EXCLUSIVE: 'It's truly tragic to see her maudlin displays of self-pity': Feminist Camille Paglia hits back at Madonna's claims she was rebuffed by her female peers at the start of her career

  • Madonna spoke about sexism, ageism, and misogyny during her speech at the Billboard Women in Music event on Friday 
  • The 58-year-old called out Camille in her speech, claiming that the writer said she 'set women back' by objectifying herself sexually
  • The writer actually hailed Madonna as a 'true feminist' in a 1990s op-ed, and Camille maintains that she was one of the singer's 'first defenders' 
  • Camille discussed the pop star's 'path of self-destruction' and her 'embarrassing inability to deal with aging' in a statement shared with Daily Mail Online 

By Peter Lloyd and Erica Tempesta For Dailymail.com

Published: 15:36 EST, 13 December 2016 | Updated: 16:05 EST, 13 December 2016

Madonna made waves at the Billboard Women in Music event with her powerful speech about sexism, ageism, and misogyny, but feminist Camille Paglia is hitting back at the iconic singer for her claims that she was rebuffed when looking for female support at the start of her career.

During her speech on Friday, the 58-year-old recalled wishing for a female peer at the start of career and specifically called out Camille, claiming that the famous writer said she 'set women back' by objectifying herself sexually. However, in 1990 it was Camille who hailed Madonna a 'true feminist'. 

'It is absolutely ridiculous for Madonna to now claim that she longed to ally with other women at the start of her career but was rebuffed from doing so,' Camille, 69, explained in an exclusive statement to Daily Mail Online.

Accusations: Madonna called out writer Camille Paglia in her speech at the Billboard Women in Music event, claiming the writer said she 'set women back' by objectifying herself

Mistaken identity? Camille, 69, hailed Madonna a 'true feminist' in a 1990s op-ed, and she maintains that she was one of the singer's 'first defenders'

'The media, in the U.S. and abroad, constantly asked Madonna about me or tried to bring us together, and she always refused,' she added. 

 In her struggles to stay relevant, Madonna has debased herself with adolescent, pitifully inept Instagrams
Camille Paglia 

Camille noted that in 1994, Esquire actually asked her to interview the singer for a cover story, but Madonna was the one who 'rejected the proposal'.  

'Instead, they got the geriatric novelist Norman Mailer, who knew nothing about Madonna or popular music, with predictably vapid results,' Camille recalled. 'HBO wanted to film Madonna and me conversing at a restaurant. Again, she rejected it. And Penthouse too proposed a joint cover story that was shot down.'

Although Madonna claimed in her speech that Camille opposed her and her music, the writer argued that she was 'Madonna's first major defender, when she was still considered a pop tart and a sham puppet created by shadowy male producers.'

Hitting back: 'It is absolutely ridiculous for Madonna to now claim that she longed to ally with other women at the start of her career but was rebuffed from doing so,' Camille wrote 

Material girl: In her speech, Madonna said she longed for a female peer to support her at the start of her career. She is pictured in 1984 

Camille went on to reference her 'ultra-controversial' 1990 New York Times op-ed, 'Finally, a Real Feminist', in which she celebrated Madonna for embracing sex, beauty and Hollywood glamour. 

'I was widely attacked for my finale, which was dismissed as preposterous but which in fact came true: "Madonna is the future of feminism".' 

Camille still cites Madonna as 'one of the most creative and influential women artists of the modern era', but she argued that the singer's 'artistic development has been stalled for 20 years' an she has become a 'prisoner of her own wealth and fame'. 

Take that: Camille argued that in the '90s Madonna was the one who rebuffed working with her. The writer is pictured in 1995 (left) and Madonna is pictured in 1990 (right)

Not backing down: Camille also discussed the pop star's 'path of self-destruction' and her 'embarrassing inability to deal with aging' in a statement

'It is truly tragic to see Madonna descend into embarrassing displays of maudlin self-pity and irrational accusations against others,' Camille added. 'She is turning into a horrifying combination of delusional, vampiric Norma Desmond and bitter Joan Crawford on the bottle.' 

In her speech, Madonna also spoke about ageism, explaining that for women, 'to age is a sin' and they will be criticized, but Camille stated that the singer's 'number one issue' on her path of self-destruction is her 'embarrassing inability to deal with aging'. 

Camille noted that while Madonna's role model, Marlene Dietrich, retained her class and style until her death, the singer is making a fool of herself 'with vulgar displays while trying to remain youthful. 

'Struggles to stay relevant': Camille slammed the buttocks-baring ensemble Madonna wore to the Metropolitan Museum of Art Gala last May 

Last May, Madonna wore a breast and buttock-baring Givenchy outfit to the Metropolitan Museum of Art Gala, and while she said the controversial ensemble was a 'political statement' fighting ageism and the notion that women can't be sexy at a certain age, Camille firmly disagreed.  

'She has become a cringe-making pastiche of ratty blonde hair extensions and artificially swollen cheeks, obscuring the magnificent classic bone structure that made her one of the most photogenic celebrities of the 1990s,' Camille said. 

'In her struggles to stay relevant, Madonna has debased herself with adolescent, pitifully inept Instagrams that cannot compete with Rihanna's brilliant work in that genre.

'Instead of lugubrious rants and hysterical recriminations, perhaps Madonna should try a little honest self-critique.'

READ CAMILLE PAGLIA'S FULL RESPONSE TO MADONNA

Madonna is one of the most creative and influential women artists of the modern era. She transformed music and dance and produced stunning videos that were among the major works of art of the late twentieth century. She single-handedly broke the power of the Stalinist puritans of old-guard feminism and was instrumental in the triumph of pro-sex feminism in the 1990s.

Hence it is truly tragic to see Madonna descend into embarrassing displays of maudlin self-pity and irrational accusations against others. She is turning into a horrifying combination of delusional, vampiric Norma Desmond and bitter Joan Crawford on the bottle.

I was Madonna’s first major defender, when she was still considered a pop tart and a sham puppet created by shadowy male producers. In my ultra-controversial 1990 op-ed on her in the New York Times, 'Finally, a Real Feminist', I hailed her cutting-edge work and celebrated her embrace of sex, beauty, and Hollywood glamour, which had been under attack for the past quarter century of dreary second-wave feminism. I was widely attacked for my finale, which was dismissed as preposterous but which in fact came true: 'Madonna is the future of feminism'.

It is absolutely ridiculous for Madonna to now claim that she longed to ally with other women at the start of her career but was rebuffed from doing so. The media, in the U.S. and abroad, constantly asked Madonna about me or tried to bring us together, and she always refused. 

For example, in 1994, Esquire magazine asked me to interview her for a cover story, but she rejected the proposal. Instead, they got the geriatric novelist Norman Mailer, who knew nothing about Madonna or popular music, with predictably vapid results. HBO wanted to film Madonna and me conversing at a restaurant. Again, she rejected it. And Penthouse too proposed a joint cover story that was shot down.

The real issue is that while Madonna’s world tours have remained highly successful, her artistic development has been stalled for 20 years. The last truly innovative work she did was with electronica producer William Orbit. Madonna has become a prisoner of her own wealth and fame. Her most authentic ideas were inspired by her childhood rebellion against the repressive code of American Catholicism. 

When she switched over to Hollywood chic Kabbalah, with its easy-going ethic and pat bromides, she lost her creative drive. Furthermore, Madonna seems to lack the humility and persistence that are required for the study of serious art. She collects art for display, but obviously it has not broadened or deepened her imagination.

The number one issue in Madonna’s current path of self-destruction is her embarrassing inability to deal with aging. She has failed to study the example of her great role model, Marlene Dietrich, who retained her class and style to the end. Madonna keeps chasing after youth, humiliating herself with vulgar displays, like the horrendously trashy, buttock-baring outfit she wore to the Metropolitan Museum of Art Gala in May. 

She has become a cringe-making pastiche of ratty blonde hair extensions and artificially swollen cheeks, obscuring the magnificent classic bone structure that made her one of the most photogenic celebrities of the 1990s. In her struggles to stay relevant, Madonna has debased herself with adolescent, pitifully inept Instagrams that cannot compete with Rihanna’s brilliant work in that genre.

Instead of lugubrious rants and hysterical recriminations, perhaps Madonna should try a little honest self-critique. 

 

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