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Critical attention

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

—Spanish philosopher Ana Marta González on Madonna (2009)

Madonna media figure have been the subject of diverse analysis since she burst on the scene in the 1980s. Her mini academic subdiscipline, the Madonna studies, saw a development in media and even communication studies. At the height, various scholars "analyze[d] media-Madonna discourses and representations". In the mid-1990s, professor Ann Cvetkovich in Articulating the global and the local (1997), lumped her as a example of the global reach of media culture. Bill Friskics-Warren, in I'll take you there (2006) wrote that her megastardom made her a "person-turned-idea".

The perception that many critics and authors had towards Madonna in most part of her career, was oriented to see her more as a star rather than a singer or actress. Supporting this view, author Mark Bego adds, in his book Madonna: Blond Ambition (2000), that for her "is a role unto itself". Robert Christgau once commented "celebrity itself is her true art".

She also attained in her first decades, a profile of being referred as a "media manipulator", and for which music critic J. D. Considine considered her "more media manipulator than musician". To American journalist Josh Tyrangiel, she reached her peak of this with the advent of the Like a Prayer era. Music critic Stephen Thomas Erlewine, even attributed this as one of her greatest achievements, and Rock and Roll Hall of Fame wrote for her profile that "no one in the pop real has manipulated the media with such a savvy sense of self-promotion".

Since her early career, Madonna was deemed more as a pop icon rather than a "musician". Thomas Harrison, a music professor University of Central Florida, comparing the case of Cindy Lauper says: "A singer and songwriter first and pop culture icon second; with Madonna, it was largely the opposite". After the release of True Blue, critic Stephen Holden also describes the perception: "Madonna is still much more significant as a pop culture symbol than as a songwriter or singer". Writer Martha Bayles asserts, "it is in the extramusical realm that Madonna really made her name". In the 1999 list "100 greatest entertainers of the last 50 years" by Entertainment Weekly, is similarly described in the following way by their staff: "She's not really a singer per se, but she created the whole idea of a pop icon marketing herself. She's the epitome of the modern entertainer".

Ubiquity

20th century

The press has in turn made Madonna the most visible, photographed, and debated female in modern times

—Profiles of Female Genius: Thirteen Creative Women who Changed the World (1994)

20th century: Douglas Rushkoff, summed up by the time Madonna released her book Sex, The New York Times recognized her ongoing relationship with the media stood as her "most significant" performance art event: "Millions of words will be printed around the globe about her. The controversy, the reviews, the analysis, the gossip, and the photos of the star will complete the phenomenon". Before the pre-internet era, Laura Craik of The Daily Telegraph puts Madonna in this way: "Before information was a quick google away, Madonna was a rare and precious conduit, a woman who seemed plugged into the white-hot centre of the universe, yet all the while appearing to be her own current". Writing for Vulture in 2015, Lindsay Zoladz compared if the internet is our modern religion, then Madonna is its Old Testament God. In short, before the massively use of internet, Matthew Jacobs a reporter from HuffPost said that the volume of media attention Madonna commanded was a feat; only Michael Jackson was noted to rivaled it. In Cashmore's words, she got more saturation media coverage than anyone, present and past.

21st century

Madonna's global Google Searches during 2010—2018

The continual media and public interest in the current century, has been documented in many regards. In Howard Stern Comes Again (2019), radio personality Howard Stern cites Gary Dell'Abate explaining that took "about thirty years" to have an interview with the singer (March 2015), accommodating their schedule to coincide with her, and saying "that's the only time I've ever done that [...] That's how important it was to have Madonna on". The first Chilean outlet to interview Madonna was Canal 13 in 2012, having Andrés Caniulef as the interviewer. It attracted coverage of national outlets like La Cuarta and was considered a "feat". In the 2000s, she ended as the most played artist of the decade in the United Kingdom according to Phonographic Performance Limited (PPL), and the most-talked about celebrity according to Kantar Group. In 2021, PPL ranked her at second, as the most played women in the 21st century in UK. Madonna has been placed several times in Forbes Celebrity 100, which for the time she made her appearances, it was based in a range of several metrics, including earnings, social media following and magazine covers.

About internet, in the mid-late 1990s, Frances Wasserlein was one of the first to devote the presence of Madonna on the Net, documenting literally billions of bytes on web sites all over the world about her. Turning into the 21sth century, in Madonnaland (2016), Alina Simone describes Madonna's presence on internet, with millions of Google results, websites, thousand of magazine and newspaper articles and a vast network of social media sites. She describes that "trying to ingest it all" is a task complicated further the fact that is simultaneously growing.

Television

MTV

See also: MTV generation

Madonna during a MTV International interview in 2019

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

—MTV Staff on Madonna (c. 2008).

Another significant point in her career, was the association with MTV, as both have almost simultaneously rise and become synonymous, along that both had contributed substantially to each other's success. Like Michael Jackson, diverse sources gave her a very notable role, with the staff of The New York Times commenting she gave the network more media headlines than any other artist, and her inaugural performance at the 1984 MTV Video Music Awards, defined the tone. This performance was deemed as one of the moments that defined the 1980s according to the National Geographic Channel. David French from National Review was less impressed, saying that considering pop music is supposed to be about the "now", seems irony that MTV have appealed to the formula since 1984 by Madonna and "since then, it's been all Madonna, all the time".

For many reasons, authors like Arie Kaplan claims that "she was the first artist to really use MTV to establish her popularity". The staff of Rolling Stone, including Bilge Ebiri and Maura Johnston have concurred that "no artist conquered the medium" like her, given further credit that her videos "defined the MTV era and changed pop culture forever". Editor Women Icons of Popular Music (2009), summarized the feeling saying, "quite simply there was no one else like her". Another supporter is associate professor Diane Pecknold, who wrote in American Icons (2006), she was the "MTV ideal".

MTV even placed Madonna, in 2003, as the "Greatest Video Star" ever. She also broke several records in the network, such as being the artist with "most videos released" in the network according to John W. Whitehead and editors of Encyclopedia of Contemporary American Culture (2005) also wrote "MTV plays her music videos more than any other artist's".

Cinema

• Truth or Dare

Celebrity

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

—Richard Koch on Madonna (2020)

Madonna's celebrity condition has been remarked during decades

Much like other contemporary female figures such as Diana, Princess of Wales or earliest as Marilyn Monroe, Madonna has been called by many as perhaps or arguably "the most famous woman in the world". In Madonna's case, one or more outlets have named her as such in five consecutive decades (1980s to 2020s). To the extend, the title have attracted commentaries by authors and academics.

In American Icons (2006), associate professor Diane Pecknold echoed the "claim to distinction as the world's most famous woman seems to require no defense". Citing Rolling Stone (1989), scholar Frances Negrón-Muntaner in Boricua Pop (2004), copied "she has been labeled the most famous woman alive who has imprinted, one way or another, not only a generation but the world". Jancee Dunn from that publication once stated "our girl morphed [into] the world's most famous woman". In Madonna as Postmodern Myth (2002), French academic Georges-Claude Guilbert asserts: "In the American, British, Australian, and French press [...], it is generally taken for granted that Madonna is the most famous female in the world". Scholar Robert M. Grant, in a Madonna class in 2008, putted her as "the best known woman on the planet". In Transgression and Redemption in American Fiction (2020), writer and professor Thomas Ferraro, says "she seemed to have been intent on becoming the most famous woman in the world, and then did".

Overall, American journalist Vanessa Grigoriadis, commented in 2019 for The New York Times: "The conventional wisdom is that Madonna became more famous than everyone else because she was dying to become famous". Back in 2018, English writer Matt Cain describes Madonna as "one of the most famous women ever to have lived". In the entertainment field, academic Douglas Kellner, in Media Culture (2003), considered her as "the most popular woman entertainer of her era (and perhaps of all time)". In Madonnaland, Alina Simone described the singer as "the most famous female performer of all time".

Influence of Madonna's fame

The significance of early Madonna's fame and stardom is summarizing in the words of Annalee Newitz, who commented in 1993: "Fields from theology to queer studies have written literally volumes on what Madonna's stardom means for gender relations, for American culture, and for the future". Writing for Time in 2012, Erin Skarda summed up that "she essentially redefined what it meant to be famous in America".

In 1995, American Photo magazine held in 1995, that "more than anyone else, Madonna challenged the terms of celebrity for women". A decade later, in The Greenwood Encyclopedia of Rock History (2006), senior academic administrator MaryAnn Janosik concurred saying that she demonstrated "power is accessible to all, including women". Sociologist Ellis Cashmore, reminds she "didn't single handedly star celebrity culture", but proposes that after her, "scandal has become something of a holy grail for celebrities". British art historian, John A. Walker in Art and Celebrity (2003), commented "Madonna's celebrity tactics [... ] are now everywhere".

Recognition of her celebrity

Decades after of her debut, Madonnas's celebrity has been placed high. In the early 2000s, Christopher John Farley labeled her as "arguably the biggest female pop star in American history". Anne-Marie Korte, from Utrecht University similarly called her in that decade, as "America's greatest female pop star ever". This sentiment is extended in many authors. In short, Janosik describes the limitations of encapsulate the singer in a single decade, saying "calling Madonna the biggest female star of the mid-late 1980s would be as limiting a profile as identifying Michael Jackson as African American or Bruce Springsteen as a New Jersey Catholic". Similar attributions are made, by agents like editor Merle Ginsberg, whom in 2003 called her "perhaps the biggest star who ever lived".

The Madonna's celebrity influence, even in the post-internet era, is remarked by diverse outlets and authors, and most of them agreed that she set the "template" in many regards for pop stars. Having considered other examples, the staff of Billboard in 2018, says she set "the template for what a pop star could and should be". In 2015, Elysa Gardner from USA Today felt "no single artist has been more crucial in shaping our modern view of celebrities as people who need people — and attention". On the other hand, Guilbert once commented "some celebrities seeking publicity do not hesitate to use Madonna's name". She has been ranked in several celebrity power lists; for example, in 2003, Alvin Hall ranked Madonna for BBC as the "most powerful celebrity".

Magazines

See also: List of people on the cover of i-D magazine, Lists of Harper's Bazaar cover models, List of people on the cover of GQ Russia, List of Jane magazine cover models, Lists of Playboy models, and List of V magazine cover models

Madonna on the cover of Music Connection, issued March 1985

Madonna has graced more than 4,700 magazine covers worldwide as of 2020, from fan to high fashion periodicals of six pounds.

In Madonna: Queen of the world (2002), biographer describes that she not only sold music "but also huge amounts of the newspapers and magazines". Professor Georges-Claude Guilbert noticed media scholar David Tetzlaff's point as he puts her as ubiquitous at newsstands, and "this alone makes Madonna a phenomenon worthy of analysis". According to Mark Bego, magazines or calendars "sell out in record numbers when her name or likeness is on them". Such was her ubiquity, that editor of Profiles of Female Genius (1994) virtually claimed that "Madonna's likeness has graced the covers of every national magazine, with the possible exception of Christian Science Monitor". Similarly, a 1990 article of Entertainment Weekly said that "she again seemed to appear on the cover of just about every major magazine in the United States".

Feats

She has established various records with many magazine covers. Madonna is the first woman entrepreneur to appear on a Forbes cover according to themselves. She became the inaugural cover for publications such as Spin (1985) and Shock from Colombia (1995). The staff of Spin put two Madonna's covers in their own narrative of the Genesis creation of 7 days, celebrating their first 7 years. She also appeared more than any other person on the covers of Interview and Vanity Fair. Madonna is reported to be the first female figure in the Rolling Stone special issues "Collectors edition". She is also according to themselves, the female artist with most cover appearance on Rolling Stone either alone or including "collage" covers.

Under Anna Wintour's control, she became the first singer to be pictured on the cover of Vogue. In addition, Madonna become the first singer to grace the covers of the The Big Four and the only one until Rihanna matched this in 2021. Its believed that Gaultier was the first designer who has been featured on a magazine cover, when appeared in Glamour in 1990 along with Madonna. In 2022, Madonna was part of the first-ever NFT magazine covers designed by an NFT artist after Billboard partnership with World of Women. The same year, Madonna was the inaugural issue for L'Officiel Ibiza. About this collaboration, the magazine commented: "This project was born to pay a tribute to a contemporary icon who has defined, influenced and informed today's culture and aesthetics through her music and style". As of 2009, Madonna was the 10th person with most People cover magazines with 13.

Her cover issue named X-STaTIC PRo=Cess for W in 2003, became their best-selling edition ever. In 1985, Penthouse and Playboy magazines published a number of nude photos of Madonna. They had their Madonna issues on newsstands weeks earlier, and increased their print run up to 15 and 10 percent respectively. The total circulation for Madonna's issues in Penthouse was of 4.5 million and 5 million for Playboy. Madonna's American Vogue debut was seen by Wintour as "something extraordinary, like forty percent". In 1992 alone, Madonna was reported to be the most commercial cover girl in the United States. Also, more people picked up the cover of Madonna in 1992 on Entertainment Weekly (EW) than any other EW cover that year. Her 1997 March's Vanity Fair cover titled "Madonna and Child" was featured among the best-selling covers of 1998 with editor Graydon Carter commenting "Madonna always sells phenomenally well". It registered 551,696 street copies.

Listicles and other depictions

In 2018, Matthew Rettenmund created a listicle for Logo TV named Madonna's 20 Most Essential Magazine Covers. Prior years, in 2014 he compiled 200 of her greatest cover magazines in his website BoyCulture. In 2008, Hank Stuever from Washington Post celebrated Madonna's 50 birthday with a tour of some Madonna's magazine covers, saying: "The Material Girl has long been a cover girl, regularly gracing magazine covers for the last 25 years". Similarly, Emily Nussbaum showed a slideshow of 75 of her "great magazine covers" in a 2009 article for New York magazine.

Publishing industry

According to Paul Fraser, her signature has been one of the most valuable living autographs (2014, 2019)

Madonna has authored several books and articles. While she faced varied commentaries, Landon Palmer from University of Alabama wrote in Rock Star/Movie Star (2020) that her impact in popular culture includes various areas, and this counts publishing realm. Biographer Carol Gnojewski labeled her an "avid diarist". Professor Mary Cross, calls her poems as "confessionals" as she writes them to crystallize her feelings, even wrote poems to her assistants in gratitude of their help.

The sizeable impact of her first book, Sex was described by Mark Blankenship in 2012, saying "literature changed forever". Back in 1992, Entertainment Weekly deemed as the "publishing event of the century". Sex also marked "the most extensive international introduction of a book in history". As one of the most requested out-of-print publications ever, AbeBooks calls Sex in their database as "the most famous out-of-print book of modern times". Her first two children books, The English Roses and Mr. Peabody's Apples are among of the largest literary works by number of translations. She settled other numerous records with her books.

Influence on other authors and journalists

Associate professor, Diane Pecknold wrote in American Icons (2006), that she has contributed to the English Lexicon, noting the influence in the term Madonna wannabe. Also, after her first feature film Desperately Seeking Susan "produced a new idiomatic phrase", considering newspaper headlines.

Madonna's figure have inspired others authors and journalists. Having been an influence for him, Matthew Rettenmund made his publishing career debut writing about the singer in 1995. Also, an inspiration for his career, Italian writer Francesco Falconi dedicated his first non-fictional book to a Madonna biography. Australian journalist Marc Andrews, a Mediaweek contributor, was inspired in Madonna and Kylie Minogue to expand his local to international coverage. Belfast Telegraph's journalists to writers like Natalia Mardero, have devoted articles talking about Madonna's influence in their life. Madonna and Me (2012), as writes critic Eric Weisbard, is a book about dozens of women writers tracing their relationship with Madonna over the years. Novelists such as Paulo Coelho and Lynne Truss have commented they "admire" and "respect" Madonna. Madonna have contributed along with others, in the international popularity of the poetry of Rumi, according to DK.

• Natalia Mardero

Incidents and criticisms

Madonna sued The Daily Express

In recent times, she polarized audiences in her involving usage of social media. In 2015, Peter Robinson recognized her as the "original queen of pop media", but he commented about her erratic posts, in which "the image Madonna spent three decades refining has begun to unravel". Some critics of Madonna, often interpreted her ambiguous usage in order to seek attention or as a "desperate effort" to remain in the cultural conversation. A clear example is after Madonna posting a TikTok video on October 2022, in which she teases the idea that she was "coming out as gay".

• Google No1 USA - October 10, 2022
• [1]

Impact

British sociologist Ellis Cashmore, argues that more than anyone else, Madonna effected a change in style and the manner in which stars engaged with the media.

Her media-reach level, was often accompanied with nicknames. For example in 1987, Kristine McKenna called her "goddess of mass communications", and in 2013, professor Mathew Donahue named her the original "Queen of All Media". Guilbert once called her one of the five most photographed woman in the world, while in 2006, The British Journal of Photography said she is "probably the most photographed woman in the world".

Media depictions

Several documentaries

• In France with Madonna au France 5

See also

• Madonna on Late Show with David Letterman in 1994
• Super Bowl XLVI halftime show
• Radio 1 Madonna controversy

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• Michael Wetzl, professor of German Studies at the University of Bonn, oferrs and advanced study of the ways Madonna managed her representations in the medias — Myth: A Handbook, William G. Doty pag 155
• Madonna was one of the first celebrities to grasp that the relationship between media and fame had changed — Gods Behaving Badly: Media, Religion, and Celebrity Culture - Page 40 — Pete Ward · 2011
• Madonna is first and foremost a shrewd master of media business ( as usual ) — Girl Heroes: The New Force in Popular Culture - Page 49, Dr. Susan Hopkins · 2002
• What Wild Ecstasy - Page 362, John Heidenry · 2002: In 1985 the most famous woman in the United States, and probably the world, was pop singer Madonna
• who had been reluctant to offer her music by digital download, was the first major artist to make preview ringtones from her album available only to mobile phone subscribers - before releasing it for purchase in store and over the Internet; Mobile Internet For Dummies - Pag 115; Michael J. O'Farrell, ‎John R. Levine, ‎Jostein Algroy 2008
• Despite a film career that has rarely lived up to its hype , Madonna has become the most famous woman of her generation — Frightening the Horses: Gay Icons of the Cinema - Page 98, Eric Braun · 2007