When you love someone it's natural, not demanding And that's one thing I'm proud to say I found in you I'm so glad we reached an understanding Now I know my heart is safe with you, hoo. So now my love to you, baby, I surrender Get ready tonight Gonna make this a night to remember Get ready (Oh, baby) tonight Gonna make this a night to remember Celebrations and my heart could stay united And there's nothing in this world to come between me and you We're together and it keeps me so excited To think of what the power of love can do, ooh.

A Night to Remember; 3.Friends; 4.This Is for the Lover in You; 5.Over and Over; 6.There It Is; 7.Make That Move; 8.Dead Giveaway; 9.Disappearing Act; 10.I Owe You One; 11.Take That to the Bank; 12.Right in the Socket; 13.Sweeter as the Days Go By; 14.Uptown Festival; 15.The Second Time Around; 16.Deadline USA.

• • Reggie Lucas singles chronology ' (1983) ' Borderline' (1984) ' (1984) ' (1983) ' Borderline' (1984) ' (1984) Music video on ' Borderline' is a song recorded by American singer for her eponymous debut (1983). It was released on February 15, 1984, by as the album's fifth. Written and composed by its producer, the song was remixed by Madonna's then-boyfriend. The singer used refined and expressive vocals for the song, whose lyrics deal with the subject of a love that is never fulfilled. Contemporary critics and authors applauded the song, calling it harmonically the most complex track from Madonna and praising its nature. 'Borderline' became Madonna's first top 10 hit on the US, peaking at number 10 in June 1984. In the United Kingdom, it peaked at number two after it was re-released as a single in 1986.

Elsewhere, the song reached the top 10 or top 20 of a number of European nations while topping the singles chart of Ireland. 'Borderline' was placed at number 84 on magazine's list of 'The 500 Greatest Songs Since You Were Born,' while included it on their critics list of 'All-Time 100 Songs.' The accompanying music video portrayed Madonna with a Latin-American man as her boyfriend. She was enticed by a British photographer to pose and model for him, but later returned to her original boyfriend.

The video generated academic interest for its use of as symbolism. With the video, Madonna was credited for breaking the taboo of interracial relationships, and it was considered one of her career-making moments. The release of the video on increased Madonna's popularity further. Madonna performed the song on (1985) and the (2008), where a punk-rock version of the song was performed.

'Borderline' has been covered by artists including,,, and. Madonna, in her usual boy-toy look, dances with one of the dancers on the street of a Hispanic, thus portraying the type of life she used to lead before she began her career and became famous.

'Borderline' was filmed on location in, from January 30 to February 2, 1984 and was the first video that Madonna made with director, who later also directed the videos ', ', ' and '. Author Allen Metz noted how the video portrayed Madonna's then 'burgeoning star quality'. It is regarded as one of her career-making moments when the video was started to be shown on. She acted as the girlfriend of a Hispanic street guy who is picked up by a British photographer who publishes her picture on a magazine cover. The portrayal of the street life and high-fashion scene in the video was a reference to Madonna's life in the gritty, multiracial streets and clubs that she used to haunt while her career was beginning, as well as the world of popularity and success she was experiencing at that moment.

The storyline involved her being emotionally torn between the photographer and her boyfriend. Madonna's boyfriend in the video is portrayed as Latino, and her struggles with this relationship depicted the struggle Hispanic women faced with their men. Lambert said that there was 'no formula' used when making the 'Borderline' video and that they were 'inventing it as we went along.'

In the January 1997 issue of, Lambert described the video and its plot as, 'Boy and girl enjoy simple pleasures of love, girl is tempted by fame, boy gets huffy, girl gets famous, but her new beau's out-of-line reaction to a behavioral trifle (all she did was to spray-paint his expensive sports car) drives her back to her true love.' 'When I screened 'Borderline' for Madonna's manager, Freddy DeMann, he was hysterical that I had combined black-and-white footage with color footage. Nobody had done that before. He made me screen it for all the secretaries in the office and see how they reacted, because he felt I had crossed a line that shouldn't be crossed.' —Director Mary Lambert on the use of color and black-and-white footage in the music video. The video narrative weaved the two relationship stories in color and black and white.

In the color sequence, Madonna sings, flirts and seduces the Hispanic guy () who becomes her boyfriend. In the black-and-white sequence she poses for the photographer, who also courts her.

The video had Madonna in her usual style in those years, wearing her hair in a haystack, lace gloves, high heeled boots with thick socks and her trademark 'boy-toy' belt. She changes clothing from one shot to another, in color as well as black and white, while wearing an unusual array of clothes including crop-tops, T-shirts, vests and sweaters coupled with cut-off pants and jeans as well as a couple of evening gowns.

Posing for the photographer, Madonna looks towards the camera with challenge in her eyes, depicting sexual aggression. At one point, she starts spraying over some lifeless classical statues, portraying herself as a transgressor who breaks rules and attempts innovation. With the video, Madonna broke the taboo of interracial relationships. Although at first it seems that Madonna denies the Hispanic guy in favour of the photographer, later she rejects him, implying her desire to control her own sexual pleasures or going over the established pop borderlines with lyrics like 'You just keep on pushing my love, over the borderline'. The contrasting image of Madonna, first as a messy blonde in the Hispanic sequence and later as a fashioned glamorous blonde, suggested that one can construct one's own image and identity.

Portraying herself as a Hispanic also had the clever marketing strategy of appealing to Hispanic and black youths, thus breaking down racial barriers. After its airing, 'Borderline' attracted early attention from academics.

They noted the symbolism of power in the two contrasting scenes of the video. The British photographer's studio is decorated with classical sculptures and nude statues holding spears, a phallic symbol. In contrast, phallic symbols portrayed in the Hispanic neighborhood include a street lamp which Madonna embraces and a cue held erect by Madonna's boyfriend. Author Andrew Metz commented that with these scenes, Madonna displayed her sophisticated views on the fabrications of feminity as a supreme power rather than the normal views of oppression. Author Carol Clerk said that the videos of 'Borderline' and ' established Madonna not as the girl-next-door, but as a sassy and smart, tough funny woman. Professor in his book Media Culture: Cultural Studies, Identity, and Politics Between the Modern and the Postmodern commented that the video depicted motifs and strategies which helped Madonna in her journey to become a star. The clothes Madonna wore in the video were later used by designers like and in Paris Fashion week of the same year.

Live performances [ ]. Madonna performing a rock version of 'Borderline' on the The song was performed by Madonna on (1985) and the (2008). On the Virgin Tour, Madonna performed the song wearing a black, fringed micro-top and similar skirt, with her belly button exposed, and multiple crucifixes in different sizes, hanging from different parts of her body. Madonna performed the song in its original version. She appeared from behind a silhouette, and descended the steps while waving her hands and singing.

The performance was not included on the VHS in 1985. 'Borderline' was added to the set list of the first leg of her Sticky & Sweet Tour in 2008 during the 'Old School' section of the performance. Madonna wore gym shorts, sneakers and long socks in this section. The outfit was designed by and was a reference to Madonna's old days in New York. A punk-pop version of the song was performed by Madonna while playing a purple on a microphone as the backdrops displayed Keith Harring's cartoons and graphical imagery. Jon Pareles of called the performance enthusiastic and punk-pop.

Nekesa Mumbi Moody of called it a 'rocked out performance'. Caryn Ganz of called it a '-style song [performance].' The song was not included in the 2009 leg of the tour and was replaced by a rock version of Madonna's other song '.' In June 2016, Madonna appeared on and closed the show by performing 'Borderline', watched by then,. Cover versions [ ]. See also: and In 2000, an cover of the song by of was included on the tribute compilation album, Virgin Voices: A Tribute To Madonna, Vol.

Heather Phares of AllMusic said that Ogre's version 'missed the mark.' Chicago band recorded a cover for the 2002 compilation album. In 2006 singer covered the song for her album The Makeover. Watley's downtempo version attained UK release as a single in October 2009.

An acoustic folk cover of the song by The was included on the 2007 Madonna tribute album. In 2008, singer performed 'Borderline' at in Mote Park, Maidstone, Kent, England. And recorded a cover of the song for the 2009 Warner Bros. Records compilation,. Of AllMusic described the cover recording as turning Madonna's version 'inside out'. Performed the song at the Royal Albert Hall in 2003, an MP3 of the song was released on the band's official website on March 17, 2009. The performance was criticised by, calling it anticlimatic.

In 2010, the TV show covered it in the episode ' in a with the song ', performed by and. Track listings and formats [ ]. • ^, p. 76 • ^ Grant, Carrie (September 16, 2014).. Rolling Stone. Retrieved September 17, 2014. • ^ (LP, Vinyl, CD)...

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