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Madonna is an American singer whose socio-cultural impact was articulated in popular press and scholars from different fields, throught the late-twentieth and twenty-one centuries. Called a pop and cultural icon, her impact was attested outside of music sphera to an international scale.

Throught her career, Madonna was included as one of the most remarkable American figures by publications and cultural institutions, including Discovery Channel, Encyclopædia Britannica, National Geographic Society and the Smithsonian Institution. Her impact was compared to that of enduring entertainers such as Michael Jackson, the Beatles, Marilyn Monroe and Elvis Presley and described by different publications as one of the most-well-written about figures. In between inmediate and retrospectives, some discussions around Madonna further centered her as arguably the foremost influential female musician from popular music; her success led to other female singers being called to her namesake, and they way she was received by media and academia was also credited to help the way future generations of female singers succeed in a multi-metric environment. In the process, Madonna became the best-selling music female artist and at one time, then the wealthiest female singer and the highest-grossing female touring artist. Her persona and work were cited as an influence by different international artists of diverse genres.

A complex figure, her evolving persona and work also attracted socio-cultural criticisms in equal measure from a varied of perspectives and approaches, which made her a cultural icon difficult to categorize as noted social critics like Stuart Sim. She became a polarizing and challenged figure, while perpetuated an image of controversialist and provocateur, a reputation to which she acknowledges, although she responded is generally marked to provoke thoughts and conversations. As her career advanced, her credibility came and gone. Significative analyses and public opinion also remarked an ambiguous and negative impact, while some criticism towards Madonna also relies from broader social aspects. In her career she faced a substantial antireactions ranging from censorship, to boycotts and death threats. Despite correspondence between critics, it was also documented that some critical analyses considered the way Madonna polarises views.

Background
Madonna is an American musician whose impact transcended music; Billboard editor-in-chief Janice Min considered her as "one of a miniscule number of super-artists whose influence and career transcended music". In a The Independent article dedicated to Madonna in 1998, she was described as someone who translates things into a "phenomenon" in comparison to other women performing the same tasks. According to The New York Times staffers in 2018, she had a "singular career" that "crossed boundaries". She was reportedly to pioneer a multifaceted career that encompassess many aspects of contemporary culture, according to a Singaporean publication in 2005. In this vein, Robin Raven from Grammy Awards' official website noted how some seen "Madonna was ahead of her time".

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

International media publications ranging from El Universal (1999) to The A.V. Club (2012), deemed Madonna as arguably the most analyzed, discussed or debated female singer in last decades. She "holds a privileged place", felt and wrote scholar Abigail Gardner in 2016, regarding popular culture studies. In 2018, Laura Craik from The Daily Telegraph estimated that she has "contributed more to the cultural conversation than any female performer in history". Overall, the Rock and Roll Hall of Fame regarded her in 2008, as one of the most "well-documented figures of the modern age", while in 2023, The Cut's culture editor, Brandon Sanchez similarly referred to her as one of "the most-studied, most-written-about figures in U.S. cultural history".

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

Global


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

According to Billboard in 1989, Madonna and Michael Jackson were the first Western musicians to have a release behind the "Bamboo curtain". Informants, notably the koreanist historian Mózes Csoma documented references of Madonna in North Korea, particularly in the context of their World Festival of Youth and Students in 1989, which turned out to be the country's biggest ever international event. Around 2002, Evita also became the first American film screened in the country.

In 1989, Micromanía referred to the "symbol Madonna" as the "most palpable proof that Western society advances and changes", while a decade later in 1999, political scientist David Held with other academicians stated: "The most public symbols of globalization consist of Coca-Cola, Madonna and the news on CNN". In Israel (2003), historian Efraim Karsh cites an Israeli journalist, whose commented: "Madonna and Big Macs the most peripheral of examples of ... 'normalness' which means, amongst other things, the end of the terrible fear of everything that is foreign and strange".

American culture
Perhaps mostly from an internernational perspective, Madonna was long considered an icon of American identity, and described as a metaphor for American society. In 2015, during a lecture dedicated to her at the University of Oviedo, Laura Viñuela gone further comparing her story and evolution as useful to analyze the historical development of the United States. According to historian Glen Jeansonne in A Time of Paradox: America Since 1890, she epitomized one of the cultural faces of the 1980s. Her primary contribution to US culture was musical, according to American critic Gina Arnold in 1996. Referred as the "high priestess of American pop culture" in the 2010s and 2020s by theather historian Catherine Schuler and Sveriges Television, in 2008, British music critic for The Guardian, Kitty Empire called her as "Michigan's biggest export since the automobile".

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

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

Madonna was considered to have transcended the definition of pop icon to became a cultural icon, according to music critic Robert Christgau in the 1980s to PRS for Music's Russel Iliffe in early 2010s. Kathleen Sweeney wrote in Maiden USA (2008), that some entertainers like Madonna or Marilyn Monroe, "reach a status beyond mere celebrity in public consciousness to become enduring cultural icons". According to cultural organization MiratecArts in 2009, her impact was significant to the point, it extended "into the subconscious world of imagination, fantasy and dreams". On the lattermost point, editors of Mythic Astrology Applied (2004), commented: "Many men and women have reported Madonna appearing in their dreams. As she become a living archetype in our culture, it is no wonder that this is so". Sandra Bernhard wrote in her book Confessions of a Pretty Lady (1989), "I dream about Madonna more than anyone I know (or don't know)". Andrew Morton also documented in Madonna (2001), the case of an artist dreaming about her every night for five years. Folklorist scholar Kay Turner, devoted a book titled I Dream of Madonna: Women's Dreams of the Goddess of Pop (1993), which tells the dreaming of 50 women on Madonna.

Multiculturalism
Multiculturalism and race would define Madonna's career, including public perception in forms of criticisms, impact and her lifetime relationships. A subject of racial studies approaches, authors of Encyclopedia of Women in Today's World (2011), described that such studies revealed her as a "critical nexus of race". In 1993, the Australasian gay & lesbian law journal wrote that "it is not possible to read/interpret Madonna without a recognition of elements such as race, class [and] ethnicity", present in "almost" all of her texts.

Raised in a multicultural-ethnic environment, author Mary Gabriel explains that her father made a "very deliberate effor to introduce his children to cultures". In 2012, American music critic Ann Powers complimented Madonna's inclusivity and cultural diversity both in her life and work, saying "her virtual workplace was multicultural long before that was a mandated corporate goal".

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

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

Music industry
Her impact in the music industry has been found in terms of "sound, image, performance, sex, fandom and reinvention". Author Marshawn Evans also commented she helped revolutionize in her generation, how music was performed, delivered to the public, purchased, packaged and downloaded. A 1984 article inside Billboard, echoed that the simultaneous releases of LP, cassette and CD was pioneered by Madonna within WEA branches. In 2014, Xavi Sancho from El País held that during the height of her career, her releases were not only mere musical and commercial events, but rather, they marked a way forward. In 2019, MTV's Erica Russell stated she "reignite interest" in the concept album within mainstream pop after the decline of the rock-oriented concept album in the 1980s.

Madonna's chief impact in music was in the pop music realm. She was a pioneer to popularize dance-pop according to Arie Kaplan. According to music critic Stephen Thomas Erlewine, Madonna also had a "huge role" in popularizing dance music with her debut album, marked by a time of lack of credibility for disco music. An article published by The Spokesman-Review in 1989, also detailed her significant impact not only in dance music, but on dance-music performers. Bob Tannenbaum from The New York Times credits her for help to the evolution of remixing from underground to a standard practice. Others critics and scholars credited Madonna for help to introduce electronic music into the stage of popular music to the masses, or at least within mainstream American pop culture, according to British scholar David Gauntlett, as the genre was most popular among Europeans.

Female figure
According to the Rock and Roll Hall of Fame, she helped dissolve gender boundaries. Tony Sclafani from MSNBC said the word "female" is significant in her assessment, and Dylan Jones referred she was "genuinely influential". In 2013, scholar Jacqueline Edmondson studied different female artists and said about Madonna that she "deserves special attention", labeling her "legacy" as "important to understanding issues surrounding gender and the music industry in the twenty-first century".

Her impact was further attested in the way future generations of female popular singers were subsequently scrutinized. On this, a Vice contributor said that "reviews of her work have served as a roadmap for scrutinizing women at each stage in their music career". Similarly, scholars in Ageing, Popular Culture and Contemporary Feminism (2014) agreed that her figure is "widely considered to have defined the discursive space for examining female popular music". Eric Thompson from City Pages also commented in 2011, that her influence is "felt in the way modern female musicians are viewed, regarded and accepted". In 2013, Dutch scholars in Celebrity Studies wrote how female artists were "very often measured against the yardstick that Madonna has become".

Criticisms and ambivalences as a musician
According to music critic Robert Christgau in Grown Up All Wrong (2000), Madonna was "honored less as an artist than as a cultural force". A scholar also noted how in the "field of musicology, serious discussion of Madonna has been even rarer than in the popular press". In Representing Gender in Cultures (2004), authors also explained that she has been "consistently denied a status of a 'real' musician". One of the focal critical views is a general agreement that her own "artistic talents" are considered to be "limited" by critics. Other critics have also complained that the content of her songs are "empty".

Influence on other entertainers
Madonna's influence and as source of inspiration became in an articulated topic of her impact by some. A number of authors and media outlets devoted analyses and articles, including CBC's 2018 article on some Canadian's artists. Discussing her 20-years plus career, in 2003, BBC's Ian Youngs said "her influence on others has come as much from her image as her music".

Various commentators particularly noted how her career and works have influenced generation of female pop stars, with MacLeod saying she influenced "many girls" in popular music. In 2014, scholars in Ageing, Popular Culture and Contemporary Feminism (2014), said that "judging by the citations she receives from almost every female pop star", she remains "the single biggest female influence on the nature and style of pop music over the course of the late twentieth century". In early 2000s, Gauntlett discussed her influence on other female performers denoting "four key" themes, and called many of them as Madonna's "musical daughters".

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

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

Generalized cultural and social criticisms
Scholars in Representing Gender in Cultures (2004) categorizes Madonna within generalized perspectives of those whose denounce popular culture as an "obedient mechanism of ideology". Spaniard philosopher Ana Marta González in 2009, explained how she didn't see a cultural prominence surrounding her figure, although considered that depends on point of views. Madonna herself, was considered the "lowest form of popular culture" by some sectors in early 1990s. Philosopher Isaiah Berlin lamented the mass culture exemplified by the singer. The New York Times staffers in 2018, dedicated an articule to her impact, where they also pointed out that she "caused a few cultural crises".

Sean McLeod in Leaders of the Pack, commented that her moral integrity and responsibility have been considered a "subject of debate". In 2007, Mary Cross also noted how she has been considered a "corrupting influence". In 1991, educator John R. Silber lumped her in the same category of Adolf Hitler and Saddam Hussein. In Women and the Media: Diverse Perspectives (2005), authors wrote that Madonna challenged the American value system, and continued to challenge it. At some stage of her career, she was accused of unpatriotism.

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

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

Globalized and Transcultural criticisms


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


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


 * Madonnanization: Economist Tyler Cowen from Forbes used the term in the context of the performing arts as a "homogeneous global culture of the 'least common denominator'". French academic Georges-Claude Guilbert, notes that in a postmodern context the definition would not be derogatory, arguing that "there seems to be some sort of equation between the McDonaldization of American and its "Madonnanization".

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

In the 2000s, media theorist Douglas Rushkoff was quoted as saying she "brought down the Berlin Wall" in a certain sense. According to scholar Alexei Yurchak, an "extensive list" of Western entertainers like Madonna, Elvis Presley, Michael Jackson, Donna Summer or Pink Floyd were censured in the Soviet Union, as they represented challenged moral views to their society. In 1987, USSR's official newspaper Pravda informed that the censorship against Madonna or Presley was lifted up, although they gone to criticize the performers. In 2016, head of a British pro-North Korea group, lumped Madonna and other cultural motifs for the collapse of the Soviet Union by making people listen to "the most rubbishy aspects of bourgeois imperialist pop culture". In 2012, Russian journalist Maksim Shevchenko referred to her a "vivid symbol of everything superficial, deceitful and hateful that the West exhibits toward Russian". In 2023, news agency Ukrinform informed that a fake Madonna's video served as Russian propaganda. They explained that Russian propaganda had used her name to spread fake propaganda in the past.

Censorship and death threats
In mid-2010s, various media outlets assumed her name was banned by the Islamic State (ISIS) for "good measure". The International Music Council informed that ISIS classified both her music and performances as haram stating that "represent anti-Islamic values" and specified that "anyone caught listening to her music will be punished with 80 lashes".

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

Madonna and critics
Correspondence between Madonna and critics have been noted, with Clifton saying that her "stormy relationship with the critics is a well-established and crucial aspect" of her career. As her career advanced, and Madonna took more risks, becoming "controversial" many times, she has alineated critics, as some of them at first praised her, were reportedly been "disillusioned". John E. Seery cites that her critics are "many" and some of the critical issues include: "She is not to be taken seriously [...] she is, at bottom, a joke". In Understanding Popular Music (2013), Roy Shuker said that she is a "star whom many critics [...] love to hate". Academic John Street wrote in

Correspondence among critics were also noted. Noting her harsh criticism, academic John Street also wrote in Musicologists, Sociologists and Madonna (1993) that she has been also "defended" in "equally extravagant terms".

Madonna's views
Thorught her career, she responded to her critics through her works, conduit and statements. Acknowledging her risks, she declared: "I've been popular and unpopular, successful and unsuccessful, loved and loathed and I know how meaningless it all is. Therefore I feel free to take whatever risks I want".

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

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

Thorught her career, some reviewers have favored rethinking and other approaches. For instance, Gayle Stever in The Psycology of Celebrity (2018) noted how the "attention Madonna received from being controversial" also "opened up an entire new way of thinking" on others. "There is no avoiding Madonna, so we might as well study her", wrote Maria Gallagher for The Philadelphia Inquirer in 1992, where scholar Cindy Patton considered her a "social critic in a certain way", and she has an "instinct for not just what's going to get people upset, but what's going to get people thinking". Similarly, during an international congress in 2005, Lydia Brugué from Universitat de Vic concluded she is an artist with "multiple messages" leading frequently to ambiguity and certainly, it "provokes" but "it goes beyond creating controversy".

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

Critics' lists and polls
Madonna also made appearance in lists and references dedicated to significant personalities from the 20th century. She was included on TV Guide's 101 People Who Made the 20th Century, season one, which was a "look" of influential people who made "dramatic impacts" during that century. She was also included in the Ultimate Biography: Inside the Lives of the World's 250 Most Influential People (2002), which is based on the longest-running, single-topic documentary series Biography by A&E.

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

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

Superlatives
Some have noted how she has been given and earned superlatives, including The A.V. Club's editors in 2019 and American journalist Meredith Vieira in 2006. Across her multi-decades career, both immediate and retrospectively, Madonna has been celebrated as one of the greatest and influential female artists of all-time; a significant portion of international authors, critics and media publications have further called her as "the most influential female" in contemporary music, as noted announcer Juanma Ortega in 2020, with Michael Musto similarly claiming in 2015, that she emerged as "the most influential" for decades. Especific examples include pieces from outlets around the world such as CNN (2008), Radio Free Europe/Radio Liberty (2008) and Vogue Mexico (2020). Other references include in "pop history", or from American music history according to MTV or BET.

Cultural depictions


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

On science references, Echiniscus madonnae is a water bear specie named after Madonna in 2006. The zoologists commented: "We take great pleasure in dedicating this species to one of the most significant artists of our times". Quadricona madonnae is a fossil Bradoriid from the Cambrian of South Australia named after her; in reference to the nodes on each valve resembling her conical bustiers.

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