Rhetorical Analysis of Meghan Daum's "Madonna's Tone-Deaf Tattoo

696 Words Dec 31st, 2012 3 Pages
Cara Brashears
Mrs. Duggan
APCAIII Hour 7
16 November 2012
Hypocritical Ink
Celebrities often perform charitable acts in the public eye. Donating cash, participating in cancer walks, wearing activist t-shirts for the paparazzi—all are done with compassionate intention. But when one of these acts appears contradictory, every watching eye turns captious. Meghan Daum spotted the incongruity in pop idol Madonna’s attempted altruism, and voices her reaction in her column “Madonna’s tone-deaf tattoo” (10/18/12) in the Los Angeles Times. The article explains the singer’s ostentatious tattoo of the name Malala Yousafzai, the young Pakistani advocate for girls’ education who was shot by the Taliban, placed where tramp stamps are notorious. The
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The author goes on to insert that Malala “(quite literally)” (2) received a stamp of approval, and Madonna “(who even attended college)” (2) is anything but a mirror image of Malala. By providing Daum’s personal displeasure, this device’s reoccurrence supports the author’s deprecation.
Throughout the article, amplification enhances Daum’s disapproval of Madonna. Calling her “the Material Girl, aka Madge, Esther, the Queen of Pop, the Hottest Body in the AARP,” (2) as well as “the cheerleader, the Catholic schoolgirl, the femme fatale, the dominatrix,” (2) draws attention to Madonna’s characteristics of an exploited woman. Daum then refers to her “relentless self-promotion, envelope pushing, and obsession with her body” (2). The continuous lists of how the popstar goes against Malala’s principles reinforce the columnist’s condemning.
Daum employs a satirical and agitated tone to express her censure. Paragraphs shift back and forth, from satire, “Madonna, classing up the joint again,” (2) “Take that, Taliban!” (2) and “How proud…how gratified [Malala] would be!” (2) to agitation, “And if all that weren’t enough,” (2) “Leaves an especially sour taste in the mouth,” (2) and “What’s most troubling” (2). The tones in these phrases illustrate Daum’s passion for the topic, strengthening the sincerity of her criticism.
Once again, Ms. Daum has amazed me with her solid arguments and fabulous style. Without a doubt, I agree with her attitude towards Madonna and commend the

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