On August 10 1985, Into The Groove spent the first of four weeks in the #1 position on the UK Singles Chart. It was Madonna’s first chart-topping single in the UK, where she has collected a total of thirteen #1 hits to date.
As an added validation, Into the Groove was Madonna’s first self-produced release (co-produced with Stephen Bray). While artists co-producing their own work is common today, it was relatively unusual at the time, particularly for female artists. The immense success of the single undoubtedly helped convince the powers at Sire/Warner to grant Madonna the artistic freedom to co-produce her next album, True Blue, together with her collaborators Stephen Bray and Patrick Leonard.
On March 26 1983, the music video for Madonna’s Everybody was briefly mentioned in Billboard magazine along side the music video for Konk’s Konk Party, noting that both videos were directed by Ed Steinberg of Soft Focus Productions. What is not mentioned and likely not known to the columnist (considering they think Madonna is the name of a group!) is that Madonna appears as an extra in Konk Party along with her pals Erika Belle and Martin Burgoyne. Original Sonic Youth drummer and member of Konk, Richard Edson, is also featured in the video. Edson would later appear in the film Desperately Seeking Susan, holding open a newspaper box for Madonna, and is pictured prominently next to Madonna in the film’s cast photo – which is unusual considering the brevity of his time on-screen. He worked with Madonna again in 1988, playing the character of Johnny Crackow in the film, Bloodhounds Of Broadway.
Sonic Youth would explore their own fascination with Madonna with their side project, Ciccone Youth. In liner notes for Sonic Youth’s reissue of their landmark album, Daydream Nation (1988), the band revealed that they had given an advance copy of Ciccone Youth’s The Whitey Album (1988) to Madonna’s sister, who was working in Warner’s art department at the time, seeking Madonna’s approval for the use of her image on the album cover (her songs Into The Groove & Burning Up were also covered & sampled). Word came back that Madonna had no issues with it, adding that she remembered the band from their early days in New York.
Sonic Youth made humourous references to Madonna’s place in popular culture in their promotional artwork throughout the 80’s – typically designed by bassist/vocalist/guitarist and visual artist, Kim Gordon. They were even known to use Madonna’s music as interludes during guitar changes at their shows in the 80’s, bewildering audience members who were not privy to their shared origins as part of the early 80’s underground music scene in NYC.
In another connection, Sonic Youth’s 2004 album, Sonic Nurse, featured artwork from Richard Prince’s acclaimed Nurse Paintings series. In 2015, Madonna used a rotating selection of paintings from her own art collection as backdrops for a series of press junket interviews to promote her Rebel Heart album. One of the paintings displayed was Prince’s Heartbreak Nurse from his Nurse Paintings series.
On June 22 1985, Angel/Into The Groove spent its second week at #1 on the Hot Maxi-Single Sales chart (then titled 12 inch Single Sales). It also inched its way closer to the top of the Hot Dance/Club Play chart (then titled simply Club Play), moving from #3 to #2.
Mainly driven by the popularity of Into The Groove (which was available exclusively on the Angel maxi-single in North America) with its heavy rotation on MTV, in clubs and its prominent appearance in the hit film Desperately Seeking Susan, the release would spend a total of twelve weeks in the top-5 of the Hot Maxi-Single Sales chart, including seven non-consecutive weeks at #1. Being a niche format that rarely generated enough mainstream interest to earn certification-level sales, Angel/Into The Groove has the distinction of being only the fourth maxi-single in history be certified Gold in the U.S.
In Canada, interest in Into The Groove prompted Warner Music Canada to issue Madonna’s first North American cassette maxi-single in addition to the standard 12 inch vinyl. The experiment clearly proved successful, as Warner Music Canada would continue to offer her subsequent releases in both formats several years before the U.S. followed suit.
On May 9 1985, Madonna and Rosanna Arquette appeared on the cover of Rolling Stone magazine, promoting their film, Desperately Seeking Susan, with photos by Herb Ritts.
Here’s a snippet from the interview featured in the magazine:
Rosanna has expressed resentment over the insertion into the movie of a Madonna song backing a quickly rewritten scene in which the Susan character gyrates around a New York club. A video clip using the unreleased tune, “Into the Groove,” spotlights Madonna. “It does take things out of context a bit,” says Madonna, “kinda calls attention to another facet, but…” What that “but” means is, it sells tickets, chumps. Still, it’s become an issue…
“Yeah, really?” says Madonna. “Who’s it become an issue with – besides Rosanna?” Her laugh is quick and not unkind. Insiders say the song found its way into the film on its own virtues. “Susan Seidelman was not out to make a pandering rock & roll movie,” says executive producer Michael Peyser, 31, who worked on Susan after serving as associate producer on Woody Allen’s film The Purple Rose of Cairo. One of the music coordinators, Danny Goldberg, had no time to compile a soundtrack LP when the film’s release date was pushed up, but in talks with MTV execs, he paved the way for “Into the Groove” to air, even though the song might never show up on vinyl.
Madonna is not naive about the studio’s gambit: “I have a big audience of kids for my music, and you know how they use soundtracks to push movies – I think they’re using me in the same way, and it’s really a drag, because I’m trying to establish myself as an actress, not as a singer making movies. But I’ll be happy if it becomes a commercial success, simply because it’s a different kind of movie than most of what’s out now. There are a few formulas people have been using the past five years, with Flashdance and Breakin’ and all that stuff; this movie is like a return to those simple, straightforward caper comedies Claudette Colbert and Carole Lombard made in the Thirties. They give you a taste of real life, some poignance, and leave you feeling up at the end – none of that adolescent-fantasy bullshit.”