Madonna: Blonde Ambition
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Based in part on interviews with Madonna, this biography focuses closely on her musical accomplishments, her pioneering work in rock videos, her adept manipulations of religious and sexual controversy, and her ability to constantly reinvent her image. Effectively recounting her career while giving equal time to her relationships, Madonna has be been updated with a new chapter that explores her personal and professional exploits in the nineties and beyond, including her latest romantic liaisons, new family, and multifaceted career. The result is a revealing, intimate, and unauthorized portrait of the greatest pop diva of our time.
began immediately. The director that Pepsi hired to execute the tightly scheduled video/commercial presentation was Joe Pytka, who had masterminded the landmark Michael Jackson ads for the company. According to Pytka, when he first drove to Madonna’s Hollywood hills house to discuss the commercial, she had no idea that she was expected to perform in it. “Michael Jackson had always used a special sound system for his singing, so I asked Madonna where hers was. She said, ‘What singing?’ “195 Joe
Powers: The Spy Who Shagged Me. Again, it was filled with a cornucopia of late 1960s nonsense. Since the soundtrack to the original movie had been a hit too, the soundtrack to the sequel was also largely touted, eventually selling over one million copies in America alone. Not only did Madonna’s personal record label, Maverick Records, issue the soundtrack album to Austin Powers: The Spy Who Shagged Me, but Madonna was the hit-making star of the album. Her fun and swinging ‘60s composition,
Like a Virgin were completed in April 1984; the entire package was in the can and ready to release. However, Sire Records was forced to shelf the project for six months—because Madonna’s first album was suddenly selling like hotcakes. To complicate matters, the record company was pleasantly forced to release another single in America. Jellybean explains that a confusing situation arose, due to the fact that “Borderline” did not become a hit in England. According to him, Warner Brothers in Great
discussed, Sean Penn would play the filmmaker; his father, Leo Penn, would direct; and Madonna would naturally portray the lady of the night. Another remake under consideration was of the 1962 French film Cleo from 5 to 7. Directed by Agnes Varda, the film chronicles two hours in the life of an aspiring singer in New York City. Also discussed was a romance thriller called Angel Flight, which would co-star French actor Jean-Hugues Anglade. That summer there was also talk about Madonna taking the
movie, and the soundtrack album for the movie, and also planning her tour at the same time. She’s doing all this stuff, plus she’s got the lead in the film!”150 According to Coati, “The film actually started filming in October of ‘86, up to about February of ‘87. So, it was kind of a Warner Brothers family kind of thing, because Madonna’s on Warner Brothers/Sire Records, I was on Sire Records. We had known each other from the early eighties, so she made me feel comfortable. Most people are kind