Freedman, Harry (2019). Kabbalah: Secrecy, Scandal and the Soul. Bloomsbury Publishing. ISBN 978-1472950963. Madonna gets her wrist inked with a Kabbalah symbol". Geo TV. March 14, 2023 . Retrieved January 28, 2023. a b Wills, Susan E. (October 2, 2015). "Madonna's Demons, the President's PSA and Other Grammy Oddities". Aleteia. pp.1–2 . Retrieved September 21, 2022. The God that I believe in, created the world... He/Her/They isn't a God to fear, it's a God to give thanks to"

Ahmed, Akbar S. (2004). Postmodernism and Islam: Predicament and Promise. Psychology Press. ISBN 0415348560. Harvey, Paul; Goff, Philip (2005). The Columbia Documentary History of Religion in America Since 1945. Columbia University Press. ISBN 0231118848. The image also depicted a flaming heart stabbed with seven swords, which many assumed was alluding to the religious imagery, the Pierced Heart of the Blessed Virgin.Romero, Frances (October 20, 2010). "Top 10 Vatican Pop-Culture Moments: Madonna, Over and Over". Time . Retrieved September 14, 2022. Lay, Belmont (February 24, 2016). "In 2006, Sun Ho said she loves Madonna". Mothership . Retrieved September 16, 2022. Haris, Ruqaiya (October 27, 2021). "Lil Nas X and the New Era of Religious Symbolism in Music". Another Magazine . Retrieved February 21, 2023.

Madonna made a significant impact regarding the usage of crucifixes as a fashion item over years, with Christian writer Graham Cray describing in 1991, how "she has made the crucifix a fashion icon". [16] Vogue Italia 's Laura Tortora, even thought Madonna was the first to wear crucifixes as fashion accessories. [176] Neal mentioned previous examples, but they generated little comment and controversy in either the secular or religious press. [177] Due to Madonna's popularity, Neal said "the most credit" for the popularity of cross jewelry could go to Madonna, further citing an industry insider, who said her cross "had a noticeable impact". [76] Academics have documented the cross-shaped jewelry inspired by Madonna, might be understood as "a religious symbol that has overtaken the culture". [178] Her massive appeal, and usage was controversial in her time; in 1985, minister Donald Wildmon called her "anti-Christian" and "antifamily" for wearing crucifixes as jewelry. [179] Others accused her as "a source of moral contagion" to children and families. [180] Revisiting the era, Stephanie Rosenbloom from The New York Times, wrote in her article Defining Me, Myself and Madonna (2005) how her commitment to Madonna, and not Roman Catholicism moved her to petition for a cross to her parents. [181] Writing for Vanity Fair in 2019, Osman Ahmed, commented positively saying "many of today's" jewelers look to the magpie mash-up of the New Romantics and Madonna in her Like a Virgin phase. [182] Whelan, Christine B. (August 4, 2006). "Have I Sinned?". Busted Halo . Retrieved September 22, 2022. a b EFE (October 21, 2014). Vincent, Peter (ed.). "Singing nun Sister Cristina maintains habit with cover of Madonna's Like a Virgin". The Sydney Morning Herald . Retrieved September 11, 2022. Since Madonna's time in the media spotlight, we are several cultural cycles removed from the idea that traditional religious imagery points directly and unambiguously to the divine"After her 2006 Confessions Tour, professor and Catholic author Christine Whelan, wrote an article for Busted Halo ( Paulist Fathers), in which ask their readers: "Do I have to go toconfessionfor attending Madonna's Confessions tour?". She received answers from some of them. [108] In January 2023, Madonna sparked outrage among Christians after doing an all-female Last Supperphotoshoot, and also for channeling Virgin Mary as Our Lady of Sorrows, on the first Vanity Fair 's European "Icon issue". [106] [107] The European Conservative headlined, that her photoshoots "Reveals Deep Occult Roots of the Entertainment Industry". [109] In Stealing My Religion: Not Just Any Cultural Appropriation (2022), her usage of Catholic aesthetics is understood as an appropriation "to promote her brand". [111] Academic Anne-Marie Korte, similarly states she uses Christian symbols and misuses them to attract attention while showing disrespect for Christian and for religion in general. [42] Commenting about her crucifixion performance in 2006, Lutheran theologian Margot Käßmann was critical, saying "to put oneself in the place of Jesus is an extraordinary manifestation of an inflated ego". [42]