Business of Madonna

Madonna was the first solo female entrepreneur to grace a Forbes cover (1990).[1]

American singer-songwriter and businesswoman Madonna has received coverage in business journalism. Madonna started some enterprises, including Maverick and its subdivision Maverick Records, making her one of the first female artists to establish an entertainment company and a record label. Maverick Records later became the highest-grossing artist-run label of its time. She received a favorable media reception in her role as a businesswoman, becoming the first solo female entrepreneur to appear on the cover of Forbes in 1990.

Throughout her career, academics and the media have discussed Madonna in relation to marketing strategies, commercialism, and broader social themes, attracting both positive commentaries and criticism. Nicknamed the "Material Girl", Madonna is interpreted by some as embodying the materialism and consumer-oriented ethos of the 1980s. In addition, Madonna was described as a model of continual reinvention by others, while her career has also been marked by various controversies, and critics viewed her primarily as a marketing product.

Madonna set various earnings record in her industry. She was the world's highest-paid female musician for a record eleven years across four decades (1980s–2010s). Madonna became the richest woman in music, before being surpassed in 2019. Madonna recorded the highest earnings for a female pop star at that time (2013) and is the first female artist to earn more than $100 million in a single year (2009).

Background and media coverage

Madonna's career has been examined from business and marketing perspectives. A 2013 issue of the journal Celebrity Studies noted that various scholars with academic interest in Madonna, focused their research on marketing strategies and consumer culture.[2][3] According to authors of The Madonna Companion: Two Decades of Commentary (1999), Madonna became a "central image" in the studies of commercialism.[4] Ann Power from The New York Times (1998) noted that she embodied capitalism to intellectuals,[5] while professor Suzanna Danuta Walters (1995) argues that she was often represented as a "personification of commodity capitalism".[6] The authors of The Madonna Connection (1993) wrote that scholars had detailed her "business practices", as well as her relations to the records, video, film and book industries.[7]

Biographer Andrew Morton commented in Madonna (2001) that her "success has certainly impressed the business community".[8] In NATO Review (2008), Peter van Ham wrote that various businesses have used Madonna as a role model of self-reinvention.[9] University of Ulster marketing professor Stephen Brown described her case as "relevant" to the consumer research community,[10] and noted that various commentators, from entertainers to academicians acknowledged her "promotional genius".[11] The Kelley School of Business, in the early 2000s, referred to her as more than a "pop cult icon", suggesting "she is someone everyone can learn from", although outside the conventional framework of the 4Ps.[12]

Author Jennifer Egan wrote in 2002 that a "popular answer" offered by her critics to define Madonna is that "she's done it through sheer business savvy".[13] In Financial Times (2008), Ludovic Hunter-Tilney similarly noted that, in the view of her critics, she is right to describe herself as a businesswoman but wrong to call herself an artist.[14] In From Hegel to Madonna: Towards a General Economy of Commodity Fetishism (1998), Robert Miklitsch describes Madonna as "largely a story about publicity and marketing",[15] while professor Ann Cvetkovich similarly characterized her as a product of "intense marketing and public relations campaigns". Cvetkovich, however, suggested that the relationship between Madonna and her reception by global audiences "must be articulated".[16] Media scholar Douglas Kellner has argued that "one cannot fully grasp the Madonna phenomenon without analyzing her marketing and publicity strategies".[17]

Profile

Business ventures

Far view of a billboard advertising Madonna's collaboration with H&M in 2007

According to biographer J. Randy Taraborrelli, Madonna started various enterprises,[18] and became one of the first female celebrities to establish both an entertainment company and a record label (Maverick and Maverick Records).[19][20] She is one of the first female musicians to become a CEO according to authors of Controversies of the Music Industry (2001).[21] Robert Miklitsch (1998), Cranfield School of Management visiting scholar Colin Barrow (2004), and Kevin Sessums (c. 1993) similarly described her as a diverse "corporation" or "organization" unto herself.[22][23][24]

Madonna has endorsed various campaigns and signed major commercial deals, including a $5 million endorsement agreement with Pepsi in 1989.[14] Madonna also signed two of the largest music deals: a recording agreement with Warner Music in 1992, and a 360 deal with tour promoter Live Nation in 2007. According to the BBC, Madonna was the first major recording artist to choose such a deal with a touring company over a traditional record deal.[25] Billboard reported that she became the inaugural artist signed to Live Nation's "Artist Nation" division.[26]

Associated enterprises

Reputation

Billboard (2007) noted that Madonna as CEO, had "a reputation as being a tenacious executive as ubiquitous as her music".[20] Early in her career, publications such as Forbes (1990) and The Canberra Times (1992), described Madonna as a "calculating businesswoman", and explained entertainers like her, avoided labels such as "manager" and "businesswoman".[28][29] American political analyst Matt Towery in 1998, noted she did not portray herself as a "corporate manager or captain of industry".[30]

According to writer Warren Allen Smith in 2000, many people in the 1990s spoke of Madonna as "the lady who works".[31] Others referred to her as a workaholic, including critics Camille Paglia and Gina Arnold.[32][33] Some publications referred to her as one of the hardest working and disciplined performers, including The Guardian (2023) and The Straits Times (2001).[34][35][36] A few others deemed Madonna as an example of the American Dream or a female version of the self-made man.[37][38]

Marketing tactics and publicity have been identified as central to Madonna's career, with some academics, including Brown, describing her as a "marketing genius".[10] Madonna's first nationwide performance at the inaugural MTV Video Music Awards in 1984 has been characterized by The Greenwood Encyclopedia of Rock History (2006), as establishing her as a self-made star.[39] Bitch magazine (2003) described the appearance as both a marketing strategy and a defining moment for women in rock music.[40]

Madonna earned a reputation as a trendsetter, described by Rashod Ollison of The Baltimore Sun (2008) as a "career hallmark".[41] Authors of Emotionally Intelligent Leadership (2009) noted that she was widely perceived as being "on the cutting edge".[42] Business scholar Roger Blackwell wrote that she functioned as a "conduit" for the "introduction" and "acceptance" of trends in fashion, dance, and lifestyle.[43] Business theorists Jamie Anderson and Martin Kupp described her as "one of the first artists to bring this approach to the music industry".[44] However, following the release of Hard Candy (2008), media outlets characterized her instead as a follower of trends.[41][45]

Recognition

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.

Madonna's business acumen received a positive response both within and outside the music industry. In 2007, Billboard included her in its Power Players list, which recognizes women who "have made an important mark on the music business".[20] In 2004, Colin Barrow of the Cranfield School of Management noted that Madonna was referred to as "America's smartest businesswoman".[23] In 2013, Dan Bigman from Forbes recalled that the magazine viewed her as one of the "shrewdest businesswomen we'd ever seen" in the early 1990s,[28] a remark that author of Profiles of Female Genius (1994) described as unusual by a female figure at that time.[47] In 1990, Madonna became the first solo female entrepreneur to appear on a Forbes cover.[1][48] A contributor of The Journal of Business & Industrial Marketing described Madonna in 1992, as a signifier of changing "world's views" of the boundaries between "music, entertainment, and business".[49] Her approach of continual reinvention was later cited as a model by other businesses and corporations, as cited by an author in NATO Review.[9] In 2007, Alfons Cornella from Deusto Business School wrote that node used the phrase "this is a Madonna company" to define a company capable of reinventing successively.[50] MCI Singapore CEO, called Singapore the "Madonna of the Destinations" as "the country re-invents itself every few years" according to Singapore Tourism Board.[51] The Encyclopædia Britannica states that Madonna achieved levels of power of control that were nearly unprecedented for a woman in the entertainment industry.[52] Media publications such as The Daily Telegraph (1998) and Deutsche Welle (2018), similarly referred to her as arguably "music business' most successful woman".[53][54]

The Irish Examiner wrote in 2018, "she broke new ground, harnessing and marketing herself".[55] Similarly, in 1986, The Sunday Times argued with Madonna's spurt to fame, "new heights have been scaled or new depths plumbed".[56] According to Brown (2014), she is credited with helping transform "self-reinvention" and "multiple identities" into a business strategy in her industry.[57] Ohio State University scholar David Bruenger said that "she pioneered brand management strategies".[58] Different publications and authors commented positively on Madonna's brand. She is called a "quintessential brand" in The Experience Effect (2010), and the author suggested that she was perhaps the epitome of celebrity marketing and branding.[59] Publicist Michael Levine made similar remarks in discussing her 20-years plus career.[60] In The End of Advertising as We Know It (2003), authors Sergio Zyman and Armin Brott, referred to her "uncanny ability to retool" her brand.[61] Academics from Warwick Murray (2006) to business theorists such as Michael Czinkota and Ilkka Ronkainen (2013), once called her a "global brand".[62][63]

Expressions coined

The "Madonna-curve" in the words of Tim Galles from Barkley Inc.
  • Madonna effect: Business professor Oren Harari used the phrase inspired by her business tactics and changes (reinventions).[64][65] In Information Today's Event DV (2008), the "Madonna effect" is described as "all about reinventing yourself to keep yourself and your business to the culture of that demographic".[66]
  • Madonna-curve: According to Peter van Ham of the Clingendael Institute, writing in NATO Review (2008), the "Madonna curve" is a phrase used by some business analysts to describe "adapting to new tasks whilst staying true to one's own principles".[9] The usage for NATO was not well received by analyst Robin Shepherd from Chatham House who argued that "an ageing pop diva is not an excellent analogy for NATO".[67] Canadian educator and designer Bruce Mau, referred to it, saying "it's named after the pop star for her capacity to alter her image and stay popular. However radical the visual difference, she is always Madonna".[68]

Commercial impact

Commentary

According to Theodore Koutsobinas in The Political Economy of Status (2014), media celebrities like Madonna were "widely seen as symbols" of the Great Moderation period.[69] In the early 1990s, Madonna was seen as "a valuable property in the world of international capital".[24] Madonna ranked among U.S. leading exports of 1992, with political scientist Walter Berns describing her as one of the biggest American export items,[70] while Spanish newspaper ABC referred to her as the "most prolific, profitable and universal consumer object since the commercialization of Coca-Cola".[71] American business editor Robert J. Samuelson wrote in 1991 for The New York Times, an article titled "Madonna and the New Economic Order", describing the growing aspects of a global economy.[72] American business writer Tom Peters reported in 1993 that she ran a "positive trade balance" overseas leading him to describe it as part of a "new soft economy".[73]

Professor Roy Shuker in Understanding Popular Music (1994) suggested that Madonna is "an economic entity as she is a cultural phenomenon".[74] The author of the International Communication and Globalization (1997) mentioned Madonna along with Michael Jackson, the Internet and other cultural motifs for paving the way for the global economy.[75] In Madonnaland (2016), Alina Simone said of Madonna that she "isn't just a musician; she is the 'whole package' and a 'real' prophet of commerce. [...] One might even call her an artist of commerce".[76]

Tourism and commerce

Public street announcements for the MDNA Tour in Colombia (2012). The concert temporarily stimulated the local economy of Medellín.[77]

According to Manuel Heredia (2019), Belize's former Minister of Tourism, "La Isla Bonita" (1986) enhanced Ambergris Caye's visibility, which continues to draw visitors seeking the place the song evokes.[78] Madonna's visits to Israel in the 2000s helped boost the country's tourism, particularly that of the city of Safed.[79][80][81] She stimulated Rio de Janeiro's economy following the announcement and performance of her one-time Celebration Tour concert at Copacabana Beach, Brazil, in May 2024, and media outlets labeled the phenomenon as "the Madonna effect".[82] Geopolitics author Parag Khanna believes that Madonna helped "put Malawi on the map".[83] In 2013, the BBC reported that Malawi was "enjoying a boom in visitors", with tourism increasing by 181% over the previous seven years after Madonna's first visit.[84] The 2000 wedding of Madonna and Guy Ritchie generated significant publicity in the Scottish Highlands, which local authorities called the "Madonna effect".[85][86]

Portuguese and Spanish publications such as Expresso and ABC credited Madonna with helping stimulate Portugal's tourism industry, particularly "luxury tourism" and real estate sectors during her residence in the country (2017–2020), a phenomenon described as the "Madonna effect" by some.[87][88] However, Bloomberg News reported in 2017 that celebrities such as Madonna contributed to rising home prices, which raised concerns among locals.[89] Madonna's name has also been proposed by organizations and individuals to promote tourism in locations such as La Palma (also called "La Isla Bonita"),[90] Turkey,[91] Pacentro, Italy (the city of her paternal grandparents),[92] and by the Hong Kong Tourism Board.[93]

Publications such as Musician as well as academic Miklitsch, referred to Madonna as WarnerMedia's leading person or their "most effective corporate symbol" behind Bugs Bunny at the height of her career.[94][22][95] She was reported to have affected in their stock,[96] while an author noted that they usually featured her picture prominently in their annual report.[94] Fred Goodman called her "one of their biggest and most consistent-selling artists",[97] and Michael Ovitz referred to her as Warner Music's "hit machine".[98] In 1998, Ingrid Sischy of Vanity Fair described Maverick Records as a "highly profitable" artist-run label, and one of the "few artist-involved entities" to have moved into a "big-league status".[99] Around this time, it had generated more than $1 billion for Warner Bros. Records, more than any other artist-run label, according to Spin, which called it "the most successful vanity label".[100]

Madonna's advertising debut in Japan with a campaign for Mitsubishi Electric between 1986 and 1987, helped invigorate interest and prompt Japanese advertising agencies to feature more foreign celebrities in advertisements at the time, as described by author Sean Mooney (2000).[101] According to a report from UPI, Madonna convinced a number of celebrities to invest in the company Vita Coco.[102] In a conversation with TheLadders.com in 2019, its founder mentioned Madonna's role in the brand's growth.[103] Spanish newspaper El Confidencial wrote before Madonna, the water was sold only in ethnic food stores and small local stores.[104]

Wealth and earnings

Madonna net worth as of 2017 (BBC via Forbes)

For professor E. Ann Kaplan in 1993, Madonna "has entered the public sphere as an entrepreneur earning a lot of money, something that is not considered natural for women".[105] To feminist scholars Cheris Kramarae and Dale Spender in Routledge International Encyclopedia of Women (2004), Madonna achieved "the kind of financial control that women had long fought for within industry".[106] Authors of On the Edge (1998) called her the "most financially successful female entertainer in history".[107] Author Matthew David named her "the most profitable female performing artist of all time" in Peer to Peer and the Music Industry (2010).[108]

Lists

On Forbes lists, Madonna became the world's highest-paid female musician for a record eleven years across four decades (1980s–2010s). In 1990, Forbes remarked on her consistent appearances on its list as she "nearly" reached the top.[28] In 2007, Madonna topped their inaugural list of "Cash Queens of Music".[109] She also appeared in their inaugural list of America's wealthiest women (originally named America's 50 Richest Self-Made Women) in 2015, and was the highest-ranked singer.[110] In 2017, Madonna was the second highest-ranked entertainer on the list, behind Oprah Winfrey,[111] and achieved her highest self-made score, at 9.[1]

Outside of Forbes, Madonna has also appeared in other earning lists. In March 1986, the New Sunday Times reported that she banked a "staggering" $25 million in just one year.[112] Madonna was the top musician of the Billboard's Moneymaker lists in 2008 and 2013.[113][114] Madonna became the highest-paid musician in Britain on the 2002 Sunday Times Rich List.[115]

Forbes lists (does not include pretax earnings)
PeriodListEarningsAdjusted inflation
(2025 $)		F. rankRef.
1987Forbes Top 40$47 million$138 millionIncrease 1[116]
1988Forbes Top 40$46 million$130 millionIncrease 1[117][118]
1989Forbes Top 40$43 million$117 millionIncrease 1[119]
1990Forbes Top 40$62 million$161 millionIncrease 1[120]
1991Forbes Top 40$63 million$155 millionIncrease 1[121]
1992Forbes Top 40$48 million$113 millionIncrease 1[122]
1993Forbes Top 40$37 million$85 millionIncrease 1[123]
2002Forbes Celebrity 100$43 million$77 millionDecrease 2[124]
2005Forbes Celebrity 100$50 million$82 millionIncrease 1[125]
2007Forbes Celebrity 100$72 million$112 millionIncrease 1[126]
2009Forbes Celebrity 100$110 million$165 millionIncrease 1[127]
2010Forbes Celebrity 100$58 million$86 millionDecrease 4[128]
2013Forbes Celebrity 100$125 million$173 millionIncrease 1[129]
2016Forbes Celebrity 100$76.5 million$103 millionDecrease 3[130]

Records

On Forbes, Madonna was the highest-grossing woman in media prior to 1990.[131] Madonna also became the first female singer to earn more than $100 million in a single year, and was named Forbes's richest female artist,[132] before being surpassed by Rihanna in 2019.[133] According to the author of Virtually Christian (2011), Madonna was reputed to be the highest-earning female performer of the 20th century.[134]

Madonna recorded the highest royalty payment for a female artist, second overall behind Michael Jackson, after her 1992 deal with Warner, equaling 20% . This feat was later surpassed by Janet Jackson in 1996.[135] Madonna broke Celine Dion's record established in 1998 for the highest earning for a female pop star, grossing $125 million for June 2012 – 2013.[136] She was later surpassed by Katy Perry and Taylor Swift.[137] In addition, the Guinness World Records recognized her with the highest annual earnings for a female artist in their 2007 edition.[138]

Contradictory perspectives

Criticisms and controversies

The leather string, used in her Sex book (1992) and in the "Erotica" video.

Madonna has been the subject of criticism and has frequently been associated with controversy throughout her career. Nekesa Mumbi (2006) of the Associated Press explained that Madonna has used controversy as a sales tactic,[139] and Paul Grein from Billboard (1990), noted that she "realized that controversy, generating a lot of publicity, is the key to staying on top".[140] American writer Michael Gross referred to her in 1992 as the "world's most advanced human publicity-seeking missile".[141] An author called her the "Warren Buffett of the shock market".[142][143]

The release of her first book, Sex (1992), became a notable controversy in Madonna's career. Daniel Harris from The Nation (1992) noted she was described as "talentless opportunist" and a "monster created by the publicity machine" by mainstream academics.[144] Incidents throughout her career have also been characterized by commentators as publicity stunts, including her accidental exposure of the 17-year-old Josephine Georgiou's breast during a 2016 performance of the Rebel Heart Tour in Australia, and her onstage fall at the Brit Awards of 2015.[145][146] In retrospect, a researcher cited by media outlets such as The Independent argued in 2016 that her brand had lost influence and that she had become a "toxic figure" particularly among Millennials, while describing Madonna as "desperate" to remain relevant among younger generations.[147][148] In 2022, Texas State University academic Katie Kapurch commented on Madonna's use of "recycling" her shock value from her "heyday" on social media platforms such as TikTok.[149]

Madonna's misuse of religious symbolism has attracted criticism. Authors such as Paul Schenck and Rob Schenck (The Extermination of Christianity: A Tyranny of Consensus, 1993), have argued that she used these motifs as a tool to promote her brand or as free promotion.[150][151] In a similar vein, academic marketer Stephen Brown has described Madonna as being known for "selling sex".[142] A 2008 cover story in Vanity Fair stated that she had "made her fortune selling sex".[152] In Grrrls (1996), Amy Raphael wrote that "taking the concept further than any other female artist before her, Madonna sold herself almost exclusively in terms of her sexuality",[153] while author H. T. Spence (2002) decried, "she has sold literally tens of millions of records on the theme of pornography".[154]

Critics have also primarily viewed her as a marketing product. Writing for Time magazine in 1994, Christopher John Farley stated that her career had "never really been about music" and instead made mention of publicity.[155] Early in her career, rock music critic Dave Marsh called her a "product of the shopping-mall culture".[156]

Madonna has also been criticized for some of the trends she helped popularize. In 2016, Susan Hopkins, a lecturer at the University of Southern Queensland, wrote in The Conversation that Madonna had "pioneered a lot of cultural trends that didn't do average working women a lot of favour".[157] A 2000 article of Vanity Fair noted that the success of Madonna and Michael Jackson, contributed to escalating music video production costs, "enraging record company executives and artists".[158]

Some of her business ventures have attracted criticisms. Her 1989 deal with Pepsi, which was tied to the promotion of the music video "Like a Prayer" caused controversy at that time due to its depiction of topics such as religious imagery for the music video, and resulted in financial losses to Pepsi at that time.[159] Biographer J. Randy Taraborrelli labeled it as one of the "biggest controversies in the history of corporate advertising's" related to pop music.[160] An editor from the Telegraph Herald, mentioned music deals of high-profile artists such as Madonna in 1992, and described "the goal wasn't to improve the music, it was to generate the most hype".[161] Billboard noted that her 2007 deal with Live Nation attracted detractors.[26] In addition, Madonna was named in the Paradise Papers.[162]

Social commentary and critiques

Madonna performing "Material Girl" during the Blond Ambition World Tour (1990).

Madonna has been the subject of discussion and criticism across different ideological perspectives. Scottish author Andrew O'Hagan, as noted by French academic Georges Claude Guilbert (2002), observed: "Many people write about Madonna as a greedy inauthentic something or other [...] So Madonna likes money. So Madonna means materialism".[163]

German cultural critic Diedrich Diederichsen (2010) explained that Madonna cultivated a reputation of being ambitious.[37] Editors of Madonna's Drowned Worlds (2004) described this reputation as "legendary",[164] and authors of Brands That Rock (2004) explained that it became a "common denominator" in marketing analysis about her.[43] However, Madonna later expressed different views, and discussed these views with journalists Matthew Todd and Alexis Petridis in the 2010s.[165][166] Critic bell hooks (1990s), as scholars from the Nordic Association for American Studies have pointed out, said it was a "monetary and a global media ambition".[167] In The New York Times in 1998, Ann Powers echoed that Madonna influenced yuppie culture with a monetary hedonism,[5] while according to Brown, her "Material Girl" persona was held up as an embodiment of the "Greed is Good" 1980s decade.[10] In The Empathic Civilization (2010), economist Jeremy Rifkin stated she "capture the spirit of the age when she proclaimed to be a Material Girl".[168] Christian author Homer Edwin Young (1994), wrote "I can think of few personalities who seem to love for pleasure more than Madonna", calling her a "queen of hedonism".[169]

O'Hagan also commented that Madonna "may sell huge amounts of records" but "she remains rejected by millions of Americans on whose moral values she tramples".[163] Author Douglas Baldwin (1997) used Madonna as an example of how people in fields such as medicine receive very few rewards in relation to their contribution to society, while entertainers like her earn much more than they contribute to it.[170]

For some critics [...] Madonna represents nothing but the worst excesses of commercial exploitation.

— Glenn Ward (2010).[171]

Throughout her career, Madonna has been described as an embodiment of the "globalization of American consumer culture" and of the materialism and consumer-oriented ethos of the 1980s.[172][173][174][175] Her critics also characterized her as an example of crass commercialism and the epitome of banal consumerism,[171][176] while scholar Akbar Ahmed described her as the "supreme product of the consumerist culture" in the 1990s.[177] CounterPunch contributor Ramzy Baroud (2019) cited Madonna, the Beatles, and Coca-Cola as examples of "tools used to secure cultural, thus economic and political dominance".[178] In the 1990s, author Kristen Marthe Lentz commented that when it comes to Madonna, "suddenly everybody is a critic of capitalism".[177]

At times, Madonna also commented on some of the perceptions surrounding her. In Madonna: A Rebel Life (2023), Mary Gabriel documented that Madonna stated "If you're a celebrity, everything you do is suddenly perceived as a way to get attention", in response to perceptions that her adoption of Malawian children, David Banda in 2006, and a horse-riding accident were publicity stunts.[179] According to Merle Ginsberg in Style magazine (2003), Madonna commented: "People always see the evolution of my career as marketing. I change. I evolve. [...] Most celebrities and iconographic figures have one presentation, and that's what they stick with. Maybe that's what people find unsettling about me [...]".[180]

See also

References

  1. 1 2 3 "2020 America's Self-Made Women Net Worth: #40 Madonna". Forbes. 2020. Retrieved April 3, 2021.
  2. ↑ van den Berg, Marguerite; ter Hoeven, Claartje L. (2013). "Madonna as a symbol of reflexive modernisation (Abstract)". Celebrity Studies. 4 (2): 144–154. doi:10.1080/19392397.2013.791042. S2CID 218591493. Retrieved March 30, 2021 – via Taylor & Francis.
  3. ↑ Stange, Oyster & Sloan 2011, p. 877
  4. ↑ Benson & Metz 1999, p. x
  5. 1 2 Powers, Ann (March 1, 1998). "POP VIEW; New Tune for the Material Girl: I'm Neither". The New York Times. Archived from the original on March 4, 2014. Retrieved October 10, 2023.
  6. ↑ Walters 1995, p. 2
  7. ↑ Schwichtenberg 1993, p. 153
  8. ↑ Morton 2001, p. 17
  9. 1 2 3 van Ham, Peter (March 18, 2008). "NATO and the Madonna Curve: why a new Strategic Concept is vital". NATO Review. Retrieved April 3, 2021.
  10. 1 2 3 Brown, Stephen (2003). "On Madonna's Brand Ambition: Presentation Transcript". European Advances in Consumer Research. 6: 199–201. Retrieved September 29, 2022.
  11. ↑ Brown 2004, p. 188
  12. ↑ "Charting Madonna's brand ambition". Business Horizons. Kelley School of Business: 2, 4. 2003. Retrieved April 4, 2021.
  13. ↑ Jennifer Egan (December 15, 2002). "You Don't Know Madonna". Jennifer Egan. Retrieved March 30, 2021.
  14. 1 2 Hunter-Tilney, Ludovic (April 25, 2008). "Woman in the News: Madonna". Financial Times. Retrieved September 29, 2021.
  15. ↑ Miklitsch 1998, p. 137
  16. ↑ Cvetkovich 2018, p. online
  17. ↑ Kellner 2003, p. 9
  18. ↑ Taraborrelli 2001, p. 226
  19. ↑ Taraborrelli 2001, p. 246
  20. 1 2 3 Conniff, Tamara (October 13, 2007). "Power Players: Madonna" (PDF). Billboard. pp. 33, 38. Retrieved October 17, 2022.
  21. ↑ Barnet & Burriss 2001, p. 105
  22. 1 2 3 4 5 6 7 Miklitsch 1998, pp. 121, 178
  23. 1 2 "Get a head for business, tune into Madonna". The Scotsman. September 23, 2004. Archived from the original on May 18, 2021. Retrieved April 3, 2021.
  24. 1 2 Schwichtenberg 1993, pp. 305–306
  25. ↑ "Madonna signs radical record deal". BBC. October 16, 2007. Retrieved October 11, 2023.
  26. 1 2 Waddell, Ray (October 16, 2007). "Update: Madonna Confirms Deal With Live Nation". Billboard. Retrieved September 4, 2023.
  27. ↑ Lipshutz, Jason (July 27, 2015). "Madonna Defends Tidal: 'We're Working Out a Lot of Kinks'". Billboard. Retrieved September 25, 2023.
  28. 1 2 3 Bigman, Dan (June 24, 2013). "Forbes Celebrity Covers: Madonna, October 1990". Forbes. Retrieved June 27, 2022.
  29. ↑ "Material Girl". The Canberra Times. August 30, 1992. p. 23. Retrieved October 22, 2022.
  30. ↑ Towery 1998, p. 220
  31. ↑ Smith 2000, p. 703
  32. ↑ Paglia 2011, p. 10
  33. ↑ Arnold, Gina (January 4, 1996). "Singles Minded: Media provocateur Madonna is a hardworking role model". Metro Silicon Valley. Archived from the original on June 6, 2022. Retrieved October 16, 2022.
  34. ↑ "Take a Bow". The Straits Times. November 11, 2001. p. 10. Retrieved February 12, 2022 – via National Library Board.
  35. ↑ Rowe 1995, p. 217
  36. ↑ Sales, Nancy Jo (January 29, 2023). "It's hard to be an older female artist. Look at the sexist snark thrown at Madonna". The Guardian. Archived from the original on June 12, 2023. Retrieved July 25, 2023.
  37. 1 2 von Lowtzow, Caroline (May 17, 2010). "Aus der Ursuppe des Trash". Süddeutsche Zeitung (in German). pp. 1–2. Archived from the original on July 26, 2020. Retrieved March 31, 2021.
  38. ↑ "... Madonna's story is the American dream made flesh". New Musical Express. No. 30. 2003. p. 30. Retrieved July 1, 2026.
  39. ↑ Janosik 2006, p. 20
  40. ↑ "Madonna". Bitch. 2003. p. 13. Retrieved April 22, 2024.
  41. 1 2 Ollison, Rashod D. (April 27, 2008). "Madonna struggles to stay in vogue". The Baltimore Sun. Retrieved June 27, 2022.
  42. ↑ Shankman & Allen 2009, p. online
  43. 1 2 Blackwell & Stephan 2004, pp. 173–177
  44. ↑ Anderson, Jamie; Kupp, Martin (December 1, 2006). "Entrepreneurs on a dancefloor". London Business School. Archived from the original on October 29, 2020. Retrieved April 5, 2021.
  45. ↑ Welsh, Daniel (August 15, 2019). "Don't Write Madonna Off As An 80s Legacy Act, She Never Stopped Causing A Commotion". HuffPost. Retrieved October 7, 2023.
  46. ↑ "Let Us Now Praise Famous Men". CBS News. November 3, 1999. Retrieved October 2, 2022.
  47. ↑ Landrum 1994, p. 261
  48. ↑ McGrath, Maggie (March 7, 2021). "The Greatest Stories of Female Entrepreneurs of the 21st century". Forbes. Retrieved October 8, 2023.
  49. ↑ Parsons, Andrew J. (1992). "Building innovativeness in large U.S. corporations". The Journal of Business & Industrial Marketing: 33. doi:10.1108/EUM0000000002765. ProQuest 222025407. Retrieved March 1, 2024.
  50. ↑ Cornella 2007, p. 16
  51. ↑ "Singapore Tourism Board Annual Report 211/2012" (PDF). Singapore Tourism Board. 2012. p. 33. Retrieved October 11, 2023.
  52. ↑ Britannica Educational Publishing 2009, p. 309
  53. ↑ David, Thomas (January 10, 1998). "Madonna means business". The Daily Telegraph. p. 040. ProQuest 316948860. Retrieved October 8, 2023.
  54. ↑ "Madonna at 60: From college dropout to the Queen of Pop". Deutsche Welle. August 16, 2018. Retrieved June 10, 2022.
  55. ↑ Harrington, Suzanne (July 8, 2018). "Madonna at 60: Fighting against society's bid to define her by gender, sexuality and culture". Irish Examiner. Retrieved November 10, 2023.
  56. ↑ "madonna — or monster?". The Straits Times. March 30, 1986. p. 15. Retrieved October 6, 2023.
  57. ↑ Brown 2014, p. 130
  58. ↑ Bruenger 2016, p. 186
  59. ↑ Joseph 2010, p. 155
  60. ↑ Levine 2003, p. 140
  61. ↑ Zyman & Brott 2003, pp. 64–65
  62. ↑ Murray 2006, p. 25
  63. ↑ Czinkota & Ronkainen 2012, p. 180
  64. ↑ Harari 2006, p. online
  65. ↑ "The curious, cool and crazy entrepreneur". Smart Company. September 5, 2007. Retrieved June 24, 2022.
  66. ↑ "The Authority for Event Videographers". EventDV. 21 (1–12). Information Today: 7. 2008. Retrieved March 24, 2024.
  67. ↑ Batty, David (March 31, 2008). "Nato should get in vogue like Madonna, defence analyst says". The Guardian. Retrieved August 25, 2022.
  68. ↑ Mau, Bruce (2015). "#12 Design Your Own Madonna Curve" (PDF). DesignManifestos. pp. 30–31. Retrieved August 25, 2022.
  69. ↑ Koutsobinas 2014, p. vi
  70. ↑ Haught, Robert (March 15, 1992). "Madonna Ranks Among Leading U.S. Exports". The Oklahoman. Retrieved June 9, 2024.
  71. ↑ "Dónde está el "Sex" y dónde el libro". ABC (in Spanish). October 23, 1992. p. 93. Retrieved January 21, 2022.
  72. ↑ Samuelson, Robert J. (March 10, 1991). "Madonna and the New Economic Order". The New York Times. Retrieved October 10, 2023.
  73. ↑ Peters, Tom (1993). "Madonna and Economic Policy". Official Tom Peters Website. Retrieved October 15, 2022.
  74. ↑ Shuker 2013, p. 129
  75. ↑ Mohammadi 1997, p. 155
  76. ↑ Simone 2016, pp. 121–122
  77. ↑
  78. ↑ Morales, Edgar (February 15, 2019). "Necestiamos una Madonna" [We need a Madonna]. El Heraldo de México (in Spanish). Archived from the original on March 30, 2021. Retrieved August 29, 2025.
  79. ↑ Macdonald, Alastair (May 26, 2010). "Tourists seek enlightenment (or Madonna) in Israel". Reuters. Retrieved September 12, 2022.
  80. ↑ "Madonna attends Kabbalah lecture". BBC. September 16, 2004. Retrieved September 12, 2022.
  81. ↑ "Madonna's holy land pilgrimage boosts Israeli tourism". Irish Examiner. September 15, 2004. Retrieved September 12, 2022.
  82. ↑ Cardin, Adele (April 2, 2024). "International tourists flock to Rio for Madonna's Copacabana concert". The Rio Times. Archived from the original on April 3, 2024. Retrieved May 7, 2024.
  83. ↑ Khanna 2011, p. 41
  84. ↑ "Madonna's 'Holiday' inspiration". BBC. July 5, 2013. Retrieved February 2, 2024.
  85. ↑ Phillips, Ian (December 23, 2000). "Madonna and child and ... groom". Pittsburgh Post-Gazette. p. 23. Retrieved October 30, 2024.
  86. ↑ "Madonna honored by Scots with kilt". The Hour. December 22, 2001. p. 14. Retrieved October 30, 2024.
  87. ↑ Antunes, Conceição (September 9, 2017). "Palácios portugueses atraem milionários". Expresso (in Portuguese). Archived from the original on May 14, 2022. Retrieved March 31, 2021.
  88. ↑ Chacón, Francisco (September 10, 2017). "El 'efecto Madonna' infla la burbuja inmobiliaria lusa". ABC (in Spanish). Archived from the original on October 14, 2017. Retrieved March 31, 2021.
  89. ↑ Almeida, Henrique (June 13, 2017). "Madonna House Hunting in Lisbon Adds to Rising Price Fears". Bloomberg News. Retrieved February 2, 2024.
  90. ↑ "Llamemos a Madonna". Diario de Avisos (in Spanish). August 14, 2023. Retrieved October 11, 2023.
  91. ↑ Bellon, Tina (March 18, 2016). "If anyone can save Turkey, it's Madonna". Independent Online. Retrieved October 11, 2023.
  92. ↑ Cross 2007, p. 43
  93. ↑ Citrinot, Luc (April 19, 2014). "Madonna became a brenchmark for Hong Kong tourism". Travel Daily News. Retrieved October 7, 2023.
  94. 1 2 Burnett 2002, p. 25
  95. ↑ "Madonna". Musician. Vol. 159–162. 1992. p. 51. Retrieved October 24, 2023.
  96. ↑ Rosebush & Cunningham 1996, p. 294
  97. ↑ Goodman 2010, p. 200
  98. ↑ Ovitz 2018, p. 171
  99. ↑ Sischy, Ingrid (March 1998). "Madonna and Child". Vanity Fair. Retrieved October 9, 2022.
  100. ↑ Fleischer, Joe (October 1998). "Hush Hush / The Monthly Dish On The Music Business". Spin. Vol. 14, no. 10. p. 58. Retrieved March 30, 2015.
  101. ↑ Mooney 2000, p. 33
  102. ↑ "Madonna invests in coconut water maker". United Press International. January 31, 2010. Retrieved October 10, 2023.
  103. ↑ Schnitzer, Kyle (August 15, 2019). "Vita Coco CEO Michael Kirban on overcoming a tough childhood to become a thriving CEO". TheLadders.com. Retrieved October 10, 2023.
  104. ↑ Corisco, María (October 18, 2019). "Coco hasta en la sopa: una estrategia de 'marketing' (con Madonna como madrina)". El Confidencial (in Spanish). Retrieved October 10, 2023.
  105. ↑ Ouellette, Laurie (1993). "Let's get "Serious," The Attack on Madonna Scholarship". On the Issues. Vol. 26. p. 33. Archived from the original on January 2, 2011. Retrieved October 8, 2022.
  106. ↑ Kramarae & Spender 2004, p. 1408
  107. ↑ Horowitz & Carroll 1998, p. 510
  108. ↑ David 2010, p. 153
  109. ↑ "Forbes.com dubs Madonna Cash Queen of Music". Reuters. January 30, 2008. Retrieved June 29, 2026.
  110. ↑ "Forbes Announces Inaugural List Of America's 50 Richest Self-Made Women". Forbes. May 25, 2015. Retrieved October 11, 2023.
  111. ↑ Robehmed, Natalie (May 17, 2017). "America's Richest Female Celebrities 2017: Oprah, Judge Judy And Beyoncé Rule". Forbes. Retrieved April 22, 2022.
  112. ↑ "The New Rock Queen". New Sunday Times. March 30, 1986. p. 32. Retrieved October 21, 2023.
  113. ↑ Waddell, Ray (February 12, 2009). "Madonna Tops 2009 Music Money Makers List". Billboard. Retrieved October 11, 2023.
  114. ↑ Peoples, Glenn (February 22, 2013). "Madonna, Bruce Springsteen Lead Billboard's 2013 Top 40 Money Makers". Billboard. Retrieved October 11, 2023.
  115. ↑ Carter, Helen (November 1, 2002). "Madonna tops musicians' pay list". Billboard. Retrieved October 11, 2023.
  116. ↑ Winship, Frederick M. (September 6, 1987). "Bill Cosby tops list of highest paid entertainers". United Press International (UPI). Retrieved July 27, 2022.
  117. ↑ Lichtman, Iry (October 1, 1988). "INSIDE TRACK: MAKING IT" (PDF). Billboard. p. 86. Retrieved April 18, 2022.
  118. ↑ "Michael Jackson tops list of best-paid entertainers". United Press International (UPI). September 18, 1988. Retrieved July 27, 2022.
  119. ↑ Barty, Billy (November 30, 1989). "TICKERTAPE: MILLION DOLLAR BASH" (PDF). Cash Box. p. 6. Retrieved April 18, 2022.
  120. ↑ "Forbes Magazine's Highest-Paid Entertainers With PM-Richest Entertainers". Associated Press News. September 17, 1990. Archived from the original on July 27, 2022. Retrieved July 27, 2022.
  121. ↑ "Forbes Magazine's Highest-Paid Entertainers With AM-Richest Entertainers". Associated Press News. September 15, 1991. Archived from the original on July 27, 2022. Retrieved July 27, 2022.
  122. ↑ "Forbes Magazine's 40 Richest Entertainers With AM-Richest Entertainers". Associated Press News. September 13, 1992. Archived from the original on July 27, 2022. Retrieved July 27, 2022.
  123. ↑ "Oprah Tops Forbes List of Highest Grossing Celebs: CELEBRITIES (List Top 25)". Jet. September 27, 1993. p. 13. Retrieved April 18, 2022.
  124. ↑ "Forbes Celebrity 100 — 2002". Forbes. 2002. Archived from the original on February 16, 2006. Retrieved October 27, 2023.
  125. ↑ "Forbes Celebrity 100 — 2005". Forbes. 2005. Archived from the original on July 6, 2005. Retrieved April 18, 2022.
  126. ↑ "Forbes Celebrity 100 — 2007". Forbes. 2007. Archived from the original on December 23, 2020. Retrieved April 18, 2022.
  127. ↑ "Forbes Celebrity 100 — 2009". Forbes. 2007. Archived from the original on December 23, 2020. Retrieved April 18, 2022.
  128. ↑ "Full List: The Celebrity 100 — 2010". Forbes. 2010. Archived from the original on April 19, 2022. Retrieved April 19, 2022.
  129. ↑ Highfill, Samantha (August 26, 2013). "'Forbes' names Madonna the highest paid celebrity of 2013". Entertainment Weekly. Archived from the original on October 19, 2020. Retrieved April 18, 2022.
  130. ↑ Greenburg, Zack O'Malley (July 13, 2016). "Full List: The World's Highest-Paid Celebrities Of 2016". Forbes. Archived from the original on December 23, 2020. Retrieved April 18, 2022.
  131. ↑ Givens, Ron (December 28, 1990). "Madonna: One of 1990's great entertainers". Entertainment Weekly. Archived from the original on November 18, 2015. Retrieved April 30, 2022.
  132. ↑ Murrian, Samuel R. (August 16, 2021). "Happy Birthday, Madonna! Find Out the Queen of Pop's Royal Net Worth and How She Earned It". Parade. Archived from the original on November 5, 2021. Retrieved April 21, 2022.
  133. ↑ Newbold, Alice (June 9, 2019). "Rihanna Tops Madonna & Beyoncé As The World's Richest Female Musician". Vogue. Archived from the original on June 7, 2019. Retrieved April 22, 2022.
  134. ↑ Bartlett 2011, p. 85
  135. ↑ "Janet Jackson to sign $80 million deal". United Press International. January 12, 1996. Archived from the original on July 29, 2019. Retrieved April 22, 2022.
  136. ↑ Pop Music. Guinness World Records 2015. 2015. Retrieved April 22, 2022.
  137. ↑ "Highest annual earnings ever for a female pop star". Guinness World Records. Archived from the original on November 12, 2017. Retrieved November 15, 2017.
  138. ↑ Baker, Riley (August 16, 2018). "Madonna's career in 10 records as Queen of Pop turns 60". Guinness World Records. Archived from the original on March 24, 2020. Retrieved April 21, 2022.
  139. ↑ Moody, Nekesa Mumbi (November 11, 2006). Associated Press (ed.). "Development of the 'Material Girl'". The Victoria Advocate. p. 22. Retrieved October 9, 2023.
  140. ↑ Harrington, Richard (December 4, 1990). "Madonna At the Hype of Her Career". The Washington Post. Retrieved October 7, 2023.
  141. ↑ Gross, Michael (October 12, 1992). "Madonna's magician". New York. Vol. 25, no. 40. pp. 28–30. Retrieved February 4, 2022.
  142. 1 2 Brown 2004, p. 190
  143. ↑ West, Ford & Ibrahim 2010, p. 17
  144. ↑ Harris, Daniel (June 8, 1992). "Make my rainy day". The Nation.
  145. ↑ Manser, Emma (March 20, 2016). "'It was the best night', says teen exposed by Madonna". The New Daily. Retrieved October 29, 2023.
  146. ↑ Asian News International (February 27, 2015). "Was Madonna's BRITs fall nothing but a publicity stunt?". Business Standard. Retrieved October 29, 2023.
  147. ↑ Sherwin, Adam (March 25, 2016). "Madonna has now become 'toxic' figure for millennials, academics say". The Independent. Retrieved February 11, 2023.
  148. ↑ Dolan, Luke. "Madonna Uncovered: Lifestyle expert Jeetendr Sehdev on her custody battle and brand influence". Talk Radio. Archived from the original on October 26, 2017. Retrieved October 8, 2023.
  149. ↑ Demopoulos, Alaina (October 24, 2022). "Madonna on TikTok: she's recycling 'the shock value of her heyday'". The Guardian. Retrieved November 6, 2022.
  150. ↑ Schenck & Schenck 1993, p. 91
  151. ↑ Bucar 2022, p. 15
  152. ↑ Garvey, Meaghan (November 2023). "Madonna Keeps Finding New Ways to Provoke". Vulture. Retrieved November 3, 2023.
  153. ↑ Raphael 1996, p. 24
  154. ↑ Spence 2002, p. 106
  155. ↑ Farley, Christopher John (1994). "Madonna Goes PG-13". Time. p. 81. Retrieved February 27, 2022.
  156. ↑ Gourley 2008, p. 90
  157. ↑ Hopkins, Susan (March 24, 2016). "Bitch, I'm (still) Madonna ..." The Conversation. Retrieved October 9, 2022.
  158. ↑ "Jeff Ayeroff, creative director, Warner Bros. Records". Vanity Fair. Vol. 63. 2000. p. 235. Retrieved January 25, 2024.
  159. ↑ McIntyre, Hugh (September 12, 2023). "Madonna's Controversial Ad Was Once A Problem For Pepsi; Now The Company Is Airing It Once Again". Forbes. Retrieved October 8, 2023.
  160. ↑ Taraborrelli 2002, p. 178
  161. ↑ Brown, Mark (December 31, 1992). "'92 slow for music, good for Madonna". Telegraph Herald. p. 8. Retrieved October 9, 2022.
  162. ↑ Conncik, Tom (November 8, 2017). "Harvey Weinstein, Madonna, Justin Timberlake and more implicated in Paradise Papers tax avoidance leak". NME. Retrieved July 1, 2026.
  163. 1 2 Guilbert 2015, p. 43
  164. ↑ Fouz-Hernández & Jarman-Ivens 2004, pp. 179–180
  165. ↑ Todd 2016, p. online
  166. ↑ Petridis, Alexis (January 14, 2019). "Madonna: 'I wanted to be somebody – because I felt like a nobody'". The Guardian. Retrieved August 19, 2023.
  167. ↑ Löfgren & Shima 1998, p. 197
  168. ↑ Rifkin 2010, p. 47
  169. ↑ Young 1994, p. 36
  170. ↑ Baldwin 1997, p. 291
  171. 1 2 Ward 2010, p. online
  172. ↑ Owen 1997, p. 149
  173. ↑ Smart 2010, p. 115
  174. ↑ Sheumaker 2017, p. vii
  175. ↑ Seery 2018, p. 141
  176. ↑ Kellner 2003, p. 263
  177. 1 2 Miklitsch 1998, pp. 135–136
  178. ↑ Barroud, Ramzy (May 23, 2019). "Madonna's Fake Revolution: Eurovision, Cultural Hegemony and Resistance". Counter Punch. Retrieved October 7, 2023.
  179. ↑ Gabriel 2023, p. online
  180. ↑ Ginsberg, Merle (May 2003). "Madonna: The Saga Continues". Style. Archived from the original on June 25, 2003. Retrieved October 7, 2023.

Book sources

  • Baldwin, Douglas (1997). Ideologies. McGraw-Hill Ryerson. ISBN 0075527774.
  • Barnet, Richard D.; Burriss, Larry L. (2001). Controversies of the Music Industry. Greenwood. ISBN 0313310947.
  • Bartlett, Anthony (2011). Virtually Christian. O Books. ISBN 978-1846943966.
  • Benson, Carol; Metz, Allen (1999). The Madonna Companion: Two Decades of Commentary. Music Sales Group. ISBN 0-02-864972-9.
  • Blackwell, Roger; Stephan, Tina (2004). Brands That Rock. Wiley. ISBN 978-0-471-48344-1.
  • Britannica Educational Publishing (2009). McKenna, Amy (ed.). The 100 Most Influential Musicians of All Time. Encyclopædia Britannica, Inc. ISBN 978-1615300563.
  • Brown, Stephen (2004). Free Gift Inside!!: Forget the Customer. Develop Marketease. University of Michigan Press. ISBN 1841126020.
  • Brown, Vanessa (2014). Cool Shades: The History and Meaning of Sunglasses. University of Michigan Press. ISBN 978-0857854643.
  • Bruenger, David (2016). Making Money, Making Music. University of California Press. ISBN 978-0520966062.
  • Bucar, Liz (2022). Stealing My Religion: Not Just Any Cultural Appropriation. Harvard University Press. ISBN 978-0674287266.
  • Burnett, Robert (2002). The Global Jukebox. Taylor & Francis. ISBN 1134872100.
  • Cornella, Alfons (2007). La alquimia de la innovación (in Spanish). Deusto Business School. ISBN 978-8423424627.
  • Cross, Mary (2007). Madonna: A Biography. Greenwood Publishing Group. ISBN 978-0-313-33811-3.
  • Cvetkovich, Ann (2018). Articulating The Global And The Local: Globalization And Cultural Studies. Taylor & Francis. ISBN 978-0429981814.
  • Czinkota, Michael R.; Ronkainen, Ilkka A. (2012). International Marketing. Cengage Learning. ISBN 978-1285687162.
  • David, Matthew (2010). Peer to Peer and the Music Industry. SAGE Publications. ISBN 978-1847870056.
  • Fouz-Hernández, Santiago; Jarman-Ivens, Freya (2004). Madonna's Drowned Worlds: New Approaches to Her cCultural Transformations, 1983-2003. Ashgate. ISBN 978-0754633716.
  • Gabriel, Mary (2023). Madonna: A Rebel Life. Little, Brown. ISBN 978-0316456449.
  • Goodman, Fred (2010). Fortune's Fool. Simon & Schuster. ISBN 978-1439160503.
  • Gourley, Catherine (2008). Ms. and The Material Girls: Perceptions of Women From The 1970s Through The 1990s. Twenty-First Century Books. ISBN 978-0822568063.
  • Guilbert, Georges-Claude (2015). Madonna as Postmodern Myth. McFarland. ISBN 978-0-786-48071-5.
  • Harari, Oren (2006). Break From the Pack: How to Compete in a Copycat Economy. Pearson Education. ISBN 0132703823.
  • Horowitz, David A.; Carroll, Peter N. (1998). On the Edge: The U.S. in the 20th-century. West/Wadsworth. ISBN 0314128824.
  • Janosik, MaryAnn (2006). The Greenwood Encyclopedia of Rock History: The video generation, 1981-1990. Greenwood Press.
  • Joseph, Jim (2010). The Experience Effect. AMACOM. ISBN 978-0814415559.
  • Kellner, Douglas (2003). Media Spectacle. Psychology Press. ISBN 041526829X.
  • Khanna, Parag (2011). How to Run the World: Charting a Course to the Next Renaissance. Random House. ISBN 978-0679604280.
  • Koutsobinas, Theodore (2014). The Political Economy of Status. Edward Elgar Publishing. ISBN 978-1783477456.
  • Kramarae, Cheris; Spender, Dale (2004). Routledge International Encyclopedia of Women. Routledge. ISBN 1135963150.
  • Landrum, Gene N. (1994). Profiles of Female Genius: Thirteen Creative Women who Changed the World. Prometheus Books. ISBN 0-87975-892-9.
  • Levine, Michael (2003). A Branded World: Adventures in Public Relations and the Creation of Superbrands. John Wiley & Sons. ISBN 0-471-43288-1.
  • Löfgren, Hans; Shima, Alan (1998). After Consensus: Critical Challenge and Social Change in America. Acta Universitatis Gothoburgensis. ISBN 9173463353.
  • Miklitsch, Robert (1998). From Hegel to Madonna. SUNY Press. ISBN 0791435407.
  • Mohammadi, Efraim (1997). International Communication and Globalization. SAGE Publishing. ISBN 0-85702-614-3.
  • Mooney, Sean (2000). 5,110 Days in Tokyo and Everything's Hunky-dory. Quorum Books. ISBN 1567203612.
  • Morton, Andrew (2001). Madonna. Macmillan Publishers. ISBN 0-312-98310-7.
  • Murray, Warwick E. (2006). Geographies of Globalization. Taylor & Francis. ISBN 1134369018.
  • Ovitz, Michael (2018). Who Is Michael Ovitz?. Penguin. ISBN 978-1101601488.
  • Owen, David (1997). Sociology After Postmodernism. SAGE Publications. ISBN 978-0803975149.
  • Paglia, Camille (2011). Sex, Art, and American Culture: Essays. Knopf Doubleday Publishing Group. ISBN 978-0307765550.
  • Rifkin, Jeremy (2010). The Empathic Civilization. Polity. ISBN 978-0745641461.
  • Raphael, Amy (1996). Grrrls. St. Martin's Press. ISBN 978-0-312-14109-7.
  • Rosebush, Judson; Cunningham, Steve (1996). Electronic Publishing on CD-ROM. O'Reilly Media. ISBN 1565922093.
  • Rowe, Kathleen (1995). The Unruly Woman: Gender and the Genres of Laughter. University of Texas Press. ISBN 0292790724.
  • Saunders, Mike (2020). HumanCentric: Technology Fails Unless it Means Something to Someone. Jonathan Ball Publishers. ISBN 978-0639992969.
  • Schenck, Paul C.; Schenck, Robert L. (1993). The Extermination of Christianity: A Tyranny of Consensus. Huntington House. ISBN 1563840510.
  • Schwichtenberg, Cathy (1993). The Madonna connection. Westview Press. ISBN 0813313961.
  • Seery, John E. (2018). Political Theory for Mortals: Shades of Justice, Images of Death. Cornell University Press. ISBN 978-1501718311.
  • Simone, Alina (2016). Madonnaland. University of Texas Press. ISBN 978-1477308912.
  • Shankman, Marcy Levy; Allen, Scott J. (2009). Emotionally Intelligent Leadership: A Guide for College Students. John Wiley & Sons. ISBN 978-0470596593.
  • Sheumaker, Helen (2017). Artifacts from Modern America. ABC-CLIO. ISBN 978-1440846830.
  • Shuker, Roy (2013). Understanding Popular Music. Routledge. ISBN 978-1134564798.
  • Smart, Barry (2010). Consumer Society: Critical Issues & Environmental Consequences. SAGE Publications. ISBN 978-0857026934.
  • Smith, Warren Allen (2000). Who's who in Hell: A Handbook and International Directory for Humanists, Freethinkers, Naturalists, Rationalists, and Non-theists. Barricade Books. ISBN 1569801584.
  • Spence, H. T. (2002). Confronting Contemporary Christian Music: A Plain Account of Its History, Philosophy, and Future. Foundations Bible College. ISBN 1882542401.
  • Stange, Mary Zeiss; Oyster, Carol K.; Sloan, Jane E. (2011). Encyclopedia of Women in Today's World. Vol. 1. SAGE Publishing. ISBN 978-1-4129-7685-5.
  • Stewart, Mark (2009). Music Legends. Gareth Stevens Pub. ISBN 978-0836891652.
  • Taraborrelli, J. Randy (2001). Madonna: An Intimate Biography. Sidgwick & Jackson. ISBN 028307289X.
  • Taraborrelli, J. Randy (2002). Madonna: An Intimate Biography. Berkley Books. ISBN 0425186695.
  • Todd, Matthew (2016). Straight Jacket. Random House. ISBN 978-1448111107.
  • Towery, Matt (1998). Powerchicks: How Women Will Dominate America. Longstreet Press. ISBN 1563525216.
  • Walters, Suzanna Danuta (1995). Material Girls: Making Sense of Feminist Cultural Theory. University of California Press. ISBN 0520089782.
  • Ward, Glenn (2010). Understand Postmodernism: Teach Yourself. John Murray Press. ISBN 978-1444133981.
  • West, Douglas; Ford, John; Ibrahim, Essam (2010). Strategic Marketing: Creating Competitive Advantage. OUP Oxford. ISBN 978-0199556601.
  • Zyman, Sergio; Brott, Armin (2003). The End of Advertising as We Know It. John Wiley & Sons. ISBN 047142966X.
  • Young, Homer Edwin (1994). Been there. Done that. Now what?: The meaning of life may surprise you. Broadman & Holman Publishers. ISBN 978-0805461589.

Further reading

This page is issued from Wikipedia. The text is available under Creative Commons Attribution-Share Alike 4.0 unless otherwise noted. Additional terms may apply for the media files.