{"id":8653,"date":"2026-04-30T11:00:00","date_gmt":"2026-04-30T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/like-a-prayer-madonna-2\/"},"modified":"2026-09-19T23:59:14","modified_gmt":"2026-09-19T21:59:14","slug":"like-a-prayer-madonna-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/like-a-prayer-madonna-2\/","title":{"rendered":"Like a Prayer – Madonna"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Un ch\u0153ur dans la m\u00eame pi\u00e8ce qu’un scandale<\/h3>\n

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Un accord d’orgue ouvre comme une porte d’\u00e9glise, puis une grosse caisse change la nef en piste, et la voix de Madonna entre d\u00e9j\u00e0 en confondant les deux, la pri\u00e8re et le d\u00e9sir dans une seule bouche.<\/p>\n

Like a Prayer<\/em> est produit par Madonna et Patrick Leonard pour l’album du m\u00eame nom, enregistr\u00e9 \u00e0 Los Angeles et sorti en mars 1989. Le ch\u0153ur d’Andra\u00e9 Crouch chante comme si la piste \u00e9tait du gospel, ce qu’elle est dans ses os, une femme qui s’adresse \u00e0 Dieu dans la grammaire d’un amant. Le single va au num\u00e9ro un en Grande-Bretagne et en Am\u00e9rique. Pepsi avait b\u00e2ti une publicit\u00e9 autour, un film gai d’enfance et de soda. Puis la vid\u00e9o de Mary Lambert arrive : croix en feu, stigmates, un saint noir embrass\u00e9 dans une \u00e9glise, une histoire de femme qui voit un homme noir accus\u00e9 \u00e0 tort. Le Vatican condamne. Des groupes familiaux manifestent. Pepsi retire la pub et garde la cicatrice du contrat. La chanson, sous la guerre, est une lente br\u00fblure qui garde son \u00e9l\u00e9vation gospel, l’arrangement de Leonard refusant de choisir entre l’autel et le club.<\/p>\n

Madonna a d\u00e9crit le texte comme l’endroit o\u00f9 son \u00e9ducation catholique et son d\u00e9sir occupent la m\u00eame phrase. Le ch\u0153ur n’est pas un sample pos\u00e9 pour l’\u00e2me. C’est l’argument. Quand les voix entrent, la piste cesse d’\u00eatre une confession priv\u00e9e et devient un office. Elle avait utilis\u00e9 l’imagerie religieuse avant, comme costume. Ici le costume a une th\u00e9ologie, confuse expr\u00e8s. Dieu et l’homme ne sont pas tri\u00e9s. Le disque ne les trie pas. Il laisse la basse et le ch\u0153ur porter un sentiment qu’une d\u00e9claration aurait r\u00e9tr\u00e9ci.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

\n

C’est la chanson d’une jeune fille passionn\u00e9e, si amoureuse de Dieu que c’est presque comme s’il \u00e9tait la figure masculine de sa vie.<\/p>\n<\/blockquote>\n

(Madonna, Rolling Stone, 1989)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

Sur sc\u00e8ne la chanson est encore une pi\u00e8ce mont\u00e9e, ch\u0153ur ou bande d’un ch\u0153ur, une chanteuse qui sait exactement ce que la salle attend et qui la chante encore comme si l’offense \u00e9tait fra\u00eeche. L’offense a vieilli en classique, ce que la pop fait de ses scandales si l’air est assez bon. La version Pepsi, claire et inoffensive, est une curiosit\u00e9. Le film de Lambert est celui qui dure, parce qu’il a pris la confusion du texte et lui a donn\u00e9 des images que le conseil d’administration n’avait pas approuv\u00e9es. Le ch\u0153ur de Crouch, engag\u00e9 pour chanter, s’est retrouv\u00e9 dans une bagarre sur la race et la foi que le mix dance n’avait pas commenc\u00e9e et ne pouvait pas arr\u00eater.<\/p>\n

Ce qui reste, c’est la grosse caisse sous l’orgue. Bien des chansons ont emprunt\u00e9 l’\u00e9glise. Celle-ci met un corps dans le banc et laisse le corps dire la v\u00e9rit\u00e9 que la liturgie ne dira pas. Leonard garde l’arrangement grandiose puis funky, une suite qui sonne encore comme 1989 et comme une pi\u00e8ce bien plus vieille. Madonna, qui aurait pu chuchoter la controverse jusqu’\u00e0 la faire dispara\u00eetre, a chant\u00e9 plus fort. Le single a surv\u00e9cu au boycott. Le ch\u0153ur est encore le meilleur argument du disque, un groupe de voix qui insiste : l’extase, quel que soit le nom qu’on lui donne, est une chose que les gens font ensemble.<\/p>\n

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Un accord d’orgue ouvre comme une porte d’\u00e9glise, puis une grosse caisse change la nef en piste, et la voix de Madonna entre d\u00e9j\u00e0 en confondant les deux, la pri\u00e8re et le d\u00e9sir dans une seule bouche.<\/p>\n","protected":false},"author":1,"featured_media":8649,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[673],"class_list":["post-8653","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-madonna"],"yoast_head":"\nLike a Prayer - Madonna - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/like-a-prayer-madonna-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Like a Prayer - 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