October 1982 by @petercunninghamphotography in Greenwich Village in NYC. Commissioned by Sire Records.

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October 1982 by @petercunninghamphotography in Greenwich Village in NYC. Commissioned by Sire Records.

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For just $10.00 VHS copy of Bloodfist III: Forced to Fight. 1991 New Horizons Home Video release.
Madonna 1982 by Peter Cunningham - - #limitededition #silvergelatin #print #madonna #petercunningham #1980s #80sfashion #80smusic #musicphotography #galerieprints #galerieprintsgallery https://www.instagram.com/p/B5wQyDlpcOB/?igshid=1lfko4uj4w3te
#DirtyThursdayParty 2nite: @dirtyfinger & @jamesmulry at @houseofyesnyc Madonnarama!š https://www.facebook.com/events/375231102839036/ #Madonna in Soho #1982 š·: #petercunningham #vandalismwins #civiliangraffiti #fbp (at House of YES)
FlexipopĀ
UK May 1983
Madonna is interviewed by Kris Needs. Quotes only below
On being a dancer The thing about dancing, what it taught me all those years, is it gives you an amazing sense of discipline in forcing yourself to do things that you know are good for you, but you donāt really want to do. Itās self-preservation. a lot of people in the music industry wreck themselves. I know that my lifestyle is a lot different from a lot of other people because of the training Iāve had. It can be a real long life if you make it that way.ā On her sexuality āI think itās really important to exude sexuality on stage, but I donāt think I have to entice men. I donāt think people have to be aroused sexually by what you wear. I get over that way of being sexy just by the way I sing and move on stage. The way we dress is sort of playful innocent - bermuda shorts, ankle socks and shoes, crazy hats. I donāt wanna wear something that Iām going to fall out of. I donāt feel comfrtable like that. But Iām really physical onstage, you know. I move around a lot.ā On sterotypes āI feel Iām trying to get rid of a lot of stereotypes. I come out there and Iām white and look like a boy on stage. I refuse to act the way someone expects me to.ā On New York City vs. Detroit āI live in a supposedly dangerous area (Lower East Side) nearĀ āneedle parkā. Theyāre always selling stuff in the street outside my apartment building. I donāt like it, but I like living amongst all the squalor. Itās good inspiration. Detroit is a more desolate, desperate place. At night everyone locks themselves away. Thereās always elements of danger in New York but people are always out on the street. I donāt feel scared there at all.ā
The article finished by mentioning the soon to be released double a side single Burning Up/Physical Attraction (which never saw a release in England)
Photo Credit: Peter Cunningham.Ā

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NME
March 26th 1983
The week Madonna arrived in London was the same week that the winter we thought had forgotten us called in, in circumstances like this, most Americans I meet haveĀ ājust flown from L.Aā and spend their time either shopping for or shivering in expensive furs, while they whinge about howĀ āgreyā London is.
This girl, born in Detroit and now living in New York, didnāt seem bothered.
Her crew sauntered in the office decked out in hard times chic; the leader herself flaunting a Webo Gal (what a Buffalo Gal would be, were she tough enough) jacket like street gang colours. Coats undone, no-gloves and hats pushed well back....and we bystanders felt like wimps for moaning about the cold. Just as Madonnaās hard edged singleĀ āEverybodyā is the sound of young New York grafitti sensibilities, this is the stance.
Sheās a disciple of the scratchānārapānābreak dance sessions held up and down the city, gathering with the faithful every Friday night at the Roxy as part of Afrikana Bambaataa a much publicisedĀ āZulu Nationā. However, more than being a mere camp follower, Madonna could be throwing this culture a much needed lifeline.
Her current release and forthcoming work, prove that since pestering the DJ at Danceteria to listen to her demo tape about a year ago, she refined the rudiments of the style without ever losing sight of her mentorsā visions. Teflon coated electronic backing, strong on the repetitive computerised drumbeats scratched and dubbed, yet through impasioned vocals it becomes accessible to even the most mild mannered disco fan.
Madonna has recognized the need for commercial viability a concession that has to be made before Bambaataaās nation can move from its street corner origins into accepted pop culture. The ease with which she makes this step has much to do with her being a native of Detroit, a city that is artistically stimulating but also short sightedly insular.Ā
āI lived in Detroit for 17 years of my life, and grew up in an almost totally black neighbourhood. It was the middle of the Motown era, and the jazz scene was very strong - both my older brothers were jazz musicians. That most definitely had a strong influence on the sort of music I do now. āMusic was that areaās only expression of self assurance or escape. The music of the time was everything to almost everybody - listening and dancing to music, or aspiring to be this or that, was all people were interested in. All My family were studying music, and my girlfriends and I had all these pretend girl groups we used to be in after school - stuff like The Supremes - really silly.ā
The dance training Madonna has done before leaving Detroit led to jobs in New York, where she was noticed by the people in charge of international disco star Patrick Hernandez (he of briefĀ āBorn to be Aliveā fame) and taken to France as part of his troupe.Ā āWhen I got there, nobody would let me do anything - every time I complained theyād give me some money and forget about me for a little longer!ā
Back in America, New York was the place where everybody had a chance. The cityās thriving avant garde scene allowed Madonna to try the sort of music that might have been frowned on elsewhere.
āThe artisitic freedom of New York intimidated me a little at first. Itās very intense, and very enclosed - like a world within the city - and I just had to spend a bit of time breaking into it.ā
āonce youāre in, itās probably the most stimulating cultural environment possible - definitely the only city I could work in in America.ā
Photo Credit: Peter Cunningham
Dance Music Report Magazine
Vol 5 Issue 23Ā
November 27th - December 10th 1982
Madonna appears on her first magazine cover. Dance Music Report was a bi-weekly trade publication. Here they report that Madonnaās 12ā³ single Everybody is a breakout for sales.
Photo Credit: Peter Cunningham