1988 was, to put it mildly, a challenging period for Madonna enthusiasts. For fans eagerly awaiting fresh material, it felt like an extended drought. The musical landscape was devoid of new Madonna tracks, leaving only the Who’s That Girl soundtrack and a remix album as echoes of her previous vibrancy. Even pop culture magazines like Smash Hits, usually brimming with Madonna content, were scraping the barrel, reviewing her Broadway stint in Speed The Plow to appease a parched fanbase. The glimmer of hope during this Madonna-less expanse was the rise of Kylie Minogue, whose posters, as 1989 approached, began to dominate teenage bedroom walls, including my own.
Then, like a bolt from the blue, Madonna returned! Her comeback wasn’t just a return; it was a full-blown artistic metamorphosis. Reinvention has always been a hallmark of successful artists, even in the late 80s. David Bowie, for instance, famously shifted personas and sounds between albums. But Madonna’s 1989 transformation for the Like A Prayer era was something altogether different. It wasn’t merely a shift; it felt like the arrival of a being from another dimension. And the most striking visual change? She was brunette.
The message was clear and emphatic, as if screamed from magazine covers: “Move over Kylie, I’m back!” Madonna was poised to unleash the Like A Prayer era upon an unsuspecting world. The first whispers of this seismic shift reached me, as I recall, through a small snippet in Smash Hits’ ‘Bitz’ section. It announced that Madonna’s new song would premiere within an extended Pepsi commercial on an upcoming Thursday night. For a 13-year-old fan, this news was a mixed bag of emotions. Excitement was quickly tempered by teenage realities. Remote control access was a parental privilege, and that particular Thursday was a Nana-sitting night, meaning TV control was even further out of reach. Adding to the technological hurdle, Nana’s house was equipped with a black and white television. For younger readers, yes, color TV wasn’t always a given. Black and white sets were more affordable, and renting televisions was common practice. The past, often romanticized, had its own set of limitations.
My initial reaction to the Pepsi ad, in retrospect, was surprisingly lukewarm. Madonna’s new look – brunette with an odd blonde streak – felt jarring and quickly discarded. The advert’s narrative itself was, to be kind, flimsy. It involved Madonna being transported into a vaguely 60s-esque setting, dancing amidst anachronisms, while a child version of herself – noticeably unlike the actual childhood photos imprinted in every fan’s memory – was magically transported to the present. The black and white TV, ironically, did little to diminish the visual experience, or lack thereof. However, amidst the underwhelming ad and questionable visuals, there was a saving grace: the song.
The irony is palpable when considering the Pepsi commercial’s fate – swiftly pulled from the airwaves due to the impending storm of controversy surrounding the Like a Prayer music video itself. Even as a young teenager, I instinctively dismissed the commercial as a piece of corporate fluff, recognizing that the true artistic statement was yet to come. Something significant, something far grander than a cola commercial, was brewing, signaled by the gritty, yet euphoric sound of the new song.
Because “Like a Prayer” was undeniably different. This wasn’t the Madonna of “Holiday” or “Like a Virgin.” The face might have been familiar, but the expressions were deeper, the voice imbued with a newfound maturity. Madonna had turned thirty during her hiatus, navigated a divorce; life had taken her to places she might have previously avoided, forcing her to confront truths she had perhaps kept at bay. This was a grown-up Madonna, and “Like A Prayer” was the sonic embodiment of a sometimes turbulent transition.
The song explodes into life with a jangling guitar riff – rumored to be Prince, a detail almost legally mandated to mention in any discussion of this track. Then, a resounding slam – a church door perhaps, or something equally weighty and symbolic, echoing the presence of something ancient and sacred. Intriguingly, the first vocal element isn’t Madonna herself, but the haunting harmonies of a choir. For a comeback single, and arguably her most celebrated song, ceding the opening to a choir is a bold move. It suggests a shift in perspective, a recognition that perhaps she isn’t the sole focus of the universe. This contemplation is fleeting, however, as Madonna’s voice enters almost immediately. “Life is a mystery,” she declares, “everyone must stand alone.” Thirty, divorced, the lyrics resonate with a poignant, almost gothic sensibility.
Lyrically, “Like A Prayer,” while not overtly complex, is profoundly moving in its directness. The metaphors, despite some interpretations suggesting a more carnal meaning, are relatively transparent. Madonna positions herself as both in control and surrendering to a force larger than herself. The song’s brilliance is woven into its layers: the iconic bassline, the soaring choir, and even the ad-libs, performed by a technically superior vocalist. Madonna is both the conductor and the passenger, student and sage, earthly and ethereal. The song’s apparent simplicity belies a structural complexity that is, frankly, audacious. Shall we indulge in a bit of geeky musical dissection? Absolutely.
(Note: Timings refer to the original album version, as on Celebration; the 7” single edit has slight variations in intro, outro, and tempo.)
00:00 After the initial guitar jangle (Prince, remember!) and the door slam, verse 1 begins with “Life is a mystery,” accompanied solely by the choir backing vocals.
00:36 The chorus erupts, marked by the full force of percussion.
00:55 Verse 2: “I hear your voice…” The percussion recedes, leaving a sparser arrangement.
01:29 Chorus returns, percussion driving the energy once more.
01:47 Verse 3: “Like a child…” Percussion largely disappears again, save for subtle wind chimes, making dancing to this section a potentially awkward endeavor. The verse concludes with “let the choir sing” before…
02:21 Chorus explodes again, drums are back, and the choir, having been invited to sing, delivers with power.
02:38 Chorus repetition, now with an exciting, tension-building alternative melody.
02:56 The bassline takes center stage, becoming more prominent (not Prince on bass this time). The choir intensifies, sounding increasingly fervent as Madonna revisits the first verse in a new key, creating a palpable sense of building anticipation.
03:21 Surprise! No chorus. Instead, a bridge or middle eight section emerges. While drawing on previous lyrical phrases, it introduces fresh energy and momentum. The choir is clearly energized, sensing the impending climax.
03:40 Another middle eight (or bridge?) as the choir takes over, delivering the legendary ad-libs. These 33 seconds are nothing short of sonic euphoria.
04:14 The initial bridge returns (twice), with call-and-response interplay with the choir. Madonna’s vocal performance here is arguably at its peak.
04:50 The refrain, Madonna steps back after a few lines, allowing the choir to dominate before the song fades out.
The first time hearing “Like A Prayer” in 1989 was an explosion of sensations. Pure exhilaration. Heart-racing excitement. Unadulterated joy.
1989 proved to be a pivotal year in my own life as well. September marked the transition from middle school to a more challenging upper school environment. Navigating adolescence was already complex, and upper school brought its own set of difficulties. Looking younger than my age, perceived as ‘too girly’, and coming from a less privileged background made fitting in a daily struggle. Reflecting on that period while writing this, I recognize a resilience I wasn’t fully aware of at the time. But even amidst personal challenges, “Like A Prayer” was a constant source of strength. “Everyone must stand alone,” Madonna sang, a sentiment that resonated deeply.
Caption: Madonna dramatically falls to the ground in the ‘Like a Prayer’ video, a moment of intense emotion and performance.
“Like A Prayer” was a watershed moment for Madonna, a game-changer in her career trajectory and pop music at large. Ironically, this bold critique of Catholicism was imbued with religious fervor and celestial grandeur. It was as if Madonna acknowledged the undeniable allure of religious iconography and melodies, while simultaneously hinting at a darker, more complex undercurrent.
And then there’s the music video. The controversy surrounding the “Like A Prayer” video has been extensively documented. Madonna dancing against burning crosses, witnessing a murder, and, most famously, kissing a saint figure – often referred to as ‘Martin de Porres’ but arguably intended to represent ‘Black Jesus,’ as director Mary Lambert clarified years later. My own access to the full video was initially limited. Unless Top of the Pops aired it in its entirety, which is possible, I wouldn’t have seen it fully until December 1990, upon acquiring The Immaculate Collection VHS. Imagine waiting nearly two years to experience the complete visual narrative! Thankfully, Smash Hits provided detailed coverage with screen captures, and snippets appeared elsewhere, offering glimpses into the controversial masterpiece.
The Brunette Look of “Like a Prayer” Madonna
Caption: Madonna gazing at the saint figure at the church gates in the ‘Like a Prayer’ video, emphasizing the religious and dreamlike atmosphere.
Brunette Madonna, despite being iconic for this era, often gets overshadowed by her more frequent blonde persona. Perhaps the darker hair evokes her roots, a past she’s less inclined to revisit. The “Like A Prayer” video look is surprisingly understated, suggesting a focus on the music’s message. Her dark curls frame a face that appears less heavily made-up than usual for Madonna, and for the era. Intriguingly, the Like A Prayer album cover itself omits her face, denying fans a brunette Madonna album sleeve, despite numerous photoshoots associated with the album that became Smash Hits posters. A brunette Madonna album cover wouldn’t surface until 2003’s American Life. Perhaps this visual restraint was a subconscious choice, ensuring the focus remained squarely on the powerful music of Like A Prayer.
The “Like a Prayer” Controversy: Beyond the Kiss
Caption: Madonna powerfully singing in front of burning crosses in the controversial ‘Like a Prayer’ music video, symbolizing protest and religious tension.
The central controversy of the “Like A Prayer” video revolved around Madonna’s interaction with the ‘Black Jesus’ figure. The outrage stemmed from varying degrees of bigotry – some objecting to the interracial intimacy, others to the sacrilege against religious iconography. Christian conservatives, including the Pope, were vocal in their condemnation, particularly incensed by the scene set within a church, albeit a fabricated one. Beyond the kiss, the video also featured stigmata – released just weeks before Easter – the depiction of a woman’s murder, and the wrongful arrest of a Black man. By portraying the immediate arrest of a Black man for the crime while the actual perpetrators, white, remained free, Madonna highlighted the deeply ingrained racial biases within law enforcement, a stark reality even today. Confronting audiences with uncomfortable truths rarely elicits universal praise, and Madonna, especially in the 1980s, often used her art as a mirror reflecting societal prejudices. The burning crosses, initially symbols of Scottish clan warfare before being appropriated by the Ku Klux Klan, added another layer of potent imagery.
Madonna managed to provoke a wide spectrum of reactions. While she asserted her intention was to address racism, many critics felt she exploited racial profiling for shock value rather than genuine social commentary. As a young white viewer at the time, the video felt daring and progressive, reflecting the racial dynamics I observed in my own community. However, with adult perspective, it’s clear that some aspects of the messaging are clumsy and potentially exploitative. The portrayal of Madonna as a savior figure, in retrospect, feels somewhat cynical. The video’s purpose was undoubtedly to provoke, and in that, it succeeded, for better or worse.
Dreamlike Themes in the “Like a Prayer” Video
Caption: The saint figure tenderly kisses Madonna in the ‘Like a Prayer’ video, a scene that sparked controversy and questions about religious and racial boundaries.
As the song title suggests, the video operates “like a dream,” fluidly shifting between realism and fantasy. The saint figure oscillates between tangible presence and statue. Stigmata appears spontaneously. The saint exits the church, then reappears in a different form. The jail cell seems to exist within the church itself. The arrested man is the saint. Madonna kisses him, and he vanishes as the church empties. Madonna dances amidst burning crosses. The narrative is intentionally disorienting, defying linear logic and creating a sense of unease.
Choreography is minimal, more of a spontaneous, emotive movement. A key moment is Madonna’s descent to her knees during the choir’s powerful performance, evoking the fervent physicality of evangelical worship.
The video is rich with creative highlights, deserving near-perfect praise. However, the ending, where the set transforms into a stage, breaking the fourth wall with actors bowing and ‘The End’ appearing, feels somewhat jarring. While fitting the dreamlike, illusory quality, it might have been intended to soften the video’s darker themes, or perhaps to underscore the unlikelihood of the ‘happy ending’ – the Black man’s release – in reality.
Lingering Questions about “Like a Prayer”
Caption: Humorous shot of a pedestal fan in the church set of Madonna’s ‘Like a Prayer’ music video, a quirky detail noticed by fans.
Even after decades, the “Like A Prayer” video and songs continue to intrigue and provoke questions:
-
Why is Madonna’s lip-syncing off until the second verse? Perhaps the chaos of fleeing murderers takes precedence.
-
The choir member who catches Madonna during her staged fall seems a bit too eager to drop her again. A subtle Kylie fan allegiance?
-
Where exactly is Madonna emerging from when she witnesses the murder? It appears to be a courtyard fire exit, adding to the surreal setting.
-
Why is the Pepsi commercial choreography more elaborate than in the actual video? The commercial’s cutesy street dancing dilutes the song’s gravitas. Some of this commercial choreography was later repurposed for the Blond Ambition tour.
-
Are the ad-lib vocalists in the Pepsi ad and the official video the same? Neither is Niki Haris, Madonna’s usual backing singer; the vocals are by a member of the Andraé Crouch Choir.
-
Is the saint figure Madonna kisses on the altar the ‘arrested man’ or ‘saint’ version? The clothing suggests the ‘arrested man.’
-
Who decided a pedestal fan from Argos was essential church décor?
-
How does Madonna manage to kiss the saint’s feet before opening the gates at 01:35 in the video?
-
Is the 2003 Re-Invention Tour performance the only instance of Madonna performing “Like A Prayer” live as a brunette?
“Like A Prayer,” as both a song and era, remains a landmark in Madonna’s career and pop culture history. Its fusion of personal expression, religious iconography, and social commentary cemented its place as not just a collection of songs, but a cultural phenomenon.
