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Detailed new biography positively presents Madonna as “flawed character”

Madonna: Like an Icon by: Lucy O’Brien Harper Entertainment, 2007 340 pages ISBN numbers: 978–0–06–089896–0 ISBN–10: 0–06–089896–8

Madonna may only be truly herself when she is performing.

That’s the conclusion of Lucy O’Brien, a writer, publisher and popular music theorist who has extensively researched Madonna’s career since 1985. O’Brien’s biography covers the entire life of the iconic star, with whom she feels a connection based on similarities in their backgrounds and a shared passion for music, feminism and popular culture. O’Brien has travelled far and interviewed many about her subject. The result is the fascinating Madonna: Like an Icon with 32 full colour pages, extensive notes, discography and bibliography.

In her introduction, the author describes her first encounter with Madonna on television, her resulting fascination as she realizes a strong connection with the emerging star, and her decision to follow Madonna’s career closely to get to the “heart of Madonna’s motivations”. She describes her as “the best-selling female artist of all time”, one with a “shifting identity”, but one who becomes most herself when performing. The introduction sparks the reader’s interest and encourages further exploration to uncover Madonna’s intriguing character. The writing is lucid and varied, flows along at a brisk pace, and keeps one’s attention riveted.

The text is divided into three sections, creatively titled “Baptism”, “Confession” and “Absolution”. These headings reference traditional sacraments in the Catholic religion, which dominated Madonna’s childhood experience. Within each section, a number of equally aptly titled chapters provide the readers with minute details about every aspect of Madonna’s childhood, adolescence, early struggles as an artist, budding career, personal life and inimitable success as a musician and celebrity. Sample chapter titles from the “Baptism” section are “The Death of Madonna”, and “Jam Hot”, which entice the reader to find out the reasons behind these names.

The first section reveals significant facts about the star’s childhood, adolescence and early adulthood which elucidate Madonna’s motivations and personality quirks. She is a chameleon-like figure who absorbs influences and fluidly changes her persona. Her treatment of others in her orbit often seems perfunctory and self-serving. Anyone with a cursory knowledge of Madonna and her accomplishments will be curious as to how she maintains her elevated status in view of such complex, often indiscreet behaviors. The author’s extensive details of Madonna’s background and experiences adeptly explain the star’s behaviour. O’Brien relates her material with many direct quotes, eye-witness accounts, and insider reports, giving the text authenticity. One has the sense of reading an extensive magazine expose about the singer, and is left to conclude that Madonna’s singular experiences coupled with her sensitivity have almost inevitably propelled her along her chosen path. At this section of the biography the writing is fluid and the facts revealed are very interesting so it becomes difficult to put down. Later on, in the third section, Madonna’s career has been established and much of the text is devoted to detailed descriptions of recording sessions, tour repertoires, and artistic decisions. One would have to be a very devoted music lover or Madonna fan to keep the earlier level of interest.

In order to probe the “heart of Madonna’s motivations”, throughout the biography O’Brien reveals many personal details about the singer--details of deaths in her family, drug use amongst friends, sexual assault, lovers, lesbian relationships, unwanted pregnancies, marriage breakdown and attitudes towards managers, coworkers or close family members. There is a feeling of intrusion into the star’s life, almost “too much information”. One almost begins to feel embarrassed for her as so much of her private life is revealed, and yet her antics expose her as one who does not mind laying her soul bare. One is left with the strong impression that for celebrities like Madonna, any publicity is good publicity. For those who steal glimpses at tabloid covers in the supermarket, this book is a very satisfying exploration of sometimes salacious material.

While O’Brien’s positive view of Madonna is constant, the biography does not gloss over vices or present endless superlatives. Instead, it presents her as a flawed character. There are numerous first-hand accounts of Madonna’s rudeness to others, her inexplicable dismissal of former close friends and associates, and her somewhat puzzling frugality with money in times of financial success. There are few glowing first-hand accounts by her closest family members. The author partially excuses some of these faults as evidence of Madonna’s need to “protect herself”, but admits that she is “flawed”, and “very human”. O’Brien intends a fair and reasoned summary of Madonna’s character so one comes away with an objective look into the star’s life, with enough details to form one’s own conclusions about her and the forces behind her meteoric rise to the status of contemporary icon. Although I balked at O’Brien’s suggestion that Madonna’s next endeavour may include running for public office, she does convince the reader that Madonna is a force to be reckoned with. For anyone with a strong interest in Madonna, the music business, feminism, or contemporary popular culture, O’Brien’s biography provides an interesting sojourn.

Sherida Charles is a Greater Vancouver artist and teacher. She first encountered Madonna’s music in 1984, when she and her university friends used to go out dancing.