I look like super face when I shoot phraseology, but it was inevitable to start this article with a classic: the one that had retained.
In this case, 'the one who had', 63 years, four decades in the olympus of popular culture as the undisputed queen of pop is
Madonna
, and what she retained: the scepter of queen of pop, which she has been defending without anyone coughing her for four decades.
But a rising star and growing predicament,
Lizzo, comes along
and casts doubt on it. Mortal sin. Madonna's fans swell their veins and Twitter collapses in defense of the 'madonnistic' hegemony, some insult and others of 'scientific' theory, as in the history of 'feminine' pop there is a before and after of Madonna.
The question is: is Madonna seriously today, 2021, the queen of pop? We can not doubt her legacy as a creator (although yes, of course we can. If someone has known how to ride the different waves of fashion it has been her, always more attentive to where the shots were going than to shoot them) or her charismatic and influential role (Let's recall how, to give just one example, he paralyzed half the planet with his televised sensual kiss to
Britney Spears
and
Christina Aguilera
in their joint performance at the 2003 MTV Awards). But where is the music?
The last time Madonna stood out in the music charts was in 2012 with her album 'MDNA'. It is true that throughout her career she has sold more than
350 million records,
which makes her, so far, the most successful female artist ('True Blue', her third studio album, sold no less than
25 million copies
). But his latest releases have not had the impact expected of a 'queen', no matter how much they have continued to earn him presence on some charts and a level of sales that already loved him a lot (in the United States, his latest album, 'Madame X 'debuted at # 1 on the Billboard HOT200 chart with 95,000 downloads, equivalent to disk drives, of which 90,000 were sales).
Musically, on the other hand, and despite allying with
Maluma
(for 'Medellín', the first single from 'Madame X') and fresh and leading producers, it is difficult to defend that his is, in recent times, a valuable contribution to the pop.
Neither do appearances like that of the penultimate
Eurovision Song Contest
with a dubious staging and a somewhat limping Madonna help.
And that is so, we can love Madonna very much, but for a few years she has been moving with a certain rigidity on the stage, something especially striking in someone who has been doing sports and dancing non-stop for forty years.
And finally, I am going to allow myself, as a Madonna admirer and defender that I have been for years, a reflection that is probably not just my own.
I think that for my generation, at least for women, Madonna has been a relative disappointment. I thought that if anyone could skip all the conventions, defy the rules of showbusiness and reinvent fame, it was her. Naively, I imagined her as the pop artist who would defend her presence on stage, her reign, with wrinkles, like 'I am the queen and I do what comes out of my feet'. But it could not be. Not even the independent, powerful and unique Madonna has been able to stay out of the demand for eternal youth of the show business.
His facelift is, for me, the symbol of a
lost battle
that would have been key to win.
Because that victory would have had a huge influence on society.
More than we can imagine.
And she would have been a queen in all her splendor.
The authentic, indisputable and eternal queen of pop.
According to the criteria of The Trust Project
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