Britney Jean Spears

Many critics have argued that Spears should not be considered in the same league of talent as Jackson or Madonna. Journalists Erika Montalvo and Jackie Sheppard of the Rocky Mountain Collegian observed "some may argue that Spears is not only a good recording artist but also an important cultural icon." However, in examining her level of skill as an artist, it is questioned that "although she has been classified among female elites such as Janet Jackson and Madonna, what does Ms. Spears really have in common with these divas of rock?" Joan Anderman of The Boston Globe remarked that "thirteen costume changes in 90 minutes won't bless her with Madonna's intelligence or cultural barometer. An army of cutting-edge R&B producers won't supply her with Janet Jackson's sense of humor or sincere smile ... Britney's heroes aren't great singers. But they're real singers. Spears sounds robotic, nearly inhuman, on her records, so processed is her voice by digital pitch-shifters and synthesizers."
Reporter Ed Bumgardner commented her transition from teen pop start to adult sex symbol with her third studio album Britney "takes its cues from two other successful performers—Janet Jackson and Madonna—both of whom she brazenly rips off and both of whom, like Spears, are passable singers, at best." Critic Shane Harrison wrote: "From the minimalist thump and "Nasty" feel of "I'm a Slave 4 U" to the scattered quotes in "Boys", Britney feels like Spears's attempt at 'Control'."
Citing Jackson's resolve to incorporate personal and social issues into her work and Madonna's ability to constantly redefine the boundaries of socially acceptable material in the industry, Spears's catalog ultimately pales in comparison, because "while Jackson and Madonna wrote their own music about subjects of importance, Spears's music sounds like an upbeat version of either, 'I want to grow up but the media won't let me,' or 'Here kitty, kitty, I'm wearing my underwear outside of my leather pants'-type ballads." In contrast, Guy Blackman argues that although "no one would argue that Spears is some kind of pioneering pop auteur, there’s still a lot to like about her back catalogue. During her world-conquering peak, she was just about as cutting edge as you could get in the world of global pop superstardom. Spears didn’t just work with big names, she gave big names their names, and maintained her high currency in the world’s most fickle industry for years, when most aspiring starlets are lucky to manage months."
After meeting Spears face to face, Janet Jackson stated: "She said to me, 'I'm such a big fan; I really admire you.' That's so flattering. Everyone gets inspiration from some place. And it's awesome to see someone else coming up who's dancing and singing, and seeing how all these kids relate to her. A lot of people put it down, but what she does is a positive thing." Madonna's respect for Spears has also been a subject of observation. Santiago Fouz-Hernández and Freya Jarman-Ivens, authors of Madonna's drowned worlds: new approaches to her cultural transformations, 1983-2003 (2004) note that the most well known cross-generational relationship exists between Spears and Madonna in which "the entertainment newsmedia almost became obsessed with their relationship of mutual admiration." The biographers also report "some observers of popular culture, however, feel that the comparisons between the two artist are meaningless and fail to recognize Madonna's unique contribution: Madonna was never 'just another pop star' whereas Britney can more easily be seen as a standard manufactured pop act."