As Tony approached his daughter, she smiled at him. “Well, we’ve sure come a long way, Dad,” Madonna said.
“I’ll say,” Tony agreed, “I never thought we’d be here in this place together,” he added, waving a hand at their lush surroundings.
“No, Dad,” Madonna responded. “I mean you and me. We’ve come a long way.”
According to the witness, Tony’s eyes began to fill with tears. He shook his head, a slow smile spreading across his face. “My God. Just look at you,” he told his daughter. Madonna lifted Rocco in the air, and made a funny face at him. “A mother . . . soon a wife. Look how good you turned out, Nonnie,” Tony concluded, his face filled with genuine pride.
“Da-ad!” Madonna exclaimed, drawing the word into two syllables. She seemed embarrassed, probably because she knew that people were listening.
“No, I mean it,” he insisted.
“Well, stop it,” Madonna said, her face softening. “You’re gonna make me cry.”
“And we couldn’t have that, now, could we?” asked another voice. It was Guy, approaching from behind Madonna. He was wearing comfortable corduroys, a heavy, wool sweater and a big smile.
Madonna’s head spun around. “Oh, I get it. You guys are gonna gang up on me, now,” she concluded, good-naturedly. She handed the baby to Guy. “Take this kid,” she told him as she stood up. “I’m getting out of here.”
“Where to?” Guy asked.
“Somewhere I can have a good cry,” she answered.
Guy carefully placed the infant into the arms of the nearby nanny, and then followed Madonna. Joining her, he put his arm around her waist. They walked off wordlessly, looking safe with each other, seeming to belong together, maybe lost in their own thoughts, no words necessary between them.
Acknowledgments
Madonna: An Intimate Biography would not have been possible without the assistance of many people and institutions.
First acknowledgment must go to my Simon & Schuster editor, Chuck Adams, who somehow managed to pull together the elements of this American edition under the tightest of deadlines. Also at Simon & Schuster: thanks to my publisher, David Rosenthal. And thanks also to my production editor, Dan Cuddy; designer, Jeanette Olender; attorney, Veronica Jordan; and publicists Aileen Boyle and Rachel Nagler. And thanks to Cheryl Weinstein for all of her assistance. This is the first time I have worked with Simon & Schuster and, I must say, it’s been a class act all the way. I am relieved to find that, after a decade in development, this book has finally ended up where it seems to have always belonged: S&S.
Thanks also to Natalie Goldstein, photo researcher, for gathering such imaginative artwork for this edition.
I’d also like to thank Gordon Wise and Ingrid Connell, my editors at Macmillan Publishers Ltd. and Sidgwick & Jackson in the United Kingdom, for shepherding the original edition of this work. Thanks also to Lucy Henson and everyone else at Macmillan who worked with such diligence to make this book a national bestseller in the U.K.
My deepest appreciation goes to Dorie Simmonds of The Dorie Simmonds Agency. She is truly a positive force in my life, a trusted and valued friend. I appreciate her dedication, assistance and encouragement.
Thanks to Mitch Douglas at International Creative Management for so many years of friendship and of top-notch representation.
Thanks to Maureen Egen at Warner Books for making it possible for me to proceed with publication of this book in the United States. She’s not only a gracious woman, but also a real pro. Thanks also to Jackie Joiner and Jimmy Franco at Warner.
I must acknowledge my friend, the late George Coleman, who first urged me to write this book back in 1990 while at G.P. Putnam’s Sons. Though it took more than a decade to complete this project, my memory of George remained strong throughout that time.
My thanks to Jonathan Hahn, a fellow journalist and my personal publicist at Planned Television Arts. We had many discussions about how to present Madonna in a way that would be accurate and empathetic. While I am grateful to him for his vision, my close friendship with him is what matters most to me.
As an editor and a friend, Paula Agronick Reuben has been invaluable to me for many years. I thank her for her continuing encouragement.
Warmest thanks to Cathy Griffin for her professional assistance over the years, as well as her friendship. Cathy, a journalist and reporter in her own right, worked as an investigator and researcher on Madonna: An Intimate Biography at the beginning of its development in 1990, in 1991 and again in 1994, locating scores of sources and conducting in-depth interviews with them. To date, we have worked on five books together, each a pleasure, each a learning experience.
I owe a debt of gratitude to Wayne Brasler of the University of Chicago who has always supported my work. Al Kramer, a trusted friend and writing colleague for years, has also kept me on the right track.
I am appreciative to grief specialist, Dr. Marvin Eisentadt, the coauthor and American editor of Parental Loss and Achievement (along with Dr. Andre Haynal, Dr. Pierre Rentchnick and Pierre de Senarclens), for his observations.
In 1990, when I first began work on this book, Madonna historian Bruce Baron availed me of his great knowledge of this subject, even providing audio tapes of rare Madonna music, much of it unreleased at that time. Bruce was an invaluable asset to the research behind this work, and I do thank him for his great documentation and his dedication to accuracy.
Thanks also to Charles Casillo who helped fine-tune the ideas behind this manuscript, thinking about the characters involved and how to present them fairly and objectively. I am indebted to Charles for his time and attention to detail. He’s a fine writer, and a good friend.
Without a loyal team of representatives, an author usually finds himself sitting at home writing books no one ever reads. So, I thank “Team JRT”: James Jimenez, Esq.; Ken Deakins, Rae Goldreich, Harold Stock and Teryna Hanuscin of Duitch, Franklin and Company; and Michael Johnston of Capital Lending Resources. Also, my thanks, as always, goes to Ron Bernstein of International Creative Management in Beverly Hills.
Special thanks to Stephen Gregory for many years of friendship, loyalty and support, and all of that despite some rather challenging circumstances along the way.
Also, thanks to all of those who assisted me in tangible and intangible ways, including Richard Tyler Jordan, Jeff Hare, Iake and Alex Eissinmann, Paul Adler, Sven Paardekooper, Steve Ivory, James Pinkston, Billy Barnes, Roby Gayle, Hazel and Rob Kragulac, Sonja Kravchuck, Barbara Ormsby, Rick Starr, John Passantino, Linda DeStefano, Mr. and Mrs. Joseph Tumolo, Daniel Tumolo, James Spada, Tony and Marilyn Caruselle, David Spiro, Billy Masters, Mr. and Mrs. Adolph Steinlen, David and Frances Snyder, Abby and Maddy Snyder, Maribeth and Don Rothell, Mary Alvarez, Mark Bringelson, Hope Levy and Tom Lavagnino, Anthony Shane, Bart Andrews, Anne McVey, Bob Meyer, Daniel Coleridge, Lisa Reiner, George Solomon, Marcus Reymaga, Dan Sterchele and Yvette Jarecki. Also, R.T. and J.D., if you read this, know that I am thinking of you as well, and missing our times together.
Thanks also to Iake Eissinmann for his excellent photography, and for his friendship.
Thanks to Dale Manesis for all of his help with Madonna-related memorabilia to which I would never have had access without his assistance. And thanks to Camille Sartiano-Glowitz for all of the travel accommodations relation to Madonna: An Intimate Biography.
It’s never easy being around a writer who can be annoyingly single-minded about his work. I recognize the patience it takes to understand such a process, and I thank Andy Steinlen for all of his many involvements in my life, and for his eternal friendship.
Thanks to my incredibly supportive Italian-American family: Roslyn and Bill Barnett and Jessica and Zachary, Rocco and Rosemarie Taraborrelli and Rocco and Vincent, and Arnold Taraborrelli. And, of course, Rydell and Dylan.
Special thanks to my father, Rocco, who has always been my inspiration, encouraging me in ways too numerous to mention. This book is dedicated to him because of t
he challenge it presented to his son. I most certainly would have abandoned it years ago if not for his influence on me.
I also send my love to my late mother, Rose Marie, who is always in my heart.
And finally, to those loyal readers of my work who have followed my career over the years, who have sent me letters of support and encouragement about my previous eight books (and who have also doled out harsh criticism when necessary), I humbly thank you for adding this work to your book collection. I hope you were as entertained reading about Madonna’s life experiences as I was chronicling them, and I also hope you perhaps learned a little something about human nature in the process.
J. RANDY TARABORRELLI
June 2001
Source Notes and Other Information
I first began developing Madonna: An Intimate Biography in January 1990 as the intended follow-up to my first best-seller, J. Randy Taraborelli: The Unauthorized Biography of Diana Ross. Though my career turned in other directions, I and my team of researchers never ceased developing a full-scale biography of Madonna.
After having written nine biographies, I know that it is impossible to write accurately about anyone’s life without many reliable witnesses to provide a range of different viewpoints. A biography of this kind stands or falls on the cooperation and frankness of those involved in the story. Over the years, a great number of people went out of their way to assist me in this endeavor: hundreds of friends, relations, journalists, socialites, lawyers, celebrities, show-business executives and former executives, associates and friends as well as foes, classmates, teachers, neighbors, friends, newspersons and archivists were contacted in preparation for this book over a ten-year period. Obviously, considering the span of Madonna’s life and career, I and my researchers had the opportunity to interview a wide range of sources. We purposely decided to focus on those who had not previously told their stories. These people were interviewed for this work over the last decade, either by myself or my trusted researchers, Cathy Griffin in the United States, Thomas DeWitt in the United Kingdom, and Teri Donato in Italy. Many of these sources are people I haven’t seen or talked to for almost ten years, but my appreciation for their cooperation and assistance will not fade with time.
Whenever practical, I have provided sources within the body of the text. Some people were not quoted directly in the text but provided observations that helped me more fully understand Madonna and her life and career.
In writing about a person as powerful and as influential as Madonna is in the entertainment world, a biographer is bound to find that many sources with valuable information prefer to not be named in the text. This is understandable. Throughout my career, I have understood that for someone to jeopardize a long-standing, important relationship for the sake of a book is a purely personal choice. I so appreciate the assistance of many people close to Madonna over the years who gave of their time and energy for this project, and will respect their wishes for anonymity. Those who could be named are named in these notes.
I viewed every film Madonna ever made to determine which were important to my particular observations, and which were not. Also, I reviewed all of the press clippings, press kits and other studio-related material, biographies and releases for each of Madonna’s films, which are on file at the Margaret Herrick Library. I thank the staff of that library in particular.
Also, obviously, I viewed hundreds of hours of Madonna’s television appearances, special events and concerts, press conferences, documentaries and also listened to many hours of radio interviews and other broadcasts in which Madonna took part, or of which she was the principal subject. It would be impractical to list them all here. Thank you, Nick Scotti, for providing me with much of this material.
Numerous organizations and institutions provided me with articles, documents, audio interviews, video interviews, transcripts and other material that was either utilized directly in Madonna: An Intimate Biography or for purposes of background. Unfortunately, it is not possible to thank all of the individuals associated with each organization who were so helpful and gave of their time; however, I would at least like to express my gratitude to the following institutions:
Alvin Ailey American-Dance Theater; American Film Institute Library; Associated Press Office (New York); The Bancroft Library (University of California, Berkeley); The Bay City Public Library; Bay City Times; The Beverly Hills Library; Boston Herald Archives; Boston Public Library; The Brand Library Art and Music Center; British Broadcasting Corporation; California State Archives (Sacramento); Detroit News; The Detroit Public Library; The Glendale Central Public Library; Globe Photos; The Hartford Public Library; Hayden Library, Arizona State University; The Hollywood Library; The Houghton Library (Harvard University); The Los Angeles Public Library; Los Angeles Times; The Margaret Herrick Library (Academy of Motion Pictures Arts and Sciences); Michigan Chronicle; The Neal Peters Collection; New York City Municipal Archives; New York Public Library; New York University Library; Occidental College (Eagle Rock, California); Photofest; The Pontiac Public Library; The Princeton University Library; Rochester Adams High School; Rochester Eccentric; The Rochester Public Library; Starfiles; University of California, Los Angeles; West Middle School.
Of course, I have listened to nothing but Madonna in recent years — not that this has been a chore. I believe it is important for a biographer to have an appreciation and a sense of understanding of his subject’s work. If anything, my crash course in Madonna’s musical history has only served to deepen my respect for her artistry. Here, I must thank the esteemed music critic, reporter and my good friend of many years, Steven Ivory, for his assistance in dissecting and analyzing Madonna’s music. This book would be very different if not for Steve’s involvement, and I thank him for the hours he put into this project.
Madonna has many wonderful fan clubs. I decided not to impose upon the dedicated people who run these clubs for fear of jeopardizing their long-standing and cherished relationships with Madonna. However, through their newsletters and other forums of expression — including their Internet websites, chat forums, etc. — I was able to confirm details and add color to certain sections of my book. Madonna is fortunate to have so many fans devoted to preserving her legend and reputation. Look them up on the Internet . . . they’re all there. (If you really want to know about Madonna, though, I suggest you point your browser to madonnacatalogue.com. This site, run by respected Madonna historian Stephen Michael Caraco, is stunning in its painstaking detail.)
As the former editor-in-chief of Soul magazine I had the opportunity to interview Madonna on several occasions during the early years of her career, in 1983, 1984, 1985 and 1987. I have also attended several press conferences given by Madonna over the years. In this work, I utilized many of Madonna’s memories from those encounters.
Since chapter notes are usually not of interest to the general reader, I have chosen a more general — and practical for space limitations — mode of source identification, as opposed to specific page or line notations. The following notes are by no means comprehensive but are intended to give the reader a general overview of my research. In some instances, I included parenthetically the year(s) interviews were conducted.
Also, because of their voluminous nature, I have made the choice of not including complete listings of the scores of magazine and newspaper articles that were referenced. It would simply be impractical to do so. Those mentioned within these source notes are included because I felt they were important to recognize.
Interviews Conducted Relating to Madonna’s Relationships (Some Dates in Parenthesis)
With John “Jellybean” Benitez: thanks to Jellybean Benitez (1984, 1985, 1990), Erica Bell (1991) and Melinda Cooper (1994). Also: Teen Machine, June 1991, “Spillin’ the Beans with Jellybean” by Marie Morreale.
With Steve Newman: thanks to Steve Newman (1995) and April Dougherty (1999, 2000).
With Prince: thanks to T. L. “Boom-Boom” Ross (1998) and Jerome Quigley (2000).
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sp; With Tommy Quinn: thanks to Tommy Quinn for five interviews (1998-2000).
With Sean Penn: in 1988, I spent six months developing a proposal for a book entitled Sean Penn: Lone Wolf. The book remains unpublished. However, I used much of the material from it in this work about Madonna. I also referred to my own interview with Sean Penn in 1987. Thanks also to Meg Lowery (2000), Lori Mulrenin (2000), Isaac Benson (2000), Todd Barash (1999), David Wolinsky (1989) and Martin Ciccone (1992), Al Albergate (1999), Deputy District Attorney Lauren Weiss (1988), and Lieutenant Bill McSweeney (1989). I reviewed the police documents from the LAPD relating to Sean Penn’s arrest in December 1988; I also referred to the September 1987 “Madonna Interviewed on Fame, Sex and Sean Penn” by Jane Pauley, NBC-TV. Also helpful: Playboy, November 1991, “Sean Penn” by David Rensin; Fame, November 1990, “Sean Penn: Is There Life After Madonna?” by Harry Crews; USA Today, July 5, 1988, “Sean Penn Comes Back Kicking”; Time, December 17, 1990, “Madonna Draws a Line” by Jay Cocks; New York Post, January 6, 1989, “Madonna Sues Sean Penn for Divorce”; People, January 23, 1989, “Surprise! It’s Splits, Fits and Quits Again for Sean Penn and Madonna” by James S. Kunen; USA Today, June 24, 1987, “Bad-Boy Penn Gets Months in Jail” by Lorie Lynch; People, September 2, 1985, “Madonna Lands Her Lucky Star” by Roger Wolmuth; People, August 17, 1987, “Chris Finch, Madonna’s High-Stepping Sidekick Who’s Also a Penn Pal” by Kim Hubbard and Sandra Lyon; Harper’s Bazaar, May 1988, “Madonna Broadway Bound”; People, July 8, 1985, “Desperately Seeking Matrimony” by Carol Wallace; People, December 14, 1987, “Diary of a Mad Marriage/The Divorce of Madonna & Sean” by Joanne Kaufman and Victoria Balfour; Sun, August 18, 1985, “Sean’s Gunplay Upsets Madonna” by Rod Barrand; Chicago Tribune, August 2, 1987, “The Show Goes on Without Sean” by Gene Siskel; Star, June 16, 1987, “Sean Penn’s Rampage Over ‘Lost Love’ Madonna” by Lorraine Tilden; USA Today, July 3, 1987, “Bad Boy or Bad Rap?/Sean Penn Is off to Jail” by Karen Peterson; News of the World, October 27, 1985, “Bride Madonna’s Bizarre Bathtime” by Wendy Leigh; Star, February 4, 1986, “Sean’s Tantrums” by Steve Edwards; New York Post, August 13, 1985, “Madonna and Sean Get Marriage License”; Star, November 11, 1988, “Sean Penn’s X-Rated Animal House” by Barry Levine; Rolling Stone, March 1989, “Madonna — the Rolling Stone Interview” by Bill Zehme; Vanity Fair, March 1986, “Tough Act” by James Wolcott; Los Angeles Times, August 18, 1991, “New Directions for Sean Penn” by Kristina McKenna; People, December 14, 1987, “Everyone Said It Wouldn’t Last . . . And It Didn’t” by Joanne Kaufman; US Weekly, September 7, 1987, “How’s That Girl?” by Fred Schruers; People, February 11, 1985, “Who Is Sean Penn — and Why Doesn’t He Want Anyone to Find Out?” by Scott Haller; National Enquirer, January 24, 1989, “Madonna to Cops: Drunken Sean Beat Me and Tied Me Up” by Joe Mullins, Patricia Towle, Roger Capettini, Reginald Fitz and Michael Glynn; Star, January 24, 1989, “Sean Penn’s 9-Hour Torture of Madonna” by Lorraine Tilden.
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