From disco decadence to maternal introspection, Madonna's changing image has been as much the story of the evolution of the media as that of a consistently successful pop star. She has carefully manipulated our interest in her unusually public existence, cultivated scandal, and maintained a stream of quality music for over 15 years, always recreating herself with each new album. It was one of the great moments on British TV. Certainly, Top Of The Pops had never seen anything like it. The longest running television chart music show in the world had witnessed the likes of the Beatles, Stones and David Bowie performing on its cramped stages. But no one had made quite the impact - before or since - that Madonna Louise Ciccone did in that summer of 1984. Writhing around singing 'Like A Virgin', with vivid pink wig flapping and a chest that refused to be ignored, this was no ordinary New York dance diva, plucked from obscurity to promote the work of a glamour DJ before disappearing back across the Pond. This was a genuine, all-singing, all-dancing Superstar. And didn't she know it. It was but the latest step on the path to immortality for the woman named Madonna. From tragic beginnings in Michigan, USA, through a tough education in New York's artist community as a dancer and model, the little girl who lost her mother to cancer before she even knew her, had masterminded her rise to fame every inch of the way. No shadowy Svengali-figure guided the career of Madonna. Only a woman with her drive and talent for media manipulation - and man manipulation? - could have written the CV of this particular artist. There have been the albums - from the dance-inspired Madonna, through the blatant pop of 'Like A Virgin' and 'True Blue', the more adult and revealing 'Like A Prayer', the sensuality of 'Erotica', the less interesting and decidedly more 'adult' 'Bedtime Stories', up to the recent return to her dance roots and commercial success of 'Ray Of Light'. There have also been the films. Strangely, the first - 1985's Desperately Seeking Susan - and last - 1996's Evita - being the ones that have garnered most praise and box office success. It may be no coincidence that in both, Madonna can be seen to be playing characters not a million miles away from herself. Despite the more colourful moments of her career - the soft-porn shots in her book Sex, the on-stage mock-masturbation during the 1990 Blonde Ambition tour - the hype that has surrounded Madonna since the mid-eighties has never managed to obscure the quality of her music. Madonna may be well known for the men she has dated, but it's the men she has utilised to enhance her own musical talents that have helped keep her at the forefront of modern music. Jellybean Benitez - the legendary DJ at New York's Funhouse club - steered her through her first incarnation as dance music star. Nile Rogers produced 'Like A Virgin' while Patrick Leonard collaborated on some of her greatest work - most notably the brilliant 'Like A Prayer' that finally established her as a truly mature recording artist. Currently, British techno-dance producer William Orbit is the man in control of the Madonna sound, with 1998's 'Ray Of Light' re-establishing her at the cutting edge of music following the disappointments of the middle of the road 'Bedtime Stories' and her necessarily downbeat contributions to the soundtrack of 'Evita'. Both the album and single of the same name helped put the 40-year-old star back at the top, while their collaboration on 'Beautiful Stranger' from the soundtrack of the Mike Myers film, Austin Powers: The Spy Who Shagged Me, saw Madonna achieving her biggest ever singles hit. The accompanying video, climaxing with Madonna pushing her bottom into Mike Myers' face, proves that while maturity and motherhood has not blunted her musical style, they now enable her openly to laugh at herself. The men in Madonna's professional life have undoubtedly been important to her - maybe more so than those in her personal life - but make no mistake, this artist's success has been all of her own making. Even back in 1984 before the world-wide triumph of the 'Like A Virgin' album shot her into the ranks of global mega-stardom, she knew how to promote herself. When dotmusic's sister publication Record Mirror flew to New York to interview the then up-and-coming dance star, she was friendly, accommodating, but steadfastly refused to have her picture taken despite the fact that a photographer had travelled all the way from London just to snap her. Her reason, she explained, politely but firmly, was that she had a cold and would not look good enough in the pictures. In some this could have been interpreted as insecurity, but this was Madonna - who even at that early stage in her career knew how to control her public image. Some have called Madonna the great feminist icon of the 20th Century. A US university has even offered a degree in Madonna studies, so seriously is her public persona studied. Certainly, her in-your-face femininity mixed with a single-minded wielding of power more traditionally seen as a male preserve, established her as the Goddess of Girl Power before Baby Spice was barely out of nappies. Like David Bowie, Madonna has the ability to reinvent herself; to tap into the underlying vibe of the moment. Unlike David Bowie, you get the feeling that musically, Madonna's best is yet to come.
Albums Title / Label / Released Ray Of Light - Maverick/Warner
Bros - Mon 2 Mar 1998 In The Beginning - Gravity
- Mon 7 Sep 1998 Singles Title / Label / Released American Pie - Maverick/Warner
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