'Burning Up' also featured a video that heralded the arrival of Madonna's brand of sexual table-turning. Another brazen manifesto, 'Burning Up' conflates sex with ambition. During the next couple of years, she underwent a fitful pre-fame apprenticeship, a little like Bowie's 60s in London - indeed, Ziggy Stardust had been a favourite of the teenage Madonna. To find out more, click here. The erotic assertiveness, inextricably linking sex with power, was the epitome of 80s post-feminism (see also Janet Jackson's 'Control'). Madonna came to New York in the late 70s from Rochester, Michigan. Post was not sent - check your email addresses! The 'Lucky Star' promo, featuring just two back-up dancers and a blank set, was a showcase for Madonna as auto-erotic magnet. Each raised knee to the thwack of Holiday's snare, indicative of a mover as disciplined as a featherweight prize-fighter, utterly at one with their body. 'Holiday' was an irresistible confection, bubbling with joie de vie, emphasised by its cascading synth strings, meaty Moog bass and Nile Rogers-style chicken scratch guitar, and a lyric that neatly paired it with Kool & the Gang's 'Celebration'. It wasn't just racial lines that were being eroded either. On top of the R&B groove is Madonna herself, full of verve, exhorting the listener to lose their inhibitions on the dance floor. Everyday is a Eurovision day with me and I'm still stuck in the 80s sometimes! Soon she realised that this was the pulse where her finger should be. Disco may have still been dominated by male master-minds such as Moroder, Cerrone and Tom Moulton but Donna Summer's 'Love To Love You Baby' had aestheticised female desire with its multiple, orgasmic moans (former porn star Andrea True Connection would do likewise with 'More, More, More'). Behind Barbone's back and with Bray in tow, she began recording an alternative four-track demo, full of the sounds she was hearing in the clubs. Like its flipside, 'Physical Attraction', it throws off the shackles of Catholic guilt: "I'm not the same, I have no shame." She met two brothers, Dan and Ed Gilroy, and became the drummer in their band, the Ska/Two Tone-influenced, The Breakfast Club. Larry Levan was one of New York's most committed disco descendants, both as a DJ at The Paradise Garage and as part of proto-house combo, The Peech Boys. Very much a street smart, star-crossed update of the Mills smash, right down to its sad-sweet Fender Rhodes intro, 'Borderline' was genuinely soulful. Image-wise, however, it placed her at the heart of club-land. ', Madonna was widely believed to be a black artist. Despite a possible racist/homophobic streak to the 'disco sucks' movement, it needed a reality check. Madonna's face was now being fully worked, repeated, like the Warhol silver screens of Marilyn Monroe, the star she would soon start to resemble. He also remixed Lucas' productions, adding a febrile punch to her second single, 'Burning Up'. Hers was not a light touch, but at its peak it was one that was hard to resist. Where 'Burning Up' borders on feral, sharpening its claws with new wave guitar, 'Physical Attraction' was a soft-focus slow dance, quoting Olivia Newton John's 'Physical' and the sultry UK soul of Imagination's 'Body Talk' and 'Just An Illusion'). Similarly her dancing seemed lunging and graceless compared to the eye-popping feats of Jackson (surprisingly so for such a gifted student). 'Burning Up', on the other hand, fared better in its 12" remix form, which turned the guitars down and the electro up. Andie [Molly Ringwald]: "I know but she has such great style" The decade's hyperactive mingling of styles even produced a Quasimodo variant, known as Mutant (Quango Quango, ESG, The Contortions).

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