ABSTRACT
Loaded with a wealth of musical surprises, Madonna's tracks transport with them everything people enjoy about pop. The position adopted in this chapter is directed at a search for a theory of constructed performance that concentrates on the issue of style through camp mannerism. In a broad sense, Madonna's musical productions form useful points of departure for working out how identity constructions in pop can entice people into new spaces for social and cultural assimilation. While all Madonna's songs share many of the same musical elements, their overall studio conceptions are significantly different. From one perspective, Madonna's recordings can be read as deconstructions of traditional notions of live performance. In the end, the politics of Madonna are also about survival through the constant shifting and crossover forms of spectacle. And, by dragging out different forms of identification, her performances cannot fail to challenge circumscriptions of sexual stereotypes in pop culture.
