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Madonna's life and attitude have been a subject of scrutiny by both press and academic discourse.

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Persona

Madonna's persona has been scrutinized by scholars and other authors. American author, Rene Denfeld summed up that Madonna is one of the first female public figures ever to present ambition, power, and strength into one empowering package. Writing for Christian magazine, Third Way bishop Graham Cray opined that Madonna has skilfully developed a persona.

IQ

Writer Laura Barcella states "what's always been most powerful about Madonna is her smarts", remarking that she has an IQ of 140, making her a "certified genius". Depends how it is measured, others like Time magazine noted her with a "near genius-level". Professor Mary Cross, wrote in Madonna: A Biography (2007) that in the report cards, Madonna has an unusually high IQ over 140, and found it easy to become a straight A student.

Ambition

What set her apart was her bottomless maw of ambition. And over the years, her statements — "I want to rule the world" — supported this theory.

—Vanessa Grigoriadis for The New York Times (2018).

Madonna is noted by her ambition and that reputation is "legendary" as was written in Madonna's Drowned Worlds. Madonna was quoted saying: "I'm tough, ambitious, and I know exactly what I want. If that makes me a bitch, okay". Madonna told Matthew Todd, that her ambition was driven by feeling unloved after the death of her mother.

Various have interpreted her ambition and statements from different fields. In Understanding Careers, New Zealander scholar Kerr Inkson wrote that perhaps it is no accident that she called a tour, Blonde Ambition. By Madonna's critics like bell hooks as noticed scholars from Nordic Association for American Studies, her ambition is not primarily a blond one, but rather a monetary and a global media ambition. German cultural icon Diedrich Diederichsen believes that Madonna "herself openly cultivated the legend of her ambition, which would stop at nothing".

French academic Georges-Claude Guilbert is convinced that Madonna's avowed ambition is also to try her hand at every art form. Author Kay Turner, said that "she made outrageous claims about her ambitions, but invited the world to join her in believing that dreams come true". In Madonnaland, Alina Simone documented that the singer "has never been anything but aggressively honest about her ambition". American feminist Susie Bright commented that "she is considered too ambitious, and therefore too much like a man".

As her ambition also reached the borders of business and marketing community, analyst Roger Blackwell summed up that this a common denominator in her marketing analysis. For him, she "has thrived primarily due to her raw ambition rather than raw talent".

Work ethic and working time

Academic Camille Paglia as do others, reported that Madonna is perfectionist and workaholic. John Anthony McCrossan of University of South Florida wrote that she is considered "one of the hardest working and most disciplined of performers". At some point, others further considered her as arguably "the hardest-working woman" (or person) in her business, industry or camp.

Madonna has earned a reputation of being demanding. An author summed up that Madonna is "obsessively controlling" all the things she does. In 1993, researches Jane Brown and Laurie Schulze found that Madonna was seen more positively by people when they viewed her as in control. Andrew Morton, wrote in Madonna that this "obsessive need for control goes way beyond the parameters of a typical business manual". And even on the rare occasions she takes a holiday (she has had only a handful in her adult life). Author also found that Madonna has an organized schedule to work on lyrics and future projects for which he concluded she is a "musical poet in motion".

Self-made case and the American dream

The popular belief, is that Madonna. Professor and author Maury Dean commented that "her survival tactics often bordered on shock value".

Madonna embodied the American Dream in many ways. Caroline von Lowtzow, a contributor of German newspaper Süddeutsche Zeitung said that Madonna turned in a female incarnation in the American Dream of the "self-made man". In 2001, Jim Cullen of Greenwich Country Day School documented that "few figures in American life have manage to exert as much control over their destinies as she has, and the fact that she has done so as woman is all the more remarkable". He further expressed "that Madonna has done this is indisputable".

In his book Racism and Cultural Studies (2002), E. San Juan Jr. wrote that Madonna is the climax of the itinerary of U.S. nationalism from the self-love of a people with a divinely ordained mission.

Madonna's speeches

Madonna at Amnesty International's Bringing Human Rights Home in 2014

Madonna's public speeches have been the subject of both celebratory reception and criticisms. According to biographer Rebecca Gulick, "Madonna believes that with her fame comes the responsibility to be a spokesperson". Writer Rodrigo Fresán observed that "Madonna speaks" and became in the queen of one-liner.

Madonna is known, for being provocative in her messages. As editors of NYU Press' book Popular Culture and the Civic Imagination (2020), observed that the self-proclaimed Unapologetic Bitch uses her voice directly and forcefully to shock and therefore draw attention to her message. In their conclusion, Madonna paved the way for other generation of artists both as musical artist and a political commentator. In Mark Bego's book Pop Culture Presents the Story Of Jewel (1998), it was described: "Madonna paved the way in just so many ways. She was never afraid to break down taboos". Ilene Rosenzweig, author of The I hate Madonna handbook (1994), was less impressed when the singer claimed to be political and having an agenda to "push people's buttons".

Fresán quoted Madonna, saying that there are people "who hate me" for having an opinion on things. In 2019, Madonna told Decca Aitkenhead in a interview for Vogue: "People have always been trying to silence me for one reason or another". Decades prior, during the release of her theatrical play Speed-the-Plow, she said: "There are people who are violently opposed to the fact that I exist on this earth".

In 2006, Australian public intellectual Germaine Greer, said that Madonna can talk, and that is what makes her a genius further summarizing that "what Madonna could do better than any other woman I know of was talk". Back in the 1990s, historian and sociologist Cindy Patton described Madonna as a "social critic in a certain way". Writing for L'Officiel in 2019, Donatella Versace said that because Madonna is extremely informed and culturally aware she can hold her own on any subject from music to art.

Some books about Madonna are in-depth focused in her speeches and quotes:

• Madonna in Her Own Words (1990) by Mick St. Michael (ISBN 0-7119-7734-8)
• Madonna Speaks (1993) by Mike Fleiss (ISBN 0-9412-6383-5)
• Madonna: Inspirations (2005) by Essential Works (ISBN 0-7407-5456-4)

Lifestyle

Ashcombe House, Wiltshire, became for a while, property of marriage Madonna-Guy Ritchie

Madonna's lifestyle have attracted extensively attention from scholarly and press accounts. Such was the coverage, that according to the Ohio State University, her lifestyle has been discussed more than her music. Another comment was made by The Observer columnist Barbara Ellen, as she states that "Madonna's life has always been much more vigorously reviewed that her art" and "much of her personal history has now passed into legend".

Psychiatrist K. Elan Jung, opined that "Madonna's life is a study in contrasts". According to Psychology Press' book Contesting Feminist Orthodoxies (1996), contrary to figures like Oprah Winfrey that have received an enormous amount of tabloid attention like Madonna, singer's life and cultural appeal have been minutely examined within a broad-ranging set of critical and feminist discourses unlike Winfrey. Overall, Rolling Stone staff summed up that her personal life "is tracked, scrutinized and documented as a matter of course".

References in her work and critical analysis

According scholars and authors of Madonna's Drowned Worlds a multitude of agents from journalists to academics, have reviewed the likeness of her work with elements of her life. Scholar Lynne Layton believes that "Madonna makes sense of her life" by "deliberately making her life a part of her work" concluding that Madonna presents us with both a public and a private persona. At some point, Mark Bego said that her career seemed to have a life of its own. Bishop Graham Cray suggested that elements of her work are confessional, but much is larger than life and each image develops some aspects of her own person. British sociologist Ellis Cashmore and author Kevin Dixon, concurred that "after Madonna, any aspiring singer or actor knew that they would have to surrender what used to be called a private life to their public".

Life in United Kingdom and Portugal

BBC reporter Rosie Millard described her as "arguably the most famous persona currently residing in the UK".

Madonna lived in Lisbon, Portugal from 2017 to 2020. Portuguese and Spanish outlets credited her presence as a boost and help for their tourism industry, with a benefits in "luxury tourism" or real estate business. British Vogue editor Laura Hawkins, called Madonna "Lisbon's most famous expat".

Health condition and workout

Madonna in a dance contest during the opening of her Hard Candy Fitness in Germany

Madonna was one of the few public figures attended at the Sport Aid's Race Against Time in 1988 designed for children's charity. She held a press conference in August of that year, to encourage people to attend the event, telling that all they needed to show support was a pair of running shoes. Madonna co-founded her own chain of fitness centres called Hard Candy Fitness, in which she appeared teaching classes in some during some of their opening events. Madonna is one of the first Hollywood public stars to became a major devotee to pilates.

Madonna co-founded startup company DanceOn in 2011 with Guy Oseary, Amanda Taylor and Allen DeBevoise from Machinima, Inc. to promote dance content and creating viral dance hits. "Watch Me (Whip/Nae Nae)" is one of the releases led by the company that found success. She was the host of 2011 event Smirnoff Nightlife Exchange Project by Smirnoff, Diageo and Live Nation, which was a dance competition from 50 countries participating.

Academic Elizabeth Currid-Halkett wrote: "Madonna is known for her draconian fitness regime and diet". Canadian author Ken McLeod, explained that Madonna promoted a body image shaped by dance and exercise, noting further that her "attention to fitness and exercise is legendary". However, Lucy O'Brien noticed that it became for a while, in almost maniac improbable fitness routines. She cited an individual who said at some stage of her life: "Madonna was in danger of burning out completely. She was doing five hours physical workout every day, more than most professional athletes".

Madonna is reportedly to refused drugs. As reported The Christian Post, Madonna told James Corden at his Carpool Karaoke in 2016: "My work is rebellious, but my lifestyle isn't rebellious. I don't smoke, I don't drink, I don't party. I'm quite square". In 2014, however, she admitted in a conversation with David Blaine that she has experimented with drugs. "I tried everything once, but as soon as I was high, I spent my time drinking tons of water to get it out of my system", she said. Before being famous, Madonna was reported to end her relationship with artist Jean-Michel Basquiat because of his heroin addiction. British art historian, John A. Walker, noted that she was an early rise, ate healthy food, took exercise, and disdained drugs, unlike Basquiat.

Lifestyle trends and influence

Roger Blackwell commented that Madonna has set trends in numerous areas, including expression and lifestyle.

Ashley Mateo from magazine Self explored Madonna-inspired fitness trends. Mateo also argued that she "is a much a fitness icon as a musical legend". In Ageless Intensity (2021), Pete McCall credited Madonna and Cher as one of the first female celebrities to use personal trainers, which resulted in the explosive growth of women starting to exercise in order to achieve the lean and fit bodies of the stars.

Writing for The New York Times, Caryn Ganz wrote that "her fitness, flexibility and strength have always been tied to the kind of cultural power she wields". British journalist Bidisha has made a similar observation noting that "it is impossible to talk about Madonna without talking about power", she is an athlete. Richard Sine from medical website WebMD, confirmed that health experts have commented Madonna's well-being. He proposes that "without ever speaking a word on the subject, Madonna may have done more to spur the world's collective fitness than anyone else". In another conclusion, Sine said that her singles have been the backdrop of "an untold number of aerobics classes and treadmill sessions, not to mention dance-floor workouts".

Personal relationships and collaborative friendship

Madonna and her son David Banda, on stage during the Rebel Heart Tour

Madonna has involucres her family in her businesses during her career. His brother Christopher Ciccone worked for her as art director, for her tours Blond Ambition World Tour and Girlie Show among other ventures during the 1980s and 1990s. Lourdes Leon, her first daughter worked with her in the fashion brand Material Girl. Her sister Melanie Ciccone, is the trustee of Ray of Light Foundation.

She dated and befriended with variously individuals in different disciplines. Some of them, became famous or garnered a greater fame by their Madonna-association. Credited examples include Steven Klein.

On the other hand, William Orbit, in a conversation with Spin states: "There are a lot of people depending on Madonna to maintain their livelihood and maybe they're not driven by the same artistic impulses as she is".

By areas

Many were long-time collaborators of Madonna.

Dance world

Madonna has befriended and dated choreographers, dancers and instructors. The dance troupe she hired for her Blond Ambition World Tour, gained notoriety as "Madonna's dancers". The documentary Strike a Pose is dedicated to their brief flurry of fame, as well their post-Madonna life. Critic Jim Farber of The New York Times called them as the "only dance troupe on a pop tour ever to achieve a fame of their own".

• Cinema industry:

• Fashion industry:

• Music industry:

• Arts scene:

• Literature:

• Sport world:

• Politics:

• Businesspeople:

• Food industry

• Mafia:

• Others scenes:

Published works citing Madonna

Some memories and autobiographies mentioning Madonna, by her family, friendship or collaborators:

• Life with My Sister Madonna by his brother Christopher Ciccone
• The Andy Warhol Diaries, a posthumous publishing of Andy Warhol
• Bad as I Wanna Be, a memory book by Dennis Rodman
• Not About Madonna: My Little Pre-Icon Roommate and Other Memoirs, by Whit Hill (Madonna's roommate in University of Michigan)
• My Madonna: My Intimate Friendship with the Blue Eyed Girl on her Arrival in New York, by Norris W. Burroughs

Reception of her alliances

Criticisms

Madonna's collaboration and personal relationships have been much quoted. In Profiles of female genius (1994), editor cited that she was infamous for using men to help launch her to fame. The editor explained that in her beginnings, she earned a reputation for using and discarding managers, producers (of both sexes), friends, and whoever could help advance her career. And her response to these charges was, "ail those men I stepped all over to get to the top—every one of them would take me back because they still love me and I still love them". This led him to conclude "what confidence and positive perspective she has about a negative part of her career building".

Counter-criticisms

In Music and Technoculture (2013), scholars René Lysloff, Andrew Ross and Leslie Gay studied the consequences of a musical relationship between a male producer and a female performer. In Madonna's case, they wrote that as if often the case in her career it is assumed that the men working with her are responsible for the creative output. In this respect, the writers and scholars in Bitch She's Madonna (2018), confirmed that the fact Madonna has worked with several producers, has not always been judged as a positive fact. They explain that the collaborations depend on whether you are man or a woman, and singers like Björk and Madonna have been judged as artists who need others.

Scholars Lysloff, Ross and Gay, concurred that Madonna disrupts the assumption that technology is purely masculine in popular music. They also mentioned the case of Björk. In Madonna: Like an Icon, author Lucy O'Brien cited Guy Sigsworth's words that Madonna is not one of the artists that hire a producer and expect them to do all the work. She instead, is very "intimately involved in the whole creative process as a collaborator and producer" and that side is ignored by people so fixated on her image. Producer Stuart Price stated: "You don't produce Madonna, you collaborate with her... She has her vision and knows how to get it."

In words of scholar Inkson, Madonna become a prime example of the career as action. As by her own actions, she made her career happen: She produced it, directed it, and starred in it. It was her own creation.

Influence

Maury Dean demeed Madonna as "one of the most malleable singers of all time". Madonna is credited by a varied of agent, to be the first female musician to have complete control of her music and image.

Madonna's collaboration have seen an impact in many fields and in diverse ways.

Impact

[Madonna...] had a considerable impact in shaping attitudes

—Publishers Weekly.

Madonna's working model, attitude and ambition have seen an influence on others. Aside academia, she has became in a subject of motivational speakers, self-help advocators, people of marketing and business industry and beyond from these perceptions.

One of the earliest and most well-documented influence of Madonna in attitudes on people, was with the Madonna wannabes, as Jenni Murray documented that she paved the way for girls to express themselves, in terms like sexually, without apologising.

her fan community. "Express Yourself"

A contributor from website Death and Taxes of SpinMedia, said that Madonna has changed society through her fiery ambition and unwillingness to compromise. Metaphorically, columnist Gail Walker of Belfast Telegraph opined that "when people use the word 'attitude', it's because Madonna invented it". In Inkson's view, "few people have the talent, the strength of will, or the selfishness to emulate Madonna even in their own fields".

"What would Madonna do?"

Andrew Morton documented the usage of the phrase "What would Madonna do?", with two examples, including one used in India Knight's novel My Life on a Plate, when a girl asks this question after being pregnant. For the author, that "merely serves to accentuate the riddle of Madonna". Similarly, in 2014, Lorraine Candy, editor-in-chief of British Elle, dedicated an article using this phrase (which abbreviated as "WWMD") to musing "solve life's greatest dilemmas". Website Eden Prairie Chamber of Commerce, in an headline described: "Why Thinking 'What Would Madonna Do' Can Save Your Business".

• Madonna's influence on the way young women represented and perceived themselves was immense Glamour: Women, History, Feminism - Page 150 by Carol Dyhouse

According to Ty Burr, Madonna "engaged audiences in the debate over how we prefer women to behave in pop culture". In this aspect, semiotician Marcel Danesi believes that Madonna has made it clear that pop culture can provide an equilibrium between sacred forms of womanhood and the profane forms; unlike the denominational religions, which assign only one role to womanhood, that of wife and mother.

See also

• Personal relationships of Michael Jackson (Madonna's fellow in the 1980s and 1990s)

Book sources

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

• Aguilar Guzmán, Marcela (2010). Domadores de historias: Conversaciones con grandes cronistas de América Latina (in Spanish). Culturelink Press. ISBN 978-9562847827.
• Barcella, Laura (2019). Fight Like a Girl: 50 Feminists Who Changed the World. Zest Books. ISBN 1541581830.
• Bego, Mark (1998). Pop Culture Presents the Story Of Jewel. Power Publishing. ISBN 0825616859.
• Bego, Mark (2000). Madonna: Blonde Ambition. Cooper Square Press. ISBN 0815410514.
• Blackwell, Roger; Stephan, Tina (2004). Brands That Rock. Wiley. ISBN 978-0-471-48344-1.
• Burr, Ty (2012). Gods Like Us: On Movie Stardom and Modern Fame. Knopf Doubleday Publishing Group. ISBN 0307907422.
• Cashmore, Ellis; Dixon, Kevin (2016). Studying Football. Routledge. ISBN 1317568966.
• Cross, Mary (2007). Madonna: A Biography. Greenwood Publishing Group. ISBN 0-313-33811-6.
• Cullen, Jim (2001). Restless in the Promised Land: Catholics and the American Dream: Portraits of a Spiritual Quest from the Time of the Puritans to the Present. Rowman & Littlefield. ISBN 1-58051-093-0.
• Currid-Halkett, Elizabeth (2010). Starstruck: The Business of Celebrity. Farrar, Straus and Giroux. ISBN 1429962623.
• Davis, Sharon (2012). 80s Chart-Toppers: Every Chart-Topper Tells a Story. Random House. ISBN 1780574118.
• Dean, Maury (2003). Rock N Roll Gold Rush: A Singles Un-Cyclopedia. Algora Publishing. ISBN 0875862071.
• Denfeld, Rene (2009). The New Victorians: A Young Woman's Challenge to the Old Feminist Order. Hachette UK. ISBN 0446565237.
• E. San Juan Jr. (2002). Racism and Cultural Studies: Critiques of Multiculturalist Ideology and the Politics of Difference. Duke University Press. ISBN 0822383705.
• Ferraro, Thomas J. (2005). Feeling Italian: The Art of Ethnicity in America. New York University Press. ISBN 0-8147-2839-1.
• Feminist Review Collective (1996). Contesting Feminist Orthodoxies. Psychology Press. ISBN 0415145635.
• Fouz-Hernández, Santiago; Jarman-Ivens, Freya (2004). Madonna's Drowned Worlds: New Approaches to her Cultural Transformations, 1983-2003. Routledge. ISBN 1351559540.
• Guilbert, Georges-Claude (2015). Madonna as Postmodern Myth. McFarland. ISBN 0-786-48071-8.
• Gulick, Rebecca (1993). Madonna: Portrait of a Material Girl. Courage Books. ISBN 1561382361.
• Hanson, Ralph E. (2015). Mass Communication: Living in a Media World. SAGE Publications. ISBN 1483344746.
• Inglis, Ian (2017). Performance and Popular Music: History, Place and Time. Routledge. ISBN 1351554735.
• Inkson, Kerr (2006). Understanding Careers: The Metaphors of Working Lives. SAGE Publications. ISBN 1483376923.
• Jung, K. Elan (2010). Sexual Trauma: A Challenge Not Insanity. The Hudson Press. ISBN 098314480X.
• Landrum, Gene N. (1994). Profiles of Female Genius: Thirteen Creative Women who Changed the World. Prometheus Books. ISBN 0-87975-892-9.
• Layton, Lynne (2013). Who's That Girl? Who's That Boy?: Clinical Practice Meets Postmodern Gender Theory. Routledge. ISBN 1135891435.
• Löfgren, Hans; Shima, Alan (1998). After Consensus: Critical Challenge and Social Change in America. Acta Universitatis Gothoburgensis. ISBN 9173463353.
• McCall, Pete (2021). Ageless Intensity: High-Intensity Workouts to Slow the Aging Process. Human Kinetics. ISBN 1718200765.
• McCrossan, John Anthony (2000). Books and Reading in the Lives of Notable Americans: A Biographical Sourcebook. Greenwood Publishing Group. ISBN 0313303762.
• McLeod, Ken (2016). We are the Champions: The Politics of Sports and Popular Music. Taylor & Francis. ISBN 1317000099.
• Morgan, Michelle (2015). Madonna. Hachette UK. ISBN 1472119436.
• Morton, Andrew (2002). Madonna. Macmillan Publishers. ISBN 0-312-98310-7.
• Murray, Jenni (2018). A History of the World in 21 Women: A Personal Selection. Simon and Schuster. ISBN 1786074117.
• O'Brien, Lucy (2007). Madonna: Like an Icon. Bantam Press. ISBN 978-0-593-05547-2.
• Paglia, Camille (2011). Sex, Art, and American Culture: Essays. Knopf Doubleday Publishing Group. ISBN 0307765555.
• Rolling Stone Press (1997). Madonna, the Rolling stone files. Hyperion. ISBN 0786881542.
• Rosenzweig, Ilene (1994). The I hate Madonna handbook. St. Martin's Press. ISBN 0312104804.
• Rowe, Kathleen (1995). The Unruly Woman: Gender and the Genres of Laughter. University of Texas Press. ISBN 0292790724.
• Simone, Alina (2016). Madonnaland. University of Texas Press. ISBN 978-0-292-75946-6.
• Todd, Matthew (2016). Straight Jacket. Random House. ISBN 1448111102.
• Walker, John A. (2003). Art and Celebrity. Pluto Press. ISBN 0745318509.

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• Unlike other performers, who spend few weeks developing a show, Madonna has the budget to spend up to three months.
• the sense that she is in control of her own destiny and image has projected the idea of her being a strong woman who is generally in control, rather than someone who is manipulated by the men who dominate the pop music industry — by Brian Longhurst, pag 115-116 in Popular Music and Society
• Madonna's forays into issues of gender, sexuality, and identity would attract the interest of many other academics — The Rock History Reader by Theo Cateforis (2007)
• How do people "receive" Madonna and what does she "mean" to them? With Madonna one finds reactions decidedly mixed. — Exploring Media Culture: A Guide, by Michael R. Real (1996)
• Susan McClary likes Madonna's " unparalleled willingness to take very strong positions and get shot at for taking them (Rolling Stone, The Ultimate Madonna Compedium, 1997, pag 207)
• According to writer Christopher Connelly, Madonna used a series of boyfriends to advance her career, teach her about music and the music industry. Connelly, not along among Madonna-watchers, seemed to take this abandonment personally. Madonna denies none of the facts. But, she told Laura Fissinger, "If anybody wants to know, I never fucked anyone to get anywhere. Never... Yes, all my boyfriends turned out to be very helpful to my career, but that's not the only reason I stayed with them. I loved them very much" (Sexton, 34)
• has influenced the lives of millions of young people globally (pag 48, Madonna, Bawdy & Soul by Karlene Faith)
• Madonna representations on Instagram are also fulled of misoynist rhetoric supporting extreme anti-feminist and anti-women's right attitudes and beliefs. Madonna is the best scapegoat to revalidate misogynistic topes about how feminist ideas are no longer necessary to have a high profile and privilege — Human Aspects of IT for the Aged Population pag 438
• Madonna had already used her progenitor in the 1985 Like a Virgin tour, when his voice was heard in the speakers: "Madonna, get down off that stage this instant!" To which Madonna answered: "Daddy, do I have to"? The evening of the concert in Detroit, Tony Ciccone appeared on stage to drag her backstage
• The singer has frequently discussed the enormous impact her mother's death had on her life and career — The Fine Art of Success: How Learning Great Art Can Create pag 3
• Noel Botham: Sometimes you have to be a bitch to get things done
• Madonna broke the mold and challenged expectations of older women