Madonna viene a México este fin de semana. Este año cumplió 50 años, tiene nuevo disco, nueva película, nuevo tour, y parece que un nuevo hombre (un beisbolista de 33 años). Esta mujer no deja de sorprender... quizá lo único que no sorprende de ella. Parece que todo le sale bien, pero no solo es una persona con talento, sino que a diferencia de otras estrellas plásticas de hoy, estudió y trabajó desde abajo hasta convertirse en quizá la mayor estrella pop de inicios del tercer milenio. Camille Paglia, profesora de Yale y aguda observadora de la cultura pop escribe sobre ella:
"Madonna emerged from the New York dance club scene of the early 1980s as a reinterpreter of disco music, which had been declared dead after the Bee Gees juggernaut of the late '70s but was still thriving in the gay and black worlds. Her superb 1983 song "Burning Up" (recently covered by Boston's the Rudds) was the first step in her monumental creative renewal of disco, which would surge forward and by the late '80s and early '90s start to splinter and proliferate into the dozens of still-booming subforms of techno and trance music.
As a trained dancer who combined Martha Graham with jazz style, Madonna intuitively understood the deep dynamics of disco -- its implacable grandeur, its liquid pulses and skittering polyrhythms, its flamboyant emotionalism. It wasn't just the clunky thump-thump-thump of drum machines, as hard-rock acolytes contemptuously dismissed it. In a 1991 cover story on Madonna for London's Sunday Independent Review, I described disco as "a dark, grand Dionysian music with roots in African earth-cult" -- a defense that seemed bizarre because disco had yet to achieve academic legitimacy (which arrived in the '90s as more writers embraced popular gay history).
She is a model of prodigious productivity without any affectations of avant-garde self-destructiveness or anomie. Her dance moves and ensemble work have been absorbed by performers in film and TV all over the world, from Latin America to India and Japan. She revolutionized feminism by giving enormous momentum to the pro-sex wing that had been ostracized throughout the p.c. era of those puritan censors, Andrea Dworkin and Catharine MacKinnon. When I wrote in my polemical 1990 New York Times op-ed that "Madonna is the future of feminism," there were squawks of disbelief on all sides -- but that is exactly what came to pass over the next decade..."