"Like a Virgin" is a song by American singer Madonna from her second album of the same name. It was released on November 6, 1984 by Sire Records, as the first single from the album. The song appears on the greatest hits compilation albums The Immaculate Collection (1990) and Celebration (2009). It was written by Billy Steinberg and Tom Kelly and produced by Nile Rodgers; Steinberg said that the song was inspired by his personal experiences of romance. It was chosen for Madonna by Michael Ostin of Warner Bros. Records after listening to a demo sung by Kelly. However, Rodgers initially felt that the song did not have a good enough hook and was not suitable for Madonna, but subsequently changed his opinion after the hook was stuck in his mind.

Musically "Like a Virgin" is a dance-oriented song, composed of two hooks. Madonna's voice is heard in a high register while a continuous arrangement of drums are heard along the bassline. The lyrics of the song is ambiguous and consists of hidden innuendo. In sexual terms, the lyrics can be interpreted in different ways for different people. "Like a Virgin" received positive reviews from contemporary as well as old critics, who frequently called it as one of the defining songs for Madonna. It became her first number-one single on the Billboard Hot 100, while reaching the top of the charts in Australia, Canada and Japan and the top-ten of the other countries.

The music video portrayed Madonna sailing down the riverways of Venice in a gondola, as well as roaming around a palace wearing a white wedding dress. With the video, scholars noted Madonna's portrayal of a sexually independent woman, the symbolism of the appearance of a man with lion's mask to that of Saint Mark, and compared the eroticism of the video to the vitality of the city of Venice. Madonna has performed the song in six of her concert tours, most recent being the MDNA Tour in 2012. The majority of the time, her performances of "Like a Virgin" has been associated with strong reaction and uproar from the media.

"Like a Virgin" has been covered by a number of artists and has appeared in feature films such as Reservoir Dogs, Moulin Rouge! and Bridget Jones: The Edge of Reason. The song is noted for its profound effect on society. Family groups sought to ban it as they believed that the song promoted sex without marriage. On the other hand, Madonna's public persona of an indomitable, sexually unashamed, supremely confident woman was widely accepted by the younger generation who emulated her style and fashion. Scholars have credited "Like a Virgin" as the song which cemented her position as a pop culture icon.

Background[link]

"Like a Virgin" was written by Billy Steinberg and Tom Kelly. In an interview with the Los Angeles Times, Steinberg explained that the song was not only not written for Madonna, it was not even written for a female singer but was inspired by his personal experiences.^[2]

I wasn't just trying to get that racy word virgin in a lyric. I was saying ... that I may not really be a virgin – I've been battered romantically and emotionally like many people – but I'm starting a new relationship and it just feels so good, it's healing all the wounds and making me feel like I've never done this before, because it's so much deeper and more profound than anything I've ever felt.^[2]

Kelly recorded the demo, and invited Michael Ostin of Warner Bros. Records' A&R department to his house to listen to it. Steinberg and Kelly played four or five tunes for Ostin, and further discussed "Like a Virgin" – they were not sure for which artist the song would be suitable.^[2] Due to meet with Madonna the next day to discuss her sophomore album, Ostin intended on playing the demo to her, believing the lyrics and the groove of the song were perfect for Madonna. "When I played it for Madonna she went crazy, and knew instantly it was a song for her and that she could make a great record out of it," Ostin recalled.^[2] In 2009, Rolling Stone interviewer Austin Scaggs asked Madonna what her first impressions were after listening to the demos of "Like a Virgin" and "Material Girl". Madonna replied:

I liked them both because they were ironic and provocative at the same time but also unlike me. I am not a materialistic person, and I certainly wasn't a virgin, and, by the way, how can you be like a virgin? I liked the play on words, I thought they were clever. They're so geeky, they're cool. I never realised they would become my signature songs, especially the second one.^[3]

Recording and production[link]

In mid-1984, Madonna met producer Nile Rodgers at the Power Station studios (now Avatar Studios) in New York.^[4] Rodgers initially did not want Madonna to record "Like a Virgin", as he felt that the lyric 'like a virgin' was not a terrific hook; according to him it was not an all-time catch phrase.^[2] Madonna dismissed the song after hearing the demo, which she thought sounded "really stupid and retarded". Later, Madonna had second thoughts: "It's weird because I couldn't get it out of my head after I played it, even though I didn't really like it. It sounded really bubble-gummy to me, but it grew on me. I really started to like it, [...] But, my first reaction to it was, 'This is really queer.'"^[5]

Rodgers credits Madonna with recognizing the song's potential, he later said: "I handed my apology to Madonna and said, 'you know... if it's so catchy that it stayed in my head for four days, it must be something. So let's do it.'" Hence the song was finally recorded.^[2][5] Steinberg reflected on the recording process and commented that:

When Madonna recorded it, even as our demo faded out, on the fade you could hear Tom saying, "When your heart beats, and you hold me, and you love me..." That was the last thing you heard as our demo faded. Madonna must have listened to it very, very carefully because her record ends with the exact same little ad-libs that our demo did. That rarely happens that someone studies your demo so carefully that they use all that stuff. We were sort of flattered how carefully she followed our demo on that.^[2]
It was the perfect union, I knew it from the first day in the studio. The thing between us, man, it was passionate, it was creative. [...] Madonna was sometimes temperamental during the recording, everyone told me she was a terrible ogre, but I thought she was great.^[6]

Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique at the time which Corsaro believed was going to be the future of recording because test pressings always sounded consistent.^[4] To ensure this, Corsaro used a Sony 3324 24-track digital tape recorder and a Sony F1 two-track for the 12-bit mix. Madonna recorded the lead parts in a small, wooden, high-ceilinged piano room at the back of Studio C, also known as Power Station's "R&B room".^[4]

Corsaro then placed gobos around her while using the top capsule of a stereo AKG C24 tube microphone, with a Schoeps microphone preamplifier and a Pultec equalizer. Once the track met with everybody's approval, Robert Sabino added the keyboard parts, playing mostly a Sequential Circuits Prophet-5, as well as some Rhodes piano and acoustic piano, while Rodgers also played a Synclavier. Madonna, although not required, was present every minute of the recording sessions and the mixing process, Corsaro commented: "Nile was there most of the time, but she was there all of the time. She never left".^[4]

Composition[link]

	"Like a Virgin" (1984) noicon A 20 second sample of the song. Madonna sings the chorus which is supported by a continuous arrangement of drums and synth along the bassline.
Problems listening to this file? See media help.

Composed as a dance-oriented song, the intro of "Like a Virgin" consists of two hooks.^[7] According to the sheet music published at Musicnotes.com by Alfred Publishing, the song is set in common time, with a moderately dance-groove tempo of 118 beats per minute. It is composed in the key of F major with Madonna's voice ranging from the tonal nodes of high-tone G₃ to low-tone C₅.^[8] According to Rikky Rooksby, the bassline on the intro is a re-working of the three-note bass motif present in the Four Tops' 1965 song "I Can't Help Myself (Sugar Pie Honey Bunch)", where Chuck Berry provided the chord arrangement. The bassline also has some similarity with Michael Jackson's "Billie Jean" especially during the second verse. Madonna sings the song in her high register while drum arrangement by Tony Thompson is heard alongside the bassline, which is also supported by a synthesizer arrangement, giving it a circular progression through all the seven diatonic chords of I–IV–VII^o–III–VI–II–V–I.^[7]

Regarding the lyrics, Madonna had commented: "I like innuendo, I like irony, I like the way things can be taken on different levels." This statement highlighted the ambiguity of the lyrics of the song, which is hung on the word 'like'.^[7] Rooksby interpreted the meaning of the song in different ways to different people. He said that for women who were really virgins, the song encouraged them to hold their compose before they engaged in their very first sexual act. For sexually experienced girls, the song meant that they would be able to re-live the feelings of their first sexual encounter all over again.^[7] For the boys, the song presented a narcissistic image of them making the girl forget her past encounters and enjoy the sexual act as if for the first time.^[7]

Critical reception[link]

Stephen Thomas Erlewine from Allmusic said that "Like a Virgin" was a definitive statement. He added that the song, and "Material Girl" from the same album, made Madonna an icon. He added that both overshadowed the rest of the record, "because they are a perfect match of theme and sound."^[9] Debbie Miller from Rolling Stone commented that Madonna's voice "doesn't have the power or range of, say, Cyndi Lauper, but she knows what works on the dance floor."^[10] Dave Karger from Entertainment Weekly, while reviewing the album in 1995, felt that the song came off a bit repetitious and immature when compared to the present context.^[11] Jim Farber from Entertainment Weekly felt that the song raised the "madonna-whore" ante.^[12] Sal Cinquemani from Slant Magazine called the song a classic.^[13] Tony Power from Blender listed the song as a standout track from the album.^[14] Alfred Soto from Stylus Magazine felt that the song was chic in its style.^[15] Katie Henderson from The Guardian commented that the song was saucy in nature.^[16] Michael Paoletta from Billboard commented that the song sustained a "fevered dance-rock momentum."^[17]

In 2000, "Like a Virgin", was honored by Rolling Stone and MTV, as the fourth song on their list of the "100 Greatest Pop Songs".^[18] It was voted ten on VH1's 100 Best Songs of the Past 25 Years.^[19] The song was listed at ninety-five on Billboard Hot 100 All-Time Top Songs.^[20] In 2003, Madonna fans were asked to vote for their 'Top 20 Madonna singles of all-time', by Q magazine. "Like a Virgin" was allocated the fifth spot on the list.^[21]

Chart performance[link]

"Like a Virgin" became Madonna's first of 12 number-one hits on the Billboard Hot 100, where it debuted at number 48 on the issue dated November 17, 1984.^[22] The song reached number one on the Billboard Hot 100 chart the week of December 22, 1984 and remained there for six weeks.^[23] "Like a Virgin" was certified gold by the Recording Industry Association of America (RIAA) on January 10, 1985, for shipping a million copies across United States—the requirement for a gold single prior to 1989.^[24][25] The song also reached number-one on the Hot Dance Music/Club Play chart, and was her first top-ten entry on the Hot R&B/Hip-Hop Songs chart at position nine.^[26] It placed at two on the year-end chart for 1985, with Madonna becoming the top pop artist for the year.^[27] In Canada, the song debuted on the RPM Singles Chart at 71 on the RPM issue dated November 24, 1984,^[28] and reached the top of the chart on January 19, 1985.^[29] It was present on the chart for a total of 23 weeks^[30] and ranked thirty-five on the RPM Year-end chart for 1985.^[31]

The song debuted on the UK Singles Chart on November 17, 1984 at number 51, and peaked at number three on January 12, 1985; it spent a total of 18 weeks in the chart,^[32] and was certified gold by the British Phonographic Industry (BPI) for shipment of 400,000 copies across United Kingdom.^[33] According to The Official Charts Company, the song has sold 780,000 copies there.^[34] Across Europe, the song peaked within the top-ten of the charts of Austria, Belgium, France, Germany, Ireland, Italy, Netherlands, Norway and Switzerland.^{[35][36][37][38][39]} "Like a Virgin" became Madonna's first number-one song on the Australian Kent Music Report chart^[40] and on the Japanese International Singles Chart.^[41] It peaked at number-two on the New Zealand Singles Chart, 15 on the Swedish charts and peaked the Eurochart Hot 100 Singles.^[35][42]

Music video[link]

The music video, directed by Mary Lambert, who worked with Madonna in her video for "Borderline", was shot in Venice, Italy and partly in New York City in July 1984. 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 with scenes of a slutty-looking Madonna on-board a gondola.^[43] She commented, "[Mary] wanted me to be the modern-day, worldly-wise girl that I am. But then we wanted to go back in time and use myself as an actual virgin."^[44] The video starts with Madonna boarding on a boat from the Brooklyn Bridge and travels to Venice. As she steps down into the city, she moves like a stripper and undulated sinuously. She wears a black dress and blue pants with a number of Christian symbol embedded jewellery around her neck.^[45] She sings the song at full volume as she watches a lion walking between the columns of the Piazza San Marco of Venice and along the statute of Saint Mark.^[45] A number of game-playing involving carnival masks, men, lions, werelions are portrayed with allusions to eighteenth-century practices and Saint Mark.^[46] Sheila Whiteley, author of Women and popular music: sexuality, identity, and subjectivity, felt that Madonna's image signified a denial of sexual knowledge, but also portrayed her in simulated writhing on a gondola, thus underpinning the simulation of deceit. The intrusion of a male lion, confirmed the underlying bestial discourse of both mythological fairytale and pornographic sex. Whiteley observed that in the video, Madonna's lover wears the lion's mask and while cavorting with him, Madonna sheds the veneer of innocence and shows her propensity for wild animal passions. Having instilled desire, metaphorically she turns her lover into a Beast.^[47] Madonna commented about shooting with the lion:

"The lion didn't do anything he was supposed to do, and I ended up leaning against this pillar with his head in my crotch... I thought he was going to take a bite out of me so I lifted the veil I was wearing and had a stare-down with him and he opened his mouth and let out this huge roar. I got so frightened my heart fell in my shoe. When he finally walked away, the director yelled 'Cut' and I had to take a long breather. But I could really relate to the lion. I feel like in a past life I was a lion or a cat or something."^[44]

With the video, scholars noted the expression of Venetian vitality in it. Margaret Plant (2002) commented: "With the lion of Saint Mark and the virginal city to the forefront, old sacrosanct Venice was propelled into a pop world of high-energy gyration, and endless circulation."^[48] She also noted that Saint Mark was a symbol of a time when sexual crime was punished severely in Venice and acts of rape, homosexuality and fornication incurred the loss of a nose, a hand or sometimes life itself. Madonna appeared to challenge such brutality and stretch the boundaries of tolerance in the video. As the lion-man carried Madonna to the Venetian palace, it symbolized an instance of the Saint taking the simulated Virgin, where Madonna became a symbol for La Serenissima, the Republic itself.^[49] Plant also noted that Madonna, in the video, restored the energy and eroticism of Venice, which had its name taken from Venus in familiar elision. As she exchanged her blue top for a black one during the video, Madonna demonstrated her mastery and bravery of the city, which had a reputation of turning out its visitors as victims.^[45] Carol Clerk (2002) commented that with the video, "Madonna's days as a cheap and cheerful video star were over. She was moving into serious spectacle."^[6]

In 1985, a live music video of "Like a Virgin" from The Virgin Tour filmed in Detroit, was used to promote Live – The Virgin Tour video release. This version was nominated for Best Choreography at the 1985 MTV Video Music Awards.^[50] The live performance of "Like a Virgin" from the Blond Ambition World Tour in Paris, France was released as a music video on May 9, 1991 to promote the documentary film Truth or Dare. This version was nominated for two awards at the 1991 MTV Video Music Awards in the categories of Best Female Video and Best Choreography.^[51] This video was ranked at position sixty-one on VH1's 100 Greatest Videos.^[52]

Live performances[link]

Madonna performing "Like a Virgin" on the 2006 Confessions Tour, riding on the carousel S&M horse.

Madonna performed "Like a Virgin" at the first MTV Video Music Awards in 1984, where she appeared on stage atop a giant wedding cake dressed in a wedding dress, adorned with the infamous "Boy Toy" belt buckle, and veil. The climax of her risqué performance found her humping and rolling around on the stage. To this day, the performance is noted as one of the most iconic and biggest performances in MTV's history.^[6][53] The song has also been included in five of Madonna's eight concert tours. For 1985's The Virgin Tour, Madonna again donned wedding attire and performed a straight version of the song featuring a quotation from Michael Jackson's similar-sounding Motown-style single, "Billie Jean". Balloons floated out towards the audience as she rolled around the stage, carrying a wedding bouquet in her hand.^[6] The performance was included in the VHS release Live – The Virgin Tour recorded in Detroit, Michigan.^[54] In the 1987's Who's That Girl World Tour, the song was given a lighthearted comedic theme and included quotations from The Four Tops' "I Can't Help Myself (Sugar Pie Honey Bunch)". Madonna took off her outfit piece by piece, until she was standing in a black corset, and ended the performance while flirting with a young male dancer who played her bridegroom.^[55] Two different performances of the song on this tour can be found on the videos: Who's That Girl – Live in Japan, filmed in Tokyo, Japan, on June 22, 1987,^[56] and Ciao, Italia! – Live from Italy, filmed in Turin, Italy, on September 4, 1987.^[57]

For the 1990 Blond Ambition World Tour, the song was re-invented with a middle-eastern arrangement and risqué choreography which found Madonna wearing a gold corset, while simulating masturbation on a red silk bed, accompanied by two male dancers who wore the infamous cone bras designed by Jean-Paul Gaultier. The performance garnered a lot of attention, particularly when police in Toronto, Canada, threatened to arrest Madonna and charge her with indecency unless she altered the performance. Madonna refused and the show went ahead unaltered. The threatened arrest failed to materialise.^[58] Two different performances were taped and released on video, the Blond Ambition – Japan Tour 90, taped in Yokohama, Japan, on April 27, 1990,^[59] and the Live! – Blond Ambition World Tour 90, taped in Nice, France, on August 5, 1990.^[60] During The Girlie Show World Tour in 1993, Madonna wore a tuxedo and adopted a Marlene Dietrich-like persona, singing the song with a thick German accent. She sang the word 'virgin' as '(w)irgin', while including a quotation from Dietrich's signature tune, "Falling in Love Again (Can't Help It)". The overplayed accent and three-quarter time signature gave the performance a sense of parody. Dietrich's look in the 1930 film Morocco inspired the whole performance.^[61] The performance was included on The Girlie Show – Live Down Under home video release, recorded on November 19, 1993 at Sydney, Australia.^[62]

In April 2003, while promoting her ninth studio album American Life, an impromptu acoustic performance of the song was done by Madonna at New York's Tower Records.^[63] Madonna's performance of "Hollywood" at the 2003 MTV Video Music Awards recreated the 1984 performance of "Like a Virgin". The performance started with Britney Spears emerging from a giant cake singing the first few lines. She was later joined by Christina Aguilera and both of them writhed on the stage while singing. Madonna appeared on the cake dressed as a groom and sang "Hollywood", and ultimately kissed both Spears and Aguilera on the mouth.^[64] The performance was met with strong reaction from media.^[65]

During the Confessions Tour in 2006, the song was given a horse riding theme.^[66] Madonna wore a tight, black body suit, and performed the song atop a studded leather S&M carousel horse, while X-rays of her broken bones, the result of a horse-riding accident on her forty-seventh birthday, flashed on the screens behind her.^[67][68] The performance was included on The Confessions Tour live album, released in 2007.^[69] In 2008's Sticky & Sweet Tour, Madonna sang the song in Rome and dedicated the song to Pope Benedict XVI, commenting "I'd like to dedicate this song to the Pope, I know he loves me" and saying that she is a child of God. She asked the audience to sing with her.^[70]

Cover versions[link]

In 1985 The Lords of the New Church recorded "Like a Virgin" for their compilation album Killer Lords. Gary Hill from Allmusic called the composition as "very funny and obnoxious".^[71] The same year, "Weird Al" Yankovic parodied the song with his single "Like a Surgeon" from the album Dare to Be Stupid. Eugene Chadbourne from Allmusic commented: "Turning the tacky Madonna hit inside out and upside down, Yankovic comes up with a hilarious satire of the medical profession."^[72] In 1991 Glaswegian band Teenage Fanclub covered "Like a Virgin" on their second album, The King.^[73] The song also appears on the soundtrack of the 2001 film Moulin Rouge! and is sung by the characters Harold Zidler, played by Jim Broadbent, and The Duke of Monroth, played by Richard Roxburgh.^[74] In 2004 The Meat Purveyors covered the song in a bluegrass medley, pairing it with Madonna's "Lucky Star" and "Burning Up."^[75]

In the opening scene of the 1992 film Reservoir Dogs, Quentin Tarantino (as Mr. Brown) was shown talking about the song, and has an insight that "Like a Virgin" is a "metaphor for big dicks". When Madonna met Quentin Tarantino at a party, after the film was released, she gave him an autographed copy of her Erotica album, signing "Quentin: it's about love, not dick".^[58] In the 2004 film Bridget Jones: The Edge of Reason, the title character teaches the song to women in a Thai prison, after becoming annoyed that they are singing the song badly. She tells them, "Madonna is nothing if not a perfectionist!"^[76] In one of the episodes of the TV show Grey's Anatomy, the character of Cristina Yang hums the song during surgery to take the focus off herself. However, when her assisting surgery, Lexie Grey starts singing along, Christina looks venomously at her until she quiets down.^[77] The song was covered in the 2010 Glee episode "The Power of Madonna" by the cast, including Jonathan Groff, Jayma Mays, Lea Michele, Cory Monteith, Matthew Morrison, and Naya Rivera, during a dream sequence by their characters.^[78] The same year, Elton John performed a cover version of "Like a Virgin" at the Rainforest Fund Benefit Concert.^[79] On September 9 2011, Vanessa Carlton posted a link to a snippet of her stripped-down cover of the song in her Twitter account. In 2012 Korean girl group 2NE1 released a cover of the song for their debut Japanese album Collection.^[80] On April 29, 2012, JoJo performed a cover version of "Like a Virgin" at the LACMA for the Harvard Westlake Charity.

In 2009, the song was namechecked in the Train hit single Hey, Soul Sister with the lyric I believe in you/Like a virgin you're Madonna/And I'm always gonna wanna blow your mind ^[81]

Legacy[link]

The controversial performance of "Like a Virgin" during the Blond Ambition World Tour in 1990, in where she simulated masturbation was seen as a ground-breaking point in Madonna's career.

After the song and its video were released, "Like a Virgin" attracted the attention of family organizations who complained that the video and the song, promoted sex without marriage and undermined family values, offering an unsavoury image of Madonna as a whore.^[82] Outraged moralists condemned her as a sex kitten and sought to ban the song and the video.^[83] Conservatives were angered that Madonna dared to portray religious symbolism and the virginal wedding attire in a sexual context. Clerk noted the song attracted an unprecedented level of attention from social groups compared to any female singer's song. "The main problem was that most of them listened superficially to the lyric of the song, imagining that it detailed or called on an innocent's sexual initiation." While one section of the population were outraged at the scandal, other were taking joy at the very notion of a virginal Madonna, who retorted by saying,

I was surprised by how people reacted to "Like a Virgin" because when I did that song, to me, I was singing about how something made me feel a certain way – brand-new and fresh – and everyone interpreted it as I don't want to be a virgin anymore. Fuck my brains out! That's not what I sang at all. "Like a Virgin" was always absolutely ambiguous.^[6][7]

The song's influence was most profound on the younger generation. Madonna's public persona of an indomitable, sexually unashamed, supremely confident woman struck a chord with them. Biographer Andrew Morton noted that most of Madonna's admirers were females, who were born-and-brought-up with an image of old-fashioned stereotypes of women as virginal brides, or as whores, or with feminist values that rejected the use of a woman's looks for her self-advancement.^[84] Author William McKeen of Rock and roll is here to stay: an anthology commented that with the song, Madonna became the last word in attitude and fashion for young girls of that time. He compared that image of Madonna with that of Barbie. McKeen explained that Madonna intermixed middle-class ideas of femininity with examples of what femininity meant to her, which was having equal opportunity. She offered an aggressive sexuality that implied it was acceptable for women not only to initiate relationships, but also enjoy them.^[85] In addition, according to Morton, at a time when eighties fashions were promoting flat-chested, stick-thin women as ideals of beauty, the more curvaceous Madonna made average girls feel that it was fine to be in the shape they were. A new word called 'Madonna wannabe' was introduced to describe the thousands of girls who tried to emulate Madonna's style. At one point, Macy's allotted an entire floor area to the sale of Madonna-look clothing, including cut-off gloves, rubber bangles and lacy leggings, which prompted Madonna herself to later comment "that's a riot, because I was just making the best of my situation." University professors, gender-studies experts and feminists earnestly started discussing her role as a post-modernist style and cultural icon. According to author Debbi Voller, "Like a Virgin" gave rise to the icon Madonna.^[84]

Track listing[link]

Credits and personnel[link]

• Madonna – vocals
• Billy Steinberg – lyricist
• Tom Kelly – writer
• Nile Rodgers – producer, drum programming, guitar
• Bernard Edwards – bass
• Tony Thompson – drums
• Rob Sabino – bass synthesizer, assorted synthesizers
• Jellybean Benitez – 12" remixer

Credits adapted from the album liner notes.^[1]

Charts and certifications[link]

Notes[link]

References[link]

External links[link]

• Madonna "Like a Virgin" lyrics MTV
• Madonna "Like a Virgin" music video MTV

Like a Virgin is the second studio album by American singer-songwriter Madonna, released on November 12, 1984 by Sire Records. It was re-released worldwide in 1985, with the inclusion of the bonus track "Into the Groove". In 2001, Warner Bros. Records released a remastered version with two bonus remix tracks. After the release of her self-titled debut album, Madonna wanted to solidify her future in the music business, by building on the success of the first album. She decided to become one of the record producers, but Warner Bros. was not ready to give her the artistic freedom that she wanted. Nile Rodgers was chosen as the primary producer of the album, due to his work with David Bowie.

The album was recorded at Power Station Studio in New York at a quick pace. Rodgers enlisted the help of his former Chic band mates Bernard Edwards, who was the bassist, and Tony Thompson, who played drums; they appeared on several tracks of the album. Rodgers decided to be the guitarist, when Edwards requested him to do so, in exchange of their help. Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique introduced at that time. The cover sleeve and images were shot by Steven Meisel. Madonna wanted the album title and the cover image to make provocative link between her own religious name Madonna, as the Roman Catholic title for Jesus' mother Mary, and the Christian concept of the virgin birth.

Like a Virgin is not that much of a musical departure from Madonna's first album, but she felt that the material was stronger. Along with Rodgers, Madonna also collaborated with her former boyfriend Steve Bray, who co-wrote many songs on the album. Consisting of dance-pop oriented music, the songs also incorporated New Wave. After its release, Like a Virgin received mixed reviews from the critics, but was a commercial success. It became Madonna's first number one album on the Billboard 200, while reaching the top of the charts in Germany, Italy, Netherlands, New Zealand, Spain and the United Kingdom. The Recording Industry Association of America (RIAA) certified it diamond for shipment of ten million copies across the United States. Worldwide it has sold 21 million copies, becoming one of the best-selling albums of all time.

Five singles were released from the album, with "Like a Virgin", "Material Girl" and "Into the Groove" becoming worldwide hits. To promote the album, Madonna embarked on The Virgin Tour, which had shows in cities of North America only. Like a Virgin has attained significance as a cultural artifact of the 80s. Madonna proved that she was not a one-hit wonder and was able to provide herself with a permanent footing in the music world. Her songs became a lightning rod for both criticism by conservatives and imitation by the younger female population, especially "Material Girl" and "Like a Virgin". According to author J. Randy Taraborrelli, "Every important artist has at least one album in his or her career whose critical and commercial success becomes the artist's magic moment; for Madonna, Like a Virgin was just such a defining moment".

Background[link]

Nile Rodgers (pictured) was chosen as the primary producer of the album, due to his work with David Bowie.

A former dancer and fixture on the New York club scene, Madonna Louise Ciccone became known to the world simply as Madonna, with the release of her 1983 self-titled debut album Madonna. Fueled by hit songs like "Holiday", "Borderline" and "Lucky Star", the album was one of the best selling of the year and helped Madonna become one of the most exciting new artists of the '80s.^[3] When she started work on her second album, Madonna felt that her first album had succeeded in introducing her "street-smart dance queen" persona, and she wanted to solidify and build upon that concept.^[4] According to her, "My work, my dedication—the stubbornness for getting Madonna released—had paid off. Now it was time to solidify my future."^[4]

For Like a Virgin, Madonna decided to become one of the primary record producers, feeling the need to control the various aspects of her music. She believed that depending on a particular producer for her album was not something that suited her.^[5] Madonna said "I learnt my lesson while creating my debut album, and the way Lucas left me in the water with the project, you can't trust men"—referring to the incident, when due to certain difference of opinion between producer Reggie Lucas and Madonna, Lucas had left the project half-way.^[4] However, Warner Bros. Records was not ready to give her the artistic freedom that she wanted. Madonna had to fight with them, and make them understand why she wanted to be on her own with this album.^[4] In J. Randy Taraborrelli's biography of Madonna, she commented,

"Warner Bros. Records is a hierarchy of old men and it's a chauvinist environment to be working in because I'm treated like this sexy little girl. I had to prove them wrong, which meant not only proving myself to my fans but to my record company as well. That is something that happens when you're a girl. It wouldn't happen to Prince or Michael Jackson. I had to do everything on my own and it was hard trying to convince people that I was worth a record deal. After that, I had the same problem trying to convince the record company that I had more to offer than a one-shot singer. I had to win this fight."^[5]

Recording[link]

Nile Rodgers was chosen by Madonna as the main producer of the album, mostly because of his work with David Bowie on his 1983 album Let's Dance.^[4] Rodgers had a reputation of being a man of experience in creating musical personas in the recording studio. With production partner Bernard Edwards, Rodgers had formed the seventies band Chic in 1976. But he left the band after seven years to pursue his own career, and ended up collaborating with Bowie for Let's Dance. Madonna was impressed by the record and its title single, so she wanted a similar approach to the music of her album.^[5] She commented, "When I was making the record, I was just so thrilled and happy to be working with Nile Rodgers. I idolized Nile because of the whole Chic thing. I couldn't believe that the record company gave me the money so that I could work with him."^[3] Rodgers recalled that he had first seen Madonna perform at a small club in New York in 1983. In an interview with Time magazine, Rodgers explained: "I went to the club to see another woman sing, but when I got there Madonna was onstage. I loved her stage presence and then we met right after that. I kept thinking to myself, 'Damn, is she a star', but she wasn't at that time. I always wanted to work with her and Like a Virgin seemed like a perfect opportunity."^[6] The album was recorded at Power Station Studio in New York at a quick pace. Rodgers enlisted the help of his former Chic band mates Edwards, who was the bassist, and Tony Thompson, who played drums; they appeared on several tracks of the album. Rodgers decided to be the guitarist, when Edwards requested him to do so, in exchange of their help.^[3]

The recording sessions did not start until the afternoon as Rodgers, who attended late-night parties, was not accustomed to work in early mornings. The schedule was also difficult for Madonna, who recalled that she used to "go to the swim club on the Upper West Side and go swimming and walk from there to the recording studio. It was impossible for me to reach there at morning."^[3] Rodgers recalled that Madonna was a real hard worker and incredibly tenacious. He commented: "I am always amazed by Madonna's incredible judgement when it comes to making pop records. I've never seen anyone do it better, and that's the truth. When we did that album, it was the perfect union, and I knew it from the first day in the studio. The thing between us, man, it was sexual, it was passionate, it was creativity... it was pop."^[5]

Jason Corsaro, the record's audio engineer, persuaded Rodgers to use digital recording, a new technique at the time which Corsaro believed was going to be the future of recording.^[7] To ensure this, Corsaro used a Sony 3324 24-track digital tape recorder and a Sony F1 two-track during the mixing of the tracks. Madonna recorded the lead parts of the songs in a small, wooden, high-ceilinged piano room at the back of Studio C, also known as Power Station's "R&B room".^[7] Corsaro then placed gobos around her while using the top capsule of a stereo AKG C24 tube microphone, with a Schoeps microphone preamplifier and a Pultec equalizer. Once the tracks met with everybody's approval, Robert Sabino added the keyboard parts, playing mostly a Sequential Circuits Prophet-5, as well as some Rhodes piano and acoustic piano, while Rodgers also played a Synclavier. Madonna, although not required, was present every minute of the recording sessions and the mixing process, Corsaro commented: "Nile was there most of the time, but she was there all of the time. She never left".^[7]

Packaging and title[link]

The wedding dress worn by Madonna on the album's cover, featuring the infamous "Boy Toy" belt buckle.

The cover sleeve and images were shot by Steven Meisel, who would become a regular collaborator with Madonna, in a suite at the St. Regis Hotel.^[8][9] Madonna wanted the album title to make provocative link between her own religious name—Madonna as the Roman Catholic title for Jesus' mother Mary—and the Christian concept of the virgin birth. With the title song alluding to this concept, Madonna wanted the album cover to have mixed messages as well.^[8] Author Graham Thompson described that "reclining on a satin sheet, with a bouquet on her lap and wearing a wedding dress, a closer inspection reveals Madonna's image as highly fetishized and sexualized." He added that the heavy make-up, pouting lips, and despoiled hair, along with the tight-fitting bustier and full-length gloves, turned Madonna's image into a figure not of virtue, but of desire. This point, according to Thompson, is further emphasized by the belt she is wearing, the wording on which is just visible as "Boy Toy". He added: "The image was ambiguous and was based upon the fact that Madonna's appeal at that point of her career was not presenting herself just as an object of desire, but also as a desiring female subject".^[8]

Erlewine commented that the "Steven Meisel-shot cover [...] was as key to her reinvention as the music of the album itself."^[2] William McKeen, author of Rock and roll is here to stay: an anthology, felt that the image was another trigger and testament to the fact that Madonna was the last word on fashion for women and young girls of that era, the epitome of cool.^[10] Madonna herself declared: "I have always loved to play cat and mouse with the conventional stereotypes. My Like a Virgin album cover is a classic example. People were thinking who was I pretending to be—the Virgin Mary or the whore? These were the two extreme images of women I had known vividly, and remembered from childhood, and I wanted to play with them. I wanted to see if I can merge them together, Virgin Mary and the whore as one and all. The photo was a statement of independence, if you wanna be a virgin, you are welcome. But if you wanna be a whore, it's your fucking right to be so."^[11]