"Just watch me break": The Federalist Power of Madonna.

Frantically turning the pages of my 'Introduction to Cultural Studies' book a few weeks ago, I stumbled upon a couple of great paragraphs written about Madonna, who became throughout the 90s one of the most studied famous persona/icon/artist in this specific academic field.

One wouldn't even have to mention it: Madonna has been the case-study of reference for women studies, queer studies, gender studies, social movements studies, youth studies, and cultural studies. Some go as far as claiming they are Madonna-logues. They theorise on social changes which were only made possible thanks to Pop music, most notably Madonna's contribution to the sexual emancipation of legions of young women. Some are funny : in 1989, John Fiske presents Madonna as the epitome of conformity, the perfect model of sociosexual homogeneity, the great female figure who's nothing more than the result of a patriarchal society.

He however states that the critical potential of her fans turns Madonna's Art into a 'struggle of semiotics' (sic?) , which is capable of deconstructing these cliché'd representations.

In other words, as a simple artist and pop icon, she was able to progressively embody major contemporary issues, which in itself is remarkable - I cannot really think of anyone else in the pop music field who literally represents freedom, a freedom taken so as to escape strict sexual and behaviourist patterns. No, not even Michael Jackson, James Brown, George Michael, Elton John or Prince. It worked for Madonna because she both fascinated men and encouraged women to be what they wanted to be. She's the perfect example of a woman who has put her pussy to good use in the long run, if you want to look at it this way.

I became an obsessive Madonna fan when I was about 12. I was sitting in front of the tv when her video for 'Human nature' came on. It was highly sexually explicit, provocative and fearless, and caught my attention. The next day I ran to the record store, and purchased 'Bedtime stories'. For the next three years, I was caught in an exclusive and sometimes unhealthy musical love for both Madonna's songs and Prince's genius.

My love and fascination for her faded away quickly, even if 'Ray of light' still remains one of my favourite 90s pop effort. But at times, I will stop and think about her work. I can't help but to be impressed. Last time it happened was at the Transmusicales festival last December. Imagine standing some kind of covered field, surrounded by some 10.000 extreme music afficionados, with a Dj mixing obscure electronica only. You are in the dark minus for those bright yellow and red spots of lights which make you blind every five seconds.

And suddenly the DJ decides to spin Madonna's latest single. For ironic purposes, to see the crowd's reaction, the really make people dance, as an 'in joke' with his fellow DJ friend, I'll never know. But you are absolutely impressed by the audience's reaction - this very arrogant, know-it-all, musically snob crowd-, for within seconds everyone is all:

put your hands in the air!

and sing along to the chorus!

and dance like there's no tomorrow!

Bath in the spotlights' aggressive shades and colours!

Feel the loooove!

And this very momentI decided Madonna's music was more than just music but had a transcendental aspect ot it. Somehow, because it's her (and granted, because it's well produced, and cleverely marketed, and etc), it works. It brings people together, and doesn't let them down, it makes them forget about everything else for a few minutes,

because it's her!

It makes people happy, and that's why Madonna IS the spirit of disco music. Because her music transport you to another time/spatial frame, and that's quite the accomplishment.

I do make a distinction between 'entertainners' and 'artists'.

I believe Madonna is now beyond both of these categories.