On September 3 1983, as Madonna’s first album entered the Billboard Top 200 Albums chart at # 190 in the U.S., the album was profiled for the second week in a row by Billboard magazine – this time being featured in the New On The Charts section (pictured above).
On August 27 1983, Madonna’s debut album was reviewed in Billboard magazine. In the same issue, the album made its chart debut at #201 on the Bubbling Under LP chart.
On August 21 1993, Billboard magazine interviewed director Mark Romanek for a feature article about Madonna’s music video for Rain:
One rarely finds the use for such adjectives as “Zen-like,” spare, and sentimental in describing an outrageous, outspoken, and extreme performer like Madonna. Yet the artist’s new Maverick -Sire-Warner Bros. video “Rain,” directed by Mark Romanek for Satellite Films, conjures those very images against the understated elegance of a tenderly soothing ballad. The result is a Madonna who is chic yet vulnerable, glamorous yet sweet.
“The contradiction you face in shooting a Madonna video is that people expect something rather grand from her, and yet the feeling of the times is that things need to be simplified and stripped away,” says Romanek. The director admits he was a bit intimidated by the prospect of shooting a video that would mark a departure from Madonna’s ostentatious antics of the past. “The song is a bit sentimental, and you just can’t do something psychosexual and subversive with it,” he notes. “My challenge was to come up with something that seems glamorous and expensive, yet is spare and Zen-like at the same time.” Romanek chose to interpret “Rain” as an exercise in media manipulation and image-making. The clip is reeled as a video-within-a-video, as Madonna, the doe-eyed ingenue, performs for a Japanese film crew.
Music buffs may recognize the “director” in the clip as the photogenic composer Ryuichi Sakamoto. “By making it a Japanese thing, we made Madonna more vulnerable; she’s away from home, more out-of-place,” says Romanek. “It creates a nice subtext and makes her more sympathetic.” And by shooting a “crew” shooting a clip, Romanek created the kind of prefab, artificial scenario that would underscore the true emotion of “Rain.”
“We knew we needed some rain, but we didn’t want the clip to be too clichéd or too literal,” he notes. “So we figured if we have to have rain, let’s have fake rain.” That fake rain was contained in two tall “walls” that stand on either side of a simply clad Madonna. One shot looks deceptively plain, but as Romanek explains, “the amount of equipment, pipes, and lights that are hidden in that image, so that the walls appear to stand as simply as possible and look aesthetically correct, was huge.”
To further capture the crystalline essence of the song, Romanek and cinematographer Harris Savides chose to lens a number of rare, color closeups of Madonna’s face and features. But they were faced with the technical challenge of updating the traditional “Garbo lighting” used since film’s earliest days to flatter a star’s most arresting features. Madonna agreed to undergo a half day of camera tests, after which a new German lighting fixture was chosen to achieve a thoroughly modern, yet classic, effect. Icy blue eyes stare directly into the camera as full, lush lips sing the lyrics into an old-fashioned microphone. Of all the sequences in the “Rain” video, Romanek says he is proudest of these close-ups. It’s one of the hardest things to make something as simple as that possible,” the director says. “You need that kind of icon, like Madonna, to make a shot like that work.”
The Satellite crew spent four days making sure such aesthetically correct shots would work, including a windswept storm sequence on a stage, and an overhead shot of Madonna surrounded by a bed of open, black umbrellas. In nearly every shot, the graphic image is so compelling that the camera need never move.
Romanek, a founding director of Satellite, shares credit for “Rain” with producer Krista Montagna, stylist David Bradshaw, and editors John Murray and Jim Haygood. The clip’s cinematographer Savides and art director Jan Peter Flack have been nominated for an MTV Video Music Award.
On July 4 1992, Madonna’s This Used To Be My Playground single from the film A League Of Their Own was reviewed by Larry Flick in Billboard magazine.
On June 28 1986, Billboard magazine reported that Madonna made a surprise appearance at WEA International’s annual manager’s meeting with Seymour Stein in New York earlier that month where she previewed tracks from her forthcoming album, True Blue.
On May 26, 1990, Madonna is honoured with Pop Artist Of The Decade, Dance Artist Of The Decade and Dance Single Of The Decade (for Into The Groove) in Billboard magazine’s Music Of The 80’s Poll.
On April 27 1985, Madonna’s Angel single was briefly reviewed in Billboard magazine as it entered the Hot 100 at #48.
The Angel 12-inch single would be issued commercially in North America in late May. It included an extended dance mix of the titular track, but let’s be real, people bought it for Into The Groove on the flip – it being the only North American home for the classic dance floor gem until a remixed version appeared on You Can Dance in 87. In Canada, young cassette-loving buyers’ interest in the b-side prompted Warner Canada to issue the first Madonna cassette maxi-single, as the format would eventually be known.
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