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Pat Benatar

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rotation on MTV and helped take Get Nervousto No. 4 on Billboard¿s album chart. The follow up single, "Little Too Late," reached No. 20 on the singles chart. Having built a devoted following over four years of delivering consistent hits, Benatar¿s 1982 live tour to support Get Nervous was a massive success. When Benatar and her band finally came off the road in 1983, they enjoyed a much-deserved rest. Live From Earth, recorded over several nights of the tour, would be the band¿s only release in 1983. It reached No. 13 on the U.S. album charts and would be Benatar¿s fifth to achieve platinum status. Despite her success, or perhaps because of it, the relationship between Benatar and her record label, Chrysalis, began to sour. Benatar had frequently disagreed with Chrysalis over song choices, and had chaffed at their insistence that she work with an outside producer, though she claimed that Giraldo had, in fact, done the lion¿s share of that work in the studio. After years of playing defiant, hard-edged rock, Benatar was ready to experiment with new styles. That she eventually won the battle with Chrysalis was evident in the two studio tracks included on Live From Earth, "Lipstick Lies" and "Love is A...

rotation on MTV and helped take Get Nervousto No. 4 on Billboard¿s album chart. The follow up single, "Little Too Late," reached No. 20 on the singles chart.

Having built a devoted following over four years of delivering consistent hits, Benatar¿s 1982 live tour to support Get Nervous was a massive success. When Benatar and her band finally came off the road in 1983, they enjoyed a much-deserved rest. Live From Earth, recorded over several nights of the tour, would be the band¿s only release in 1983. It reached No. 13 on the U.S. album charts and would be Benatar¿s fifth to achieve platinum status. Despite her success, or perhaps because of it, the relationship between Benatar and her record label, Chrysalis, began to sour. Benatar had frequently disagreed with Chrysalis over song choices, and had chaffed at their insistence that she work with an outside producer, though she claimed that Giraldo had, in fact, done the lion¿s share of that work in the studio. After years of playing defiant, hard-edged rock, Benatar was ready to experiment with new styles. That she eventually won the battle with Chrysalis was evident in the two studio tracks included on Live From Earth, "Lipstick Lies" and "Love is A Battlefield," which stepped away from the hard rock sound of Benatar¿s past to embrace dance pop sensibilities. The music video for "Love is a Battlefield," directed by Bob Giraldi, who directed Michael Jackson¿s tonally similar "Beat It" video the year before, also broke new ground for Benatar by featuring a choreographed group dance sequence, a first for Benatar and a rarity in rock music videos at the time.

Benatar¿s new sound would dominate her next album, Tropico, released in November 1984. The first single, "We Belong," was spare and percussive with electronic flourishes, a far cry from the guitar rock of years past. The single reached the Top Five in the U.S. and gave Benatar her first top 40 hit in the U.K. Tropico went on to achieve platinum status. Because she had managed to retain her original rock audience while expanding her appeal to pop and dance fans, a triumphant, Benatar and Giraldo took a brief respite from recording and the road. But, even though Benatar gave birth to their first daughter in February 1985, just nine months later she released her seventh album in as many years, the aptly titled Seven the Hard Way. Benatar, Giraldo, and their new baby then hit the road with another major tour. The songs on the latest effort pushed ahead into dance pop territory with the single, "Sex as a Weapon," which reached No. 28 on the U.S. singles chart. "Invincible," from the soundtrack of the movie "The Legend of Billie Jean" would reach No. 10 and help propel Seven the Hard Way up the charts. It would be Benatar¿s first album to not achieve platinum sales status, however, reigniting the battle with Chrysalis over creative control.

It would be three years before Benatar would release another album. Wide Awake in Dreamland, which featured a black leather jacket-clad Benatar on the cover, was a hodge-podge of stylistic choices, from the propulsive rock of "All Fired Up," to the pop balladry of "One Love," to the choral "Cerebral Man." The album would achieve gold sales status and "All Fired Up" would reach No. 19 on the singles chart, but Wide Awake in Dreamland lacked the passion of Benatar¿s previous work. That missing passion was evident, however, on her next release, 1991¿s True Love, an album of blues tunes, including a cover of B.B. King¿s "Payin¿ the Cost to be the Boss." She would return to her Rock sound with 1993¿s Gravity¿s Rainbow, but it would be her last album with Chrysalis Records. Benatar cut short her tour supporting the LP to give birth to her second daughter. Though she toured in 1995 with Fleetwood Mac and REO Speedwagon, and again in 1996 in an effort to try out a selection of new songs, by the time she chose to return to recording, with 1997¿s Inamorata, she would do so on the independent label, CMC International. CMC would also release Benatar¿s first release of new songs in the 2000¿s, Go (2003). Though her musical output would diminish, Benatar remained creative, writing an autobiography, Between a Heart and a Rock Place, released in 2010. Even without new releases to support, Benatar, Giraldo, their expanding family and their band continued touring every year, frequently with other `80s acts, including a 2012 tour with Loverboy and Journey.

By John Cryeiraldo, whose aggressive playing style would help define Benatar¿s sound. In the Heat of the Night would go on to sell a million copies, and two of its singles, "Heartbreaker" and "We Live for Love" would reach No. 23 and No. 27, respectively, on Billboard¿s Hot 100 singles chart. The hard work writing and recording the album and, no doubt, the years of struggle leading up to it, took its toll, however. She and her husband divorced in 1979, though she would keep his last name for the rest of her career.

Benatar¿s second album, Crimes of Passion, launched her career into orbit, achieving multi-platinum level sales and holding the second position on Billboard¿s Top 200 album charts for five weeks, and in the Top Ten for six months. The album boasted several songs that would make the Billboard singles charts and become popular staples of Benatar¿s live shows, including "You Better Run," which reached No. 42 in the U.S.; "Treat Me Right," which reached No. 18; and "Hit Me With Your Best Shot," a defiant and empowering taunt of a song, which reached No. 9 and would become the song with which Benatar was most closely associated. Another track from the album, "Hell is for Children," a song about child abuse that was not released as a single, would stir controversy over its provocative lyrics, but would ultimately become a popular staple on album-oriented radio stations. Crimes of Passion would also earn Benatar a Grammy award for Best Female Rock Vocal Performance. Benatar and Neil Giraldo, who was by then serving as Benatar¿s producer as well as arranger and guitarist, would also become involved romantically during the recording of Crimes of Passion, a factor which may have contributed to the album¿s cohesive and exhilarating dynamic. In October 1980, just two months after the release of their second album, Benatar and Giraldo appeared on the cover of Rolling Stone.

Precious Time, Benatar¿s third album, was released in July 1981 and shot to the top spot on Billboard¿s album chart, supported by the music video for "You Better Run," from Crimes of Passion, the second music video ever to be played on the fledgling MTV network. Precious Time was Benatar¿s third album to reach platinum status, and it¿s the single "Fire and Ice," which reached No. 17 on Billboard¿s singles chart earned Benatar her second Grammy award for Best Female Rock Vocal Performance. Benatar and Giraldo took a break from the whirlwind of touring, writing and recording to get married in February 1982, but quickly returned to the studio to produce their fourth album in as many years. Get Nervous, like her previous work, was built on dramatic songs that made the most of Benatar¿s powerful vocals and Giraldo¿s punchy, spare guitar work. Despite the preponderance of songs featuring themes of betrayal and vengeance, Benatar and Giraldo were at their most assured as a couple and as a creative partnership, and the result was a polished work that embraced Benatar¿s role as the reigning queen of rock. The album¿s lead single, "The Shadows of the Night," reached No. 13 on Billboard¿s singles chart and earned Benatar her third Grammy award for Best Female Rock Vocal. The WWII-themed music video for the song, starring yet-unknown actors Bill Paxton and Judge Reinhold, played in heavy

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Filmographyclose complete filmography

CAST: (feature film)

1.
 Union City (1980) Jeanette Florescu
2.
 VH1 Divas Duets (2003)
5.
 VH1 Presents the '80s (2001) Interviewee ("Rock In The Video Age")
7.
8.
 American Music Awards, The (1993) Presenter
10.
 Torn Between Two Fathers (1989) Donna
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