Madonna mag dan 61 jaar zijn, dat weerhoudt haar er niet van naaktfoto’s te delen op social media. In het verleden kreeg de zangeres al eens kritiek over zich heen als ze weer eens haar kleren uit had getrokken voor een Instagram-post, maar ditmaal zijn de reacties laaiend enthousiast.
“Je bent een inspiratie voor vrouwen over de hele wereld”
De zangeres deelt op het platform een selfie van zichzelf met enkel een slipje aan, waarop haar borsten (amper) bedekt zijn door haar arm. Gehuld in het genoemde zwarte onderbroekje, een rits gouden armbanden en een trendy bucket hat spreekt ze haar fans toe. Haar volgers zijn vooral verwonderd door haar strakke lichaam. ‘Wauw, ze heeft een beter figuur dan menig vrouw’, klinkt het in de comments. ‘Je bent een inspiratie voor vrouwen over de hele wereld om te doen wat ze willen’, schrijft een ander.
“I just put on Madonna’s tracks and started dancing,” says Sims, who tells EW that, while preparing to thrust season 12’s cast of queens into the grueling song-and-dance challenge, he forewent classical modes of research and let the Holy Spirit of Madonna take over. “Whatever came out [I used].”
With a groovy schematic outlined almost entirely from Sims’ memories growing up watching Madonna on MTV, the 12-minute production (dubbed a “Rusical” in Ru’s queendom) still puts nine queens of varying skill levels — including Heidi N Closet, Jackie Cox, Jan, Gigi Goode, Jaida Essence Hall, Brita, Widow Von’Du, and Crystal Methyd — through an authentic wringer as they pitch-kick and slide through moves that immediately speak to some of the Material Girl’s most iconic body-talking stunts from the Blond Ambition Tour, the MDNA era, the “Papa Don’t Preach” music video, and more. And stuffing the Queen of Pop’s entire career into a bite-sized narrative was the easy part.
“I have an hour [to teach the queens] on camera, and then I have 45 minutes to an hour after, off-camera,” Sims admits. “Normally, something like this would require a week’s rehearsal. It’s intense.”
Below, just in time for Emmys voting, Sims breaks down how the epic Rusical came together in record time and shares exclusive, never-before-seen clips of the queens rehearsing their moves in the Drag Race studio after the main stage cameras switched off.
American singer Madonna surprised her fans with a bold mirror selfie on her Instagram. The pop star is currently recovering from a knee injury. Take a look
American singer Madonna is best known as the queen of pop. Over the years, she has given hits like Papa Don’t Preach, Like a Prayer, Vogue and others. She has made it to the headlines in the last month for testing positive for the coronavirus antibodies. Now, Madonna is out of danger and recently took to Instagram and surprised fans with a bold mirror selfie.
Madonna shares a bold selfie
Madonna is currently recovering from a knee injury and to inform her fans that she is doing well, she shared a bold picture on her Instagram. In the picture, Madonna was seen topless as she leaned on her crutch while capturing the picture. In the picture, she adorned black briefs and a matching hat, while her arms covered her chest. She captioned the picture with a quirky captioned a wrote: “everyone has a Crutch……………. ðŸ› “. Take a look at the post here:
After she posted the pic, fans filled the comment section of the pic with a lot of love. Anabel Englund commented on the post and wrote “ðŸ˜ðŸ˜ðŸ˜ðŸ˜!!!!!!” Another celeb commented on the picture and wrote “Everything I touch becomes a crutch!” Love you”. Apart from this Manila Luzon wrote “Still a hottie”. Another fan wrote ‘Queen of Everything.’ Here are the comments.
Furthermore, the pop legend also talked about her health on Instagram previously too. She had shared a post where she was seen raising money for making the Coronavirus vaccine.
In the post’s caption, she wrote, “Im Grateful that I can be a part of supporting Research to Find the cure for Covid -19!! ðŸ™ðŸ¼ And just to clear things up for people who would rather believe sensationalist headlines than do their own research about the nature of this virus— I am not currently sick. When you test positive for anti-bodies it means you HAD the virus which I. clearly did as I was sick at the end of my tour in Paris over 7 weeks ago along with many other artists in my show but at the time. We all thought we had a very bad flu. Thank God we are all healthy and well now. Hope that clears things up for the band wagon jumpers!! Knowledge is Power! #covid19”.
More at RepublicWorld
Madonna – The Day I Was There features over 300 eyewitness accounts of seeing the ‘Queen of Pop’ live in concert, taking readers on a fan’s eye view through the career of one of the most charismatic, talented and much-loved artists in music. The book also features accounts from many people that worked with the singer including dancers, photographers and musicians.
This is a unique view of the Madonna story featuring a wealth of fascinating stories, memorabilia and photographs that have never been published before, making this book a unique portrait of one of the most influential musicians of the past four decades. From early shows in New York right through to the current Madame X Tour and everything in between.
This special limited edition hardback is numbered from 1-500 and signed by the author. We can also offer a personal dedication hand written in this book.
Stay tuned for more on this book!
Madonna and Jean-Michel Basquiat photographed by Glenn O’Brien, 1982.
Original posted by @endlessdecades
Revolver was one of two brand new songs recorded and added to Madonna’s ‘ultimate’ greatest hits package ‘Celebration’, her final ‘album’ with Warner Records. She did not film a music video for this and Warner did not release anything to visually promote the track.
Warner Music never intended to physically release the track as a single and it was destined to be a digital release only. It wasn’t until the beginning of December that Warner changed their minds and ordered physical copies (and even more variations) due to demand.
Revolver was played during Dutch Radio 538’s ‘Maak ‘t of Kraak ‘t’ (Make it or Break it) and it was made by 65% which was initially good news, however it failed to become a big hit and never made it past the tip parade. No music video and little to no promotion from the artist or the record company did not help. The One Love Club Mix by David Guetta did win a Grammy though!
Madonna performed a stellar version of the song during her MDNA Tour.
In our discography we have collected 16 different pressings of this release, including the very rare Belgian and Dutch promo’s (both 100% official).
Check it out HERE
As many people know, there are some songs that are considered classics. So when another artist covers a classic song, it can either turn out to be a hit (Whitney Houston covers Dolly Parton’s ‘I Will Always Love You’) or it could be a dud (Jessica Simpson covering Nancy Sinatra’s ‘These Boots Are Made For Walkin’’).
One song that would be considered both, depending on who you talk to, is Madonna’s take on ‘American Pie’ by Don McLean. Released on March 3, 2000, ‘American Pie’ by Madonna was released as a single to promote the movie, The Next Best Thing, which starred Madonna, Rupert Everett, Benjamin Bratt, and Neil Patrick Harris.
While the movie did not do well, the song hit its peak at number 29 on the Billboard Hot 100 and number one on the Billboard Dance Club Songs. Don McLean, when interviewed by the Berkshire Eagle in 2015, said this about Madonna covering his song:
“I loved it. I thought it was outstanding. I thought Madonna did a great job with it. To me, she’s an artist for the 20th and the 21st century. She’s magnificent.”
Love or hate Madonna’s version of the 1971 classic, the music video for the song was ahead of its time showing same-sex couples kissing and holding hands at a time when the country was divided on gay and lesbian relations. The video also portrayed a diversity of Americans in the video at a time before the Bush/ Gore debacle.
More at Instinct Magazine
The Deluxe edition of Madame X is now available for only EUR 10,40 through Amazon.nl
If you hadn’t added it to your collection yet, now is the chance
Early on in the proceedings, feminist director Susan Seidelman slips in a clip from Hitchcock’s Rebecca. In that thriller, a demure doormat becomes so obsessed with a wanton woman that she almost kills herself. Here, a mousey, New Jersey housewife, Roberta (Rosanna Arquette), fixates on a sexual adventuress, Susan (Madonna), and – yay! – never looks back.
Back in the 80s, my mum – a mature student, doing an MA in film studies – became besotted with this movie and the way Seidelman subverts the male gaze. I decorated my bedroom with stills of Susan, who began to seem like an extra member of the family. Basically, our lives were turned upside down by this armpit-flaunting, second-hand-clothes-wearing, force of nature.
Our love was not misplaced. The script, by Leora Barish and Craig Bolotin, seems as bold as ever and, if anything, Madonna’s performance appears more magical. She’s made many fictional movies since then, and messed them all up by trying too hard. Turns out, Susan is the (only) role she was born to play and it’s heaven to bask in her insouciance, as well as one of her best tracks, aka “Into the Groove”, recorded especially for the film.
Madonna and NYC are a scintillating fit. Thanks to cinematographer, Edward Lachman (now famous for his work on Carol), back-alleys and grungy apartments glow like Edward Hopper paintings.
Viewers may be tempted to drool over Aidan Quinn (adorably over intense as the Bleecker Street film technician who falls for Roberta), not to mention Arquette herself, whose body the film dangles before us. She’s squeezed into a bustier for a magic show. You can also see her areolas as she lies in a bubble bath. This is a breast-fest, albeit a supremely playful one.
What you have to remember is that, in Seidelman’s universe, laughter always trumps lust. Laurie Metcalf (pre-Roseanne and, obviously, pre her sublime turn in Lady Bird) is a riot as Roberta’s agitated sister-in-law, Leslie. Meanwhile, Valium-voiced comedian Steven Wright casts a spell as Leslie’s dentist boyfriend, Larry.
At the very end, Larry notices Susan and says, with a sigh, “She’s gorgeous!” Leslie gives him the fish-eye and growls, “Beauty fades!”
Desperately Seeking Susan has so much to say about truth and beauty. Beauty’s where you find it. And you will find it, here.
Desperately Seeking Susan is available to rent or buy on Amazon Prime
More at EveningStandard
Fifteen years ago today I traveled to London to attend what would become one of all time’s greatest music events. We all are familiar with Madonna’s performance at Live Aid in Philadelphia back in 1985, to think I would be there in person for the ‘follow up’ was unreal!
The day before the event I walked around Hyde Park to try and see if I could hear anything of the rehearsals going on. Hyde Park is so immensly large though that I couldn’t come anywhere near the area where it was all going down tomorrow. Walking down Oxford Street a little later me and my friend passed the kaballah centre, where at the time Madonna was seen quite regularly. A crowd of people had gathered near the entrance so we went up to check things out.
Some familiar faces there told us that Madonna was in fact inside and could be coming out any minute. When we saw Guy Ritchie leave the place and taking off on his bike we knew it’d be a matter of minutes before Madonna would follow. Her black infamous car was already parked outside and I checked with her people if it was okay for us to wait for her there. I was told that this wasn’t a problem at all.
Only a few minutes later the door opened and I saw this tiny person in white with large cap coming out, not realizing that this was in fact Madonna! Thankfully I quickly recognized her and managed to snap a photo. As always she didn’t acknowledge anyone standing there, but wasn’t rude too. She hopped into her car for her looooong ride home (I mean that sarcastically).
When the day began of the long awaited event, we decided to not go up to Hyde Park but to see Donna De Lory instead. Donna was attending a yoga class and would end the session with singing. Me and two of my friends went there and met up with Donna before the class started. Apart from the usual people attending yoga class there, we were the only ‘fans’ there. We waited until yoga class was over and then sat on the floor for Donna’s singing. Afterwards met up again, chatted to her and took some photo’s. She was nervous about the big performance and said it would be happening somewhere later in the afternoon.
After this we did quickly make our way to Hyde Park but unfortunately took the wrong entrance into the park. It took us a very very very LONG time until we finally hit the area where the concert was happening. We missed acts like Coldplay and U2 because of this, oh well. The crowd was HUGE. However there was more than enough room to walk around and stand wherever you wanted. I remember enjoying Bob Geldof’s performance and really liking Snoop Dogg’s. Didn’t know Brad Pitt was attending, so that was a bit of a surprise.
Madonna’s entrance was fantastic, up there with Birhan the girl captured in a heartbreaking video of so many years ago. All I can tell you about Madonna’s performance is that she completely stole the show. There wasn’t a single soul there that didn’t have their hands up and was singing along. My favourite song by far was ‘Music’ and made me relive the incredible Re-Invention Tour performance. The crowd ate it up. When Madonna’s performance was over we decided to walk around and take things easy as I still wanted to see Mariah Carey perform later.
Mariah did great but the reception of the crowd wasn’t as good as with Madonna. People around me were joking left and right about how ‘we don’t need to hear you sing luv’. Mariah has an interesting personality and like no other knows how to take herself not too seriously, she can be quite a goof on stage which is exactly what happened here. Hell I didn’t care, I loved it.
We left during Robbie Williams’ set (sorry) as our feet were killing us. We had to walk back to the hotel as public transport was a mess at that point.
The next day the event was all that the media was talking about and whose face was it gracing those newspapers? It was Madonna’s OBVIOUSLY.
Check out my original report HERE
Check out our Live 8 photo gallery HERE
Check out our Live 8 page HERE
Incredibly, 50 Madonna songs have reached No. 1 on Billboard‘s Dance Club Songs chart, giving her the distinction of the artist with the most No. 1s on this survey. But only one of these tracks started in the folk world before entering the club scene.
No. 1 on the chart 22 years ago today (July 1), “Ray of Light” was an adaptation of the 1971 song “Sepheryn” by English folk duo Curtiss Maldoon. The song entered Madonna’s field of awareness more than two decades later, when English musician and producer William Orbit sent her a version of the song — renamed “Ray Of Light” and performed by the niece of one of the members of Curtiss Maldoon — to consider for inclusion on her upcoming album.
Madonna liked it, and together with Orbit, she revamped the lyrics, updated the instrumentation and sped the BPM way up. By the time the song was released as the title track from Madonna’s 1998 LP, the minor folk hit had been transformed into a synth-laden electronica anthem that would become both one of the biggest hits of Madonna’s career and reflect who the pop queen had become by the late 90s. The reworked lyrics of the second chorus explored themes related to motherhood and spirituality, as her daughter Lourdes had been born two years prior, and Madonna had begun her exploration of Eastern mysticism and Kabbalah during this same period.
“This album is reflective of where I am in my life right now–in terms of my musical interests and in terms of my personal beliefs,” Madonna told Billboard in 1998. “I feel like I’ve been enlightened, and that it’s my personal responsibility to share what I’ve learned so far with the world.”
Effectively, she completed this sharing by making people dance. While her previous LP, 1994’s Bedtime Stories, had included slowed-down R&B tracks like “Take a Bow” and “Secret,” “Ray of Light” spread its message of love and positivity via its embrace and expansion of the late ’90s electronica genre, at that point being explored by scene stars like Moby, Björk, Underworld and more.
“I’ve been a fan of all kinds of electronic music for many years,” Madonna said in the same Billboard interview, “and I wanted to incorporate that sound into my music.”
Indeed, while many of Madonna’s biggest hits — “Vogue,” “Like a Prayer,” “Like a Virgin” — certainly worked in nightclubs, the song’s styles and structures firmly embedded them in the pop world. But with “Ray Of Light,” Madonna was not simply making pop music that would work in the clubland, but music aesthetically connected to the roots of the genre, taking particular influence from the acid house that was a staple of the ’90s underground rave scene.
Altogether, it got bodies moving around the globe. “Ray Of Light” spent four weeks at No. 1 on Dance Club Songs chart, from the charts dated June 20, 1998, through July 11. This run makes the song one of her longest leaders – “Holiday/Lucky Star” spent five weeks at No. 1 in 1983, “Music” later spent five weeks in this position in 2000, “Like a Virgin” spent four weeks in 1984-85 and “Hung Up” spent four weeks in the top spot in 2005.
“Ray of Light” was the second of three No. 1 Dance Club Songs singles from the Ray of Light album, after “Frozen” (2 weeks, April-May ’98) and before “Nothing Really Matters” (2 weeks, March ’99). Her 20th No. 1 on the chart, the song’s lauded video was directed by Jonas Åkerlund, who had directed the infamous clip for The Prodigy’s “Smack My Bitch Up.” Meanwhile, the song won the 1999 Grammy for best dance recording, while the album won that year’s best pop album trophy. Those two awards, along with the other one she won that evening, were the first audio Grammy awards of her career.
The 1999 Grammys ceremony was a long way from the underground club scene, and in fact even further away from the English folk world. Yet all of these musical stepping stones had helped Madonna create a song that remains one of the brightest lights of her enduring career.
More at Billboard
We’ve already waved goodbye to the Met Gala, and are anticipating the cancellation of the 2020 MTV VMAs, which usually happens in August. Which is gutting, not least because the Video Music Awards is typically one of the wildest of the lot.
We’re talking Britney’s performance with that snake, Kanye West crashing Taylor Swift’s stage and a mic drop from Beyonce in the shape of a baby bump. Here’s a timeline of the wildest MTV VMA moments ever, in lieu of this year’s ceremony going ahead.
Early on in her career, the singer descended a 17-foot-tall wedding cake and sang ‘Like A Virgin’ in a white wedding dress – something which Madonna’s former manager Freddy DeMann thought would ruin her career.
“He was white with anger, he was so upset,” Madonna told Jay Leno in 2012. “He said, ‘That’s it, you’ve ruined your career’ … I didn’t even know that my butt was showing. I couldn’t compute everything that had happened. And since I didn’t really have a career yet, I didn’t feel that I had lost anything.”
2003 – Madonna, Britney Spears and Christina Aguilera kiss on stage
What would a VMA round up be without that moment between Madonna, Britney and Christina at the 2003 awards? The trio were singing a mash up of Madonna’s songs ‘Like A Virgin’ and ‘Hollywood’ with Missy Elliott, with Christina and Britney in wedding dresses, harping back to Madonna’s 1984 performance.
Each year, the “Rusical” challenge on “RuPaul’s Drag Race” is a highly anticipated one. It’s a chance for the queens to truly flaunt their talents as they perform unique song-and-dance numbers. The 12th season came with a little more pressure, though, as the competing queens had to perform to some of Madonna’s greatest hits, while also donning her most iconic looks. From “Lucky Star” to “Like a Virgin,” the task to take queens of different musical skill levels and turn them into pop stars fell to choreographer Jamal Sims.
“Every year, we challenge ourselves to think of new and better things to do. We asked, ‘Why haven’t we done Madonna?’ We wanted to see how we could push the queens. With this group, we knew from their audition tapes that they were talented in a variety of ways and across the board. We thought we’d have them record their vocals, and sing and dance. It was the hardest ‘Rusical’ in herstory.”
“Madonna is so iconic. Her styling and everything are so iconic and if you get it wrong, people are going to know. You have to be flexible [as a choreographer] and know when to pivot. With Widow Von’Du — who had hurt her knee in a prior episode — we could have made that knee worse. I had to make sure she could perform. I want them to do the best they can. I’m not setting them up for failure. It’s a fine line in finding how to push them without hurting them. A number like this should take a week and a half, but we didn’t have that luxury. It was done in two days.”
Jaida Essence Hall
“Jamal took the feel of what ‘Justify My Love’ gave, but injected what the music and the world is reflecting now. I had never seen the video before. [Judge] Michelle Visage said, ‘It’s sexy.’ I watched it twice and then knew what the vibe was. You had to learn it so fast. It was less about the choreography and music; it was more about learning who Madonna was in that period. When they pulled out the wardrobe, I saw a bra and panties and stockings. I thought, ‘There’s nothing here.’ I was nervous about wearing that outfit, but the wardrobe helped you bring out the character and made you feel alive.”
“I’m not a choreo queen, but I was excited to bring it to life. My performances revolve around what I’m wearing. I can move rhythmically but I’m not strong. I was shaky and nervous, and I wasn’t prepared to be nervous. I was confident in my ability to sing. I don’t know why I was shaky, but when we got on stage with Jamal, he said, ‘OK, what are you willing to do and can [you] push to the limit?’ I said, ‘I weigh 120 pounds and I am more than willing to be thrown into the air.’ Jamal brought out what I didn’t know I had.”
“A lot of what I shoot is dependent on what is choreographed. What you see in the rehearsals is a small snippet. It’s the first time the queens are seeing Jamal, and he has to gauge the talent because not everyone has the same ability. He has to cultivate their talent. We shoot a rehearsal and I get to learn some of the basic moves and then the group choreography. After that I’ll meet with producer Mandy Salangsang, and discuss how I want to shoot it. I’m heavily involved in the entrance and exits and how to make it all visually enticing for the viewer. But it needs to work from a choreography point of view in terms of getting one performer on and another off in a visually coherent way.”
More at Variety
In a new interview with Music Week, Lipa’s manager Ben Mawson revealed how the ’80s aesthetic of Dua’s ‘Future Nostalgia’ album was influenced by Madonna’s ‘Confessions on a Dancefloor’ – with both records featuring songs produced by Stuart Price.
When asked if Dua could emulate Madonna, Mawson responded: “Well it depends what you mean. She’s definitely going to have a long career. She’s definitely the complete pop star and obviously the album was heavily influenced by Madonna.
“In fact, we’re about to try and get Madonna on a record. I’m going to write the email and see if she’s up for a track.”
He added: “Dua told me she aspired to be Madonna when I met her, when she was 17, and there was something about the way she said it that made me believe her! It was about her personality, her charisma, her competitiveness and her drive and that came across. Dua’s got it all, so she’s unlimited potential.”
It is unclear whether Madonna has responded to the request.
More at NME