MADONNA FIRST 4 DEBUT VIDEOS 8 " MINI LASERDISC MUSIC VIDEO LASER DISC 1984 RARE
Item History & Price
MADONNAFIRST 4 DEBUT VIDEOS - MUSICVIDEO 8" LASERDISC1984 USA 1st EDITION
36 YEARS OLD! RARE, OUT OF PRINT!!
BurningUpSireRecords commissioned a music video for the song to be directed by Steve Barron.Madonna's friend Debi Mazar was hired as the make-up artist for the video whileMaripol was the stylist with Madonna's then boyfriend Ken Compton appearing asher onscreen lover. By the time the video was released, MTV had begun to showdance music videos & it became a minor hit on... the channel. The narrative ofthe video shows Madonna in a white dress, as she sings the song proclaiming herhelpless passion for her lover. She wore her famous rubber bracelets which wereactually typewriter belts. Her love for the boy portrayed her as a helplessvictim like the stereotyped female portrayed in many silent movies. At onepoint in the video Madonna is shown being hit by a car driven by a young man, played by Compton. By the end of the song Madonna is shown driving the car, witha knowing, defiant smile on her lips & has ditched the man, thereby givingthe message that she was in charge, a theme recurrent throughout her career. BorderlineFilmedin Los Angeles, California it was the first video that Madonna made withdirector Mary Lambert. The video is regarded as one of Madonna's career-makingmoments & was shown regularly on MTV. In the video, Madonna plays a youngstreet denizen enticed by a British photographer, who publishes her picture ona magazine cover & makes romantic advances. The girl is emotionally tornbetween the photographer & her Latino boyfriend, with whom her troubledrelationship mirrors the struggle many Hispanic women faced with their men. Thevideo narrative weaves the 2 relationship stories together in color & black& white. In the color sequences, Madonna sings, flirts & seduces herboyfriend & in the black & white sequences she poses for thephotographer, who also courts her. The video shows Madonna in her usual stylein those years, with her hair in a haystack & wearing lace gloves, high-heeled boots with thick socks & her trademark "boy-toy"belt. She changes clothing from one shot to another, in color as well as black &white. Posing for the photographer, Madonna looks towards the camera withchallenge in her eyes, depicting sexual aggression. At one point, she startsspraying graffiti over some lifeless classical statues, portraying herself as atransgressor who breaks rules & attempts innovation. LuckyStarThemusic video was directed by Arthur Pierson. At the time of the song's release, Madonna's style of dress was catching on as a fashion statement among club kids& her fans. The most prominent among her fashion accessories were thecrucifixes she wore as earrings, necklaces & bangles. In the video, Madonnawore an all-black outfit with leggings, ankle boots & bare midriff, withher messy hair tied in a floppy black ribbon. This was coupled with a shinyblack miniskirt, an earring on her right ear, cut-off gloves & rubberbangles. Mary Lambert was decided for directing the video, however, ArthurPierson replaced her as the director. Warner Bros. gave Pierson a small budgetto make the video, shot in an afternoon. The video starts with the close-up ofMadonna's face, as she slides her sunglasses down her nose. This scene was areference to the character of Lolita in Stanley Kubrick's film of the same name& Audrey Hepburn in the movie Breakfast at Tiffany's. The image then fadesto white, denoting the celestial stars dazzle & then resumes itself incolor. Madonna is shown dancing against a plain white background, along withcloseups of her mesmerized gaze. She is accompanied by friend Belle &brother Christopher, as backup dancers. The video ends with the initial black &white image repeated, but in retrograde, as Madonna puts back on thesunglasses. The taking down and putting up of those sunglasses provided a frameto contain the song, functioning like a curtain that marks the opening &closing of a stage performance. LikeA VirginDirectedby Mary Lambert, the video was shot in Venice & partly in New York City.Madonna was portrayed as a knowing virgin, a figment of the pornographic mind, as she walked through marble rooms, wearing a wedding gown. It alternated withscenes of a provocative-looking Madonna on board a gondola. The video startswith Madonna boarding on a boat from the Brooklyn Bridge & travels toVenice. As she steps down into the city, she moves like a stripper &undulated sinuously. She wears a black dress & blue pants with a number ofChristian symbol embedded jewelry around her neck. She sings the song at fullvolume as she watches a lion walking between the columns of the Piazza SanMarco of Venice & along the statue of Saint Mark. A number of game-playinginvolving carnival masks, men & lions are portrayed with allusions to 18thcentury practices. Madonna's image signified a denial of sexual knowledge, butalso portrayed her in simulated writhing on a gondola, thus underpinning thesimulation of deceit. The intrusion of a male lion confirmed the underlyingbestial discourse of both mythological fairy tale & pornographic sex. Madonna'slover wears the lion's mask & while cavorting with him, Madonna sheds theveneer of innocence & shows her propensity for wild animal passions. Havinginstilled desire, metaphorically she turns her lover into a Beast.
36 YEARS OLD! RARE, OUT OF PRINT!!
BurningUpSireRecords commissioned a music video for the song to be directed by Steve Barron.Madonna's friend Debi Mazar was hired as the make-up artist for the video whileMaripol was the stylist with Madonna's then boyfriend Ken Compton appearing asher onscreen lover. By the time the video was released, MTV had begun to showdance music videos & it became a minor hit on... the channel. The narrative ofthe video shows Madonna in a white dress, as she sings the song proclaiming herhelpless passion for her lover. She wore her famous rubber bracelets which wereactually typewriter belts. Her love for the boy portrayed her as a helplessvictim like the stereotyped female portrayed in many silent movies. At onepoint in the video Madonna is shown being hit by a car driven by a young man, played by Compton. By the end of the song Madonna is shown driving the car, witha knowing, defiant smile on her lips & has ditched the man, thereby givingthe message that she was in charge, a theme recurrent throughout her career. BorderlineFilmedin Los Angeles, California it was the first video that Madonna made withdirector Mary Lambert. The video is regarded as one of Madonna's career-makingmoments & was shown regularly on MTV. In the video, Madonna plays a youngstreet denizen enticed by a British photographer, who publishes her picture ona magazine cover & makes romantic advances. The girl is emotionally tornbetween the photographer & her Latino boyfriend, with whom her troubledrelationship mirrors the struggle many Hispanic women faced with their men. Thevideo narrative weaves the 2 relationship stories together in color & black& white. In the color sequences, Madonna sings, flirts & seduces herboyfriend & in the black & white sequences she poses for thephotographer, who also courts her. The video shows Madonna in her usual stylein those years, with her hair in a haystack & wearing lace gloves, high-heeled boots with thick socks & her trademark "boy-toy"belt. She changes clothing from one shot to another, in color as well as black &white. Posing for the photographer, Madonna looks towards the camera withchallenge in her eyes, depicting sexual aggression. At one point, she startsspraying graffiti over some lifeless classical statues, portraying herself as atransgressor who breaks rules & attempts innovation. LuckyStarThemusic video was directed by Arthur Pierson. At the time of the song's release, Madonna's style of dress was catching on as a fashion statement among club kids& her fans. The most prominent among her fashion accessories were thecrucifixes she wore as earrings, necklaces & bangles. In the video, Madonnawore an all-black outfit with leggings, ankle boots & bare midriff, withher messy hair tied in a floppy black ribbon. This was coupled with a shinyblack miniskirt, an earring on her right ear, cut-off gloves & rubberbangles. Mary Lambert was decided for directing the video, however, ArthurPierson replaced her as the director. Warner Bros. gave Pierson a small budgetto make the video, shot in an afternoon. The video starts with the close-up ofMadonna's face, as she slides her sunglasses down her nose. This scene was areference to the character of Lolita in Stanley Kubrick's film of the same name& Audrey Hepburn in the movie Breakfast at Tiffany's. The image then fadesto white, denoting the celestial stars dazzle & then resumes itself incolor. Madonna is shown dancing against a plain white background, along withcloseups of her mesmerized gaze. She is accompanied by friend Belle &brother Christopher, as backup dancers. The video ends with the initial black &white image repeated, but in retrograde, as Madonna puts back on thesunglasses. The taking down and putting up of those sunglasses provided a frameto contain the song, functioning like a curtain that marks the opening &closing of a stage performance. LikeA VirginDirectedby Mary Lambert, the video was shot in Venice & partly in New York City.Madonna was portrayed as a knowing virgin, a figment of the pornographic mind, as she walked through marble rooms, wearing a wedding gown. It alternated withscenes of a provocative-looking Madonna on board a gondola. The video startswith Madonna boarding on a boat from the Brooklyn Bridge & travels toVenice. As she steps down into the city, she moves like a stripper &undulated sinuously. She wears a black dress & blue pants with a number ofChristian symbol embedded jewelry around her neck. She sings the song at fullvolume as she watches a lion walking between the columns of the Piazza SanMarco of Venice & along the statue of Saint Mark. A number of game-playinginvolving carnival masks, men & lions are portrayed with allusions to 18thcentury practices. Madonna's image signified a denial of sexual knowledge, butalso portrayed her in simulated writhing on a gondola, thus underpinning thesimulation of deceit. The intrusion of a male lion confirmed the underlyingbestial discourse of both mythological fairy tale & pornographic sex. Madonna'slover wears the lion's mask & while cavorting with him, Madonna sheds theveneer of innocence & shows her propensity for wild animal passions. Havinginstilled desire, metaphorically she turns her lover into a Beast.
