A director’s cut of Madonna’s incredible Dark Ballet video has surfaced, this video includes much more footage of Madonna. The video can be seen online at The Director’s Bureau or down below
A director’s cut of Madonna’s incredible Dark Ballet video has surfaced, this video includes much more footage of Madonna. The video can be seen online at The Director’s Bureau or down below
The adverts are from R&R Magazine and were published in November and December, 1983. They give some advice though:
MADONNA wise men are following her star
They have been added to our The First Album page (adverts tab)
More on the way
Baltin: So will the new artists be primarily blues based?
Seymour: My interest is in what’s really, really good. I never said what a good blues artist. Look at Madonna, she had been turned down by labels for three years when I met her and signed her. And when I learned that Chris Blackwell, who’s one of my idols, had turned her down, for a second I said, “Hmm, maybe I’m making a mistake here.” But that was over in about 30 seconds. We all make mistakes and I’ve made quite a few.
Full article at Forbes
Madonna’s Who’s That Girl Tour was filmed professionally in both Tokyo and Turin, the both combined became the final commercial video release in 1988.
We have 15 variations of this release for you to view HERE
While the production team just edited their Instagram post (we can imagine why), here is the original post from Shootonline published on January 25
In 2021, music-driven content looks a lot like SKNX.TV (directing duo Sasha Kasiuha and VMA Award winner Nuno Xico). First up is the Netflix documentary chronicling Madonna’s Madame X Tour. Coming from the world of film editorial and visual effects, respectively, Nuno and Sasha juxtapose traditional cinematic art form with cutting edge technologies and other mixed media, true create not just a story, but a sensation.
According to this LA production team:
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For Ingrid Chavez, one time protege of Prince, and his co-star in Graffiti Bridge (before dropping out of music for a very long time to raise a family with legendary post-punk crooner David Sylvian), the last two years have been a kind of artistic reawakening. It began with her first new album in ten years, 2019’s stunningly accomplished ‘Memories of Flying.’ But last December, she veritably reclaimed her most public legacy, at last releasing her own version of ‘Justify My Love,’ the song she co-penned with Lenny Kravitz, and that would become a massive #1 hit for Madonna. (A dispute over writing credits was ultimately settled in her favor.)
Now she’s giving the song a visual companion, with the release of an equally intriguing and alluring new lyric video. In it, the seductive words are seen emanating directly from the shadowed songstress, while scenes of steamy erotica unfold amidst the salacious, jittery lighting of an unidentified room – and it all might just as easily be taking place in a palace in Vienna as a trashy motel in Berlin. The optical enigma becomes a part of the storyline.
Ms. Chavez fondly looks back on the serendipity of the creation and recording of the now storied track. Kravitz and Andre Betts were in a studio in LA, as it were, and she happened in.
“There are events in our lives that come to define who we are as an artist,” she recalls. “One of those defining moments for me was that day in Los Angeles, just hanging out in the studio with Lenny and Andre; I was in the city doing overdubs for Graffiti Bridge. It was not planned, I just happened to be in the room while they created what would become one of the most raw and unforgettable tracks of the ’90s.”
Most fascinatingly, the now infamous lyrics actually started out as a love letter, which love was still in its earliest blossoming. That she has at last now recorded the song herself, is in a way like going back and revisiting those electric feelings of burgeoning passion.
“I think what is important to know about this song is that it is personal, it was written for me,” she explains. “The words were from a letter I had just written so the emotions were strong. It would ultimately wind up in Madonna’s hands and mark a major shift in her own image and musical style for a period of time. In some way, it changed the trajectory of both of our lives. That is the power of a song written from that deeper place that we as writers are forever chasing.”
It’s worth noting that she indeed chased it and significantly found it on Memories of Flying – and so the album is essential listening for going deeper with Ingrid. Which we absolutely and highly recommend doing.
More at Blackbookmag
Yesterday we posted one of the first interviews Madonna every did when she visited The Netherlands back in January 1984, this was published in OOR magazine (Feb 11, 1984). In that same issue they reviewed Madonna’s debut album, see English translation below:
The Detroit-born dancer and singer Madonna wound up in the music business through the managers of the annoying French singer Patrick Hernandez, who scored an international discohit complete with cane with Born To Be Alive in ’79. These gentlemen took care of her singing lessons in Paris. After being in the New York new wave- and punkscene Madonna, being a fan of black music found herself in the New York dance-circuit, where also her physically attractive star started to rise after the release of the Mark Kamins-produced debut single Everybody.
This panting track is included on her debut record, which does not fail to impress. This is mainly thanks to the disciplined production of Reggie Lucas (known for his work with Phyllis Hyman and Stephanie Mills) who surrenders the record for only 1 song (Holiday) to John ‘Jellybean’ Benitez and surrounds his graceful protege with the cream of the crop of the New York scene. Fortunately the slightly ordinary and naughty Lady S.M. Madonna also makes a contribution herself, because she is responsible for five of the nine compositions.
These songs are carried to a large extent by her horny and provocative teenage girls’ voice and furthermore have equally smart and exciting instrumentations, in which the dry funk-bass licks and the well-groomed keyboard contributions stand out. Moreover, the whole draws an attractive trail through rhythm & blues, illustrating that Madonna is more than just an attractive dance puppet.
More in our The First Album page
When Madonna first came to The Netherlands for promotion there were only a few interviews and one of those was published in Dutch OOR (ear) magazine on February 11, 1984. Besides the interview the same issue of OOR also includes the review for her debut album (stay tuned for the next post.) This article has been added to The First Album page.
English translation of the interview here:
The poses on her record covers recall Marilyn Monroe, her voice is a mix of Debbie Harry and Stacy Lattisaw and she calls herself Madonna. An obvious case of image-hyping or perhaps an artist with her own musical vision? One does not rule out the other, we learn while chatting to the singer who is currently breaking through with catchy dance-single Holiday.
To my surprise Madonna is actually her real name, but that clarifies her ancestry. She was born as Madonna Ciccone in Detroit (1960) with Italian parents and was raised with a population consisting mainly of blacks and immigrants. ‘my parents were orthodox-catholic but still gave me a lot of freedom,’ she says. ‘I had a lot of black friends at school and I mainly listened to Motown- and other black music. My father stimulated me to become a dancer, I followed an education and left for New York to do it professionally. That felt okay for a while, even though I felt the need to sing. I went to auditions and got in touch with Patrick Hernandez (Frenchman, who scored an international disco hit in 1979 with Born To Be Alive-JN) through an ad, who was looking for dancers and singers for a tour. I left for Europe, learned to play instruments and took singing lessons. As a singer there wasn’t enough work and after a tour I decided to return to New York. I started to write my own songs, made a demo, gave it to a DJ-friend and he played my cassette occasionally in a club where he worked. A scout from Warner Brothers heard it, was interested and through him Sire got me a record deal. Sire-boss Seymous Stein thought I needed an experienced producer and hired Reggie Lucas. Afterwards I thought his sound was too slick so I brought in John ‘Jellybean’ Benitez, the famous DJ/mixer/producer from New York to produce Holiday and remix three other tracks. It was those exact songs that became a hit in clubs and landed me a top position in the dance charts. It wasn’t until then that Sire decided to promote me as a record artist and release Holiday as a single.’
That makes Madonna another artist who broke through thanks to the club scene in New York. But she also thinks that the disco circuit does too little for fellow artists who are not without merit. ‘In the battle for success women are merely used in the dance scene. Especially independents hire female singers without a record deal often,’ she explains. ‘If the record sells well the bosses and producers strike up all the money. The singers remain anonymous and therefore people assume they’re artistically uninteresting. There is still too much prejudice that dance music, no matter how good it sounds, is only out for image and artistically has little else to do. The disco market is responsible for their own bad reputation and I would like to change that.’
What about her own image or is her bleached haircut just the result of a joke, I ask. ‘What you say,’ she laughs. ‘There was a moment when I thought it was a good idea to bleach my hair. When we were shooting the album cover everyone was annoying me saying how much I wanted to look like Marilyn Monroe or Debbie Harry. I am getting really sick of that so I am thinking of growing back my own colour.’
Even though the single success will be positive for the promotion and sales of her debut record, Madonna is already thinking about her next record. ‘My next record will be different; I don’t just want to make dance music, but also mid-tempo songs. Songs with a solid soul-sound, I was very much influenced by black music. I am also looking for a new producer. I am aiming for Nile Rodgers of Chic and Trevor Horn as well. Nothing’s settled yet.’
Madonna’s ambitions have also reached the movie scene. Last year she worked on the soundtrack to Vision Quest, with producer Phil Ramone. ‘I wrote two songs and performed three in total,’ she explains. ‘I can be seen in the movie for a short while, but I would like to concentrate on acting later. I am putting all of my time and energy in my singing carreer. I am leaving for England in one hour to perform at The Tube (pop show on Channel 4-JN). It took quite a while before radio and TV noticed me, but since Holiday is doing so well, I am “hot stuff” over there too.’ And with a confident ‘I’ve got business to do’ the tiny singer says goodbye. (JN)
Madonna has already completed the process of assembling the Lisbon show, a work she interrupted earlier this year because of a trip to Africa that took her to Malawi and Kenya. The four adopted children and her boyfriend, dancer and choreographer Ahla Malik Williams, were the first to see the final edition in a home session, announced the 62-year-old singer, songwriter, record producer, actress, director and businesswoman on social media. The release date has not yet been announced but will be coming soon.
The North American artist, who earned about half a half million euros per show, recorded the performances at Coliseu dos Recreios, in Lisbon, for the official DVD of the promotional tour of “Madame X”, the disc she composed and recorded in the period in which she lived in Portugal, between August 2017 and March 2019. United States of America, Portugal, England and France were the only countries on the roadmap. Composed of 75 dates, this tour earned Madonna 51.4 million dollars, about 42.4 million euros.
Auto-translated from an article by SAPO LIFESTYLE
An exhibit at the Galleria Dallas mall is poised to take us back to the ’80s, which surely has to be preferable to the hellish landscape we’ve endured in the 2020s.
Called “She’s Got the Look,” the exhibit will display more than 50 fashions by some of that decade’s most outrageous designers, with everything from Madonna’s Material Girl-era black lace to the power looks of ’80s TV show Dynasty.
The show is curated by Ken Weber, owner of Martini Consignment, the vintage store on Henderson Avenue, and will run from March 5-April 3. It’ll occupy the space next door to Sephora that was most recently home to the Snowday holiday experience.
Designers featured include quintessential ’80s names such as Thierry Mugler, Oscar de la Renta, Yves Saint Laurent, Bob Mackie, Emanuel Ungaro, Halston, and Geoffrey Beene.
The exhibition will be divided into two sections:
Take a look at this very early interview originally published in Record Mirror dated February 26, 1983. Madonna was on to promote her debut single ‘Everybody’ and spoke about macho hunks, being a very sexual person, going to Paris and upcoming single ‘Burning Up.’ This article has been added to the press section of The First Album page.
A few excerpts from the interview:
‘I’m a very sexual person but I want my brain to be appreciated as well.’ says Madonna. “I look good on stage, very good but I don’t wear costumes that I’m going to fall out of. That would be rather cheap.”
‘I see myself as an entertainer to make people forget about the horrors of the world. I’m an escape route. I wrote ‘Everybody’ because we all need a lover and everybody wants to be loved.’
‘Madonna’s album will be out soon and her next single will be ‘Burning Up.’ “It’s about somebody being totally consumed with desire.” she sighs. “You know that feeling you get when you ache for somebody. Oh yes it’s happened to me and I hope a lot of people have ached for me.
‘Holiday Greetings from Madonna’
‘Behold a good single has been given unto you. Play it.”
This advert has been added to the ‘adverts’ tab on our The First Album page
More on the way!!
I’m feeling a bit nostalgic. Time for a personal reflection of the Madame X era.
One year ago today we finally got to embark on our Madame X Tour journey, and boy it was a stressful one! We documented our trip and to celebrate the one year anniversary, we have put together our Madame X Tour video diary for you to view.
Hope you enjoy
There are currently 114 framed photos of inductees into the Michigan Rock and Roll Hall of Fame — all which Johnson wants to hang in the Bay City exhibit.
“We’re hoping also to have a fairly large exhibit on Madonna, the most famous rock and roll star to be born in Bay City,” Johnson says. He hopes to contact her father, owner of Ciccone Winery in Leelanau County, to ask about acquiring something from the star to display at the museum. Johnson says an exhibit in her hometown honoring Madonna’s achievements is “long overdue.” So far, the museum has a set of photos of Madonna taken in 1985 at the Pontiac Silverdome by former BCHS board member Dick Van Nostrand.
Full article at secondwavemedia
Often, there’s a misconception that music must be challenging, emotionally complex and hard-to-access in order to be worthy of greatness – a fairly boring and distinctly joyless way of measuring quality. Meanwhile, SOPHIE often played with ideas like brightness, gloss and polish – words often used as shorthand for lowbrow inauthenticity – and pushed them to the extreme. “I think all pop music should be about who can make the loudest, brightest thing,” the artist once told Rolling Stone. “That, to me, is an interesting challenge, musically and artistically… just as valid as who can be the most raw emotionally.”
And all these ideas come to fruition on 2015’s ‘Bitch I’m Madonna’ – one of SOPHIE’s earliest collaborations with the pop big-leagues. Appearing on Madonna’s 2015 album ‘Rebel Heart’, the producer succeeded in making a star long associated with reinvention sound fresh all over again – the tenacious and synth-laden track, which also features Nicki Minaj, is both the strangest and most interesting track from that particular era of Madge’s career.
Full article at NME
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