In 1966, Tony married the family's housekeeper Joan Gustafson; they had two children, Jennifer (born 1967) and Mario (born 1968). At this point, Madonna started to resent him for decades, and developed a rebellious attitude. She attended St. Frederick's and St. Andrew's Catholic Elementary Schools, and West Middle School. Madonna was known for her high grade point average, and achieved notoriety for her unconventional behavior. She would perform cartwheels and handstands in the hallways between classes, dangle by her knees from the monkey bars during recess, and pull up her skirt during class—all so that the boys could see her underwear.


In 1978, she dropped out of college and relocated to New York City. She had little money and worked as a waitress at Dunkin' Donuts and with modern dance troupes, taking classes at the Alvin Ailey American Dance Theater and eventually performing with Pear Lang Dance Theater. Madonna said of her move to New York, "It was the first time I'd ever taken a plane, the first time I'd ever gotten a taxi cab. I came here with $35 in my pocket. It was the bravest thing I'd ever done." She started to work as a backup dancer for other established artists. Madonna claimed that during a late night she was returning from a rehearsal, when a pair of men held her at knifepoint and forced her to perform fellatio. Madonna later commented that "the episode was a taste of my weakness, it showed me that I still could not save myself in spite of all the strong-girl show. I could never forget it."


While performing as a backup singer and dancer for the French disco artist Patrick Hernandez on his 1979 world tour, Madonna became romantically involved with musician Dan Gilroy. Together, they formed her first rock band, the Breakfast Club, for which Madonna sang and played drums and guitar. In 1980 or 1981 she left Breakfast Club and, with her former boyfriend Stephen Bray as drummer, formed the band Emmy. The two began writing songs together, and Madonna later decided to market herself as a solo act. Their music impressed DJ and record producer Mark Kamins who arranged a meeting between Madonna and Sire Records founder Seymour Stein.


After Madonna signed a singles deal with Sire, her debut single, "Everybody", was released in October 1982, and the second, "Burning Up", in March 1983. Both became big club hits in the United States, reaching number three on Hot Dance Club Songs chart compiled by Billboard magazine. After this success, she started developing her debut album, Madonna, which was primarily produced by Reggie Lucas of Warner Bros. However, she was not happy with the completed tracks and disagreed with Lucas' production techniques, so decided to seek additional help.


Madonna moved in with boyfriend John "Jellybean" Benitez, asking his help for finishing the album's production. Benitez remixed most of the tracks and produced "Holiday", which was her third single and her first global hit. The overall sound of Madonna was dissonant and in the form of upbeat synthetic disco, using some of the new technology of the time, like the Linn drum machine, Moog bass and the OB-X synthesizer. The album was released in July 1983 and peaked at number eight on the Billboard 200 six months later, in 1984. It yielded two more hit singles, "Borderline" and "Lucky Star".


Madonna's look and style of dressing, her performances, and her music videos influenced young girls and women. Her style became one of the female fashion trends of the 1980s. Created by stylist and jewelry designer Maripol, the look consisted of lace tops, skirts over capri pants, fishnet stockings, jewelry bearing the crucifix, bracelets, and bleached hair. Madonna achieved global recognition after the release of her second studio album, Like a Virgin, in November 1984. It topped the charts in several countries and became her first number one album on the Billboard 200. The title track, "Like a Virgin", topped the Billboard Hot 100 chart for six consecutive weeks. It attracted the attention of organizations who complained that the song and its accompanying video promoted premarital sex and undermined family values, and moralists sought to have the song and video banned.


Madonna was criticized for her performance of "Like a Virgin" at the first 1984 MTV Video Music Awards (VMA). She appeared on stage atop a giant wedding cake, wearing a wedding dress and white gloves. The performance is noted by MTV as an iconic moment in VMA history. In later years, Madonna commented that she was terrified of the performance. The next hit was "Material Girl" promoted by her video, a mimicry of Marilyn Monroe's performance of the song "Diamonds Are a Girl's Best Friend" from the 1953 film Gentlemen Prefer Blondes. While filming this video, Madonna started dating actor Sean Penn. They married on her birthday in 1985. Like a Virgin was certified diamond by the Recording Industry Association of America and sold more than 25 million copies worldwide. In February 1984, according to the film director Sir Richard Attenborough, Madonna auditioned at the Royale Theatre on Broadway for a dance role in his movie version of A Chorus Line using her birth-name of Ciccone, but he rejected her.


Madonna entered mainstream films in February 1985, beginning with a brief appearance as a club singer in Vision Quest, a romantic drama film. Its soundtrack contained two new singles, her U.S. number-one single, "Crazy for You" and "Gambler". She also appeared in the comedy Desperately Seeking Susan in March 1985, a film which introduced the song "Into the Groove", her first number one single in the United Kingdom. Although Madonna was not the lead actress for the film, her profile was such that the movie widely became considered (and marketed) as a Madonna vehicle. The New York Times film critic Vincent Canby named it one of the ten best films of 1985.


Beginning in April 1985, Madonna embarked on her first concert tour in North America, The Virgin Tour, with the Beastie Boys as her opening act. She progressed from playing CBGB and the Mudd Club to playing large sporting arenas. At that time she released two more hit singles from the album, "Angel" and "Dress You Up". In July, Penthouse and Playboy magazines published a number of nude photos of Madonna, taken in New York in 1978. She had posed for the photographs as she needed money at the time, and was paid as little as $25 a session. The publication of the photos caused a media uproar, but Madonna remained "unapologetic and defiant". The photographs were ultimately sold for up to $100,000. She referred to these events at the 1985 outdoor Live Aid charity concert, saying that she would not take her jacket off because "[the media] might hold it against me ten years from now."


In June 1986, Madonna released her third studio album, True Blue, which was inspired by and dedicated to Sean Penn. Rolling Stone magazine was generally impressed with the effort, writing that the album "sound[s] as if it comes from the heart". It resulted in three singles making it to number-one on the Billboard Hot 100: "Live to Tell", "Papa Don't Preach" and "Open Your Heart", and two more top-five singles: "True Blue" and "La Isla Bonita". The album topped the charts in over 28 countries worldwide, an unprecedented achievement at the time, and became her best-selling studio album of her career to this date with sales of 25 million. In the same year, Madonna starred in the critically panned film Shanghai Surprise, for which she was awarded the Golden Raspberry Award for "worst actress". She made her theatrical debut in a production of David Rabe's Goose and Tom-Tom; the film and play both co-starred Penn. The next year, Madonna was featured in the film Who's That Girl. She contributed four songs to its soundtrack, including the title track and "Causing a Commotion".


In January 1989, Madonna signed an endorsement deal with soft-drink manufacturer, Pepsi. In one of her Pepsi commercials, she debuted her song "Like a Prayer". The corresponding music video featured many Catholic symbols such as stigmata and cross burning, and a dream of making love to a saint, leading the Vatican to condemn the video. Religious groups sought to ban the commercial and boycott Pepsi products. Pepsi revoked the commercial and canceled her sponsorship contract. The song was included on Madonna's fourth studio album, Like a Prayer, which was co-written and co-produced by Patrick Leonard and Stephen Bray. Madonna received positive feedback for the album, with Rolling Stone writing that it was "as close to art as pop music gets". Like a Prayer peaked at number one on the Billboard 200 and sold 15 million copies worldwide, with 4 million copies sold in the U.S. alone. Six singles were released from the album, including "Like a Prayer", which reached number one, and "Express Yourself" and "Cherish", both peaking at number two. By the end of the 1980s, Madonna was named as the "Artist of the Decade" by MTV, Billboard and Musician magazine.


Madonna starred as Breathless Mahoney in the film Dick Tracy (1990), with Warren Beatty playing the title role. Her performance led to a Saturn Award nomination for Best Actress. To accompany the film, she released the soundtrack album, I'm Breathless, which included songs inspired by the film's 1930s setting. It also featured the US number-one hit "Vogue" and "Sooner or Later", which earned songwriter Stephen Sondheim an Academy Award for Best Original Song in 1991. While shooting the film, Madonna began a relationship with Beatty, which dissolved by the end of 1990. In April 1990, Madonna began her Blond Ambition World Tour, which was held until August. Rolling Stone called it an "elaborately choreographed, sexually provocative extravaganza" and proclaimed it "the best tour of 1990". The tour generated strong negative reaction from religious groups for her performance of "Like a Virgin", during which two male dancers caressed her body before she simulated masturbation. In response, Madonna said, "The tour in no way hurts anybody's sentiments. It's for open minds and gets them to see sexuality in a different way. Their own and others". The Laserdisc release of the tour won Madonna a Grammy Award in 1992 for Best Long Form Music Video.


The Immaculate Collection, Madonna's first greatest-hits compilation album, was released in November 1990. It included two new songs, "Justify My Love" and "Rescue Me". The album was certified diamond by RIAA and sold over 30 million copies worldwide, becoming the best-selling compilation album by a solo artist in history. "Justify My Love" reached number one in the U.S. and top ten worldwide. Its music video featured scenes of sadomasochism, bondage, same-sex kissing, and brief nudity. The video was deemed too sexually explicit for MTV and was banned from the network. Madonna responded to the banning: "Why is it that people are willing to go and watch a movie about someone getting blown to bits for no reason at all, and nobody wants to see two girls kissing and two men snuggling?"


In 1992, Madonna had a role in A League of Their Own as Mae Mordabito, a baseball player on an all-women's team. She recorded the film's theme song, "This Used to Be My Playground", which became a Hot 100 number one hit. The same year, she founded her own entertainment company, Maverick, consisting of a record company (Maverick Records), a film production company (Maverick Films), and associated music publishing, television broadcasting, book publishing and merchandising divisions. The deal was a joint venture with Time Warner and paid Madonna an advance of $60 million. It gave her 20% royalties from the music proceedings, one of the highest rates in the industry, equaled at that time only by Michael Jackson's royalty rate established a year earlier with Sony. The first release from the venture was Madonna's book, titled Sex. It consisted of sexually provocative and explicit images, photographed by Steven Meisel. The book received strong negative reaction from the media and the general public, but sold 1.5 million copies at $50 each in a matter of days. At the same time she released her fifth studio album, Erotica, which debuted at number two on the Billboard 200. Its title track peaked at number three on the Billboard Hot 100. Erotica also produced five singles: "Deeper and Deeper", "Bad Girl", "Fever", "Rain" and "Bye Bye Baby". Madonna had provocative imagery featured in the erotic thriller, Body of Evidence, a film which contained scenes of sadomasochism and bondage. It was poorly received by critics. She also starred in the film Dangerous Game, which was released straight to video in North America. The New York Times described the film as "angry and painful, and the pain feels real."


In September 1993, Madonna embarked on The Girlie Show World Tour, in which she dressed as a whip-cracking dominatrix surrounded by topless dancers. In Puerto Rico she rubbed the island's flag between her legs on stage, resulting in outrage among the audience. In March 1994, she appeared as a guest on the Late Show with David Letterman, using profanity that required censorship on television, and handing Letterman a pair of her panties and asking him to smell it. The releases of her sexually explicit films, albums and book, and the aggressive appearance on Letterman all made critics question Madonna as a sexual renegade. Critics and fans reacted negatively, who commented that "she had gone too far" and that her career was over.


Biographer J. Randy Taraborrelli described her ballad "I'll Remember" (1994) as an attempt to tone down her provocative image. The song was recorded for Alek Keshishian's film With Honors. She made a subdued appearance with Letterman at an awards show and appeared on The Tonight Show with Jay Leno after realizing that she needed to change her musical direction in order to sustain her popularity. With her sixth studio album, Bedtime Stories (1994), Madonna employed a softer image to try to improve the public perception. The album debuted at number three on the Billboard 200 and produced four singles, including "Secret" and "Take a Bow", the latter topping the Hot 100 for seven weeks, the longest period of any Madonna single. At the same time, she became romantically involved with fitness trainer Carlos Leon. Something to Remember, a collection of ballads, was released in November 1995. The album featured three new songs: "You'll See", "One More Chance", and a cover of Marvin Gaye's "I Want You".


In Evita (1996), Madonna played the title role of Eva Perón. For a long time, Madonna had desired to play Perón and wrote to director Alan Parker to explain why she would be perfect for the part. She said later, "This is the role I was born to play. I put everything of me into this because it was much more than a role in a movie. It was exhilarating and intimidating at the same time..... And I am prouder of Evita than anything else I have done." After securing the role, she had vocal training and learned about the history of Argentina and Perón. During shooting she became ill several times due to the intense emotional effort required. However, as she told Oprah, she was also pregnant during the filming: "I was winded after every take. I had to lie on the couch every ten minutes so I could recover from dizzy spells, I was worried that I was shaking the baby around too much and that would injure it in some way." Madonna wrote in her personal diary at the time: "Ironically, this feeling of vulnerability and weakness is helping me in the movie. I'm sure Evita felt this way every day of her life once she discovered she was ill."


After its release, Evita garnered critical appreciation. Zach Conner from Time magazine commented, "It's a relief to say that Evita is pretty damn fine, well cast and handsomely visualized. Madonna once again confounds our expectations. She plays Evita with a poignant weariness and has more than just a bit of star quality. Love or hate Madonna-Eva, she is a magnet for all eyes." Madonna won a Golden Globe Award for Best Actress in Motion Picture Musical or Comedy for the role. She released three singles from the Evita soundtrack album, including "You Must Love Me" (which won an Academy Award for Best Original Song in 1997) and "Don't Cry for Me Argentina". Madonna was later presented with the Artist Achievement Award by Tony Bennett at the 1996 Billboard Music Awards. On October 14, 1996, Madonna gave birth to Lourdes Maria Ciccone Leon, her daughter with Leon. Biographer Mary Cross writes that although Madonna was often ill during the filming and worried that her pregnancy would harm the film, she reached some important personal goals: "Now 38 years old, Madonna had at last triumphed on screen and achieved her dream of having a child, both in the same year. She had reached another turning point in her career, reinventing herself and her image with the public." Her relationship with Carlos Leon ended in May 1997; she declared that they were "better off as best friends." After Lourdes' birth, Madonna became involved in Eastern mysticism and Kabbalah. She was introduced to Jewish mysticism by actress Sandra Bernhard in 1997.


Madonna's seventh studio album, Ray of Light, (1998) reflected a change in her 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 was happening in the 90's 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. Ray of Light was honored with four Grammy Awards. In 2003, Slant Magazine called it "one of the great pop masterpieces of the '90s" and 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 first 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 stated: "No female artist has sold more records than Madonna around the world". In 1999 Madonna signed to play a violin teacher in the film Music of the Heart but left the project, citing "creative differences" with director Wes Craven. She recorded the single "Beautiful Stranger" for the 1999 film Austin Powers: The Spy Who Shagged Me. It reached number 19 on the Hot 100 solely on radio airplay. Madonna won a Grammy Award for "Best Song Written for a Motion Picture, Television or Other Visual Media".


In 2000, Madonna starred in the film The Next Best Thing, and contributed two songs to the film's soundtrack; "Time Stood Still" and a cover of Don McLean's 1971 song "American Pie". She 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.


She met director Guy Ritchie, who would become her second husband, in November 1998 and gave birth to their son Rocco John Ritchie on August 11, 2000 in Los Angeles. Rocco and Madonna suffered complications from the birth due to her experiencing placenta praevia. He was christened at Dornoch Cathedral in Dornoch, Scotland, on December 21, 2000. Madonna married Ritchie the following day at nearby Skibo Castle. Her fifth concert tour, titled Drowned World Tour, started in June 2001. The tour visited cities in the U.S. and Europe and was the highest-grossing concert tour of the year by a solo artist, earning $75 million from 47 sold-out shows. She also released her second greatest-hits collection, titled GHV2, to coincide with the home video release of the tour. GHV2 debuted at number seven on the Billboard 200.


Madonna starred in the film Swept Away, directed by Ritchie. Released direct-to-video in the UK, the film was a commercial and critical failure. In May 2002 she appeared in London in the West End play Up For Grabs at the Wyndhams Theatre (billed as 'Madonna Ritchie'), to universally bad reviews and was described as "the evening's biggest disappointment" by one. That October, she released "Die Another Day", the title song of the James Bond film Die Another Day, in which she had a cameo role, described by The Guardian film reviewer as "incredibly wooden". The song reached number eight on the Billboard Hot 100 and was nominated for both a Golden Globe Award for Best Original Song and a Golden Raspberry for Worst Song.


Following Die Another Day, Madonna collaborated with fashion photographer Steven Klein in 2003 for an exhibition installation named X-STaTIC Pro=CeSS. It included photography from a photo shoot in W magazine, and seven video segments. The installation ran from March to May in New York's Deitch Projects gallery. It traveled the world in an edited form. The same year, Madonna released her ninth studio album, American Life, which was based on her observations of American society; it received mixed reviews. She commented, "[American Life] was like a trip down memory lane, looking back at everything I've accomplished and all the things I once valued and all the things that were important to me." Larry Flick from The Advocate felt that "American Life is an album that is among her most adventurous and lyrically intelligent" while condemning it as "a lazy, half-arsed effort to sound and take her seriously." The title song peaked at number 37 on the Hot 100. Its original music video was canceled as Madonna thought that the video, featuring violence and war imagery, would be deemed unpatriotic since America was then at war with Iraq. With four million copies sold worldwide, American Life was the lowest-selling album of her career at that point.


Madonna gave another provocative performance later that year at the 2003 MTV Video Music Awards, while singing "Hollywood" with Britney Spears, Christina Aguilera, and Missy Elliott. Madonna sparked controversy for kissing Spears and Aguilera suggestively during the performance. In October 2003, Madonna provided guest vocals on Spears' single "Me Against the Music". It was followed with the release of Remixed & Revisited. The EP contained remixed versions of songs from American Life and included "Your Honesty", a previously unreleased track from the Bedtime Stories recording sessions. Madonna also signed a contract with Callaway Arts & Entertainment to be the author of five children's books. The first of these books, titled The English Roses, was published in September 2003. The story was about four English schoolgirls and their envy and jealousy of each other. Kate Kellway from The Guardian commented, "[Madonna] is an actress playing at what she can never be—a JK Rowling, an English rose." The book debuted at the top of The New York Times Best Seller list and became the fastest-selling children's picture book of all time.


The next year Madonna and Maverick sued Warner Music Group and its former parent company Time Warner, claiming that mismanagement of resources and poor bookkeeping had cost the company millions of dollars. In return, Warner filed a countersuit alleging that Maverick had lost tens of millions of dollars on its own. The dispute was resolved when the Maverick shares, owned by Madonna and Ronnie Dashev, were purchased by Warner. Madonna and Dashev's company became a wholly owned subsidiary of Warner Music, but Madonna was still signed to Warner under a separate recording contract.


In mid-2004 Madonna embarked on the Re-Invention World Tour in the U.S., Canada, and Europe. It became the highest-grossing tour of 2004, earning around $120 million and became the subject of her documentary I'm Going to Tell You a Secret. In November 2004, she was inducted into the UK Music Hall of Fame as one of its five founding members, along with The Beatles, Elvis Presley, Bob Marley, and U2. In January 2005, Madonna performed a cover version of the John Lennon song "Imagine" at Tsunami Aid. She also performed at the Live 8 benefit concert in London in July 2005.


Her tenth studio album, Confessions on a Dance Floor, was released in November 2005. Musically the album was structured like a club set composed by a DJ. It was acclaimed by critics, with Keith Caulfield from Billboard commenting that the album was a "welcome return to form for the Queen of Pop." The album won a Grammy Award for Best Electronic/Dance Album. Confessions on a Dance Floor and its lead single, "Hung Up", went on to reach number one in 40 and 41 countries respectively, earning a place in Guinness World Records. The song contained a sample of ABBA's "Gimme! Gimme! Gimme! (A Man After Midnight)", only the second time that ABBA has allowed their work to be used. ABBA songwriter Björn Ulvaeus remarked "It is a wonderful track—100 per cent solid pop music." "Sorry", the second single, became Madonna's twelfth number-one single in the UK.


Madonna embarked on the Confessions Tour in May 2006, which had a global audience of 1.2 million and grossed over $193.7 million, becoming the highest-grossing tour to that date for a female artist. Madonna used religious symbols, such as the crucifix and Crown of Thorns, in the performance of "Live to Tell". It caused the Russian Orthodox Church and the Federation of Jewish Communities of Russia to urge all their members to boycott her concert. At the same time, the International Federation of the Phonographic Industry (IFPI) announced officially that Madonna had sold over 200 million copies for her albums alone worldwide.


While on tour Madonna participated in the Raising Malawi initiative by partially funding an orphanage in and traveling to that country. While there, she decided to adopt a boy named David Banda in October 2006. The adoption raised strong public reaction, because Malawian law requires would-be parents to reside in Malawi for one year before adopting, which Madonna did not do. She addressed this on The Oprah Winfrey Show, saying that there were no written adoption laws in Malawi that regulated foreign adoption. She described how Banda had been suffering from pneumonia after surviving malaria and tuberculosis when she first met him. Banda's biological father, Yohane, commented, "These so-called human rights activists are harassing me every day, threatening me that I am not aware of what I am doing..... They want me to support their court case, a thing I cannot do for I know what I agreed with Madonna and her husband." The adoption was finalized in May 2008.


Madonna released the song "Hey You" for the Live Earth series of concerts. The song was available as a free download during its first week of release. She also performed it at the London Live Earth concert. Madonna announced her departure from Warner Bros. Records, and a new $120 million, ten-year 360 deal with Live Nation. She produced and wrote I Am Because We Are, a documentary on the problems faced by Malawians. The documentary was directed by Nathan Rissman, who worked as Madonna's gardener. She also directed her first film Filth and Wisdom. The plot of the film revolved around three friends and their aspirations. The Times said she had "done herself proud" while The Daily Telegraph described the film as "not an entirely unpromising first effort [but] Madonna would do well to hang on to her day job." In December 2007, the Rock and Roll Hall of Fame announced Madonna as one of the five inductees of 2008. At the induction ceremony on March 10, 2008, Madonna did not sing but asked fellow Hall of Fame inductees and Michigan natives The Stooges to perform her songs "Burning Up" and "Ray of Light". She thanked Christopher Flynn, her dance teacher from 35 years earlier, for his encouragement to follow her dreams.


Madonna released her eleventh studio album, Hard Candy, in April 2008. Containing R&B and urban pop influences, the songs on Hard Candy were autobiographical in nature and saw Madonna collaborating with Justin Timberlake, Timbaland, Pharrell Williams and Nate "Danja" Hills. The album debuted at number one in thirty seven countries and on the Billboard 200. Don Shewey from Rolling Stone complimented it as an "impressive taste of her upcoming tour." It received generally positive reviews worldwide though some critics panned it as "an attempt to harness the urban market".


"4 Minutes" was released as the album's lead single and peaked at number three on the Billboard Hot 100. It was Madonna's 37th top-ten hit on the chart—it pushed Madonna past Elvis Presley as the artist with the most top-ten hits. In the UK she retained her record for the most number-one singles for a female artist; "4 Minutes" becoming her thirteenth. At the 23rd Japan Gold Disc Awards, Madonna received her fifth Artist of the Year trophy from Recording Industry Association of Japan, the most for any artist. To further promote the album, Madonna embarked on the Sticky & Sweet Tour; her first major venture with Live Nation. With a gross of $280 million, it became the highest-grossing tour by a solo artist then, surpassing the previous record Madonna set with the Confessions Tour; it was later surpassed by Roger Waters' The Wall Live. It was extended to the next year, adding new European dates, and after it ended, the total gross was $408 million.


Life with My Sister Madonna, a book by Madonna's brother Christopher, debuted at number two on The New York Times bestseller list. The book caused some friction between Madonna and her brother, because of the unsolicited publication. Problems also arose between Madonna and Ritchie, with the media reporting that they were on the verge of separation. Ultimately, Madonna filed for divorce from Ritchie, citing irreconcilable differences, which was finalized in December 2008. She decided to adopt from Malawi. The country's High Court initially approved the adoption of Chifundo "Mercy" James; however, the application was rejected because Madonna was not a resident of the country. Madonna appealed, and on June 12, 2009, the Supreme Court of Malawi granted Madonna the right to adopt Mercy James. She also released Celebration, her third greatest-hits album and final release with Warner. It contained the new songs "Celebration" and "Revolver" along with 34 hits spanning her career. Celebration reached number one in the UK, tying her with Elvis Presley as the solo act with most number one albums in the British chart history. She appeared at the 2009 MTV Video Music Awards on September 13, 2009, to speak in tribute to deceased pop star Michael Jackson.


Controversy erupted when Madonna decided to adopt from Malawi again. Chifundo "Mercy" James was finally adopted in June 2009. Madonna had known Mercy from the time she went to adopt David. Mercy's grandmother had initially protested the adoption, but later gave in, saying "At first I didn't want her to go but as a family we had to sit down and reach an agreement and we agreed that Mercy should go. The men insisted that Mercy be adopted and I won't resist anymore. I still love Mercy. She is my dearest." Mercy's father was still adamant saying that he could not support the adoption since he was alive.


Madonna performed at the Hope for Haiti Now: A Global Benefit for Earthquake Relief concert in January 2010. In April she released her third live album, Sticky & Sweet Tour. It was her first release under Live Nation, but was distributed by Warner Bros. Madonna granted American TV show Glee the rights to her entire catalogue of music, and the producers planned an episode featuring Madonna songs exclusively. Glee: The Music, The Power of Madonna, an EP containing eight cover versions of Madonna songs featured in the episode, was released afterward and debuted at number one on the Billboard 200.


Madonna released the Material Girl clothing line, which she designed with her daughter, Lourdes. The 1980s inspired clothing line, borrowed from Madonna's punk-girl style when she rose to fame in the 1980s, was released under the Macy's label. Madonna also opened a series of fitness centers around the world named Hard Candy Fitness. In November 2011, Madonna and MG Icon announced the release of a second fashion brand called Truth or Dare by Madonna to include footwear, underclothing, and accessories. She also directed her second feature film, W.E., a biographic about the affair between King Edward VIII and Wallis Simpson; it was co-written with Alek Keshishian. Critical and commercial response to the film was negative. Madonna contributed the ballad "Masterpiece" for the film's soundtrack, which won her a Golden Globe Award for Best Original Song.


In 2012, Madonna performed at Super Bowl XLVI halftime show, visualized by Cirque Du Soleil and Jamie King and featured special guests LMFAO, Nicki Minaj, M.I.A. and Cee Lo Green. It became the then most-watched Super Bowl halftime show in history with 114 million viewers, higher than the game itself. It was also revealed that the singer had signed a three-album deal with Interscope Records, who would act as the distributor in partnership with her 360 deal with Live Nation. Her twelfth studio album, MDNA, was released in March 2012 and saw collaboration with various producers, most notably with William Orbit again and Martin Solveig. The album was well received by music critics, with Priya Elan from NME calling it "a ridiculously enjoyable romp", citing its "psychotic, soul-bearing stuff" as "some of the most visceral stuff she's ever done." MDNA debuted at number one on the Billboard 200 and many other countries worldwide. Madonna surpassed Elvis Presley's record for the most number-one album by a solo artist in the UK. The lead single "Give Me All Your Luvin'", featuring guest vocals from Minaj and M.I.A., became Madonna's record-extending 38th top-ten hit on the Billboard Hot 100.


The MDNA Tour, which further promoted the album, began in May 2012 in Tel Aviv, Israel. The tour has received positive critical reception, but featured controversial subjects such as violence, firearms, human rights, nudity and politics. Lawsuits threatened against Madonna have also been engaged from the tour. It was a box office success with a gross of $305.2 million from 88 sold-out shows, and became the highest-grossing tour of 2012 and the tenth highest-grossing tour of all time. At the 2013 Billboard Music Awards, Madonna won three trophies for Top Touring Artist, Top Dance Artist and Top Dance Album. Madonna was named the top-earning celebrity of the year by Forbes, earning an estimated $125 million, due to the success of the tour.


By 2013, Madonna's Raising Malawi organization built ten schools to educate 4,000 children in Malawi at a value of $400,000. When Madonna visited the schools in April 2013, President of Malawi Joyce Banda expressed criticism of the star and her charity, accusing her of exaggerating her charity's contribution. Madonna responded by releasing a statement saying she was saddened that Banda had chosen to act negatively about her endeavors. "I have no intention of being distracted by these ridiculous allegations," she added. Later, it was confirmed that Banda had not approved the statement released written by her press team and was "incandescent with anger" over the mix-up.


Working with photographer Steven Klein, Madonna completed a 17-minute film called secretprojectrevolution. The BitTorrent company was selected by Madonna to release the film as part of a Madonna bundle. It was released on September 24, 2013, and consisted of the 17-minute film, its stills, a Vice interview, and a message from Madonna. With the film she launched the Art for Freedom initiative, which helped to promote "art and free speech as a means to address persecution and injustice across the globe". The website for the project has had over 3,000 art related submissions since its inception, with Madonna regularly monitoring and enlisting the help of other artists like David Blaine and Katy Perry as guest curators.


From the beginning of 2014, Madonna began to make multiple media appearances. She appeared at the 56th Annual Grammy Awards in January 2014, performing "Open Your Heart" alongside rappers Macklemore & Ryan Lewis and singer Mary Lambert, who sang their single "Same Love", as 33 couples were wed onstage, officiated by Queen Latifah. Days later, she joined singer Miley Cyrus on her MTV Unplugged special, singing a mash-up of "Don't Tell Me" and Cyrus' single "We Can't Stop" (2013). She also extended her business ventures and in February 2014 the singer premiered MDNA Skin, a range of skin care products, in Tokyo, Japan. After visiting her hometown of Detroit during May 2014, Madonna decided to contribute funds to three of the city's organizations, to help eliminate poverty from there. The singer released a statement saying that she was inspired by their work, adding that "it was obvious to me that I had to get involved and be part of the solution to help Detroit recover".


Madonna also began work on her thirteenth studio album, with collaborators including Avicii, Diplo and Natalia Kills. In December 2014, thirteen demos recorded for the album leaked onto the Internet. She posted in response that half of the tracks would not be used on the final release, while the other half had "changed and evolved". The album, titled Rebel Heart, was released on March 10, 2015. From September 2015, she embarked on the Rebel Heart Tour to promote the album; the tour ended in March 2016 and traveled throughout North America, Europe and Asia and was the singer's first visit to Australia in 23 years, where she also performed a one-off show for her fans. It grossed a total of $169.8 million from the 82 shows, with over 1.045 million ticket sales. While on tour Madonna became embroiled in a legal battle with Ritchie, over the custody of her son Rocco. The dispute started when Rocco decided to continue living at England with Ritchie when the Rebel Heart Tour had visited there, while Madonna wanted him to return with her. Court hearings took place in both New York and London, and after multiple deliberations, Madonna decided to withdraw her application for custody, and appealed for a mutual discussion between herself and Ritchie about Rocco.


Madonna's music has been the subject of much analysis and scrutiny. Robert M. Grant, author of Contemporary Strategy Analysis (2005), commented that what has brought Madonna success is "certainly not outstanding natural talent. As a vocalist, musician, dancer, songwriter, or actress, Madonna's talents seem modest." He asserts Madonna's success is in relying on the talents of others, and that her personal relationships have served as cornerstones to the numerous reinventions in the longevity of her career. Madonna's approach was far from the music industry wisdom of "Find a winning formula and stick to it." Her musical career has been a continuous experimentation with new musical ideas and new images and a constant quest for new heights of fame and acclaim. Grant concluded that "having established herself as the queen of popular music, Madonna did not stop there, but continued re-inventing." Musicologist Susan McClary wrote that "Madonna's art itself repeatedly deconstructs the traditional notion of the unified subject with finite ego boundaries. Her pieces explore various ways of constituting identities that refuse stability, that remain fluid, that resist definition."


Throughout her career Madonna has been involved in writing and producing most of her own music. Madonna's early songwriting skill was developed during her time with the Breakfast Club in 1979. According to author Carol Gnojewski, her first attempts at songwriting are perceived as an important self-revelation, as Madonna said: "I don't know where [the songs] came from. It was like magic. I'd write a song every day. I said 'Wow, I was meant to do this'." Mark Kamins, her first producer, believed that Madonna is "a much underrated musician and lyricist." Rolling Stone has named her "an exemplary songwriter with a gift for hooks and indelible lyrics." According to Freya Jarman-Ivens, Madonna's talent for developing "incredible" hooks for her songs allows the lyrics to capture the attention of the audience, even without the influence of the music. As an example, Jarman-Ivens cites the 1985 single "Into the Groove" and its line "Live out your fantasy here with me, just let the music set you free; Touch my body, and move in time, now I know you're mine." Madonna's songwriting are often autobiographical over the years, dealing with various themes from love and relationships to self-respect and female empowerment. Her songs also speak about taboo and unconventional issues of their period, such as sexuality and AIDS on Erotica (1992). Many of her lyrics contain innuendos and double entendre, which lead to multiple interpretations among music critics and scholars. Madonna has been nominated for being inducted into the Songwriters Hall of Fame twice, for 2014 and 2016 ceremony. Rolling Stone listed Madonna at number 56 on the "100 Greatest Songwriters of All Time".


Before emerging as a pop star, Madonna has spent her early years in rock music alongside her bands, Breakfast Club and Emmy. While performing with Emmy, Madonna recorded about 12-14 songs which resemble the punk rock of that period. Her early rock roots also can be found on the demo album Pre-Madonna. Stephen Thomas Erlewine noted that with her self-titled debut album, Madonna began her career as a disco diva, in an era that did not have any such divas to speak of. In the beginning of the '80's, disco was an anathema to the mainstream pop, and according to Erlewine, Madonna had a huge role in popularizing dance music as mainstream music. The album's songs reveal several key trends that have continued to define her success, including a strong dance-based idiom, catchy hooks, highly polished arrangements and Madonna's own vocal style. Her second album, Like a Virgin (1984), foreshadowed several trends in her later works. It contained references to classical works (pizzicato synthesizer line that opens "Angel"); potential negative reaction from social groups ("Dress You Up" was blacklisted by the Parents Music Resource Center); and retro styles ("Shoo-Bee-Doo", Madonna's homage to Motown).


Her mature artistic statement was visible in True Blue (1986) and Like a Prayer (1989). In True Blue, she incorporated classical music in order to engage an older audience who had been skeptical of her music. Like a Prayer introduced live recorded songs and incorporated different genres of music, including dance, funk, R&B and gospel music. Her versatility was further shown on I'm Breathless, which consists predominantly of the 1940s Broadway showtune-flavoured jazz, swing and big band tracks. Madonna continued to compose ballads and uptempo dance songs for Erotica (1992) and Bedtime Stories (1994). Both albums explored element of new jack swing, with Jim Farber from Entertainment Weekly saying that "she could actually be viewed as new jack swing's godmother." She tried to remain contemporary by incorporating samples, drum loops and hip hop into her music. With Ray of Light, Madonna brought electronic music from its underground status into massive popularity in mainstream music scene.


Madonna experimented with more folk and acoustic music in Music (2000) and American Life (2003). A change was noted in the content of the songs in Music, with most of them being simple love songs, but with an underlying tone of melancholy. According to Q magazine, American Life was characterized by "a thumping techno rhythm, liquid keyboard lines, an acoustic chorus and a bizarre Madonna rap." The "conventional rock songs" of the album were suffused with dramatic lyrics about patriotism and composition, including the appearance of a gospel choir in the song "Nothing Fails". Madonna returned to pure dance songs with Confessions on a Dance Floor, infusing club beats and retro music with the lyrics about paradoxical metaphors and reference to her earlier works. Madonna moved to urban direction with Hard Candy (2008), mixing R&B and hip hop music with dance tunes. MDNA (2012) largely focused in electronic dance music, which she has embraced since Ray of Light.


Possessing a mezzo-soprano vocal range, Madonna has always been self-conscious about her voice, especially in comparison to her vocal idols such as Ella Fitzgerald, Prince, and Chaka Khan. Mark Bego, author of Madonna: Blonde Ambition, called her "the perfect vocalist for lighter-than-air songs", despite not being a "heavyweight talent." According to MSNBC critic Tony Sclafani, "Madonna's vocals are the key to her rock roots. Pop vocalists usually sing songs "straight," but Madonna employs subtext, irony, aggression and all sorts of vocal idiosyncrasies in the ways John Lennon and Bob Dylan did." Madonna used a bright, girlish vocal timbre in her early albums which became passé in her later works. The change was deliberate since she was constantly reminded of how the critics had once labelled her as "Minnie Mouse on helium". During the filming of Evita, Madonna had to take vocal lessons, which increased her range further. Of this experience she commented, "I studied with a vocal coach for Evita and I realized there was a whole piece of my voice I wasn't using. Before, I just believed I had a really limited range and was going to make the most of it."


Besides singing Madonna has the ability to play several musical instruments. She learned to play drum and guitar from her then-boyfriend Dan Gilroy in the late 1970s before joining the Breakfast Club line-up as the drummer. This helped her to form the band Emmy, where she performed as the guitarist and lead vocalist. Madonna later played guitar on her demo recordings. On the liner notes of Pre-Madonna, Stephen Bray wrote: "I've always thought she passed up a brilliant career as a rhythm guitarist." After her career breakthrough, Madonna focused mainly in singing but was also credited for playing cowbell on Madonna (1983) and synthesizer on Like a Prayer (1989). In 1999, Madonna had studied for three months to play the violin for the role as a violin teacher in the film Music of the Heart, before eventually leaving the project. After two decades, Madonna decided to perform with guitar again during the promotion of Music (2000). She took further lessons from guitarist Monte Pittman to improve her guitar skill. Since then Madonna has played guitar on every tour, as well as her studio albums. At the 2002 Orville H. Gibson Guitar Awards, she received nomination for Les Paul Horizon Award, which honors the most promising up-and-coming guitarist.


According to Taraborrelli, the defining moment of Madonna's childhood was the tragic and untimely death of her beloved mother. Psychiatrist Keith Ablow suggests her mother's death would have had an immeasurable impact on the young Madonna at a time when her personality was still forming. According to Ablow, the younger a child is at the time of a serious loss, the more profound the influence and the longer lasting the impact. He concludes that "some people never reconcile themselves to such a loss at an early age, Madonna is not different than them." Conversely, author Lucy O'Brien feels the impact of the rape she suffered is, in fact, the motivating factor behind everything Madonna has done, more important even than the death of her mother: "It's not so much grief at her mother's death that drives her, as the sense of abandonment that left her unprotected. She encountered her own worst possible scenario, becoming a victim of male violence, and thereafter turned that full-tilt into her work, reversing the equation at every opportunity."


As they grew older Madonna and her sisters would feel deep sadness as the vivid memory of their mother began drifting farther from them. They would study pictures of her and come to think that she resembled poet Anne Sexton and Hollywood actresses. This would later raise Madonna's interest in poetry, with Sylvia Plath being her favourite. Later, Madonna commented: "We were all wounded in one way or another by [her death], and then we spent the rest of our lives reacting to it or dealing with it or trying to turn into something else. The anguish of losing my mom left me with a certain kind of loneliness and an incredible longing for something. If I hadn't had that emptiness, I wouldn't have been so driven. Her death had a lot to do with me saying—after I got over my heartache—I'm going to be really strong if I can't have my mother. I'm going to take care of myself." Taraborrelli felt that in time, no doubt because of the devastation she felt, Madonna would never again allow herself, or even her daughter, to feel as abandoned as she had felt when her mother died. "Her death had taught [Madonna] a valuable lesson, that she would have to remain strong for herself because, she feared weakness—particularly her own—and wanted to be the queen of her own castle."


In 1985, Madonna commented that the first song to ever make a strong impression on her was "These Boots Are Made for Walkin'" by Nancy Sinatra; she said it summed up her own "take-charge attitude". As a young woman, she attempted to broaden her taste in literature, art, and music, and during this time became interested in classical music. She noted that her favorite style was baroque, and loved Mozart and Chopin because she liked their "feminine quality". Madonna's major influences include Karen Carpenter, The Supremes and Led Zeppelin, as well as dancers Martha Graham and Rudolf Nureyev. She also grew up listening to David Bowie, whose show was the first rock concert she ever attended.


Madonna's Italian-Catholic background and her relationship with her parents are reflected in the album Like a Prayer. It was an evocation of the impact religion had on her career. Her video for the title track contains Catholic symbolism, such as the stigmata. During The Virgin Tour, she wore a rosary and prayed with it in the music video for "La Isla Bonita". The "Open Your Heart" video sees her boss scolding her in the Italian language. On the Who's That Girl World Tour, she dedicated the song "Papa Don't Preach" to Pope John Paul II.


During her childhood, Madonna was inspired by actors, later saying, "I loved Carole Lombard and Judy Holliday and Marilyn Monroe. They were all incredibly funny ... and I saw myself in them ... my girlishness, my knowingness and my innocence." Her "Material Girl" music video recreated Monroe's look in the song "Diamonds Are a Girl's Best Friend", from the film Gentlemen Prefer Blondes (1953). She studied the screwball comedies of the 1930s, particularly those of Lombard, in preparation for the film Who's That Girl. The video for "Express Yourself" (1989) was inspired by Fritz Lang's silent film Metropolis (1927). The video for "Vogue" recreated the style of Hollywood glamour photographs, in particular those by Horst P. Horst, and imitated the poses of Marlene Dietrich, Carole Lombard, and Rita Hayworth, while the lyrics referred to many of the stars who had inspired her, including Bette Davis, described by Madonna as an idol. However, Madonna's film career has been largely received negatively by the film critic community. Stephanie Zacharek, critic for Time magazine, stated that, "[Madonna] seems wooden and unnatural as an actress, and it's tough to watch, because she's clearly trying her damnedest." According to biographer Andrew Morton, "Madonna puts a brave face on the criticism, but privately she is deeply hurt." After the box office bomb Swept Away (2002), Madonna vowed that she would never again act in a film, hoping her repertoire as a bad actress would never be discussed again.


Influences also came to her from the art world, most notably through the works of Mexican artist Frida Kahlo. The music video of the song "Bedtime Story" featured images inspired by the paintings of Kahlo and Remedios Varo. Madonna is also a collector of Tamara de Lempicka's Art Deco paintings and has included them in her music videos and tours. Her video for "Hollywood" (2003) was an homage to the work of photographer Guy Bourdin; Bourdin's son subsequently filed a lawsuit for unauthorised use of his father's work. Pop artist Andy Warhol's use of sadomasochistic imagery in his underground films were reflected in the music videos for "Erotica" and "Deeper and Deeper".


Madonna is dedicated to Kabbalah, and in 2004 she adopted the name Esther which in Persian means "star". She has donated millions of dollars to New York and London schools teaching the subject. She faced opposition from rabbis who felt Madonna's adoption of the Kabbalah was sacrilegious and a case of celebrity dilettantism. Madonna defended her studies, saying: "It would be less controversial if I joined the Nazi Party", and that her involvement with the Kabbalah is "not hurting anybody". The influence of the Kabbalah was subsequently observed in Madonna's music, especially albums like Ray of Light and Music. During the Re-Invention World Tour, at one point in the show, Madonna and her dancers wore T-shirts that read "Kabbalists Do It Better". Her 2012 MDNA album has also drawn many influences from her Catholic upbringing, and since 2011 she has been attending meetings and services at an Opus Dei center, a Catholic institution that encourages spirituality through every day life.


In The Madonna Companion biographers Allen Metz and Carol Benson noted that more than any other recent pop artist, Madonna had used MTV and music videos to establish her popularity and enhance her recorded work. According to them, many of her songs have the imagery of the music video in strong context, while referring to the music. Cultural critic Mark C. Taylor in his book Nots (1993) felt that the postmodern art form par excellence is video and the reigning "queen of video" is Madonna. He further asserted that "the most remarkable creation of MTV is Madonna. The responses to Madonna's excessively provocative videos have been predictably contradictory." The media and public reaction towards her most-discussed songs such as "Papa Don't Preach", "Like a Prayer", or "Justify My Love" had to do with the music videos created to promote the songs and their impact, rather than the songs themselves. Morton felt that "artistically, Madonna's songwriting is often overshadowed by her striking pop videos."


Madonna's initial music videos reflected her American and Hispanic mixed street style combined with a flamboyant glamor. She was able to transmit her avant-garde downtown New York fashion sense to the American audience. The imagery and incorporation of Hispanic culture and Catholic symbolism continued with the music videos from the True Blue era. Author Douglas Kellner noted, "such 'multiculturalism' and her culturally transgressive moves turned out to be highly successful moves that endeared her to large and varied youth audiences." Madonna's Spanish look in the videos became the fashion trend of that time, in the form of boleros and layered skirts, accessorizing with rosary beads and a crucifix as in the video of "La Isla Bonita".


Academics noted that with her videos, Madonna was subtly reversing the usual role of male as the dominant sex. This symbolism and imagery was probably the most prevalent in the music video for "Like a Prayer". The video included scenes of an African-American church choir, Madonna being attracted to a statue of a black saint, and singing in front of burning crosses. This mix of the sacred and the profane upset the Vatican and resulted in the Pepsi commercial withdrawal. In 2003, MTV named her "The Greatest Music Video Star Ever" and said that "Madonna's innovation, creativity and contribution to the music video art form is what won her the award."


Madonna's emergence occurred during the advent of MTV; Chris Nelson from The New York Times spoke of pop artists like Madonna saying, "MTV, with its almost exclusively lip-synched videos, ushered in an era in which average music fans might happily spend hours a day, every day, watching singers just mouth the words." The symbiotic relationship between the music video and lip-syncing led to a desire for the spectacle and imagery of the music video to be transferred to live stage shows. He added, "Artists like Madonna and Janet Jackson set new standards for showmanship, with concerts that included not only elaborate costumes and precision-timed pyrotechnics but also highly athletic dancing. These effects came at the expense of live singing." Thor Christensen of The Dallas Morning News commented that while Madonna earned a reputation for lip-syncing during her 1990 Blond Ambition World Tour, she has subsequently reorganized her performances by "stay[ing] mostly still during her toughest singing parts and [leaves] the dance routines to her backup troupe ... [r]ather than try to croon and dance up a storm at the same time."


To allow for greater movement while dancing and singing, Madonna was one of the earliest adopters of hands-free radio-frequency headset microphones, with the headset fastened over the ears or the top of the head, and the microphone capsule on a boom arm that extended to the mouth. Because of her prominent usage, the microphone design came to be known as the "Madonna mic". Metz noted that Madonna represents a paradox as she is often perceived as living her whole life as a performance. While her big-screen performances are panned, her live performances are critical successes. Madonna was the first artist to have her concert tours as reenactment of her music videos. Author Elin Diamond explained that reciprocally, the fact that images from Madonna's videos can be recreated in a live setting enhances the realism of the original videos. Thus her live performances have become the means by which mediatized representations are naturalized. Taraborrelli said that encompassing multimedia, latest technology and sound systems, Madonna's concerts and live performances are deemed as "extravagant show piece, a walking art show."


Various music journalists, critical theorists, and authors have deemed Madonna the most influential female recording artist of all time. Author Carol Clerk wrote that "during her career, Madonna has transcended the term 'pop star' to become a global cultural icon." Rolling Stone of Spain wrote that "She became the first viral Master of Pop in history, years before the Internet was massively used. Madonna was everywhere; in the almighty music television channels, 'radio formulas', magazine covers and even in bookshops. A pop dialectic, never seen since The Beatles's reign, which allowed her to keep on the edge of tendency and commerciality." Laura Barcella in her book Madonna and Me: Women Writers on the Queen of Pop (2012) wrote that "really, Madonna changed everything the musical landscape, the '80s look du jour, and most significantly, what a mainstream female pop star could (and couldn't) say, do, or accomplish in the public eye." William Langley from The Daily Telegraph felt that "Madonna has changed the world's social history, has done more things as more different people than anyone else is ever likely to." Alan McGee from The Guardian felt that Madonna is a post-modern art, the likes of which we will never see again. He further asserted that Madonna and Michael Jackson invented the terms Queen and King of Pop.


According to Tony Sclafani from MSNBC, "It's worth noting that before Madonna, most music mega-stars were guy rockers; after her, almost all would be female singers ... When The Beatles hit America, they changed the paradigm of performer from solo act to band. Madonna changed it back—with an emphasis on the female." Howard Kramer, curatorial director of the Rock and Roll Hall of Fame and Museum, asserted that "Madonna and the career she carved out for herself made possible virtually every other female pop singer to follow ... She certainly raised the standards of all of them ... She redefined what the parameters were for female performers." According to Fouz-Hernández, subsequent female singers such as Britney Spears, Christina Aguilera, Kylie Minogue, the Spice Girls, Destiny's Child, Jennifer Lopez, and Pink were like her "daughters in the very direct sense that they grew up listening to and admiring Madonna, and decided they wanted to be like her." Time magazine included her in the list of the "25 Most Powerful Women of the Past Century", where she became one of only two singers to be included, alongside Aretha Franklin. She also topped VH1's lists of "100 Greatest Women in Music" and "50 Greatest Women of the Video Era".


Madonna's use of sexual imagery has benefited her career and catalyzed public discourse on sexuality and feminism. As Roger Chapman documents in Culture Wars: An Encyclopedia of Issues, Viewpoints, and Voices, Volume 1 (2010), she has drawn frequent condemnation from religious organizations, social conservatives and parental watchdog groups for her use of explicit, sexual imagery and lyrics, religious symbolism, and otherwise "irreverent" behavior in her live performances. The Times wrote that she had "started a revolution amongst women in music ... Her attitudes and opinions on sex, nudity, style and sexuality forced the public to sit up and take notice." Professor John Fiske noted that the sense of empowerment that Madonna offers is inextricably connected with the pleasure of exerting some control over the meanings of self, of sexuality, and of one's social relations. In Doing Gender in Media, Art and Culture (2009), the authors noted that Madonna, as a female celebrity, performer, and pop icon, is able to unsettle standing feminist reflections and debates. According to lesbian feminist Sheila Jeffreys, Madonna represents woman's occupancy of what Monique Wittig calls the category of sex, as powerful, and appears to gleefully embrace the performance of the sexual corvée allotted to women. Professor Sut Jhally has referred to Madonna as "an almost sacred feminist icon."


Madonna has received acclaim as a role model for businesswomen in her industry, "achieving the kind of financial control that women had long fought for within the industry", and generating over $1.2 billion in sales within the first decade of her career. Professor Colin Barrow from Cranfield School of Management described Madonna as "America's smartest businesswoman ... who has moved to the top of her industry and stayed there by constantly reinventing herself." London Business School academics called her a "dynamic entrepreneur" worth copying; they identified her vision of success, her understanding of the music industry, her ability to recognize her own performance limits (and thus bring in help), her willingness to work hard and her ability to adapt as the keys to her commercial success. Morton wrote that "Madonna is opportunistic, manipulative, and ruthless—somebody who won't stop until she gets what she wants—and that's something you can get at the expense of maybe losing your close ones. But that hardly mattered to her." Hazel Blackmore and Rafael Fernández de Castro in the book ¿Qué es Estados Unidos? from the Fondo de Cultura Económica, noted: "Madonna has been undoubtedly the most important woman in the history of popular music and a great businesswoman in herself; creating fashion, breaking taboos and provoking controversies."


Madonna has sold more than 300 million records worldwide. The Guinness World Records acknowledged her as the best-selling female recording artist and the fourth best-selling act of all time, behind The Beatles, Elvis Presley, and Michael Jackson. According to the Recording Industry Association of America (RIAA), she is the best-selling female rock artist of the 20th century and the second top-selling female albums artist in the United States, with 64.5 million certified albums. Madonna is the most certified artist of all time in United Kingdom, with 45 awards from the British Phonographic Industry (BPI) as of April 2013. Billboard named Madonna as the top touring female artist of all time. She is also the highest grossing solo touring artist, with over $1.31 billion in concert gross, starting from the Blond Ambition World Tour; she first crossed a billion gross with The MDNA Tour. Overall, Madonna ranks third on all-time top-grossing Billboard Boxscore list, with just The Rolling Stones ($1.84 billion) and U2 ($1.67 billion) ahead of her. Madonna has been honored with 20 MTV Video Music Awards—the most for any artist—including the lifetime achievement Video Vanguard Award in 1986.


Madonna holds the record for the most number-ones on all combined Billboard charts, including twelve number-one songs on the Billboard Hot 100 and eight number-one albums on the Billboard 200. With 45 songs topping the Hot Dance Club Songs chart, Madonna became the artist with the most number-one songs on an active Billboard chart, pulling ahead of George Strait with 44 number-one songs on the Hot Country Songs chart. She has also scored 38 top-ten singles on the Hot 100, more than any other artist in history. In 2008, Billboard magazine ranked her at number two, behind The Beatles, on the Billboard Hot 100 All-Time Top Artists, making her the most successful solo artist in the history of American singles chart.


The law of the United States comprises many levels of codified and uncodified forms of law, of which the most important is the United States Constitution, the foundation of the federal government of the United States. The Constitution sets out the boundaries of federal law, which consists of acts of Congress, treaties ratified by the Senate, regulations promulgated by the executive branch, and case law originating from the federal judiciary. The United States Code is the official compilation and codification of general and permanent federal statutory law.


Federal law and treaties, so long as they are in accordance with the Constitution, preempt conflicting state and territorial laws in the 50 U.S. states and in the territories. However, the scope of federal preemption is limited because the scope of federal power is not universal. In the dual-sovereign system of American federalism (actually tripartite because of the presence of Indian reservations), states are the plenary sovereigns, each with their own constitution, while the federal sovereign possesses only the limited supreme authority enumerated in the Constitution. Indeed, states may grant their citizens broader rights than the federal Constitution as long as they do not infringe on any federal constitutional rights. Thus, most U.S. law (especially the actual "living law" of contract, tort, property, criminal, and family law experienced by the majority of citizens on a day-to-day basis) consists primarily of state law, which can and does vary greatly from one state to the next.


Notably, a statute does not disappear automatically merely because it has been found unconstitutional; it must be deleted by a subsequent statute. Many federal and state statutes have remained on the books for decades after they were ruled to be unconstitutional. However, under the principle of stare decisis, no sensible lower court will enforce an unconstitutional statute, and any court that does so will be reversed by the Supreme Court. Conversely, any court that refuses to enforce a constitutional statute (where such constitutionality has been expressly established in prior cases) will risk reversal by the Supreme Court.


Notably, the most broadly influential innovation of 20th-century American tort law was the rule of strict liability for defective products, which originated with judicial glosses on the law of warranty. In 1963, Roger J. Traynor of the Supreme Court of California threw away legal fictions based on warranties and imposed strict liability for defective products as a matter of public policy in the landmark case of Greenman v. Yuba Power Products. The American Law Institute subsequently adopted a slightly different version of the Greenman rule in Section 402A of the Restatement (Second) of Torts, which was published in 1964 and was very influential throughout the United States. Outside the U.S., the rule was adopted by the European Economic Community in the Product Liability Directive of July 1985 by Australia in July 1992 and by Japan in June 1994.


Tort law covers the entire imaginable spectrum of wrongs which humans can inflict upon each other, and of course, partially overlaps with wrongs also punishable by criminal law. Although the American Law Institute has attempted to standardize tort law through the development of several versions of the Restatement of Torts, many states have chosen to adopt only certain sections of the Restatements and to reject others. Thus, because of its immense size and diversity, American tort law cannot be easily summarized.


However, it is important to understand that despite the presence of reception statutes, much of contemporary American common law has diverged significantly from English common law. The reason is that although the courts of the various Commonwealth nations are often influenced by each other's rulings, American courts rarely follow post-Revolution Commonwealth rulings unless there is no American ruling on point, the facts and law at issue are nearly identical, and the reasoning is strongly persuasive.


The actual substance of English law was formally "received" into the United States in several ways. First, all U.S. states except Louisiana have enacted "reception statutes" which generally state that the common law of England (particularly judge-made law) is the law of the state to the extent that it is not repugnant to domestic law or indigenous conditions. Some reception statutes impose a specific cutoff date for reception, such as the date of a colony's founding, while others are deliberately vague. Thus, contemporary U.S. courts often cite pre-Revolution cases when discussing the evolution of an ancient judge-made common law principle into its modern form, such as the heightened duty of care traditionally imposed upon common carriers.


Early on, American courts, even after the Revolution, often did cite contemporary English cases. This was because appellate decisions from many American courts were not regularly reported until the mid-19th century; lawyers and judges, as creatures of habit, used English legal materials to fill the gap. But citations to English decisions gradually disappeared during the 19th century as American courts developed their own principles to resolve the legal problems of the American people. The number of published volumes of American reports soared from eighteen in 1810 to over 8,000 by 1910. By 1879 one of the delegates to the California constitutional convention was already complaining: "Now, when we require them to state the reasons for a decision, we do not mean they shall write a hundred pages of detail. We [do] not mean that they shall include the small cases, and impose on the country all this fine judicial literature, for the Lord knows we have got enough of that already."


Federal law originates with the Constitution, which gives Congress the power to enact statutes for certain limited purposes like regulating interstate commerce. The United States Code is the official compilation and codification of the general and permanent federal statutes. Many statutes give executive branch agencies the power to create regulations, which are published in the Federal Register and codified into the Code of Federal Regulations. Regulations generally also carry the force of law under the Chevron doctrine. Many lawsuits turn on the meaning of a federal statute or regulation, and judicial interpretations of such meaning carry legal force under the principle of stare decisis.


During the 18th and 19th centuries, federal law traditionally focused on areas where there was an express grant of power to the federal government in the federal Constitution, like the military, money, foreign relations (especially international treaties), tariffs, intellectual property (specifically patents and copyrights), and mail. Since the start of the 20th century, broad interpretations of the Commerce and Spending Clauses of the Constitution have enabled federal law to expand into areas like aviation, telecommunications, railroads, pharmaceuticals, antitrust, and trademarks. In some areas, like aviation and railroads, the federal government has developed a comprehensive scheme that preempts virtually all state law, while in others, like family law, a relatively small number of federal statutes (generally covering interstate and international situations) interacts with a much larger body of state law. In areas like antitrust, trademark, and employment law, there are powerful laws at both the federal and state levels that coexist with each other. In a handful of areas like insurance, Congress has enacted laws expressly refusing to regulate them as long as the states have laws regulating them (see, e.g., the McCarran-Ferguson Act).


After the President signs a bill into law (or Congress enacts it over his veto), it is delivered to the Office of the Federal Register (OFR) of the National Archives and Records Administration (NARA) where it is assigned a law number, and prepared for publication as a slip law. Public laws, but not private laws, are also given legal statutory citation by the OFR. At the end of each session of Congress, the slip laws are compiled into bound volumes called the United States Statutes at Large, and they are known as session laws. The Statutes at Large present a chronological arrangement of the laws in the exact order that they have been enacted.


Congress often enacts statutes that grant broad rulemaking authority to federal agencies. Often, Congress is simply too gridlocked to draft detailed statutes that explain how the agency should react to every possible situation, or Congress believes the agency's technical specialists are best equipped to deal with particular fact situations as they arise. Therefore, federal agencies are authorized to promulgate regulations. Under the principle of Chevron deference, regulations normally carry the force of law as long as they are based on a reasonable interpretation of the relevant statutes.


The difficult question is whether federal judicial power extends to formulating binding precedent through strict adherence to the rule of stare decisis. This is where the act of deciding a case becomes a limited form of lawmaking in itself, in that an appellate court's rulings will thereby bind itself and lower courts in future cases (and therefore also impliedly binds all persons within the court's jurisdiction). Prior to a major change to federal court rules in 2007, about one-fifth of federal appellate cases were published and thereby became binding precedents, while the rest were unpublished and bound only the parties to each case.


As federal judge Alex Kozinski has pointed out, binding precedent as we know it today simply did not exist at the time the Constitution was framed. Judicial decisions were not consistently, accurately, and faithfully reported on both sides of the Atlantic (reporters often simply rewrote or failed to publish decisions which they disliked), and the United Kingdom lacked a coherent court hierarchy prior to the end of the 19th century. Furthermore, English judges in the eighteenth century subscribed to now-obsolete natural law theories of law, by which law was believed to have an existence independent of what individual judges said. Judges saw themselves as merely declaring the law which had always theoretically existed, and not as making the law. Therefore, a judge could reject another judge's opinion as simply an incorrect statement of the law, in the way that scientists regularly reject each other's conclusions as incorrect statements of the laws of science.


Unlike the situation with the states, there is no plenary reception statute at the federal level that continued the common law and thereby granted federal courts the power to formulate legal precedent like their English predecessors. Federal courts are solely creatures of the federal Constitution and the federal Judiciary Acts. However, it is universally accepted that the Founding Fathers of the United States, by vesting "judicial power" into the Supreme Court and the inferior federal courts in Article Three of the United States Constitution, thereby vested in them the implied judicial power of common law courts to formulate persuasive precedent; this power was widely accepted, understood, and recognized by the Founding Fathers at the time the Constitution was ratified. Several legal scholars have argued that the federal judicial power to decide "cases or controversies" necessarily includes the power to decide the precedential effect of those cases and controversies.


In turn, according to Kozinski's analysis, the contemporary rule of binding precedent became possible in the U.S. in the nineteenth century only after the creation of a clear court hierarchy (under the Judiciary Acts), and the beginning of regular verbatim publication of U.S. appellate decisions by West Publishing. The rule gradually developed, case-by-case, as an extension of the judiciary's public policy of effective judicial administration (that is, in order to efficiently exercise the judicial power). The rule of precedent is generally justified today as a matter of public policy, first, as a matter of fundamental fairness, and second, because in the absence of case law, it would be completely unworkable for every minor issue in every legal case to be briefed, argued, and decided from first principles (such as relevant statutes, constitutional provisions, and underlying public policies), which in turn would create hopeless inefficiency, instability, and unpredictability, and thereby undermine the rule of law.


Under the doctrine of Erie Railroad Co. v. Tompkins (1938), there is no general federal common law. Although federal courts can create federal common law in the form of case law, such law must be linked one way or another to the interpretation of a particular federal constitutional provision, statute, or regulation (which in turn was enacted as part of the Constitution or after). Federal courts lack the plenary power possessed by state courts to simply make up law, which the latter are able to do in the absence of constitutional or statutory provisions replacing the common law. Only in a few narrow limited areas, like maritime law, has the Constitution expressly authorized the continuation of English common law at the federal level (meaning that in those areas federal courts can continue to make law as they see fit, subject to the limitations of stare decisis).


The other major implication of the Erie doctrine is that federal courts cannot dictate the content of state law when there is no federal issue (and thus no federal supremacy issue) in a case. When hearing claims under state law pursuant to diversity jurisdiction, federal trial courts must apply the statutory and decisional law of the state in which they sit, as if they were a court of that state, even if they believe that the relevant state law is irrational or just bad public policy. And under Erie, deference is one-way only: state courts are not bound by federal interpretations of state law.


The fifty American states are separate sovereigns, with their own state constitutions, state governments, and state courts. All states have a legislative branch which enacts state statutes, an executive branch that promulgates state regulations pursuant to statutory authorization, and a judicial branch that applies, interprets, and occasionally overturns both state statutes and regulations, as well as local ordinances. They retain plenary power to make laws covering anything not preempted by the federal Constitution, federal statutes, or international treaties ratified by the federal Senate. Normally, state supreme courts are the final interpreters of state constitutions and state law, unless their interpretation itself presents a federal issue, in which case a decision may be appealed to the U.S. Supreme Court by way of a petition for writ of certiorari. State laws have dramatically diverged in the centuries since independence, to the extent that the United States cannot be regarded as one legal system as to the majority of types of law traditionally under state control, but must be regarded as 50 separate systems of tort law, family law, property law, contract law, criminal law, and so on.


Most cases are litigated in state courts and involve claims and defenses under state laws. In a 2012 report, the National Center for State Courts' Court Statistics Project found that state trial courts received 103.5 million newly filed cases in 2010, which consisted of 56.3 million traffic cases, 20.4 million criminal cases, 19.0 million civil cases, 5.9 million domestic relations cases, and 1.9 million juvenile cases. In 2010, state appellate courts received 272,795 new cases. By way of comparison, all federal district courts in 2010 together received only about 282,000 new civil cases, 77,000 new criminal cases, and 1.5 million bankruptcy cases, while federal appellate courts received 56,000 new cases.


The law of criminal procedure in the United States consists of a massive overlay of federal constitutional case law interwoven with the federal and state statutes that actually provide the foundation for the creation and operation of law enforcement agencies and prison systems as well as the proceedings in criminal trials. Due to the perennial inability of legislatures in the U.S. to enact statutes that would actually force law enforcement officers to respect the constitutional rights of criminal suspects and convicts, the federal judiciary gradually developed the exclusionary rule as a method to enforce such rights. In turn, the exclusionary rule spawned a family of judge-made remedies for the abuse of law enforcement powers, of which the most famous is the Miranda warning. The writ of habeas corpus is often used by suspects and convicts to challenge their detention, while the Civil Rights Act of 1871 and Bivens actions are used by suspects to recover tort damages for police brutality.


The law of civil procedure governs process in all judicial proceedings involving lawsuits between private parties. Traditional common law pleading was replaced by code pleading in 24 states after New York enacted the Field Code in 1850 and code pleading in turn was subsequently replaced again in most states by modern notice pleading during the 20th century. The old English division between common law and equity courts was abolished in the federal courts by the adoption of the Federal Rules of Civil Procedure in 1938; it has also been independently abolished by legislative acts in nearly all states. The Delaware Court of Chancery is the most prominent of the small number of remaining equity courts.


New York, Illinois, and California are the most significant states that have not adopted the FRCP. Furthermore, all three states continue to maintain most of their civil procedure laws in the form of codified statutes enacted by the state legislature, as opposed to court rules promulgated by the state supreme court, on the ground that the latter are undemocratic. But certain key portions of their civil procedure laws have been modified by their legislatures to bring them closer to federal civil procedure.


Generally, American civil procedure has several notable features, including extensive pretrial discovery, heavy reliance on live testimony obtained at deposition or elicited in front of a jury, and aggressive pretrial "law and motion" practice designed to result in a pretrial disposition (that is, summary judgment) or a settlement. U.S. courts pioneered the concept of the opt-out class action, by which the burden falls on class members to notify the court that they do not wish to be bound by the judgment, as opposed to opt-in class actions, where class members must join into the class. Another unique feature is the so-called American Rule under which parties generally bear their own attorneys' fees (as opposed to the English Rule of "loser pays"), though American legislators and courts have carved out numerous exceptions.


Criminal law involves the prosecution by the state of wrongful acts which are considered to be so serious that they are a breach of the sovereign's peace (and cannot be deterred or remedied by mere lawsuits between private parties). Generally, crimes can result in incarceration, but torts (see below) cannot. The majority of the crimes committed in the United States are prosecuted and punished at the state level. Federal criminal law focuses on areas specifically relevant to the federal government like evading payment of federal income tax, mail theft, or physical attacks on federal officials, as well as interstate crimes like drug trafficking and wire fraud.


Some states distinguish between two levels: felonies and misdemeanors (minor crimes). Generally, most felony convictions result in lengthy prison sentences as well as subsequent probation, large fines, and orders to pay restitution directly to victims; while misdemeanors may lead to a year or less in jail and a substantial fine. To simplify the prosecution of traffic violations and other relatively minor crimes, some states have added a third level, infractions. These may result in fines and sometimes the loss of one's driver's license, but no jail time.


Contract law covers obligations established by agreement (express or implied) between private parties. Generally, contract law in transactions involving the sale of goods has become highly standardized nationwide as a result of the widespread adoption of the Uniform Commercial Code. However, there is still significant diversity in the interpretation of other kinds of contracts, depending upon the extent to which a given state has codified its common law of contracts or adopted portions of the Restatement (Second) of Contracts.


Myanmar (myan-MAR i/miɑːnˈmɑːr/ mee-ahn-MAR, /miˈɛnmɑːr/ mee-EN-mar or /maɪˈænmɑːr/ my-AN-mar (also with the stress on first syllable); Burmese pronunciation: [mjəmà]),[nb 1] officially the Republic of the Union of Myanmar and also known as Burma, is a sovereign state in Southeast Asia bordered by Bangladesh, India, China, Laos and Thailand. One-third of Myanmar's total perimeter of 1,930 km (1,200 miles) forms an uninterrupted coastline along the Bay of Bengal and the Andaman Sea. The country's 2014 census revealed a much lower population than expected, with 51 million people recorded. Myanmar is 676,578 square kilometres (261,227 sq mi) in size. Its capital city is Naypyidaw and its largest city is Yangon (Rangoon).


Early civilisations in Myanmar included the Tibeto-Burman-speaking Pyu city-states in Upper Burma and the Mon kingdoms in Lower Burma. In the 9th century, the Bamar people entered the upper Irrawaddy valley and, following the establishment of the Pagan Kingdom in the 1050s, the Burmese language, culture and Theravada Buddhism slowly became dominant in the country. The Pagan Kingdom fell due to the Mongol invasions and several warring states emerged. In the 16th century, reunified by the Taungoo Dynasty, the country was for a brief period the largest empire in the history of Southeast Asia. The early 19th century Konbaung Dynasty ruled over an area that included modern Myanmar and briefly controlled Manipur and Assam as well. The British conquered Myanmar after three Anglo-Burmese Wars in the 19th century and the country became a British colony. Myanmar became an independent nation in 1948, initially as a democratic nation and then, following a coup d'état in 1962, a military dictatorship.


For most of its independent years, the country has been engrossed in rampant ethnic strife and Burma's myriad ethnic groups have been involved in one of the world's longest-running ongoing civil wars. During this time, the United Nations and several other organisations have reported consistent and systematic human rights violations in the country. In 2011, the military junta was officially dissolved following a 2010 general election, and a nominally civilian government was installed. While former military leaders still wield enormous power in the country, Burmese Military have taken steps toward relinquishing control of the government. This, along with the release of Aung San Suu Kyi and political prisoners, has improved the country's human rights record and foreign relations, and has led to the easing of trade and other economic sanctions. There is, however, continuing criticism of the government's treatment of the Muslim Rohingya minority and its poor response to the religious clashes. In the landmark 2015 election, Aung San Suu Kyi's party won a majority in both houses, ending military rule.


In English, the country is popularly known as either "Burma" or "Myanmar" i/ˈmjɑːnˌmɑːr/. Both these names are derived from the name of the majority Burmese Bamar ethnic group. Myanmar is considered to be the literary form of the name of the group, while Burma is derived from "Bamar", the colloquial form of the group's name. Depending on the register used, the pronunciation would be Bama (pronounced: [bəmà]) or Myamah (pronounced: [mjəmà]). The name Burma has been in use in English since the 18th century.


Burma continues to be used in English by the governments of many countries, such as Australia, Canada and the United Kingdom. Official United States policy retains Burma as the country's name, although the State Department's website lists the country as "Burma (Myanmar)" and Barack Obama has referred to the country by both names. The Czech Republic uses officially Myanmar, although its Ministry of Foreign Affairs mentions both Myanmar and Burma on its website. The United Nations uses Myanmar, as do the Association of Southeast Asian Nations, Russia, Germany, China, India, Norway, and Japan.


Archaeological evidence shows that Homo erectus lived in the region now known as Myanmar as early as 400,000 years ago. The first evidence of Homo sapiens is dated to about 11,000 BC, in a Stone Age culture called the Anyathian with discoveries of stone tools in central Myanmar. Evidence of neolithic age domestication of plants and animals and the use of polished stone tools dating to sometime between 10,000 and 6,000 BC has been discovered in the form of cave paintings near the city of Taunggyi.


The Bronze Age arrived circa 1500 BC when people in the region were turning copper into bronze, growing rice and domesticating poultry and pigs; they were among the first people in the world to do so. Human remains and artifacts from this era were discovered in Monywa District in the Sagaing Division. The Iron Age began around 500 BC with the emergence of iron-working settlements in an area south of present-day Mandalay. Evidence also shows the presence of rice-growing settlements of large villages and small towns that traded with their surroundings as far as China between 500 BC and 200 AD. Iron Age Burmese cultures also had influences from outside sources such as India and Thailand, as seen in their funerary practices concerning child burials. This indicates some form of communication between groups in Myanmar and other places, possibly through trade.


Around the second century BC the first-known city-states emerged in central Myanmar. The city-states were founded as part of the southward migration by the Tibeto-Burman-speaking Pyu city-states, the earliest inhabitants of Myanmar of whom records are extant, from present-day Yunnan. The Pyu culture was heavily influenced by trade with India, importing Buddhism as well as other cultural, architectural and political concepts which would have an enduring influence on later Burmese culture and political organisation.


Pagan's collapse was followed by 250 years of political fragmentation that lasted well into the 16th century. Like the Burmans four centuries earlier, Shan migrants who arrived with the Mongol invasions stayed behind. Several competing Shan States came to dominate the entire northwestern to eastern arc surrounding the Irrawaddy valley. The valley too was beset with petty states until the late 14th century when two sizeable powers, Ava Kingdom and Hanthawaddy Kingdom, emerged. In the west, a politically fragmented Arakan was under competing influences of its stronger neighbours until the Kingdom of Mrauk U unified the Arakan coastline for the first time in 1437.


Like the Pagan Empire, Ava, Hanthawaddy and the Shan states were all multi-ethnic polities. Despite the wars, cultural synchronisation continued. This period is considered a golden age for Burmese culture. Burmese literature "grew more confident, popular, and stylistically diverse", and the second generation of Burmese law codes as well as the earliest pan-Burma chronicles emerged. Hanthawaddy monarchs introduced religious reforms that later spread to the rest of the country. Many splendid temples of Mrauk U were built during this period.


Political unification returned in the mid-16th century, due to the efforts of Taungoo, a former vassal state of Ava. Taungoo's young, ambitious king Tabinshwehti defeated the more powerful Hanthawaddy in the Toungoo–Hanthawaddy War (1534–41). His successor Bayinnaung went on to conquer a vast swath of mainland Southeast Asia including the Shan states, Lan Na, Manipur, Mong Mao, the Ayutthaya Kingdom, Lan Xang and southern Arakan. However, the largest empire in the history of Southeast Asia unravelled soon after Bayinnaung's death in 1581, completely collapsing by 1599. Ayutthaya seized Tenasserim and Lan Na, and Portuguese mercenaries established Portuguese rule at Thanlyin (Syriam).


The dynasty regrouped and defeated the Portuguese in 1613 and Siam in 1614. It restored a smaller, more manageable kingdom, encompassing Lower Myanmar, Upper Myanmar, Shan states, Lan Na and upper Tenasserim. The Restored Toungoo kings created a legal and political framework whose basic features would continue well into the 19th century. The crown completely replaced the hereditary chieftainships with appointed governorships in the entire Irrawaddy valley, and greatly reduced the hereditary rights of Shan chiefs. Its trade and secular administrative reforms built a prosperous economy for more than 80 years. From the 1720s onward, the kingdom was beset with repeated Meithei raids into Upper Myanmar and a nagging rebellion in Lan Na. In 1740, the Mon of Lower Myanmar founded the Restored Hanthawaddy Kingdom. Hanthawaddy forces sacked Ava in 1752, ending the 266-year-old Toungoo Dynasty.


With Burma preoccupied by the Chinese threat, Ayutthaya recovered its territories by 1770, and went on to capture Lan Na by 1776. Burma and Siam went to war until 1855, but all resulted in a stalemate, exchanging Tenasserim (to Burma) and Lan Na (to Ayutthaya). Faced with a powerful China and a resurgent Ayutthaya in the east, King Bodawpaya turned west, acquiring Arakan (1785), Manipur (1814) and Assam (1817). It was the second-largest empire in Burmese history but also one with a long ill-defined border with British India.


Konbaung kings extended Restored Toungoo's administrative reforms, and achieved unprecedented levels of internal control and external expansion. For the first time in history, the Burmese language and culture came to predominate the entire Irrawaddy valley. The evolution and growth of Burmese literature and theatre continued, aided by an extremely high adult male literacy rate for the era (half of all males and 5% of females). Nonetheless, the extent and pace of reforms were uneven and ultimately proved insufficient to stem the advance of British colonialism.


Burmese resentment was strong and was vented in violent riots that paralysed Yangon (Rangoon) on occasion all the way until the 1930s. Some of the discontent was caused by a disrespect for Burmese culture and traditions such as the British refusal to remove shoes when they entered pagodas. Buddhist monks became the vanguards of the independence movement. U Wisara, an activist monk, died in prison after a 166-day hunger strike to protest against a rule that forbade him from wearing his Buddhist robes while imprisoned.


A major battleground, Burma was devastated during World War II. By March 1942, within months after they entered the war, Japanese troops had advanced on Rangoon and the British administration had collapsed. A Burmese Executive Administration headed by Ba Maw was established by the Japanese in August 1942. Wingate's British Chindits were formed into long-range penetration groups trained to operate deep behind Japanese lines. A similar American unit, Merrill's Marauders, followed the Chindits into the Burmese jungle in 1943. Beginning in late 1944, allied troops launched a series of offensives that led to the end of Japanese rule in July 1945. The battles were intense with much of Burma laid waste by the fighting. Overall, the Japanese lost some 150,000 men in Burma. Only 1,700 prisoners were taken.


Following World War II, Aung San negotiated the Panglong Agreement with ethnic leaders that guaranteed the independence of Myanmar as a unified state. Aung Zan Wai, Pe Khin, Bo Hmu Aung, Sir Maung Gyi, Dr. Sein Mya Maung, Myoma U Than Kywe were among the negotiators of the historical Panglong Conference negotiated with Bamar leader General Aung San and other ethnic leaders in 1947. In 1947, Aung San became Deputy Chairman of the Executive Council of Myanmar, a transitional government. But in July 1947, political rivals assassinated Aung San and several cabinet members.