Talk:Madonna in media/Draft

Coverage/scope/intellectual response

 * Madonna, a palpable sign of growing global celebrity | Michael Jackson: Grasping the Spectacle (2017), pag 93
 * Ann Powers (1998) from The New York Times: Intellectuals have described her as embodying [...] celebrity itself]
 * We Gotta Get Out Of This Place (2001): "Madonna's was the most scrutinized female life of the 20th century—with the possible exceptions of Diana Spencer and Jacqueline Kennedy Onassis"
 * "academic studies and college courses dealing with Madonna's work benefited from the aura of her celebrity through the mid-1990s" | Madonna's Drowned Worlds pag. 188, by Santiago Fouz-Hernández (Durham University verified profile)
 * Humanitarianism and Modern Culture (2010): longevity of her career, now spanning generations / global celebrity since 1985 / she has rarely been absent from appearance in the media environment and has thus become a more or less natural, or at least inevitable, component of modern culture. She is simply there...
 * The Guardian: the template for modern pop stardom
 * Vice: she didn't set the template alone... but more than anyone else, Madonna created the rules of engagement now followed by everyone
 * The Oxford Handbook of Religion and the American News Media (2012): Midway through the Clinton two-term presidency, many of the established features of celebrity coverage in the news remained the same, and Madonna was still embodying all of them.
 * Lucy O'Brien in She Bop II (2002): "Madonna has proved to be the most enduring of the modern pop divas"

Celebrity-fame influence on others

 * Forbes: 1991, Monica Seles taken inspirations from her idol Madonna to create "continuing media event out of a one-time happening".
 * Wanted to be as famous as Madonna (various)
 * Madonna's interest in Kabbalah has been covered intensely by the media | Changing Fashion 2007
 * Georges-Claude Guilbert (2002): "gay magazines regularly use her to boost their sales, even when no particular breaking news justifies it"

Comparisons

 * The New York Times (August 2023), Taylor Swift: a level of white-hot demand and media saturation not seen since the 1980s heyday of Michael Jackson and Madonna — a dominance that the entertainment business had largely accepted as impossible to replicate in the fragmented 21st century.
 * The Decline Effect (2023): When we come to a celebrity like Madonna, the story is different. After three decades living in the public eye, Madonna is basically everywhere.

Criticisms/relation and an aged Madonna

 * Media and Memory (2011) by Joanne Garde-Hansen, an aged Madonna on online platforms
 * Michelle Goldberg: the "notion of celebrity as an art form that Madonna helped propagate has hideous consequences"
 * Michael Golden as cites by John A. Walker: "artistic output has become a by-product of fame instead of the reason for it"
 * Who's That Girl? Who's That Boy? (1998): "In short, she is famous because she is a bitch and a slut" (referring to gender bias)
 * so much has been written about her it is impossible to tell fact from fiction
 * Guilbert: some journalists enjoy being particularly venomous when writing about Madonna, revealing more about themselves than anything else"
 * Karlene Faith (1997, pag 35): Madonna invites observers, but she has no control over how she will be read or written . Marilyn Monroe , who , like Madonna , invited the attention of the press but was often disappointed in the results , let it be known that she didn't appreciate being judged by them : ' I don't think I've ever met a writer I'd like as my judge

Medium formats-related

 * Eric Weisbard (2021): in the 1990s, "only Madonna books proliferated" (Jackson and Prince)

Others

 * Settling the Pop Score (2017): Madonna's extraordinary celebrity status must be linked to her ability to grasp the rapidly changing technologies and styles of a multimedia industry and apply them creatively to her texts.
 * The Daily Telegraph: The antithesis of the manufactured pop star
 * The History of Rock and Roll (2010): Her success opened doors for female musicians in the male-dominated world of rock and roll | pag 34.