query: What was Madonna's first album?

title: Madonna (Madonna album)

text: Madonna (retitled Madonna: The First Album for the 1985 re-release) is the debut album by American singer Madonna, released on July 27, 1983 by Sire Records. After having established herself as a singer in downtown New York City, Madonna was signed by Sire president Seymour Stein, due to the success of her debut single, "Everybody" (1982). She became the sole writer for most of the album's tracks, and chose Reggie Lucas as its primary producer. Unhappy with Lucas's production outputs, she invited John "Jellybean" Benitez to complete the album, who remixed three tracks and produced "Holiday".

title: Madonna Live: The Virgin Tour

text: Madonna's first concert tour, The Virgin Tour, promoted her first two studio albums, "Madonna" and "Like a Virgin". The tour was a commercial success, with "Billboard" Boxscore reporting a gross of US $3.3 million. After the tour was over, Madonna started recording her third studio album, "True Blue". Film director Daniel Kleinman, who presided over the shooting of the tour on video, submitted the footage to Warner Bros. Records, who decided to release it as a video album. "Madonna Live: The Virgin Tour" chronicled The Virgin Tour as shot at Cobo Arena in Detroit, Michigan on May 25, 1985.

title: Erotica (Madonna album)

text: Erotica is the fifth studio album by American recording artist Madonna, released on October 20, 1992 by Maverick and Sire Records. The album was released simultaneously with Madonna's first book publication "Sex", a coffee table book containing explicit photographs featuring the singer, and marked her first release under Maverick, her own multimedia entertainment company. "Erotica" is a concept album about sex and romance, incorporating her alter ego Mistress Dita, inspired by actress Dita Parlo. Some of its songs also take on a more confessional tone, influenced by the loss of Madonna's two close friends to AIDS.

title: Who's That Girl (soundtrack)

text: The soundtrack album was not well received by music critics, some of whom went on comment that the title track is the record's highlight. Jim Farber from "Entertainment Weekly" gave a negative review, though Noah Robischon from the same magazine complimented the title track, saying that Madonna had "pushed synergy over the borderline." Bill Lamb from About.com said that the songs were not among Madonna's best music. Taraborrelli commented that "the soundtrack was once again the reminder of Madonna's power and status as one of the most important singers of the 80s, because it was only her songs which gained prominence, albeit not being her best, though 'The Look of Love' is an exotic ballad." Author Mary Cross, in her biography "Madonna: A Biography" said that "the soundtrack slips up because of the film." Allen Metz and Carol Benson, authors of "The Madonna Companion: Two Decades of Commentary", said that ""Who's That Girl" has done what it was released for, put money in Warner's pockets, but [adds] nothing in Madonna's catalogue". Stephen Thomas Erlewine noted in his review for Allmusic that "In the strictest sense [the record] isn't a Madonna album — it's a soundtrack album", adding that it features "competent but uninspiring dance-pop by [various artists]". David Denby from "New York" magazine commented that "there's nothing absolutely wrong with the soundtrack. But it's just that it has the misfortune of being associated with such an unfortunate movie, that the album actually does not hold up to you well." He added that "The Look of Love" was a hidden gem in Madonna's catalogue. Don Shewey from "Rolling Stone" commented that "although essentially a Madonna album, the soundtrack does not boast a truly memorable song, rather there is the inclusion of the failed Warner artist songs, like the Coati Mundi song 'El Coco Loco' and Duncan Faure's uncannily Beatles-esque "24 Hours". For most buyers though this album is the new Madonna album."

title: Bedtime Stories (Madonna album)

text: According to journalist Mary von Aue from "Vice" magazine, "Bedtime Stories" is the "most important" album released by Madonna. For months leading up to its release, the promotion associated cited the record as an apology for the singer's sexually provocative imagery. Critics had also hoped for a return to more innocent form of music. However Madonna instead chose to portray herself as unapologetic for her imagery, as well as talking about scrutiny that female musicians faced. Madonna went opposite to what was being portrayed as the theme of the album in the promotional campaigns, and continued addressing her critics and people who had tried to shame her for being provocative. Von Aue added that "Today, "Bedtime Stories" is not the first album that comes to mind in Madonna's legacy. It is, however, the most relevant to many of the cultural conversations that are still happening. Had she acquiesced to the public's call for apology, it could have set a dangerous standard for how the public can decree an artist's silence, and it would have allowed the categories for female singers to remain in place".

title: Music (Madonna album)

text: "Spin" said that the album "is a much-needed breath of fresh VapoRub." Danny Eccleston, in a review for "Q", called it a "brave, radical and punchy (at a refreshing 49 minutes in length) album". A retrospective review in "Blender" remarked: "Her first 'headphones album'... It's more playful and less pompous than "Ray of Light"." "Rolling Stone" stated that the album was a rough and improvised version of "Ray of Light", but lauded that Madonna had chosen to make a more "instinctive" record than her previous endeavours. "Mojo" magazine said that ""Music" is fitful and its charms aren't all immediate, but Madonna is still doing what she does best--giving a lick of pop genius to the unlikely genre of experimental dance music." "NME" said that "Music" is "vocodered, stretched, distorted, warped, deliberately upstaged by beats so showy they belong in a strip joint – quite simply, she's almost managed to make herself disappear. That bluntly explicit title isn't just pointless irony. This record is about the music, not Madonna; about the sounds, not the image." "Slant Magazine" criticised Madonna's collaborations with William Orbit, who had worked with her on "Ray of Light", calling them repetitive and uninteresting despite being catchy. In 2015, Rob Sheffield of "Rolling Stone" said that "Music" is "still [Madonna's] hardest-rocking and most seductive album."

title: True Blue (Madonna song)

text: When Madonna had started working on her third studio album, "True Blue" in 1985, she was already in a relationship with actor Sean Penn whom she married by the year-end. It was the first album that the singer acted in the role of a record producer and wanted to add her own "sophistication" to it. Her optimism assimilated in the songs created, including the title track, which she co-wrote and co-produced the song with Stephen Bray. According to Madonna, "True Blue" takes its title from a favorite expression of Penn and to his very pure vision of love. The song and the album was inspired by Madonna's "unabashed valentine" for Penn. In an interview, Bray said, "She [Madonna] was very much in love. It was obvious if she's in love she'll write love songs. If she's not in love she definitely won't be writing love songs." In 2015, Madonna said that "True Blue" is "a song about true love. I didn't know what I was talking about when I wrote it."

title: Madonna (Madonna album)

text: The album was re-released in 1985 for the European market and re-packaged as Madonna: The First Album with a different artwork created by photographer George Holy. The cover features Madonna in similar style of dress to the original cover but this time with crucifix as her earrings. Madonna's trademark style was catching on as a fashion statement among club kids and fans, with her crucifix accessories becoming the jewelry of the moment.[5] Madonna said that wearing a crucifix is "kind of offbeat and interesting. I mean, everything I do is sort of tongue-in-cheeks. Besides, the crucifixes seem to go with my name."[5] In 2001, Warner Bros. Records released a remastered version of the album with its original artwork and two bonus remix tracks of "Burning Up" and "Lucky Star".[25] Madonna dedicated the album to her father, Tony Ciccone, with whom her relationship had not been good until the release of the album. In an interview with Time magazine, Madonna said: "My father had never believed that what I was doing here [in New York] was worthwhile, nor did he believe that I was up to any good. [...] It wasn't until my first album came out and my father started hearing my songs on the radio that he stopped asking the questions."[26]

title: Music (Madonna album)

text: It was then that French producer Mirwais Ahmadzaï was introduced by Madonna's partner Guy Oseary. In an interview with CNN, she stated, "Guy Oseary, my partner at Maverick [Records], was given a demo by a French artist called Mirwais. [He] slipped it to me and said, 'What do you think [of him] as an artist to sign at Maverick?' [...] I just said 'Oh my God, this is what I want.' I just flipped over it and said, 'Please find out if he wants to work with me.'" Ahmadzaï spoke little English, and Madonna commented: "The first couple of days we were recording, I wanted to rip my hair out. [...] It didn't seem like there was any way for us to communicate. His manager had to come in and translate everything at first."

title: Madonna (Madonna album)

text: The album was first released in the United States on July 27, 1983 by Sire Records.[22] It was originally slated to be titled Lucky Star, after the track of the same name, but eventually titled simply Madonna, perhaps that this singular name could have star power.[5] The album's artwork was shot by photographer Gary Heery and directed by Carin Goldberg.[11][23] The front cover shows Madonna with short-cropped platinum hair, wearing a number of black rubber bangles on her hands and a dog chain around her throat. Her navel is also prominent on the inner sleeve of the album. Madonna commented: "The picture inside the dust of sleeve of my first album has me, like, in this Betty Boop pose with my belly button showing. Then when people reviews the album, they kept talking about my cute belly button. [...] I think there are other unobvious places on the body that are sexy and the stomach is kind of innocent."[24] Regarding the album photoshoot, Gary Heery recalled:

title: Bedtime Stories (Madonna album)

text: "The New York Times" writer Stephen Holden considered "Bedtime Stories" as "easily Madonna's best album", and concluded that it was a "seductive mixture of soft-focus hip-hop and bittersweet ballads". Peter Galvin from "The Advocate" magazine gave a positive review, describing the album as "a gorgeously produced R&B album with lots of funky beats lush keyboards, and soaring Love Unlimited-style string arrangements". Barry Walters from "The San Francisco Examiner" praised the album as Madonna's most low-key album and her best work at the date. J.D. Considine, while writing his review for the album for "The Baltimore Sun", declared that "Bedtime Stories" was more listener-friendly than Madonna's previous albums. He added that it "seems remarkably close in spirit to the singer's first album, emphasizing dance grooves and pop melodies over genre exercises and conceptual statements", while praising Madonna's vocal performance. Linda L. Labin from the "Bangor Daily News", noted that "[Madonna] isn't taking any chances. This time around, her daring has more to do with music than lyrics", while also praising her vocals; "If anything, her singing is the album's greatest strength. Madonna uses every trick from her repertoire. [...] "Bedtime Stories" turns in some of the strongest performances of her career. 'Madonna sings well' — bet you don't see that headline in the tabloids anytime soon". Chris Willman of the "Los Angeles Times" gave it two-stars-and-a-half out of four, writing that the album "seems the least remarkable of all Madonna's albums. But it's not necessarily the least of them. [...] It has a nice, consistently relaxed feel, its slow jams hip-hop-inflected but not as self-consciously as last time".

title: Candy Shop (Madonna song)

text: In early 2007, it was reported that Madonna was recording songs with American singer Justin Timberlake for her upcoming eighth studio album. Later, it was also announced that record producers Timbaland and Pharrell Williams were working with her on the album, and Timbaland confirmed that a song titled "Candy Shop" was being produced by Williams. On July 2007, a demo of the song, titled "Candy Store", leaked online, but was quickly removed following copyright issues. "Candy Shop" was the first song Madonna and Williams worked on together. The latter recalled, "we were just in a studio, [...] and [Madonna] was like, 'Look, give me some hot shit.' I was looking at her like, 'She's saying hot shit?' She was like, 'What?' And I'm like, 'OK.' So we just worked and made it." Madonna stated during an interview with "Q" magazine that "Candy Shop", along with album track "Devil Wouldn't Recognize You", was among her favorite songs, "I love 'Candy Shop' cos it's cheeky and fun, and I feel it sort of represents the sassy side of me; the fun, sassy side of me. And I just love the way it sounds. And I love candy!".

title: Rebel Heart Tour (album)

text: Daryl Deino from Inquisitr gave a positive review for the live album of the release, but criticized its DVD and Blu-ray versions for poor editing. He named "Rebel Heart Tour" Madonna's best live album to date and found it superior to the DVD and Blu-ray. He also complimented Madonna's live, unprocessed vocals on the album, praising in particular her cover of "La Vie en rose", calling it "the best vocal performance of her career so far [...] this is a song nobody could imagine [Madonna] covering at the beginning of her career. Now, it sounds natural". Although the singer's voice sounded "strained" to Deino during the dance sequences, it was not noticeable in the video versions since "Madonna's dancing is the key element in these performances". He ended his review saying that the "whole album makes you want to run to a Madonna concert, and that's exactly what a live album is supposed to do."

title: Open Your Heart (Madonna song)

text: Despite being originally written in English, a Spanish version of the song titled "Abre Tu Corazón" was recorded by Venezuelan rock singer Melissa, who released it in March 1986 on her "Melissa III" album. Considering Madonna first released the song on the "True Blue" album three months afterwards, Melissa's "Abre Tu Corazón" can be considered the first released version of the song, although it is possible that Madonna's version (for which she received a co-writer's credit) was recorded first. The Madonna tribute compilation "Virgin Voices: A Tribute To Madonna, Vol. 2" contained a cover by the late Israeli singer Ofra Haza. A eurodance version was recorded by the group Mad'House for the album "Absolutely Mad". A hi-NRG dance version was recorded by Who's That Girl for the album "Exposed", released through Almighty Records. In 2004 "Platinum Blonde NRG, Vol. 2: Nrgised Madonna Classics", a hi-NRG cover is performed by In-Deep. The song appears in the opening of the 2002 film "Crossroads". Britney Spears' character lip syncs to the song in her room with a brush in her hand, pretending its a microphone. A Madonna poster is visible during the scene. In 2010, the TV show "Glee" covered it in the episode "The Power of Madonna" as a mash-up with the song "Borderline", performed by Cory Monteith and Lea Michele.

title: True Blue (Madonna album)

text: "Open Your Heart" was the first cut recorded for the album, as early as December 1985 and ultimately made it to the final released tracklist; it was originally intended for Cyndi Lauper. The third track "White Heat" was dedicated to actor James Cagney and named after the film of the same name from 1949. Two quotes from the original soundtrack were included in the song. The fourth track "Live to Tell" was written by Patrick Leonard for the soundtrack of Paramount's romantic drama film "Fire with Fire" but, after the company declined it, Leonard showed the song to Madonna. She decided to use it for "At Close Range", the new film of her husband Penn. Madonna made a demo of the song; when the film's director, James Foley, heard it, he asked Leonard to write the score for the film, as suggested by Madonna. "True Blue" was the first album where Madonna included Spanish themes as evident in the song "La Isla Bonita". The song was written for Michael Jackson's "Bad" album, but he had turned it down. While working with Leonard, Madonna accepted it in Jackson's place and re-wrote the lyrics, earning herself a co-writing credit. Madonna described it as her tribute to the "beauty and mystery of Latin American people". Originally intended as the first single, "Love Makes the World Go Round" – first performed at Live Aid a year earlier, in July 1985 – closes the album. The song recalled the antiwar music of the sixties.

title: Bedtime Stories (Madonna album)

text: Regarding the controversial period of her career, Madonna said, "I feel I've been misunderstood. I tried to make a statement about feeling good about yourself and exploring your sexuality, but people took it to mean that everyone should go out and have sex with everyone, and that I was going to be the leader of that. So I decided to leave it alone because that's what everyone ended up concentrating on. Sex is such a taboo subject and it's such a distraction that I'd rather not even offer it up." During 1994, Madonna started recording her sixth studio album. She collaborated with R&B producers such as Dallas Austin, Dave "Jam" Hall, and Babyface, and also enlisting British producer Nellee Hooper to the project. It became one of the very few occasions where she collaborated with well-known producers, the first since Nile Rodgers on "Like a Virgin" (1984). When asked about the record, Madonna said she wanted people to concentrate on the musical aspects of it, and would like the songs to speak for themselves. She also commented that it was because she was not interested in giving many interviews and being on the cover of magazines. She described the album as "a combination of pop, R&B, hip-hop and a Madonna record. It's very, very romantic". In an interview with "The Face" magazine, Madonna explained her inspirations behind "Bedtime Stories" as well as the reason for teaming up with R&B song producers.

title: True Blue (Madonna album)

text: Stephen Thomas Erlewine noted that ""True Blue" is the album where Madonna truly became 'Madonna the Superstar'—the endlessly ambitious, fearlessly provocative entertainer that knew how to outrage, spark debates, get good reviews—and make good music while she's at it." Mark Savage from BBC stated that "True Blue" is the album which cemented Madonna's reputation as the 'First Lady of Pop'. Sal Cinquemani from Slant Magazine said that with the album "Madonna made the transition from pop tart to consummate artist, joining the ranks of '80s icons like Michael Jackson and Prince." Similarly, Robert C. Sickels, the author of "100 Entertainers Who Changed America: An Encyclopedia of Pop Culture Luminaries", wrote that the album "cemented Madonna's place as the most popular female musical star of the 1980s, shining alongside male pop icons like Prince and Michael Jackson."

title: Like a Virgin (album)

text: A former dancer and fixture on the New York club scene, Madonna Louise Ciccone became known to the world simply as Madonna, with the release of her 1983 self-titled debut album "Madonna". Fueled by hit songs like "Holiday", "Borderline" and "Lucky Star", the album was one of the best selling of the year and helped Madonna become one of the most exciting new artists of the 1980s. When she started work on her second album, Madonna felt that her first album had succeeded in introducing her "street-smart dance queen" persona, and she wanted to solidify and build upon that concept. According to her, "My work, my dedication—the stubbornness for getting "Madonna" released—had paid off. Now it was time to solidify my future."

title: Madonna (Madonna album)

text: Vinyl– includes the 8-track album and the 4:57 version of "Everybody".[100] Cassette– includes the 8-track album and the 4:57 version of "Everybody".[100] CD– includes the 8-track album and the 4:57 version of "Everybody".[100] Longbox CD– includes the 8-track album and the 4:57 version of "Everybody".[100] Vinyl (1985)– Re-released in Europe with new artwork and renamed as Madonna: The First Album. This format includes the same tracks as the original but includes "Burning Up" (Alternate Album Version)– 4:48. Also released as a limited edition with fold-out poster of the cover minus typography.[103][104] Vinyl picture disc (1985)– Madonna: The First Album includes the same tracks as the original album.[105] Cassette (1985)– Madonna: The First Album includes the same tracks as the original album.[103] CD (1985)– Madonna: The First Album includes the same tracks as the original album.[103] CD (2001)– Remastered 10-track edition includes all tracks from the original album and two bonus remixes of "Burning Up" and "Lucky Star". This version was released by Warner Bros. and also includes a longer version of "Everybody"– 6:02. This version replaced the 1985 international re-release and reverted the album back to its original artwork and title in those territories.[106] Digital download (2005)– Same tracks as the 2001 remastered version, except for "Holiday" which is a 3:51 edited version.[107] Vinyl (2012)– 8-track European reissue of the original album which includes the 4:57 version of "Everybody". This version was released by Warner Bros. and Rhino Entertainment.[108]

title: Guy Sigsworth

text: Sigsworth co-produced the 1998 Mandalay album Empathy, which attracted the attention of Madonna. This in turn led to him co-writing the song "What It Feels Like for a Girl" with Madonna, for her 2000 album Music. Sigsworth also wrote the song "Nothing Fails" with Jem for Madonna's 2003 album American Life.

title: Erotica (Madonna album)

text: "Erotica" remains the most rampantly misrepresented Madonna album with the biggest backlash of her career. Taraborrelli commented that it is unfortunate that "Erotica" has to be historically linked to other less memorable ventures in Madonna's career at this time. However, he quipped that the album should be considered on its own merits, not only as one linked to the other two adult-oriented projects, because it has true value. When asked to name her biggest professional disappointment, Madonna answered, "The fact that my "Erotica" album was overlooked because of the whole thing with the "Sex" book. It just got lost in all that. I think there's some brilliant songs on it and people didn't give it a chance." Brian McNair observed that Madonna took a financial risk with the album and it was not until "Ray of Light" (1998) that her record sales recovered to pre-"Erotica" levels. He further asserted that "what she lost in royalty payments, however, Madonna more than made up for in iconic status and cultural influence."

title: Sidewalk Talk

text: In 1983, Madonna met John "Jellybean" Benitez, who worked as a DJ at the Funhouse club in lower Manhattan. Soon after, they started dating each other and worked on Madonna's self-titled debut album, released in 1983. When Benitez started work on his debut EP, "Wotupski!?!", he asked Madonna to write a song for him. Within two days Madonna wrote "Sidewalk Talk", whose idea she had initially thought of using on her debut album. According to Benitez, "Wotupski!?!" was a concept album, "It's a street slang in the Bronx. It means 'what's up, what's new'?" The artist credit of the song was simply Jellybean, with lead vocals credited to Catherine Buchanan. Madonna provided background vocals for the track with Audrey Wheeler and Cindy Mizelle. Benitez produced the track as well as arranged and mixed it. Michael Hutchinson assisted on engineering, recording and mixing the track. Producer Stephen Bray also arranged "Sidewalk Talk" with Benitez. Instrumentation featured in the track included bass guitar by Marcus Miller, synthesizer by Boyd Jarvis, Fred Zarr and Bray, electric guitar by Ira Siegel, percussion by Bashiri Johnson and Trevor Gale, and lastly drum programming by Benitez and Bray.

title: Live to Tell

text: New wave band Berlin covered the song for the 1999 album "Virgin Voices: A Tribute to Madonna, Vol. 1". In an interview with CNN, Berlin's lead vocalist Terri Nunn said that the tribute was necessary, commenting that "she [Madonna] has influenced a lot of people", adding that "Live to Tell" is the only song from Madonna that she would touch. Other covers of the song on tribute albums include Semi Moore on "The Material Girl: A Tribute to Madonna", released in 2000, an instrumental version on the 2002 album "The String Quartet Tribute to Madonna", a folk version by Winter Flowers on the 2007 album "Through the Wilderness", and a hi-NRG version by Melissa Totten on her 2008 album, "Forever Madonna". In the American police procedural television series "Cold Case", the song features in the finale of the first season episode "Churchgoing People".Credits adapted from the album's liner notes.

title: Like a Prayer (album)

text:
Taraborrelli wrote that "Like a Prayer" was a turning point's in Madonna's career; "Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna [...] "Like a Prayer" was. [Madonna] pushed onwards as an artist, using her creative wit to communicate on another level, musically." Kenneth G. Bielen, author of "The Lyrics of Civility: Biblical Images and Popular Music Lyrics in American Culture", wrote that with the album Madonna began to be seen as a serious artist; "Five years earlier, she was a dance-pop 'Boy-Toy'. With "Like a Prayer", she proved she was an artist who could think with more than her body". Thomas Harrison on the book "Music of the 1980s", documented that "Like a Prayer" pushed boundaries by addressing "uncomfortable song topics". Similarly, Annie Zaleski from "The A.V. Club", praised the album for "starting a conversation about religion—which remains one of the most incendiary topics a musician can address. [...] All of this pointed to Madonna establishing herself as a serious artist (emphasis on the "art") who had significant things to say". She also wrote:
The album's sustained run at No. 1 buoyed her self-assurance and bravery, and validated that people were willing to follow her even as she transitioned into adulthood. And even today, "Like a Prayer" remains provocative and progressive: The racial tension alluded to in the "Like A Prayer" video is striking, while the album's themes of religious and sexual oppression still feel all too relevant. Madonna dictated pop's future direction while also being firmly in control of her own fortunes.
According to Christopher Rosa from VH1, ""Like a Prayer" was the first pop album to evoke what female artists explore today: sexuality, religion, gender equality and independence. It was pioneering, and no woman in music has come close to doing something as groundbreaking." He believed that the album was her peak of cultural and musical influence, saying that "Madonna went from bubbly pop act to a serious artist who received her first bout of universal acclaim." Rosa also stated that "Like a Prayer" will be always more influential than the "definitive" albums of contemporary female artists, such as "Blackout" (2007), "The Fame Monster" (2009), and "Beyoncé" (2013). Madonna tried to experiment with different forms and styles with the videos and in the process constructed a new set of image and identity. With the release of "Like a Prayer", Madonna's impact culminated during the 1980s, and many publications named her the artist of the decade.
"LA Weekly"s Art Tavana opined that ""Like a Prayer" was the moment when Madonna went from being the voice of America's teenagers to the worldwide high priestess of pop". Singer Taylor Swift explained that with the album Madonna made "the most incredible, bold, risky, decisions as far as pop music goes", citing the title track as "legitimately one of the greatest pop songs of all time."

title: Our Version of Events

text:
She began working with Professor Green on the album. The pair had previously worked together on the rapper's albums "Alive Till I'm Dead" in 2010 on the track "Kids That Love to Dance" and "At Your Inconvenience" in 2011, on the track "Read All About It". This became Sandé's and Professor Green's first number-one single on the UK Singles Chart. The singer pointed out that she has set the song out like a story of her life. She said that the album is very different from the first two singles which she released from the album "Heaven" and "Daddy" and "Read All About It" with Professor Green and that fans should expect something a little different. Sandé also met Madonna after they were both guests on "The Graham Norton Show", and Madonna expressed interest in working with Sandé in the future. Madonna also spoke about her love for her track "Next to Me".
She said that there will be moments on the album that are a lot more intimate and a lot more stripped back to other tracks on the album, but these tracks show and stand out. Sandé said people didn't know what do with her, it was just her and her piano, which was very stripped, it was completely different from what everyone was used to and different from everything that was currently out. However, she stressed that it is good to be different and not predictable.

title: Radio 1 Madonna controversy

text: In 2012, Madonna released her twelfth studio album, "MDNA". The lead single, "Give Me All Your Luvin'", and subsequent releases from the album were not added to the Radio 1 playlist, despite the former featuring rappers Nicki Minaj and M.I.A., two artists who receive regular rotation on the station. Radio 1 DJ Scott Mills defended their decision not to play Madonna saying, "I don't think we play Madonna any more. There is a lot of research, and if you ask a 17-year-old about her, they go 'don't care' [...] it's a sign of the times, things change, it's a generational thing. I like Madonna, does a 17-year-old? [She's] probably not at the top of their list. And that's horrible, but that is the way it is [...] and also youth audiences are so fickle in what they like and what they don't like, and they're quite opinionated, you just have got to keep on top of that."

title: Madonna (entertainer)

text: Madonna released her eighth studio album, "Music", in September 2000. It featured elements from the electronica-inspired "Ray of Light" era, and like its predecessor, received acclaim from critics. Collaborating with French producer Mirwais Ahmadzaï, Madonna commented: "I love to work with the weirdos that no one knows about—the people who have raw talent and who are making music unlike anyone else out there. "Music" is the future of sound." Stephen Thomas Erlewine from AllMusic felt that ""Music" blows by in a kaleidoscopic rush of color, technique, style and substance. It has so many depth and layers that it's easily as self-aware and earnest as "Ray of Light"." The album took the number-one position in more than 20 countries worldwide and sold four million copies in the first ten days. In the U.S., "Music" debuted at the top, and became her first number-one album in eleven years since "Like a Prayer". It produced three singles: the Hot 100 number-one "Music", "Don't Tell Me", and "What It Feels Like for a Girl". The music video of "What It Feels Like for a Girl" depicted Madonna committing acts of crime and vandalism, and was banned by MTV and VH1.

title: Madonna albums discography

text: American singer Madonna has released 13 studio albums, three soundtrack albums, five live albums, six compilation albums, and 34 other limited releases. In 1982, Madonna signed a recording contract with Sire Records, a label owned by Warner Bros. Records. The first release under the label was her self-titled debut album, "Madonna" (1983). It peaked at number eight on the "Billboard" 200 and was certified five times platinum by the Recording Industry Association of America (RIAA). She followed the debut album with the sophomore release, "Like a Virgin" (1984). The album topped the chart in several countries and was certified diamond by the RIAA. "True Blue" was released as her third studio album in 1986 and sold over 25 million copies worldwide, while becoming her second chart topper in US. In 1987, she released two albums that reached platinum status in the United States: the "Who's That Girl soundtrack" and her first remix compilation, "You Can Dance". Madonna's fourth studio album, "Like a Prayer" (1989), became her third number-one album on the "Billboard" 200, achieving quadruple platinum in US.

title: Anne Preven

text: Preven's first big cut was "Sanctuary", which Madonna covered for her 1994 "Bedtime Stories". Madonna was introduced to the song by a friend of Preven and Cutler, who heard an early version of it and thought "Madonna would love this song!" Madonna's version came out before Ednaswap had even received a record deal, and the song deviated from Preven's idea. Preven originally thought Madonna had ruined the song, going so far as to meeting with Madonna to plead for changes. However, upon hearing the song as part of the whole album, Preven says she "understood what [Madonna] was going for." Preven and Cutler's most famous cover was the song, "Torn". The two co-wrote the song in 1993 with producer Phil Thornalley before they had a band. Preven claims that the lyrics were written quickly. The first album recording of the song came from Danish singer Lis Sørensen in 1995, who was introduced to the song by Thornalley. A second version arrived in 1996 by Trine Rein, who was also introduced to the song by Thornalley. Ednaswap released their first version of "Torn" on their self-titled album.

title: Madonna (entertainer)

text:
After Lourdes's birth, Madonna became involved in Eastern mysticism and Kabbalah, introduced to her by actress Sandra Bernhard. Her seventh studio album, "Ray of Light", (1998) reflected this change in her perception and image. She collaborated with electronica producer William Orbit and wanted to create a sound that could blend dance music with pop and British rock. American music critic Ann Powers explained that what Madonna searched for with Orbit "was a kind of a lushness that she wanted for this record. Techno and rave were happening in the 90s and had a lot of different forms. There was very experimental, more hard stuff like Aphex Twin. There was party stuff like Fatboy Slim. That's not what Madonna wanted for this. She wanted something more like a singer-songwriter, really. And William Orbit provided her with that."
The album garnered critical acclaim, with "Slant Magazine" calling it "one of the great pop masterpieces of the '90s" "Ray of Light" was honored with four Grammy Awards—including Best Pop Album and Best Dance Recording—and was nominated for both Album of the Year and Record of the Year. "Rolling Stone" listed it among "The 500 Greatest Albums of All Time". Commercially, the album peaked at number-one in numerous countries and sold more than 16 million copies worldwide. The album's lead single, "Frozen", became Madonna's first single to debut at number one in the UK, while in the U.S. it became her sixth number-two single, setting another record for Madonna as the artist with the most number two hits. The second single, "Ray of Light", debuted at number five on the "Billboard" Hot 100. The 1998 edition of "Guinness Book of World Records" documented that "no female artist has sold more records than Madonna around the world".


query: Who developed bibliotherapy?

title: Bibliotherapy

text: After the term bibliotherapy was coined by Samuel Crothers in an August 1916 Atlantic Monthly article, it eventually found its way into the medical lexicon.[7] During World War I, the Library War Service stationed librarians in military hospitals, where they dispensed books to patients and developed the emerging "science" of bibliotherapy with hospital physicians. When they returned from the war, they tried to implement these ideas in hospital libraries.[8] E. Kathleen Jones, the editor of the book series Hospital Libraries, was the library administrator for the McLean Hospital in Massachusetts. This influential work was first published in 1923, and then updated in 1939, and then 1953. Pioneer librarian Sadie Peterson Delaney used bibliotherapy in her work at the VA Hospital in Tuskegee, Alabama from 1924 to her death in 1958. Elizabeth Pomeroy, director of the Veterans Administration Library Service, published the results of her research in 1937 on the efficacy of bibliotherapy at VA hospitals.[6] The United Kingdom, beginning in the 1930s, also began to show growth in the use in of reading therapy in hospital libraries. Charles Hagberg-Wright, librarian of the London Library, speaking at the 1930 British Empire Red Cross Conference, spoke about the importance of bibliotherapy as part of "curative medicine" in hospitals. In addition, reports from the 1930 Public Health Conference about bibliotherapy were included in the British journal Lancet.[9] By the 1920s, there were also training programs in bibliotherapy. One of the first to offer such training was the School of Library Science at Western Reserve University followed by a program at the University of Minnesota School of Medicine.[6]

title: Bibliotherapy

text: The concept of bibliotherapy has widened over time, to include self-help manuals without therapeutic intervention, or a therapist "prescribing" a movie that might provide needed catharsis to a client.[12]

title: Bibliotherapy

text: Implementing bibliotherapy in an elementary classroom can be very beneficial to both the students and the teacher. Teachers who use bibliotherapy in their classroom also learn much about the children they teach.[29] Teachers as practitioners of bibliotherapy select appropriate reading materials and match them to the needs of individual students to assist them in the development of self-awareness, problem-solving skills, perspective-taking, and understanding of problems. The materials may include "any literacy activity, including reading (fiction, nonfiction, or poetry), creative writing, or storytelling."[30] Teachers that select appropriate literature for their classroom needs may provide a child with a "character in a story to help the child understand himself[29] Classroom story time and a guided discussion allows students to "become aware of problems of other children and develop empathy".[29]

title: Bibliotherapy

text: Bibliotherapy can consist solely of reading, or it can be complemented with discussion or play activity. A child might be asked to draw a scene from the book or asked whether commonality is felt with a particular character in the book. The book can be used to draw out a child on a subject (s)he has been hesitant to discuss.

title: Bibliotherapy

text: The Online Dictionary for Library and Information Science (2011) defines bibliotherapy as:[13]

title: Audio therapy

text: Bibliotherapy is often situated in a context where it is one of multiple interventions, and is usually grounded in a specific psychotherapeutic or psychological discipline. One such discipline is cognitive behavioral therapy. Unlike music therapy, but similar to audio therapy, the most important aspect of cognitive bibliotherapy is the content of the recording, and not the individual interactions with a therapist.

title: Psychological resilience

text: The idea of 'resilience building' is debatably at odds with the concept of resilience as a process, since it is used to imply that it is a developable characteristic of oneself. Those who view resilience as a description of doing well despite adversity, view efforts of 'resilience building' as method to encourage resilience. Bibliotherapy, positive tracking of events, and enhancing psychosocial protective factors with positive psychological resources are other methods for resilience building. In this way, increasing an individual's resources to cope with or otherwise address the negative aspects of risk or adversity is promoted, or builds, resilience.

title: Bibliotherapy

text: . . Assists practitioners in the use of bibliotherapy while also promoting its use by readers and parents. A bibliotherapy booklist is part of the site as well. . An organization which supports the promotion of bibliotherapy (and the creation of bibliotherapy resources) for people of color, people of faith, the aged and the differently-abled. , The Behavior Advisor. Guide for parents to for their own children. More extensive overview on , The International Child and Youth Care Network The Association for Bibliotherapy and Applied Literature (ABAL) , Maeve Visser Knoth writes from a librarian's perspective for the Horn Book Magazine A U.K. based charity offering poetry as a complement to visiting the doctors surgery. , Alcohol Rehab Thailand Bibliotherapy blog which shares the advice and experience of readers. Find and contribute bibliotherapy recommendations for mental health issues as well as everyday situations and feelings. Free online bilbiotherapy service based in London, UK. Staffed by volunteers who make personalised reading recommendations.

title: Bibliotherapy

text: Bibliotherapy (also referred to as poetry therapy or therapeutic storytelling) is a creative arts therapies modality that involves storytelling or the reading of specific texts with the purpose of healing. It uses an individual's relationship to the content of books and poetry and other written words as therapy. Bibliotherapy is often combined with writing therapy. It has been shown to be effective in the treatment of depression.[1] A 3 year follow up study has suggested that the results are long-lasting.[2]

title: Bibliotherapy

text: Bibliotherapy: The Right Book at the Right Time by Claudia E. Cornett, published in 1980. Creative Bibliotherapy for Post-Traumatic Stress Disorder (PTSD): A Systematic Review by Calla E.Y. Glavin and Paul Montgomery. Published in 2017 in Journal of Poetry Therapy, 30(2). The Impact of Bibliotherapy Superheroes on Youth Who Experience Parental Absence by Nurit Betzalel and Zipora Schechtman. Published in 2017 in School Psychology International, 38(5). The Long Term Effects of Bibliotherapy in Depression Treatment: Systematic Review of Randomized Clinical Trials by M.R. Gualano, F. Bert, M. Martorana, et al. Published in 2017 in Clinical Psychology Review, 58. Using Books in Clinical Social Work Practice: A Guide to Bibliotherapy by John T. Pardeck, published in 2013.

title: Bibliotherapy

text: The gains achieved in cognitive bibliotherapy illustrate that the most important element in cognitive bibliotherapy is content of the program and not the individual interactions with a therapist.[18] Bibliotherapy using CBT have been empirically tested the most and directed CBT appears to be the most prevalent methodology in the literature.[19] The selection of CBT books is important since there are many on the market that purport to help. Pardeck's analysis on choosing books is quite instructive and much of his criteria mirror what librarians teach in information literacy. These include the authority of the author on the topic, the type of empirical support offered for treatment claims, the existence of studies testing its clinical efficacy, and a comparative review of other books.

title: Bibliotherapy

text: Teachers who practice or need to use bibliotherapy can find connections to their state or provincial guidelines. A common challenge for classroom teachers is finding the right book, and although some annotated bibliographies are available online and in curriculum publications, not all issues are touched upon.[31] A teacher may have to find their book. The following evaluation framework is suggested:

title: Nkosi's Haven

text: A recent project development was the implementation of bibliotherapy at the library in 2010. The bibliotherapy program used books to assist the children and young teens with coping with social, emotional and physical issues. The program identified the children's needs and used a variety of programs to help eradicate the isolation of people living with HIV/AIDS through education, self-awareness, skill development, and recreation. Some sessions included storytelling, reading aloud, and "The Wall of Happiness Sessions" in which participants openly discussed what made them happy with the facilitator. The program was made available to all residents at Nkosi's Haven, including orphans and those who were free of HIV/AIDS in order to increase overall awareness. Results of the program showed success among residents, with 92% of young participants demonstrating increased knowledge and understanding about HIV/AIDS related issues, 78% demonstrating an increase in comfort and decrease in fear around HIV/AIDS related issues, and 91% of adults demonstrating an improvement in self-esteem and optimistic attitudes.

title: Bibliotherapy

text: Advantages of bibliotherapy include teaching students to solve problems, help students cope with teasing, name calling, mockery, fears, sexuality changes, anxiety, and death.[26] Despite the limited research on bibliotherapy and its effects, many teachers have shown improved achievement and self-concept.

title: William C. Menninger

text: Menninger was an early innovator and advocate for the use of bibliotherapy in treating mental illness. Along with his brother Karl, Menninger utilized bibliotherapy at the Menninger Clinic. Following the success of Karl's book, "The Human Mind", Menninger presented a paper to the American Psychiatric Association in 1937.

title: Feeling Good: The New Mood Therapy

text: Evidence from six studies suggests that reading "Feeling Good" as a form of self-directed bibliotherapy had a large helpful effect on treating depression. Evidence from eleven studies supports bibliotherapy generally, when people also have additional guidance. The evidence was limited, because all trials completed only had a small number of participants.

title: Bibliotherapy

text: Bibliotherapy has three recognized stages: (1) identification, (2) catharsis, and (3) insight. Identification is when a reader associates themselves with the character or situation in the literary work. Catharsis is when the reader shares many of the same thoughts and feelings of the characters in the literary work, and insight is when the reader realizes that they relate to the character or situation and learn to deal more effectively with their own personal issues.[11] Literary pieces allow teachers to identify for their class, or an individual student, a particular issue which they are dealing with directly or indirectly. In a class with a special needs student, for example, books featuring a character with the same needs will help students experience living with a chronic condition; through a guided discussion, they will able to verbalize their thoughts and concerns.[32] This exercise will offer insight into the issue of how to help their classmate effectively.[33] Bibliotherapy "does not prescribe meanings, nor is it a form of direct teaching; it is more an invitation and permission giving to children to unveil wisdom and insight that might otherwise be squelched."[30]

title: Bibliotherapy

text: Although the term "bibliotherapy" was first coined by Samuel Crothers in 1916, the use of books to change behavior and to reduce distress has a long history, dating back to the Middle Ages. When applied in a therapeutic context, bibliotherapy can comprise both fictional and non-fictional materials. Fictional bibliotherapy (e.g., novels, poetry) is a dynamic process, where material is actively interpreted in light of the reader's circumstances. From a psychodynamic perspective, fictional materials are believed to be effective through the processes of identification, catharsis and insight. Through identification with a character in the story the reader gains an alternative position from which to view their own issues. By empathizing with the character the client undergoes a form of catharsis through gaining hope and releasing emotional tension, which consequently leads to insights and behavioral change.[7] Working with an imaginative journey and a specific selection of metaphors,[14] proponents claim that a therapeutic story approach has the potential to shift an out of balance behavior or situation back towards wholeness or balance. A patient might also find it easier to talk about his issues if he and the therapist can pretend that they are talking about the character's issues. Proponents suggest that the story form offers a healing medium that allows the listener to embark on an imaginative journey, rather than being lectured or directly addressed about the issue.[15]

title: Bibliotherapy

text: In the article "Read two books and write me in the morning",[31] the authors highlight the fact that teachers are an integral part of a student's therapeutic team. It is the teacher who may be the first person to notice that something is troubling a child. They also note that teachers have been referred to as carryover agents, who carry out recommendations from other professionals who have suggested accommodations necessary to ensure a particular student's well-being or success in their classroom. In inclusive classrooms the teacher and the whole class play a role in meeting directly or indirectly, the needs of students with exceptionalities. Bibliotherapy can help the students in the class to learn coping skills that will help them deal with the social and emotional challenges that may occur.[31] Books and reading are an integral part of classroom life. Through books, "children are able to see reflections of themselves, their times, their country, their concerns... well-written realistic fiction will always help readers gain a deeper understanding of themselves and others."[31]

title: Bibliotherapy

text: There is not as much research on using fiction in bibliotherapy when compared to cognitive self-help books.[20] The recent work of Shechtman has been important in investigating the use of affective literature for bibliotherapy. In her work on counseling with aggressive boys, Shechtman discusses the deficits these children exhibit and describe affect disorders with symptoms of emotional arousal, low levels of empathy, and difficulties in self-expression. Using integrative treatment whereby the patient explores the problem, gains insight, and commits to change, Shechtman found that using affective bibliotherapy techniques achieved therapeutic change while indicating gains in empathy and insight.[21]

title: Bibliotherapy

text: The use of bibliotherapy in mental health programs, including those for substance abuse, has been shown to be beneficial to patients in the United Kingdom where it is a popular resource.[16] Researchers have found that bibliotherapy can successfully complement treatment programs and reduce recidivism.[17]

title: Bibliotherapy

text: Bibliotherapy can be performed using affective treatment techniques, cognitive behavioral therapy (CBT), and visual-based materials. Affective bibliotherapy relies upon fiction which can aid participants. By empathizing with a story's character, the client undergoes a form of catharsis by gaining hope and releasing emotional tension. There can also be a connection made between the circumstances in a story and the reader's own personal issues. This, consequently, leads to insights and behavioral change. Bibliotherapy using CBT relies mainly on self-help books which work to correct negative behaviors by offering alternative, positive actions. Visual-based materials, such as graphic novels, utilize both affective and CBT techniques.

title: Bibliotherapy

text: Of necessity, bibliotherapy originally used existing texts. Literature that touched on the particular subject relevant to the child provided the source material. (For example, Romeo and Juliet is typically read in 8th or 9th grade as Romeo is 15 and Juliet is 13; students at that age can identify with them.) Recently it has become possible to find texts targeted to the situation; e.g. many of The Berenstain Bears books target particular behaviors and responses to certain situations.

title: Bibliotherapy

text: There is a division of opinion as to whether bibliotherapy needs to take place in a therapeutic environment, with therapists specially trained in the treatment reinforcing the idea for fear of the damage that could be done even by the selection of the wrong text. Other psychologists see no reason why children can't benefit from their parents selecting meaningful reading material.

title: Bibliotherapy

text: Bibliotherapy has not been vastly researched to ensure that it will be successful for all students. It has many drawbacks, that include unavailable literature on certain topics that students may be struggling with, many students not being ready to face their issues and read, and students and parents defensively implementing the therapy.[26] The resistance of using bibliotherapy is based on a lack of assertiveness, negative attitudes, anxiety, depression, sexual dysfunctions, and negative behaviors.[26] There has been advocacy for reading books containing difficult themes in advance, rather than in response to a parent or teacher identifying a specific issue in a child's life.[27] The major issue that lies behind bibliotherapy is the lack of research that has been conducted on this therapy device.

title: Bibliotherapy

text: In the early nineteenth century, Benjamin Rush favored the use of literature in hospitals for both the "amusement and instruction of patients".[6] By the middle of the century, Minson Galt II wrote on the uses of bibliotherapy in mental institutions, and by 1900 libraries were an important part of European psychiatric institutions.

title: Bibliotherapy

text: In its most basic form, bibliotherapy is using books to aid people in solving the issues that they may be facing at a particular time.[11] It consists of selecting reading material relevant to a client's life situation. Bibliotherapy has also been explained as "a process of dynamic interaction between the personality of the reader and literature - interaction which may be utilized for personal assessment, adjustment, and growth."[11] Bibliotherapy for adults is a form of self-administered treatment in which structured materials provide a means to alleviate distress.[7] The concept of the treatment is based on the human inclination to identify with others through their expressions in literature and art. For instance, a grieving child who reads, or is read a story about another child who has lost a parent may feel less alone in the world.

title: Bibliotherapy

text: In the 1980s and early 1990s, bibliotherapy was a widely used but poorly researched therapeutic model. However, numerous randomized controlled trials (RCTs) have documented the positive effects of bibliotherapy for clinical conditions such as deliberate self-harm, obsessive–compulsive disorder (OCD) and bulimia nervosa and insomnia. Research also supports bibliotherapy as an intervention for a wide array of psychological issues including emotional disorders, alcohol addiction, and sexual dysfunction. In a recent review of psychotherapeutic treatments for older depressed people, bibliotherapy emerged as an effective intervention.[7]

title: Bibliotherapy

text: With hospitals taking the lead, bibliotherapy principles and practice developed in the United States. In the United Kingdom, it should be noted, some felt that bibliotherapy lagged behind the US and Joyce Coates, writing in the Library Association Record, felt that "the possibilities of bibliotherapy have yet to be fully explored".[9] In 1966, the Association of Hospital and Institution Libraries, a division of the American Library Association, issued a working definition of bibliotherapy in recognition of its growing influence. Then, in the 1970s, Arleen McCarty Hynes, a proponent for the use of bibliotherapy, created the "Bibliotherapy Round Table" which sponsored lectures and publication dedicated to the practice.[10]

title: Bibliotherapy

text: There are steps that make bibliotherapy a more effective solution for dealing with the issues that a student may be facing, including developing support, trust, and confidence with the student that is suffering from an issue, identifying other school personnel that could aid in implementing the therapy, seeking support from the student's parents or guardians, defining the issue that the student is facing and why the teacher wants to help solve it, creating goals that may help the student overcome the issue, researching books that may help with the specific problem, introducing the book to all the people that will be involved, incorporating reading activities, and evaluating the effects and successes that the book may have had on the student.[26]


query: What started feminism?

title: History of feminism

text: Elizabeth Cady Stanton and Lucretia Mott met in 1840 while en route to London where they were shunned as women by the male leadership of the first World's Anti-Slavery Convention. In 1848, Mott and Stanton held a woman's rights convention in Seneca Falls, New York, where a declaration of independence for women was drafted. Lucy Stone helped to organize the first National Women's Rights Convention in 1850, a much larger event at which Sojourner Truth, Abby Kelley Foster, and others spoke sparked Susan B. Anthony to take up the cause of women's rights. In December 1851, Sojourner Truth contributed to the feminist movement when she spoke at the Women’s Convention in Akron, Ohio. She delivered her powerful “Ain’t I a Woman” speech in an effort to promote women’s rights by demonstrating their ability to accomplish tasks that have been traditionally associated with men.[81] Barbara Leigh Smith met with Mott in 1858,[82] strengthening the link between the transatlantic feminist movements.

title: Third-wave feminism

text: The emergence of riot grrrl, the feminist punk subculture, in the early 1990s in Olympia, Washington, marked the beginning of third-wave feminism. The triple "r" in "grrrl" was intended to reclaim the word "girl" for women. Alison Piepmeier writes that riot grrrl and Sarah Dyer's "Action Girl Newsletter" formulated "a style, rhetoric, and iconography for grrrl zines" that came to define third-wave feminism, and that focused on the viewpoint of adolescent girls. Based on hard-core punk rock, the movement created zines and art, talked about rape, patriarchy, sexuality, and female empowerment, started chapters, and supported and organized women in music. An undated Bikini Kill tour flier asked "What is Riot grrrl?":

title: Feminism in China

text: Chinese feminism differs from Western feminism in that Chinese feminism has no history of assuming that "man" and "woman" are natural categories. Rather, Chinese culture has always assumed that "man" and "woman" are socially constructed categories. What's more, most of the leaders in Chinese feminism movements are men not women, while in western countries, women are the main sponsors of movements for Woman's Rights.

title: Gender feminism

text: Sommers has used the term to distinguish what she calls "radical" feminism from her own "liberal" feminism. Sommers further describes gender feminists as supporting difference feminism, quoting authors who asserts that standards for good art are gendered. For Sommers, gender or "political feminism" is defined in opposition to individualist feminism.

title: Native American feminism

text: Cultural baggage associated with the words "feminist" and "feminism" has led to some disagreement about what to call "Native feminism". Kate Shanley, a Native feminist, believes that most Native women see “feminism" as solely a white women's movement, and therefore do not want to be associated with the word. She goes on to say that feminism as a concept, however, by whatever name, has a special meaning to Native women, including the idea of promoting the continuity of tradition, and consequently, pursuing the recognition of Tribal sovereignty.

title: Postcolonial feminism

text: Another critique of postcolonial feminism is much the same as the critiques that postcolonial feminism has for Western feminism. Like Western feminism, postcolonial feminism and Third World feminism are also in danger of being ethnocentric, limited by only addressing what is going on in their own culture at the expense of other parts of the world. Colonialism also embodies many different meanings for people and has occurred across the world with different timelines. Chatterjee supports the argument that postcolonial perspective repels "Holistic perspectives of the grand narrative of enlightenment, industrial revolution, and rationality render 'other' histories and people invisible under hegemonic constructions of truth and normalcy." Generalizing colonialism can be extremely problematic as it translates into postcolonial feminism due to the contextual 'when, what, where, which, whose, and how' Suki Ali mentions in determining the postcolonial.

title: Shira Tarrant

text: Within Tarrant’s "Men and Feminism", the first chapter titled “This Is What A Feminist Looks Like” introduces the issues of modern feminism, its growing inclusivity and relevance to male identified people (described from this point on as men). The chapter prefaces the book by defining feminism as “a movement for ending all forms of oppression, including gender based oppression” and explains the fundamental principles of the movement which include the necessity of confronting patriarchal, racist and binary thinking. While emphasizing how feminism applies to men (as the system of patriarchy also restricts men’s roles), it highlights how by accepting and working within the framework of feminism, men can use their own gender privilege to stand up and better the lives of those oppressed in our current societal system. Relying on quotes and anecdotes, the first chapter of "Men and Feminism" provides insight to a growing demographic of men who consider egalitarian views and social responsibility to be common sense in today’s world and persuades the reader to ponder “what men can offer feminism and what feminism can offer men”.

title: Lynn Sherr

text: Sherr has rejected calls for a "new feminism", remarking, "What's wrong with the old feminism?" She has criticized Sarah Palin for calling herself a feminist, demanding, "What, exactly, has she done legislatively for other women? What paths has she forged?"

title: History of feminism

text: Fourth-wave feminism is a recent development within the feminist movement. Jennifer Baumgardner identifies fourth-wave feminism as starting in 2008 and continuing into the present day.[166] Kira Cochrane, author of All the Rebel Women: The Rise of the Fourth Wave of Feminism,[167] defines fourth-wave feminism as a movement that is connected through technology.[168][169] Researcher Diana Diamond defines fourth-wave feminism as a movement that "combines politics, psychology, and spirituality in an overarching vision of change." [170]

title: Individualist feminism

text: Wendy McElroy and Christina Hoff Sommers define individualist feminism in opposition to what they call "political" or "gender feminism".

title: Raymond Leo Burke

text: In January 2015, Burke gave an interview to an organization called the New Project. The group was formed to confront what it calls a "man crisis" in the Catholic Church. In the interview, Burke is sympathetic to the group's concerns that men are being driven from the pews because of the "feminization" of the Catholic Church. Burke criticized what he saw as the excessive role of "radical feminism" in the Church. He said that it has "assaulted the Church and society since the 1960s has left men very marginalized" and led the Church to deemphasize issues important to men, such as chivalry and sacrifice. In addition to decrying "radical feminism", he specifically criticized the introduction of female altar servers as an unwelcome sign of the "feminization" of the Church and a disincentive to boys to serve at the altar and start on the path to ordination. "The introduction of girl servers also led many boys to abandon altar service", Burke said. "Young boys don't want to do things with girls. It’s just natural. The girls were also very good at altar service. So many boys drifted away over time."

title: Global feminism

text: Global feminism is a feminist theory closely aligned with post-colonial theory and postcolonial feminism. It concerns itself primarily with the forward movement of women's rights on a global scale. Using different historical lenses from the legacy of colonialism, global feminists adopt global causes and start movements which seek to dismantle what they argue are the currently predominant structures of global patriarchy. Global feminism is also known as world feminism and international feminism.

title: Women Against Feminism

text: A September 12th 2017 post to the Women Against Feminism blog titled “What is Feminism?” maps out the arguments of the blog's supporters. Community member and writer Jinna states “If Women Against Feminism were asked if they believe men and women should have equal human rights and equality before the law, the answer would be a resounding ‘Yes’”. The blog raises issue with the modern practice of feminism rather than the fundamental definition of feminism. It argues that as long as men and women are equal before the law, feminism is unnecessary, fosters misandry, and distracts from men’s rights issues.

title: Islamic feminism

text: In an essay by Fatima Seedat, “Beyond the text,” Seedat agrees with both Barlas and Badran on their views about the importance of feminism in the Islamic world. However, she debates the term “Islamic Feminism” is unnecessary since feminism is a “social practice, not merely of personal identity.” Seedat believes the convergence of both Islamic and feminism creates more conflict and opens more doors for “Islamists” to interpret or misinterpret the Qur'an to suit their political needs. She believes it is important to speak about and illustrate how feminism has existed in the lines of the Qur'an. By separating the two and giving their own space, it will be more inclusive to everyone (men, women, Muslims and non-Muslims). In the same article, “Feminism, and Islamic Feminism: Between Inadequacy and Inevitability,” Seedat explains that the existence of such a term separates Muslims and Isolates them from the rest of the world and the universal feminist movement. She states in her essay the importance of sharing with the rest of the world what Islam has to offer feminism, and to show the true image of Islam by not referring to themselves as Islamic feminists.

title: Lesbian feminism

text:
Chicana lesbian feminism emerged from the Chicana feminism movement in the late 1970s and early 1980s. During this time, Chicana feminism began to form as a “social movement aimed to improve the position of Chicanas in American society.”
Chicanas separated from the Chicano movement began drawing their own political agendas, and started to question their traditional female roles. Specifically, Chicana feminists (see also Chicana literature) started addressing the forces that affected them as women of color and fighting for social equality.

title: Jennifer Baumgardner

text: Baumgardner and Richards ask the fundamental but often overlooked questions, "who are the feminists?" and "what is feminism?" They cut to the foundational questions framing contemporary and past feminist movements in order to expose the stereotypes, inaccuracies, or misconceptions that derail and devalue the movement. This goal not only contributes to an established canon of third-wave feminist literature, but also makes the movement more appealing to young women who are misled by negative or stereotypical media and popular culture representations of feminism. They start with foundational definitions of what feminism means to them, invoking politically and socially conscious women and men. They clarify that there is no "one" formal alliance composed of "the feminists," but instead, feminism is a fluid alliance among individual citizens. This definition displays the differences between how a movement may appear on the surface—cohesive and homogeneous—and how it actually is internally. This disparity may be positive, and lend weight to feminist struggles, but it may also be negative, when the movement as a whole is judged based on the actions of one or a few individual(s). The authors argue that the latter disparity demonstrates the oppressed status of women and feminist activists, as a whole group is easily reduced to one or a few individuals, particularly in media, which disseminates this incomplete illusion.

title: Third-wave feminism

text: Third-wave feminists often engaged in "micro-politics", and challenged the second wave's paradigm as to what was good for women. Proponents of third-wave feminism said that it allowed women to define feminism for themselves. Describing third-wave feminism in "Manifesta: Young Women, Feminism And The Future" (2000), Jennifer Baumgardner and Amy Richards suggested that feminism could change with every generation and individual:

title: Who Needs Feminism

text: The "Who Needs Feminism?" campaign was conceived by sixteen Duke students as the final project for a class called "Women in the Public Sphere: History, Theory and Practice" taught by Dr. Rachel Seidman. The students wanted to address what they saw as misconceptions on Duke's campus about the feminist movement and its relevance in today's society. They also hoped to promote a dialogue on the topic within the Duke community, "hoping to address relevance of feminism to all different types of people," according to an interview done with GOOD worldwide. According to their website, the members wanted to "explain what feminism is by allowing everyone to create their own definition." They started by creating posters which they placed around campus, showing young men and women from a variety of backgrounds holding up whiteboards with the words "I need feminism because...", to show that there is no "typical feminist," with the title of the campaign imposed on the poster. Subjects were chosen to demonstrate the importance of feminism to individuals from different genders, races, sexual orientations and backgrounds, reflecting the students' beliefs that "'typical feminists' don't exist" and that feminism is important for everyone, not just women. In addition to designing and hanging the posters, the students also wrote an Op-Ed piece for "The Chronicle", Duke's student-run newspaper, explaining the project and their motivations. The students also relied on social media as "the most popular way to get the word out right now." The students created interactive Tumblr, Facebook, and Twitter accounts for the project. Although they expected the Facebook account to serve as the main social media outlet for promoting the project, the Tumblr account "really took off." One student suggested that the site encouraged discussion without the moderation that the Facebook page required. The "Who Needs Feminism?" team reported that the Facebook page received over 4,200 likes within 36 hours of the project's launch, while the Tumblr account was viewed by almost 13,000 people in over 2,000 different cities.

title: Margaret Atwood

text: Atwood's work has been of interest to feminist literary critics, despite Atwood's unwillingness at times to apply the label "feminist" to her works. Starting with the publication of her first novel, "The Edible Woman", Atwood asserted, "I don't consider it feminism; I just consider it social realism." Despite her rejection of the label at times, critics have analyzed the sexual politics, use of myth and fairytale, and gendered relationships in her work through the lens of feminism. She later clarified her discomfort with the label "feminism" by stating, "I always want to know what people mean by that word [feminism]. Some people mean it quite negatively, other people mean it very positively, some people mean it in a broad sense, other people mean it in a more specific sense. Therefore, in order to answer the question, you have to ask the person what they mean." Speaking to "The Guardian", she said "For instance, some feminists have historically been against lipstick and letting transgender women into women’s washrooms. Those are not positions I have agreed with", a position she repeated to "The Irish Times".

title: Difference feminism

text: Difference feminism drew on earlier nineteenth-century strains of thought, for example the work of German writer Elise Oelsner, which held that not only should women be allowed into formerly male-only spheres and institutions (e.g. public life, science) but that those institutions should also be expected to change in a way that recognizes the value of traditionally devalued feminine ethics (like care [see ethics of care]). On the latter point, many feminists have re-read the phrase "difference feminism" in a way that asks "what difference does feminism make?" (e.g. to the practice of science) rather than "what differences are there between men and women"?

title: Transnational feminism

text:
In the "Oxford Handbook of Transnational Feminist Movements", Valentine Moghadam says that "women have worked together across borders since at least the mid-1800s. (55)" What is now called first wave feminism started in the early twentieth century in the West with a focus on women's suffrage.
During World War II, the United States government gave women jobs because the war had caused a national shortage of labor. After the war ended, Irene Tinker says (oxford transnational), these jobs were taken away but women were no longer satisfied going back to their previous gender roles. Starting in the 1960s in the United States, second wave feminism emerged, defined by women's organization around "equal right to education, employment, and equal pay for equal work, and on sexual and reproductive rights."

title: Feminism (international relations)

text: "Liberal feminism" deals specifically with policy-making, and requires that women as well as perspectives on both women's and men's lived realities are fairly included and represented in that policy-making. With regard to liberal feminism, gender theory contemplates, for example, what is meant by the term “women,” whose perspectives on “women’s” and “men’s” lived realities are considered valuable in facilitating fair representation in policy-making, and what aspects of life are considered components of “lived reality”.

title: Women Against Feminism

text: Critics say the young women involved in this campaign do not appear to know what feminism is and are arguing against an imaginary foe using straw man arguments. A commentator from writes: "Most of the posts include some reiteration of the central misunderstanding about feminism, that a core belief of feminism involves hating men." A commentator from wrote, "being anti-feminism is like being pro-apartheid, or a big fan of social injustice, but no one would think it's cute to hold up a sign saying that."

title: Lipstick feminism

text: Unlike early feminist campaigns that focused on the basic fundamental rights of women, starting with the Women's Suffrage Movement, lipstick feminism seeks to ascertain that women could still be feminist without ignoring or negating their femininity, particularly in terms of sexuality. During the second wave of feminism, feminists had focused solely on legal and social equality of women and refused to 'embrace' their sexuality; some even abhorred the idea of men and would often take on physical characteristics and persona that was far from what the average woman looked like, thus creating stereotypes of what feminism and feminists looked like. Lipstick feminism, on the other hand, embraces the concepts of womanhood and the female sexuality emitted from a woman's body and the need to embrace sex. Lipstick feminism also seeks to reclaim certain derogatory words and turn them into powerful tools for their cause such as the word 'slut' as seen in the SlutWalk movement. It developed in part as a response to the ideological backlash against radical varieties of second-wave feminism, with the negative stereotypes it generated of the “ugly feminist” or the “anti-sex feminist”; in part the result of the belief that the successes of second-wave feminism had made it possible to reclaim aspects of femininity that had earlier been seen as disempowering, like make-up or stilettos.

title: Networked feminism

text: Additionally, although social media has helped raise awareness about feminism and women’s issues, "there's still the concern of creating an echo chamber", says Nona Willis-Aronowitz, author of "Girl Drive: Criss-crossing America, Redefining Feminism". Arnowitz states that there is incredible diversity among women and men about what exactly feminism means, making it harder to classify what does and does not constitute new networked feminism.

title: Chicana feminism

text: Chicana feminist Garcia (1989) has noted that awareness is only the start such awareness becomes the catalyst for change which is what Chicana feminism is about Chicana feminism is also about creating intersectionality.

title: Feminism in the United Kingdom

text: Feminist writers of that period, such as Alva Myrdal and Viola Klein, started to allow for the possibility that women should be able to combine home with outside employment. 1950s’ form of feminism is often derogatorily termed “welfare feminism.” Indeed, many activists went to great length to stress that their position was that of ‘reasonable modern feminism,’ which accepted sexual diversity, and sought to establish what women’s social contribution was rather than emphasizing equality or the similarity of the sexes. Feminism in 1950s England was strongly connected to social responsibility and involved the well-being of society as a whole. This often came at the cost of the liberation and personal fulfillment of self-declared feminists. Even those women who regarded themselves as feminists strongly endorsed prevailing ideas about the primacy of children’s needs, as advocated, for example, by John Bowlby the head of the Children's Department at the Tavistock Clinic, who published extensively throughout the 1950s and by Donald Winnicott who promoted through radio broadcasts and in the press the idea of the home as a private emotional world in which mother and child are bound to each other and in which the mother has control and finds freedom to fulfill herself.

title: Postmodern feminism

text: Postmodern feminism's major departure from other branches of feminism is perhaps the argument that sex, or at least gender, is itself constructed through language, a view notably propounded in Judith Butler's 1990 book, "Gender Trouble". She draws on and critiques the work of Simone de Beauvoir, Michel Foucault, and Jacques Lacan, as well as on Luce Irigaray's argument that what we conventionally regard as 'feminine' is only a reflection of what is constructed as masculine.

title: Indigenous feminism

text: Cheryl Suzack and Shari M. Huhndorf argue in "Indigenous Women and Feminism: Politics, Activism and Culture" that: "Although Indigenous feminism is a nascent field of scholarly inquiry, it has arisen from histories of women's activism and culture that have aimed to combat gender discrimination, secure social justice for Indigenous women, and counter their social erasure and marginalization – endeavors that fall arguably under the rubric of feminism, despite Indigenous women's fraught relationship with the term and with mainstream feminist movements." It is important to note that the urgent issues to address Indigenous feminism cross the boundary between what is considered feminist and what is considered indigenous.

title: Feminism (international relations)

text: "Difference feminism" focusses on empowering women in particular through specific designs, implementations, and evaluations of policies that account for the material and cultural differences between men and women and their significance. With regard to difference feminism, gender theory questions, again, what is meant by the term “women;” what factors might lead to “women” requiring specific designs, implementations, and evaluations of policies; what is considered to constitute “difference” in the material and cultural experience of “men” and “women;” and what aspects of that “difference” suppose its especial significance.

title: Feminism in Chile

text: With the strong influence of Catholicism in Chile, some of the first feminist movements ironically came from socially conservative women. In 1912, upper class women began to advocate for working class women in a way that was favorable to conservative groups of the time. The first female organizations that came to be in Chile started around 1915, but unlike many other countries and their groups, these women were most likely to be in the upper middle class. As such, they were largely able to put together these groups where exploration of the interest in feminism came to be by shedding particular light on the issues that middle to upper-class feminists found to be the most important. One of the earliest examples of this in Chilean history occurred on June 17, 1915, when a young university student, and later a diplomat and suffragist, named Amanda Labarca decided to start a group called the "Círculo de Lectura", where she was able to promote Chilean culture towards women. With this, she was able to bring together positivity and change within the women in her community because she strived to ensure that all women could be given a chance to have their voices heard, through education, regardless of their affiliations and social status. Early feminism in Chile also took notes on the international feminist mobilizations, while catering to Chile's specific culture. For example, feminists such as Amanda Labarca promoted a domestic form of feminism which was sensitive to the socially and politically conservative governmental powers of the time. Generally speaking, this was what was seen as the beginning of first-wave feminism amongst Chilean women.