouz-Hernández believes that when Madonna sings "Come on girls, do you believe in love?" in "Express Yourself", she is addressing both the gay audience and the heterosexual female.[246] Even in the Erotica era, with its often adult-oriented lyrics, the songs appear free-flowing and gullible ("So won't you go down, where it's warm inside" — "Where Life Begins" from Erotica).
Madonna has a mezzo-soprano vocal range.[247] Mark Bego, author of Madonna: Blonde Ambition, called her "the perfect vocalist for lighter-than-air songs", despite not being a "heavyweight talent."[248] Madonna has always been self-conscious about her voice, especially in comparison to her vocal idols such as Ella Fitzgerald, Prince and Chaka Khan.[249] She started her musical career with songs that she described as "soulful pop music". Madonna recalled in a 1983 interview with Island magazine that she had wanted to grow up as a black kid.[250] "First of all, all the black girls in my neighborhood had these dances in their yard where they had these little turntables with 45 records and they'd play all this Motown stuff and they would dance, just dance, all of them dancing together and none of the white kids I knew would ever do that. They were really boring and stiff. And I wanted to be part of the dancing. I didn't like my friends. I had to be beaten up so many times by these little black girls before they would accept me and finally one day they whipped me with a rubber hose till I was like, lying on the ground crying. And then they just stopped doing it all of a sudden and let me be their friend, part of their group."[250]
"Papa Don't Preach" had Madonna singing in a much fuller voice, and incorporated classical instrumentation.
Composed with the darker electronic undertones, eastern strings and Middle Eastern percussion, "Frozen" features Madonna's previously unexplored vocal range.
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On her 1983 debut album, Madonna's vocal abilities and personal artistry were not fully formed. Her vocal style was similar to other pop stars of that period like Paula Abdul, Debbie Gibson, and Taylor Dayne.[249] The songs on Madonna reveal several key trends that have continued to define her success, including a strong dance-based idiom, catchy hooks, highly polished arrangements and Madonna's own vocal style. In songs such as "Lucky Star" and "Borderline", Madonna introduced a style of upbeat dance music that would prove particularly appealing to gay audiences. The bright, girlish vocal timbre of the early years became passé in Madonna's later works, the change being deliberate, since Madonna was constantly reminded of how the critics had once labelled her as "Minnie Mouse on helium", because of her early voice.[249]
Madonna's second album, Like a Virgin (1984), foreshadowed several trends in her later works. It contained references to classical works (pizzicato synthesizer line that opens "Angel"); potential negative reaction from social groups ("Dress You Up" was blacklisted by the Parents Music Resource Center); and retro styles ("Shoo-Bee-Doo", Madonna's homage to Motown).[249] Madonna's early style, and the change that she ushered in it, is best evident in the song "Material Girl". It opens with Madonna using a little-girl voice, but following the first verse, she switches to a richer, more mature voice in the chorus.[249] This mature artistic statement was visible in True Blue (1986). The song "Papa Don't Preach" was a significant milestone in her artistic career. The classical introduction, fast tempo and the gravity in her voice were unprecedented in Madonna's œuvre at that time.[249]
With Like a Prayer (1989), Madonna again entered a new phase, musically. The album introduced live recorded songs and incorporated different genres of music, including dance, R&B and gospel music.[55] Madonna continued to compose ballads and uptempo dance songs for Erotica (1992) and Bedtime Stories (1994). She tried to remain contemporary by incorporating samples, drum loops and hip hop into her music. Her voice grew much deeper and fuller, evident in the tracks like "Rain" and "Take a Bow".[251] During the filming of Evita, Madonna had to take vocal lessons, which increased her range further. Of this experience she commented, "I studied with a vocal coach for Evita and I realized there was a whole piece of my voice I wasn't using. Before, I just believed I had a really limited range and was going to make the most of it."[252]
Continuing her musical evolution with Ray of Light, the track "Frozen" displayed her fully formed vocal prowess and her allusions to classical music. Her vocals were restrained and she sang the songs in Ray of Light without vibrato. However, the intake of breath within the songs became more prominent.[249] With the new millennium came her album Music in which Madonna sang in her normal voice in a medium range, and sometimes in a higher register for the chorus.[249] A change was also noted in the content of the songs, with most of them being simple love songs, but with an underlying tone of melancholy. Her next record, American Life, was characterized by "a thumping techno rhythm, liquid keyboard lines, an acoustic chorus and a bizarre Madonna rap", according to Q magazine.[253] The "conventional rock songs" of the album were suffused with dramatic lyrics about patriotism and composition, including the appearance of a gospel choir in the song "Nothing Fails".[253]
Musically, things changed with Confessions on a Dance Floor, which returned Madonna to pure dance songs, infusing club beats and retro music, but the lyrics continued to be about paradoxical metaphors and reference to her earlier works.[254] In her studio album, Hard Candy, she mixed R&B and hip hop music with dance tunes. The album also had songs whose lyrics were autobiographical and expressed support for helping Africa.[181] Fouz-Hernández commented that "Throughout her career, Madonna's manipulation of her voice shows us that, by refusing to be defined in one way, she has in fact opened up a space for new kinds of musical analysis."[249] With MDNA, Madonna returned to the electropop genre she flirted with on Like a Prayer and Music.[255][256][257][258] Neil McCormick of The Daily Telegraph noted the attempt was feeble, compared to her previous classics in the genre.[255]
According to Taraborrelli, the defining moment of Madonna's childhood was the tragic and untimely death of her beloved mother.[5] Psychiatrist Keith Ablow suggests that her mother's death would have had an immeasurable impact on the young Madonna at a time when her personality was still forming. According to Ablow, the younger a child is at the time of a serious loss, the more profound the influence and the longer lasting the impact. He concludes that "some people never reconcile themselves to such a loss at an early age, Madonna is not different than them."[5]
Conversely, author Lucy O'Brien feels that the impact of the rape she suffered is, in fact, the motivating factor behind everything Madonna has done, more important even than the death of her mother: "It's not so much grief at her mother's death that drives her, as the sense of abandonment that left her unprotected. She encountered her own worst possible scenario, becoming a victim of male violence, and thereafter turned that full-tilt into her work, reversing the equation at every opportunity."[259]
As they grew older, Madonna and her sisters would feel deep sadness as the vivid memory of their mother began drifting farther from them. They would study pictures of her and come to think that she resembled poet Anne Sexton and Hollywood actresses. This would later raise Madonna's interest in poetry with Sylvia Plath being her favourite.[5] Later, Madonna commented: "We were all wounded in one way or another by [her death], and then we spent the rest of our lives reacting to it or dealing with it or trying to turn into something else. The anguish of losing my mom left me with a certain kind of loneliness and an incredible longing for something. If I hadn't had that emptiness, I wouldn't have been so driven. Her death had a lot to do with me saying—after I got over my heartache—I'm going to be really strong if I can't have my mother. I'm going to take care of myself."[5] Taraborrelli felt that in time, no doubt because of the devastation she felt, Madonna would never again allow herself, or even her daughter, to feel as abandoned as she had felt when her mother died. "Her death had taught [Madonna] a valuable lesson, that she would have to remain strong for herself because, she feared weakness—particularly her own—and wanted to be the queen of her own castle."[5]
In 1985, Madonna commented that the first song to ever make a strong impression on her was "These Boots Are Made for Walkin'" by Nancy Sinatra; she said it summed up her own "take-charge attitude".[260] As a young woman, she attempted to broaden her taste in literature, art, and music, and during this time became interested in classical music. She noted that her favorite style was baroque, and loved Mozart and Chopin because she liked their "feminine quality".[261] Other musical influences included Karen Carpenter, The Supremes, Led Zeppelin, and dancers such as Martha Graham and Rudolf Nureyev.[262]
Madonna's Italian-Catholic background and her relationship with her parents were reflected in the album Like a Prayer.[59] It was an evocation of the impact religion had on her career.[263] Her video for the title track contains Catholic symbolism, such as the stigmata. During The Virgin Tour, she wore a rosary, and also prayed with it in the music video for "La Isla Bonita".[264] The "Open Your Heart" video sees her boss scolding her in the Italian language. On the Who's That Girl World Tour, she dedicated the song "Papa Don't Preach" to the Pope.[264][265]
During her childhood, Madonna was inspired by actors, later saying, "I loved Carole Lombard and Judy Holliday and Marilyn Monroe. They were all incredibly funny ... and I saw myself in them ... my girlishness, my knowingness and my innocence."[260] Her "Material Girl" music video recreated Monroe's look in the song "Diamonds Are a Girl's Best Friend", from the film Gentlemen Prefer Blondes. She studied the screwball comedies of the 1930s, particularly those of Lombard, in preparation for the film Who's That Girl. The video for "Express Yourself" (1989) was inspired by Fritz Lang's silent film Metropolis (1927). The video for "Vogue" recreated the style of Hollywood glamour photographs, in particular those by Horst P. Horst, and imitated the poses of Marlene Dietrich, Carole Lombard and Rita Hayworth, while the lyrics referred to many of the stars who had inspired her, including Bette Davis, described by Madonna as an idol.[73][266] Influences also came to her from the art world, most notably through the works of artist Frida Kahlo.[267] The music video of the song "Bedtime Story" featured images inspired by the paintings of Kahlo and Remedios Varo.[268]
Madonna is also a collector of Tamara de Lempicka's art deco paintings and has included them in her music videos and tours.[269] Her 2003 video for "Hollywood" was an homage to the work of photographer Guy Bourdin; Bourdin's son subsequently filed a lawsuit for unauthorised use of his father's work.[270] Pop artist Andy Warhol's use of sadomasochistic imagery in his underground films were reflected in the music videos for "Erotica" and "Deeper and Deeper".[271] However, Madonna's film career has been largely received negatively by the film critic community. Stephanie Zacharek, critic for Time magazine, stated that, "[Madonna] seems wooden and unnatural as an actress, and it's tough to watch, because she's clearly trying her damnedest."[272] According to biographer Andrew Morton, "Madonna puts a brave face on the criticism, but privately she is deeply hurt."[272] After the 2002 box office bomb Swept Away, Madonna vowed that she would never act in a film, hoping that her repertoire as a bad actress will never be discussed again.[272]
Madonna is dedicated to Kabbalah and in 2004, she adopted the name Esther which in Persian means "star".[273] She has donated millions of dollars to New York and London schools teaching the subject.[273][274] She faced opposition from rabbis who felt Madonna's adoption of the Kabbalah was sacrilegious and a case of celebrity dilettantism. Madonna defended her studies, saying "It would be less controversial if I joined the Nazi Party", and that her involvement with the Kabbalah is "not hurting anybody."[275] The influence of the Kabbalah was subsequently observed in Madonna's music, especially albums like Ray of Light and Music.[273] During the Re-Invention World Tour, at one point in the show, Madonna and her dancers wore t-shirts that read "Kabbalists Do It Better".[273]
Music videos and performances
In The Madonna Companion, biographers Allen Metz and Carol Benson noted that more than any other recent pop artist, Madonna had used MTV and music videos to establish her popularity and enhance her recorded work.[276] According to them, many of her songs have the imagery of the music video in strong context, while referring to the music. Cultural critic Mark C. Taylor in his book Nots (1993) felt that the postmodern art form par excellence is video and the reigning "queen of video" is Madonna. He further asserted that "the most remarkable creation of MTV is Madonna. The responses to Madonna's excessively provocative videos have been predictably contradictory".[277] The media and public reaction towards her most-discussed songs such as "Papa Don't Preach", "Like a Prayer", or "Justify My Love" had to do with the music videos created to promote the songs and their impact, rather than the songs themselves.[276] Morton felt that "artistically, Madonna's songwriting is often overshadowed by her striking pop videos."[278]
Madonna's initial music videos reflected her American and Hispanic mixed street style combined with a flamboyant glamor.[276] She was able to transmit her avant-garde downtown New York fashion sense to the American audience.[279] The imagery and incorporation of Hispanic culture and Catholic symbolism continued with the music videos from the True Blue era.[280] Author Douglas Kellner noted, "such 'multiculturalism' and her culturally transgressive moves turned out to be highly successful moves that endeared her to large and varied youth audiences".[281] Madonna's Spanish look in the videos became the fashion trend of that time, in the form of boleros and layered skirts, accessorizing with rosary beads and a crucifix as in the video of "La Isla Bonita".[282][283]
Academics noted that with her videos, Madonna was subtly reversing the usual role of male as the dominant sex.[284] This symbolism and imagery was probably the most prevalent in the music video for "Like a Prayer". The video included scenes of an African-American church choir, Madonna attracted to a statue of a black saint, and singing in front of burning crosses. This mix of the sacred and the profane upset the Vatican and resulted in the Pepsi commercial withdrawal.[285] Madonna has been honored with 20 MTV Video Music Awards—the most for any artist—including the lifetime achievement "Video Vanguard Award" in 1986.[286] In 2003, MTV named her "The Greatest Music Video Star Ever" and said that "Madonna's innovation, creativity and contribution to the music video art form is what won her the award."[287] Her videos "Die Another Day", "Express Yourself", "Bedtime Story", and "Give Me All Your Luvin'" are some of the most expensive music videos of all time.
Madonna's emergence occurred during the advent of MTV; Chris Nelson from The New York Times spoke of pop artists like Madonna saying, "with its almost exclusively lip-synced videos, ushered in an era in which average music fans might happily spend hours a day, every day, watching singers just mouth the words."[288] The symbiotic relationship between the music video and lip-syncing led to a desire for the spectacle and imagery of the music video to be transferred to live stage shows. He added, "Artists like Madonna and Janet Jackson set new standards for showmanship, with concerts that included not only elaborate costumes and precision-timed pyrotechnics but also highly athletic dancing. These effects came at the expense of live singing."[288] Thor Christensen of the Dallas Morning News commented that while Madonna earned a reputation for lip-syncing during her 1990 Blond Ambition World Tour, she has subsequently reorganized her performances by "stay[ing] mostly still during her toughest singing parts and [leaves] the dance routines to her backup troupe ... [r]ather than try to croon and dance up a storm at the same time."[289]
To allow for greater movement while dancing and singing, Madonna was one of the earliest adopters of hands-free radio-frequency headset microphones, with the headset fastened over the ears or the top of the head, and the microphone capsule on a boom arm that extended to the mouth. Because of her prominent usage, the microphone design came to be known as the "Madonna mic".[290][291] Metz noted that Madonna represents a paradox as she is often perceived as living her whole life as a performance. While her big-screen performances are panned, her live performances are critical successes.[292] Madonna was the first artist to have her concert tours as reenactment of her music videos. Author Elin Diamond explained that reciprocally, the fact that images from Madonna's videos can be recreated in a live setting enhances the realism of the original videos. Thus her live performances have become the means by which mediatized representations are naturalized.[293] Taraborrelli said that encompassing multimedia, latest technology and sound systems, Madonna's concerts and live performances are deemed as "extravagant show piece, a walking art show."[294]
"With Madonna something happens that is unparalleled in the music and popular culture generally. She is her own current. Madonna ends inevitably present in the lives of almost all the singers in the world, either at the beginning or end of their races. She is the source of inspiration and goal to conquer".
According to CNN, Madonna is "arguably the most influential female recording artist of all time."[105] Critical theorist Douglas Kellner described her as "a highly influential pop culture icon" and "the most discussed female singer in popular music."[296] Bill Wyman, editor of Chicago Reader, describes Madonna as a "genuinely freakish figure in popular music."[297] Marcel Danesi commented that "perhaps no one has understood the ambiguity of pop culture with regard to womanhood more than Madonna."[298] William Langley from The Daily Telegraph noted that Madonna "remains a permanent fixture on every list of world's most powerful/admired/influential women."[299] She is featured in the book 100 Most Important Women of the 20th Century, published in 1998 by Ladies' Home Journal.[300] In 2010, Time magazine included Madonna in the elite list of the "25 Most Powerful Women of the Past Century", where she became one of the only two singers included, alongside Aretha Franklin.[301] Additionally, Madonna has been as ranked 49th on the "75 Greatest Women of All Time" by Esquire magazine.[302]
Madonna also topped VH1's countdowns of "100 Greatest Women in Music" and "50 Greatest Women of the Video Era".[303][304] She was inducted into the Rock and Roll Hall of Fame on March 10, 2008—her first year of eligibility—for "influence and significance on rock and roll music".[305] Additionally, Madonna ranked seventh on VH1 and People magazine's list of the "200 Greatest Pop Culture Icons of All Time",[306] as well topped in the list of the British tabloid The Sun, "The 50 female singers who will never be forgotten."[307] She has also been included in several lists, like the "100 Greatest Artists" of Rolling Stone.[308] Madonna has sold more than 300 million records worldwide.[309][310] Her worldwide commercial accomplishments have given her multiple Guinness World Records citations, including the title for the world's top-selling female recording artist of all time.[157] According to the Recording Industry Association of America (RIAA), she is the best-selling female rock artist of the 20th century and the second top-selling female albums artist in the United States, with 64.5 million certified albums.[311][312]
In 2008, Billboard magazine ranked Madonna at number two, behind only The Beatles, on the Billboard Hot 100 All-Time Top Artists, making her the most successful solo artist in the history of American singles chart.[177] Billboard editor Keith Caulfield declared in 2012: "She's the Queen of Pop and 'royalty on the Billboard charts'."[313] In 2011, Rolling Stone declared her as the all-time Queen of Pop and stated that "Madonna is a musical icon without peer."[314] Rolling Stone of Spain wrote that "She became the first viral Master of Pop on history, years before the Internet was massively used." Madonna was everywhere; in the almighty music television channels, 'radio formulas', magazine covers and even in bookshops. A pop dialectic, never seen since The Beatles's reign, which allowed her to keep on the edge of tendency and commerciality".[315] Within this theme, Laura Barcella in her book Madonna and Me: Women Writers on the Queen of Pop (2012) wrote that "really, Madonna changed everything the musical landscape, the '80s look du jour, and most significantly, what a mainstream female pop star could (and couldn't) say, do, or accomplish in the public eye."[316]
According to Forbes and other publications, "Madonna is a cultural icon, and undoubtedly one of the most successful entertainers of all time."[317][318][319][320][321][322][323] In the book series Madonna Style from Omnibus Press, author Carol Clerk wrote that "during her career, Madonna has transcended the term 'pop star' to become a global cultural icon."[324] Rodrigo Fresán commented: "Saying that Madonna just is a pop star is as inappropriate as saying that Coca-Cola is just a soda. Madonna is one of the classic symbols of 'Made in USA'."[325] Journalist and politician Sergio Fajardo felt that Madonna "is a very powerful symbol".[326] Professor Belén González Morales of the Autonomous University of Barcelona commented that "'the infinite dissection' of Madonna is like a body paradigmatic of the global age that emanating a tremendous amount of meanings ... Madonna has been become an cultural artifact and the object of desire and a queer icon.[327]
In 1990, Jon Pareles said: "Don't think of Madonna as one more singer clawing her way up the pop charts. Think of her, instead, as a continuous multi-media art project dedicated to examining notions of glamour and success, and the limits of mainstream sexuality."[328] William Langley from The Daily Telegraph felt that "Madonna has changed the world's social history, has done more things as more different people than anyone else is ever likely to."[329] As Pareles and Langley, music blogger Alan McGee from The Guardian felt that Madonna is post-modern art, the likes of which we will never see again. He further asserted that Madonna and Michael Jackson invented the terms Queen and King of Pop.[330] Professor John R. May in his book The New Image of Religious Film (1997) concluded that Madonna is a contemporary "gesamtkunstwerk".[331] Strawberry Saroyan stated: "You can separate Madonna's music, her image, her media antics, but why would you? To me, she's a storyteller, a cultural pioneer, and the important thing is her message — via music, videos, antics, whatever. And all of those things have been brilliantly of a piece. Madonna's ability to take her message beyond music and impact women's lives has been her legacy."[332] Caryn Ganz from Rolling Stone wrote that "Madonna is the most media-savvy American pop star since Bob Dylan and, until she toned down her press-baiting behavior in the nineties, she was the most consistently controversial one since Elvis Presley."[20] Stephen Thomas Erlewine felt that "one of Madonna's greatest achievements is how she has manipulated the media and the public with her music, her videos, her publicity, and her sexuality." He added that "Madonna was the first female pop star to have complete control of her music and image."[333] Becky Johnston from Interview magazine commented: "[F]ew public figures are such wizards at manipulating the press and cultivating publicity as Madonna is. She has always been a great tease with journalists, brash and outspoken when the occasion demanded it, recalcitrant and taciturn when it came time to pull back and slow down the striptease."[334]
Throughout her career, Madonna has repeatedly reinvented herself through a series of visual and musical personae. According to professors Peter L. Rudnytsky and Andrew M. Gordon in Psychoanalyses: Feminisms "many critics laud her continual reinvention of self. They agrees that "this is one of Madonna's cultural meanings".[335] Fouz-Hernández agrees that this re-invention is one of her key cultural achievements.[336] Madonna reinvented herself by working with upcoming talented producers and previously unknown artists, while remaining at the center of media attention. According to Freya Jarman-Ivens, "In doing so Madonna has provided an example of how to maintain one's career in the entertainment industry."[336] Such reinvention was noted by scholars as the main tool in surviving the musical industry, for a female artist.[337] Bradley Jacobs from Us Weekly said: "What new idea has Cher come up with? Michael Jackson started out at the same time, and they're like apples and oranges. Overall, Madonna has always succeeded by staying ahead of curve."[338] Luchina Fisher from ABC News commented: "One thing you can say about Madonna: She's unpredictable ... has had more incarnations than the Dalai Lama."[338] In 2006, a new water bear species, Echiniscus madonnae, was named after her.[339] The paper with the description of E. madonnae was published in the international journal of animal taxonomy Zootaxa in March 2006 (Vol. 1154, pages: 1–36). The Zoologists commented: "We take great pleasure in dedicating this species to one of the most significant artists of our times, Madonna Louise Veronica Ritchie."[340]
Robin Crow felt that there's no one of in recent history who has mastered the art of reinvention like Madonna.[341] The New York Times critic Kelefa Sanneh commented: "When you imagine Madonna, you don't see a single image but a time-lapse photograph, with one persona melting and warping into the next. It's an open-ended process, and when she's at her brilliant best, it's easy to believe that she could keep reinventing herself forever."[342] Cultural critic Annalee Newitz felt that Madonna has given to American culture, and culture throughout the world, is not a collection of songs; rather, it is a collection of images.[343] Grady T. Turner, curator of Museum of Sex commented: "'I learned, like most people, not to rule anything out when it comes to her reinventions of herself".[344]
Madonna's use of shocking sexual imagery has benefited her career and catalyzed public discourse on sexuality and feminism.[336] As Roger Chapman documents in Culture Wars: An Encyclopedia of Issues, Viewpoints, and Voices, Volume 1 (2010), she has drawn frequent condemnation from religious organizations, social conservatives and parental watchdog groups for her use of explicit sexual imagery and lyrics, religious symbolism, and otherwise "irreverent" behavior in her live performances.[345] Professor John Fiske noted that the sense of empowerment that Madonna offers is inextricably connected with the pleasure of exerting some control over the meanings of self, of sexuality, and of one's social relations.[346] According to Andrew O'Hagan many cultural commentators and academics look on Madonna as a heroic opponent of the American establishment's cultural and political authoritarianism.[347] In Doing Gender in Media, Art and Culture (2009) from the publisher Routledge, the authors noted that the fact that Madonna, as a female celebrity, performer, and pop icon, is able to unsettle standing feminist reflections and debates is far more interesting.[348] The Times stated: "Madonna, whether you like her or not, started a revolution amongst women in music ... Her attitudes and opinions on sex, nudity, style and sexuality forced the public to sit up and take notice."[349]
Shmuel Boteach, author of Hating Women (2005), felt that Madonna was largely responsible for erasing the line between music and pornography. He stated: "Before Madonna, it was possible for women more famous for their voices than their cleavage to emerge as music superstars. But in the post-Madonna universe, even highly original performers such as Janet Jackson now feel the pressure to expose their bodies on national television to sell albums."[350] According to lesbian feminist Sheila Jeffreys, Madonna represents woman's occupancy of what Monique Wittig calls the category of sex, as powerful, and appears to gleefully embrace the performance of the sexual corvée allotted to women.[351] Professor Sut Jhally felt that "Madonna is as an almost sacred feminist icon."[352] Professor Camille Paglia from University of the Arts called Madonna a "true feminist" and noted that "she exposes the puritanism and suffocating ideology of American feminism, which is stuck in an adolescent whining mode." According to her, "Madonna has taught young women to be fully female and sexual while still exercising total control over their lives."[353] Madonna defended herself as a feminist in 2008, saying that though she "may be dressing like the typical bimbo", she is in charge of her own life and career.[354]
[A] quarter century after Madonna emerged, artists still use her ideas and seem modern and edgy doing so. Beyond the obvious Madonna wannabe 1980s singers, Madonna's influence is felt in artists from Gwen Stefani to Britney Spears to boy bands, who found in the 1990s there was an audience beyond the old rock crowd ... It's worth noting that before Madonna, most music mega-stars were guy rockers; after her, almost all would be female singers ... When The Beatles hit America, they changed the paradigm of performer from solo act to band. Madonna changed it back—with an emphasis on the female.[355]
According to the company Telcel "since her appearance on the music scene in 1983, no artist has called more the attention that Madonna ... has pushed the boundaries of the world of music, film and fashion."[356] RTL Television Belgium said that "Madonna is a key figure in the music".[357] Erik Thompson from City Pages stated that "in the early '80s, Madonna broke down a lot of the industry doors that young entertainers stride through so brashly and confidently these days."[358] According to Fouz-Hernández, female pop performers such as Britney Spears, Christina Aguilera, Kylie Minogue, Spice Girls, Destiny's Child, Jennifer Lopez and Pink were like "Madonna's daughters in the very direct sense that they grew up listening to and admiring Madonna, and decided they wanted to be like her."[359]
Howard Kramer, curatorial director of the Rock and Roll Hall of Fame and Museum, commented: "Today's more-flamboyant female pop stars enjoy the freedom to make music and perform the way they do, but they didn't create that freedom. Madonna did the moving and shaking when she burst onto the pop-music charts in the early '80s."[360] He further asserted that "Madonna and the career she carved out for herself made possible virtually every other female pop singer to follow ... She certainly raised the standards of all of them ... She redefined what the parameters were for female performers."[360] Billboard editor M. Tye Comer stated: "Although Madonna had her influences, such as David Bowie, she created her own unmistakable style ... She wrote her own ticket; she didn't have to follow anybody's formula. She declared who she was ... and took possession of her music."[360]
Madonna has received acclaim as a role model for businesswomen in her industry, "achieving the kind of financial control that women had long fought for within the industry", and generating over $1.2 billion in sales within the first decade of her career.[361] After she established her own label, Maverick Records, in the 1990s it became a major commercial success from her efforts, which was unusual at that time for an artist-established label.[362] Michelle Goldberg said that "one thing that's always interested me about Madonna is that she's often praised as a brilliant businesswoman". She further asserted that "Andy Warhol did an enormous amount to change that idea in highbrow circles, but Madonna made it conventional wisdom to conflate art and commerce. She pioneered this kind of multimedia, 'life as performance art'."[332] As Goldberg, Strawberry Saroyan noted that "Madonna is a brilliant businesswoman and her legacy is partly that she morphs commerce and art."[332] Professor Colin Barrow of the Cranfield School of Management described Madonna as "America's smartest businesswoman ... who has moved to the top of her industry and stayed there by constantly reinventing herself". He held up her "planning, personal discipline and constant attention to detail" as models for all aspiring entrepreneurs.[363]
In 1990, with more than $125 million since 1986 and as the highest-grossing woman in entertainment, Forbes "suggested that she was one of the smartest businesswomen in the United States".[364] London Business School academics called her a "dynamic entrepreneur" worth copying; they identified her vision of success, her understanding of the music industry, her ability to recognize her own performance limits (and thus bring in help), her willingness to work hard and her ability to adapt as the keys to her commercial success.[365]
Morton commented that "Madonna is opportunistic, manipulative and ruthless—somebody who won't stop until she gets what she wants—and that's something you can get at the expense of maybe losing your close ones. But that hardly mattered to her."[366] Taraborrelli felt that this ruthlessness was visible during the shooting of the Pepsi commercial in 1989. "The fact that she didn't want to hold a Pepsi can in the commercial, clued the Pepsi executives that Madonna the pop star and Madonna the businesswoman were not going to be dictated by somebody else, she will do everything in her way—the only way."[367] Hazel Blackmore and Rafael Fernández de Castro in the book ¿Qué es Estados Unidos? from the Fondo de Cultura Económica, noted that: "Madonna has been undoubtedly the most important woman in the history of popular music and a great businesswoman in herself; creating fashion, breaking taboos and provoking controversies."[368]
Kabbalah Centre
Madonna became attracted to the teachings of the Kabbalah Centre in the 1990s, some say as a way for her to deal with her superstar status.[369] Also some believe that the philosophy of how the Kabbalah Centre promotes strong women was what also attracted her to it.[370] It was Sandra Bernhard who got her involved in it in the 1990s.[371] Madonna and her family learn and practice at the Los Angeles Kabbalah Centre where she became connected to Rabbi Philip Berg who became her personal instructor.[370][372] Madonna often wears a red string bracelet, said to deflect the evil eye.[371] She does not give concerts on Friday night because of Shabbat and she wears special ritual objects. She has also tried to spread her faith to other entertainers, such as Demi Moore.[373] In recent years the IRS has looked into tax evasion by the Kabbalah Centre in Los Angeles[374] and financial mismanagement of two Madonna-linked charities run by former Kabbalah Centre development director Phillipe van den Bossche.[370]
- Madonna (1983)
- Like a Virgin (1984)
- True Blue (1986)
- Like a Prayer (1989)
- Erotica (1992)
- Bedtime Stories (1994)
- Ray of Light (1998)
- Music (2000)
- American Life (2003)
- Confessions on a Dance Floor (2005)
- Hard Candy (2008)
- The Virgin Tour (1985)
- Who's That Girl World Tour (1987)
- Blond Ambition World Tour (1990)
- The Girlie Show World Tour (1993)
- Drowned World Tour (2001)
- Re-Invention World Tour (2004)
- Confessions Tour (2006)
- Sticky & Sweet Tour (2008–09)
- The MDNA Tour (2012)
See also
- Honorific nicknames in popular music
- List of best-selling music artists
- List of artists by number of UK Albums Chart number ones
- Mononymous persons
- Culture of the United States
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- ^ "De Warhol hasta nuestros días, Madonna: ¡la artista más influyente!". Telcel (in Spanish). November 19, 2012. Retrieved April 13, 2013.
- ^ "A presque 30 ans de carrière, Madonna cartonne toujours". RTL Television Belgium (in French) (RTL Group). March 21, 2013. Retrieved April 16, 2013.
- ^ Thompson, Erik (August 16, 2011). "Madonna turns 53 today, and her influence is felt now more than ever". City Pages. Retrieved November 8, 2012.
- ^ Fouz-Hernández & Jarman-Ivens 2004, p. 161
- ^ a b c Gormly, Kellie B. (November 1, 2012). "Flamboyant Divas Can Thank Madonna". Pittsburgh Tribune-Review. Archived from the original on November 8, 2012. Retrieved November 8, 2012.
- ^ Kramarae & Spender 2000, p. 459
- ^ Susman, Gary (June 15, 2004). "So-called Chaos". Entertainment Weekly. Retrieved August 3, 2009.
- ^ Johnston, Ian (September 23, 2004). "Get a head for business, tune into Madonna". The Scotsman (Johnston Press). Retrieved July 24, 2010.
- ^ Givens, Ron (December 28, 1990). "Madonna: One of 1990's great entertainers". Entertainment Weekly. Retrieved April 16, 2013.
- ^ Anderson, Jamie; Kupp, Martin (January 18, 2007). "Case Study: Madonna". The Times (London). Retrieved August 3, 2009.
- ^ Morton 2002, p. 89
- ^ Taraborrelli 2002, p. 167
- ^ Blackmore & de Castro 2008, p. 496
- ^ 5/03/11 1:18pm 5/03/11 1:18pm. "What Attracted Madonna To Kabbalah?". Jezebel.com. Retrieved 2014-01-07.
- ^ a b c Grigoriadis, Vanessa (2011-05-01). "Why Madonna's Malawi School Failed - New York Magazine". Nymag.com. Retrieved 2014-01-07.
- ^ a b Barker, Olivia (2004-05-25). "USATODAY.com - Madonna has faith on a string". USA Today. Gannett Company. Retrieved 2014-01-07.
- ^ Selby, Jenn. "Madonna Lourdes attend Kabbalah service in New York - celebrity pics (Glamour.com UK)". Glamourmagazine.co.uk. Retrieved 2014-01-07.
- ^ Ryan, Harriet (2011-10-18). "Madonna, Demi Moore, other celebrities gave Kabbalah Centre cachet". latimes.com. Retrieved 2014-01-07.
- ^ Harriet Ryan, Los Angeles Times (2011-05-06). "The Kabbalah Centre in Los Angeles is the focus of an IRS investigation into tax evasion - Los Angeles Times". Articles.latimes.com. Retrieved 2014-01-07.
- Aguilar Guzmán, Marcela (2010). Domadores de historias. Conversaciones con grandes cronistas de América Latina (in Spanish). RIL Editores. ISBN 956-284-782-9.
- Axelrod, Alan (2007). One thousand one people who made America. National Geographic Books. ISBN 978-1-4262-0052-6.
- Barcella, Laura (2012). Madonna and Me: Women Writers on the Queen of Pop. Soft Skull Press. ISBN 1-59376-475-8
- Bego, Mark (2000). Madonna: Blonde Ambition. Cooper Square Press. ISBN 978-0-8154-1051-5
- Blackmore, Hazel; de Castro, Rafael Fernández (2008). ¿Qué es Estados Unidos? (in Spanish). Fondo de Cultura Economica. ISBN 978-968-16-8461-7
- Bohem, David A. (1990). Guinness Book of World Records 1990. Sterling Publications. ISBN 0-8069-5791-3
- Boteach, Shmuel (2005). Hating women: America's hostile campaign against the fairer sex. HarperCollins. ISBN 978-0-06-078122-4
- Buikema, Rosemarie; Iris, van der Tuin (2009). Doing Gender in Media, Art and Culture. Routledge. ISBN 0-203-87680-6
- Brackett, Nathan; Hoard, Christian (2004). The New Rolling Stone Album Guide. Simon & Schuster. ISBN 0-7432-0169-8
- Claro, Nicole (1994). Madonna. Chelsea House Publishers. ISBN 978-0-7910-2330-3
- Clerk, Carol (2002). Madonnastyle. Omnibus Press. ISBN 0-7119-8874-9
- Clúa Ginés, Isabel; Pitarch, Pau (2008). Pasen y vean. Estudios culturales (in Spanish). Open University of Catalonia. ISBN 84-9788-726-3
- Cross, Mary (2007). Madonna: A Biography. Greenwood Publishing Group. ISBN 0-313-33811-6
- Crow, Robin (2010). Evolve or Die: Seven Steps to Rethink the Way You Do Business. John Wiley & Sons. ISBN 0-470-62740-9
- Danesi, Marcel (2012). Popular Culture: Introductory Perspectives. Rowman & Littlefield. ISBN 1-4422-1783-9
- Dean, Maury (2003). Rock 'n' Roll Gold Rush: A Singles Un-Cyclopedia. Algora Publishing. ISBN 0-87586-207-1
- Diamond, Elin (1996). Performance and Cultural Politics. Routledge. ISBN 978-0-415-12767-7.
- Erlewine, Stephen Thomas; Bogdanov, Vladimir; Woodstra, Chris (2002). All music guide to rock: the definitive guide to rock, pop, and soul. Hal Leonard Corporation. p. 1399. ISBN 0-87930-653-X
- Jeffreys, Sheila (2005). Beauty And Misogyny: Harmful Cultural Practices In The West. Routledge. ISBN 0-415-35183-9
- Fiske, John (1989). Reading the popular. Routledge. ISBN 0-415-07875-X
- Fouz-Hernández, Santiago; Jarman-Ivens, Freya (2004). Madonna's Drowned Worlds. Ashgate Publishing, Ltd. ISBN 0-7546-3372-1
- Friskics-Warren, Bill (2006). I'll Take You There: Pop Music and the Urge for Transcendence. Continuum International Publishing Group. ISBN 0-8264-1921-6
- Gallo, Carmine (2006). 10 Simple Secrets of the World's Greatest Business Communicators. Sourcebooks. ISBN 978-1-4022-0696-2.
- George-Warren, Holly (1997). Madonna: The Rolling Stone Files. Hyperion Books. ISBN 0-7868-8154-2
- Glenday, Craig (1998). Guinness Book of World Records 1998. Jim Pattison Group. ISBN 0-85112-070-9
- Glenday, Craig (2007). Guinness Book of World Records 2007. Bantam Books. ISBN 0-553-58992-X
- Grant, Robert (2005). Contemporary Strategy Analysis. Wiley-Blackwell. ISBN 978-1-4051-1999-3
- Guilbert, Georges-Claude (2002). Madonna as postmodern myth. McFarland. ISBN 0-7864-1408-1
- Guralnick, Peter; Wolk, Douglas (2000). Best Music Writing. Da Capo Press. ISBN 0-306-80999-0
- Hoban, Phoebe (2004). Basquiat: A Quick Killing in Art. Penguin Books. ISBN 0-14-303512-6
- Horton, Ros; Simmons, Sally (2007). Women Who Changed the World. Quercus. ISBN 1-84724-026-7
- Kellner, Douglas (1995). Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern. Routledge. ISBN 0-415-10570-6
- Kramarae, Cheris; Spender, Dale (2000). Routledge International Encyclopedia of Women: Global Women's Issues and Knowledge. Routledge. ISBN 0-415-92091-4
- Lancaster, Roger Nelson; di Leonardo, Micaela (1997). The Gender/sexuality Reader: Culture, History, Political Economy. Routledge. ISBN 0-415-91005-6
- Landrum, Gene N. (2007). Paranoia & Power: Fear & Fame of Entertainment Icons. Morgan James Publishing. ISBN 1-60037-273-2
- May, John R. (1997). The New Image of Religious Film. Rowman & Littlefield. ISBN 1-55612-761-8
- Metz, Allen; Benson, Carol (1999). The Madonna Companion: Two Decades of Commentary. Music Sales Group. ISBN 0-8256-7194-9
- Morton, Andrew (2002). Madonna. Macmillan Publishers. ISBN 0-312-98310-7
- O'Brien, Lucy (2007). Madonna: Like an Icon. HarperCollins. ISBN 0-593-05547-0
- Orgill, Roxanne (2001). Shout, Sister, Shout!: Ten Girl Singers who Shaped a Century. Simon and Schuster. ISBN 0-689-81991-9
- Pitts, Michael (2004). Famous Movie Detectives. Scarecrow Press. ISBN 0-8108-3690-4
- Rettenmund, Matthew (1995). Madonnica: The Woman & The Icon From A To Z. Macmillan. ISBN 0-312-11782-5
- Robertson, Pamela (1996). Guilty Pleasures: Feminist Camp From Mae West to Madonna. Duke University Press. ISBN 978-0-8223-1748-7
- Rooksby, Rikky (2004). The Complete Guide to the Music of Madonna. Omnibus Press. ISBN 0-7119-9883-3
- Rudnytsky, Peter L.; Gordon, Andrew M. (2000). Psychoanalyses: Feminisms. State University of New York Press. ISBN 1-4384-1823-X
- Rust, Paula C. Rodriguez (2000). Bisexuality in the United States: A Social Science Reader. Columbia University Press
- Sexton, Adam (1993). Desperately Seeking Madonna: In Search of the Meaning of the World's Most Famous Woman. Delta Publishing Inc. ISBN 0-385-30688-1
- St. Michael, Mick (2004). Madonna talking: Madonna in Her Own Words. Omnibus Press. ISBN 1-84449-418-7
- Streitmatter, Rodger (2004). Sex Sells!. Westview Press. ISBN 978-0-8133-4248-1
- Taraborrelli, Randy J. (2002). Madonna: An Intimate Biography. Simon and Schuster. ISBN 0-7432-2880-4
- Taylor, Mark C. (1993). Nots. University of Chicago Press. ISBN 0-226-79131-9
- Tetzlaff, David (1993). Metatextual Girl. Westview Press. ISBN 0-8133-1396-1
- Victor, Barbara (2001). Goddess, Inside Madonna. Cliff Street Books. ISBN 0-06-019930-X
- Voller, Debbie (1999). Madonna: The Style Book. Omnibus Press. ISBN 0-7119-7511-6
- Warren, Holly; George, Patricia Romanowski; Bashe, Patricia Romanowski; Pareles, Jon (2001). The Rolling Stone Encyclopedia of Rock & Roll. Fireside. ISBN 0-7432-0120-5
- Welton, Donn (1998). Body and flesh: a philosophical reader. Wiley-Blackwell. ISBN 1-57718-126-3
- Jhally, Sut (2006). The Spectacle of Accumulation: Essays in Culture, Media, And Politics. Peter Lang. ISBN 0-8204-7904-7
Further reading
- Bronson, Fred (2003). The Billboard Book of Number 1 Hits. Billboard books. ISBN 0-8230-7677-6.
- McAleer, Dave (2004). Hit Singles: Top 20 Charts from 1954 to the Present Day. Hal Leonard Corporation. ISBN 0-87930-808-7.
- Wesley, Hyatt (1999). The Billboard Book of Number One Adult Contemporary Hits. Billboard books. ISBN 0-8230-7693-8.
External links
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