Madonna Remembers Dance Music Champion Orlando Puerta: ‘I Am Forever Indebted To Orlando’

As news of Puerta’s death ripples through the music industry, Madonna, Diane Warren and more share their recollections of the beloved dance music promotions and marketing exec.

As news of Orlando Puerta’s death ripples through the music industry, those who knew the longtime dance music marketing and promotions executive are mourning his loss.

“I am forever indebted to Orlando and he will be sorely missed,” Madonna tells Billboard. “His passion and commitment to dance and club music had no limits and he was a very big reason I had 50 number ones on the dance charts.  Thank you Orlando. RIP.”

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Puerta began working with Madonna when he joined the marketing team at Warner Brothers Records in the late 1990s. He did marketing and promotions for Madonna albums including Music, Confessions On a DancefloorHard Candy, Rebel Heart and her most recent LP Madame X, delivering songs and remixes to the top of worldwide charts. In 2009, Puerta left Warner Brothers to start his own promotions company, Citrusonic, although he continued working with Madonna and her team until his death.

“Orlando was part of our Madonna family,” says Madonna’s longtime manager Guy Oseary. “No one loved dance music more or worked harder or more joyously to promote it. I spoke with him in February when Madonna reached her 50th #1 on the dance charts. He was so proud of Madonna. He was a force of nature who will be missed.”

Puerta passed away on Saturday, April 4 from an upper respiratory infection. He was 55.  It is currently unknown whether the infection was caused by COVID-19, although a test is forthcoming. A dance music advocate since the early ’90s, he worked with artists including Madonna, Bette Midler, Linkin Park, Red Hot Chili Peppers, Depeche Mode, New Order, Orgy, Static X, Michael Bublé and Seal. His work on Cher’s “Believe,” helped make the song a global smash and Billboard Hot 100 No. 1 hit in 1999.

Puerta also became close with songwriting legend Diane Warren through his work on “‘Til It Happens To You,” the 2016 single she co-wrote with Lady Gaga. “At the time, the label wouldn’t let it come out, and her team was against it coming out,” Warren tells Billboard. “Orlando was like, ‘Let me do some dance mixes.'” Puerta commissioned 30 edits by a group of producers including Dave Audé, Dirty Pop and Tracy Young, with Young’s remix hitting No. 1 on Billboard‘s Dance Club Songs chart in January of 2016.

“He was so passionate about that song that on his own he went and got everyone to do mixes for it, and really with no budget,” Warren recalls. It was the power of the remixes, Warren says, that helped convince various teams to release the original, which became the first to be nominated for a Grammy, Emmy and Oscar award in the same year. Puerta and Warren remained friends since the collaboration.

“I loved him,” she says. “He was so kind, so lovely and lovable. Just a sweet guy. He went with his heart. We need more people like that. We can’t afford to lose people like that.”

Warren says a mutual friend sent an ambulance to Puerta’s house in Los Angeles this past Friday night (April 3), because they knew he was in poor health, although Puerta declined to go to the hospital. “He [didn’t] really take care of himself,” says Warren. “He [cared] so much about the music, and his company, and his friends, and his animals, but he [didn’t] put that same care into himself.” He passed away the following day, with Citrusonic announcing his death earlier today (April 6.)

A prolific animal lover, Puerta had recently sent his pet pig, Charlotte, to live on Warren’s animal rescue ranch. His five chihuahuas also arrived at her ranch today, just around the time Warren learned of his passing.

“In a time when we need kindness and we need good people,” she says, “to lose such a kind, good person is just tragic.”

More at Billboard

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The Confessions Tour discography online – 16 different items

New in our discography is The Confessions Tour release from early 2007!

This was Madonna’s first full live recording on DVD since the Drowned World Tour from 2001 as the Re-Invention Tour was unfortunately never released on DVD in full.

The concert film was released as a DVD+CD set but also a single DVD was available.

To promote the release Warner pressed some promotional singles such as for Jump (Japan) and Music Inferno (Sweden) these have also been included in the discography. 

Also included are some of the original Dutch press releases sent out by Warner back at the time and the original Dutch trailer.

Check it all out HERE

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A League of Their Own included in Columbia Classics box set 4K Blu-ray (June release)

A League Of Their Own will be part of Columbia Classics Collection: Volume 1 4K Blu-ray. This will be released on June 16.

Video
Codec: HEVC / H.265
Resolution: Native 4K (2160p)
HDR: HDR10
Original aspect ratio: 2.39:1

Audio

TBA

Subtitles

None

Disc
4K Ultra HD
Blu-ray Disc

Digital
Digital copy included

Playback
4K Blu-ray: Region free
2K Blu-ray: Region A (B, C untested)

Pre-order through Amazon HERE

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Madonna Donates $1 Million to Gates Philanthropy Partners’ Coronavirus-Relief Efforts

Madonna has donated $1 million to the Gates Philanthropy Partners’ COVID-19 Therapeutics Accelerator, a rep for the organization confirmed to Variety.

“Her contribution is alongside the commitments by the Gates Foundation, Wellcome, Mastercard, U.K. Government and Chan Zuckerberg Initiative – all partners in the initiative,” the rep said, clarifying that “The money will go through the COVID-19 Response Fund operated by Gates Philanthropy Partners, so not directly to the Gates Foundation.”

In a statement on her website, Madonna — seen above accepting Advocate for Change honor at last year’s GLAAD Awards — wrote:

“I’m joining the Bill & Melinda Gates Foundation effort to find a drug that will prevent or treat COVID-19. We need this to protect our health workers, the most vulnerable, and all of our friends and families.

“I’m talking about this: I am so impressed by the work of the Bill & Melinda Gates Foundation and the COVID-19 Therapeutics Accelerator’s urgent efforts to find new or existing drugs that could effectively prevent or treat the disease. Harnessing the strength and knowledge of the research community, the Accelerator’s critical scientific progress will inform how we end this pandemic and prevent future impact from the virus. I send enormous gratitude and strength to the courageous first responders, medical professionals and scientists who are protecting our communities, those suffering and our most vulnerable.”

An excerpt from an update on the Accelerator’s progress posted on its website reads: “There are two trials starting pretty much simultaneously, using chloroquine and a drug with a slightly different structure, hydroxychloroquine. Now, you may have heard of the WHO SOLIDARITY Trial that was announced two weeks ago, which will look at chloroquine as a treatment for people who are sick, to see if it shortens the duration of their sickness. The two Accelerator studies are looking instead at prophylaxis — stopping people exposed to the virus from getting sick.

“From the existing data, which need validation in a trial, it looks like hydroxychloroquine could be a good agent for prophylaxis. It actually blocks the entry of the virus into the cell, so the hypothesis makes a lot of sense: if you have the drug in your system and you get exposed, you won’t let the virus get into your cells and you won’t get onset of disease. That is what the trials are aimed at showing.”

For the full report, go to: https://gates.ly/2V1ALzJ

More at Variety

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Madonna’s 10 Best (and Worst) Songs of All Time

There’s no denying Madonna’s seismic impact on music. For nearly four decades now, she’s been a trendsetter, shape-shifter, and innovator—a provocateur of pop and fashion and culture. But this is a double-edged sword. Because Madonna is so bold when it comes to her music, that means it’s never safe. Translation? She’s produced some brilliant songs…and some misfires. Oftentimes, these are intermixed on the same album, which makes listening to her work a very polarizing experience. Diehard fans get this. They know that one of her best tracks can sometimes be followed by something they feel is unlistenable. But I wouldn’t have it any other way. Madonna’s refusal to play by music’s rules is one of the things I love most about her. The fact that she continues to push boundaries—even up to her most recent album, 2019’s Madame X—is awe-inspiring. Because the thing is, when Madonna does make a hit, it’s not just a hit: It’s transcendent.

These 10 songs, below, are the brightest examples of that. I consider them to be the best in her discography, and you’ve no doubt heard many of them. Most of these songs are more than just dance floor-ready bops: They’re real pieces of music history that will stand the test of time. As for her worst songs, which I’ve also listed? Well, let’s hope we forget about those.
Best
 

10. “Like a Virgin” (1984)

Madonna could have easily been a one-album wonder after her debut, but she followed it up with something the world couldn’t ignore: a splashy, synth-y jam called “Like a Virgin,” complete with a music video in which she wears a wedding dress. Pair this with a headline-making VMAs performance—where she rolled around the floor, also in a wedding dress—and you have one of pop’s most potent moments. Ever.

9. “Music” (2000)

 

Following 1998’s introspective, haunting Ray of Light album, Madonna went bright, colorful, and fun. “Music” is one of her most widely-celebrated tracks, with a sledgehammer chorus and fresh electronic production that could easily work on a 2020 Charli XCX record.

8. “Holiday” (1983)

There’s no way this song couldn’t make the cut. By far the standout on Madonna’s debut album, “Holiday” is effortlessly joyous, with a chant-like refrain that never once feels cringe-y. It’s pure light.

7. “Into the Groove” (1985)

“Into the Grove” may have been our first glimpse into the music Madonna would come to be known for: grimy club delights with just enough froth to make top 40 radio. The song sounds very much of its era, but make no mistake: It can still move a room of even the most unbothered millennials. I’ve seen it many times.

6. “Live to Tell” (1986)

Madonna isn’t necessarily known as a balladeer, but her more downtempo moments shouldn’t be overlooked. Exhibit A: “Live to Tell,” a melodramatic shot of emotion that highlights her signature throaty vocals.

5. “Hung Up” (2005)

ABBA has only let one artist sample their music: Madonna, and thank God they did. No reinvention of M’s is more beloved by fans than 2005’s Confessions on a Dance Floor, a nonstop, wall-to-wall dance record that soundtracks like a night out. (On the original CD, there were no gaps in between the songs, so it literally played like a DJ set.) It kicks off with the shiny, disco-fied “Hung Up,” which topped the charts worldwide. The track is Europop bliss: pulsating and primal, with a bridge that begs to be shouted from the top of your lungs.

4. “Express Yourself” (1989)

 

Madonna has always been a feminist figure, but that’s presented perhaps most directly on “Express Yourself,” a stomping ode to recognizing your worth. “Don’t go for second best, baby,” she exclaims on the thumping chorus, as shimmery bells and whistles swirl in the background. It’s yet another example of M’s impact on modern radio: There’s a current wave of retro-sounding pop happening in top 40, and it all harkens back to “Express Yourself.”

3. “Ray of Light” (1998)

When I used the word “transcendent” earlier, I had one song in mind: “Ray of Light,” the title track off Madonna’s most acclaimed record to date. Widely credited for helping drive electronica into mainstream pop, “Ray of Light” is an absolute rush of techno euphoria, a spinning, sparkly ode to the universe and all its wonderment. It’s a song that doesn’t just compel you to dance but feel everything around you, like ecstasy without the drugs. And you’ll never want the high to end.

2. “Vogue” (1990)

Two songs are largely viewed as Madonna’s most essential. This is one of them, and it’s obvious why. It’s a near-perfect dance tune, complete with easy-to-learn choreography and a hook that literally commands you to “move to the music.” If one phrase could some up Madonna’s discography, that would be it. Of course, the conversations around the accompanying video’s appropriative nature are absolutely valid—and they’ve been argued at length many times—but there’s no denying the omnipresence of this song, both in clubs and culture.

1. “Like a Prayer” (1989)

If, “Move to the music” sums up Madonna’s discography, then “Like a Prayer” sums up her entire career. It was, and always will be, her sonic, artistic, and cultural climax, which is no shade to the albums that followed it. (Please see: Confessions and Ray of Light.) But there’s something undeniably special about “Like a Prayer.” Not only is the song a pop gem of the highest degree, the video—with its sexual and religious themes—set the stage for what Madonna would do in the next two decades. She would challenge how the world viewed Christianity and talked about sex—and the role women played in both those ideas. She would push buttons and piss people off but get them to have necessary conversations. That all started with “Like a Prayer.” It really was groundbreaking, and its effects can still be seen and heard today.

Find out the worst songs at GLAMOUR
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‘Confessions On A Dance Floor’ Revisited: Looking Back On Madonna’s Iconic Era

Toss on your fanciest leotards, grab your supersized boom boxes and get ready to dance. Why? Because today’s the day to revisit one of the Queen of Pop’s most beloved eras to date. Yes, I’m talking about Confessions On A Dance Floor. Released in 2005 (get ready to celebrate the 15th anniversary this November), Madonna’s tenth album is a nonstop party from start to finish. Literally. Inspired by a DJ set, each of the 12 tracks runs into the next. That includes the ABBA-sampling lead single “Hung Up,” which rocketed into the Top 10 on the Billboard Hot 100 and topped charts across the globe.

After experimenting with her sound on 2003’s polarizing American Life, the living legend’s return to the dance floor was unanimously embraced. And it’s easy to see why. Aside from being irresistibly fun, this was also one of Madge’s most memorable eras. The hitmaker’s signature look included a body-baring leotard, and she flaunted her physique on stages across the world during an accompanying tour. That’s not all, either. Madonna had several other projects going on at the time. That included the release of a documentary charting her Re-Invention World Tour and a children’s book.

Of course, the icon spiced things up. On tour she wore a crown of thorns and hung herself from a cross. What Madonna era is complete without a little bit of controversy? Through it all, she continued to drop singles off the chart-topping opus. Although follow-up tracks experienced diminishing returns on the Hot 100 (Americans lack taste sometimes, what can I say?), global markets continued to laud her creative genius. To this day, Confessions remains one of the most influential pop albums of the early aughts with releases like Dua Lipa’s Future Nostalgia drawing comparisons.

Imagine being 10 albums in and remaining as iconic as Madonna. That’s pretty much the definition of a timeless trendsetter. Scroll through a gallery of some of her most memorable looks from the era up top. After doing that make sure to feast your eyes on all the videos she dropped below.

“Hung Up”

“Sorry”

“Get Together”

“Jump”

What was your favorite moment from the Confessions era? Let us know below, or by hitting us up on Facebook and Twitter!

More at IDOLATOR

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Official Madonna Fanclub Kit from 1987!

Here is a very rare original and official fanclub kit for Madonna from 1987! The beautiful folder with the famous Herb Ritts photo on the front opens to a number of content including:

  • membership card
  • sticker
  • postcard (nothing on the back though)
  • two large photo cards
  • one ‘signed’ large photo
  • welcome letter
  • welcome letter handwritten by Madonna (not the original of course) on very thin paper in blue ink

Madonna welcomes you to her fanclub in her handwritten letter, talks about filming the movie ‘Slammer’ and the songs she has just recorded for that. This is a very interesting and very hard to find original piece of genuine Madonna memorabilia.

It has been added to our True Blue page. Pictured are the content and front and back of the folder

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‘Jump’ discography online – 15 different pressings

The final single to be released off the very succesful ‘Confesssions on a Dance Floor’ was ‘Jump’.

Madonna filmed the music video while in Japan for The Confessions Tour and decided to wear the same wig on stage she’s seen wearing in the video. The single became another hit single for Madonna. 

We have collected 15 different pressings for you to view in our discography HERE

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Madonna’s Vogue At 30: Here Are 30 Things You Didn’t Know About Her Smash Hit

With its striking music video, empowering lyrics and a middle eight section name-checking some of the biggest stars to ever grace the silver screen, Madonna’s song Vogue had all the makings of an instant hit.

It’s now been 30 years since she released the track, which reached number one in more than 30 countries and gave the Queen of Pop a brand new signature tune. 

But despite being a song that’s now recognised all over the world – and still has everyone recreating those famous moves – there’s a lot you probably don’t know about Vogue.

So. Don’t just stand there. Let’s get to it. 

1. Vogue was actually never meant to be a single

Madonna actually hooked up with music producer Shep Pettibone – who had previously remixed a number of her songs – to create a B-side for the Like A Prayer cut, Keep It Together (not even a track that particularly stands out in the star’s back catalogue, either).

It was only when she played the track for her label that it ended up being made a single in its own right.

VEVO
2. Because they thought they were only making a B-side, Madonna and Shep were more focussed on having fun in the studio, rather than trying to create a hit

“We were just after a fun club record,” Shep told Entertainment Weekly a few weeks after Vogue topped the charts. “But when the record company bigwigs heard it, they said, ’This is a number one smash record. Let’s not put it on a B-side and lose it.”

3. It might be one of her biggest hits, but it came from one of Madonna’s most forgotten albums

WARNER BROS

In 1990, Madonna starred opposite then-boyfriend Warren Beatty in Disney’s adaptation of Dick Tracy, and also teamed up with Stephen Sondheim and frequent collaborator Patrick Leonard to create a soundtrack album inspired by her character, Breathless Mahoney.

When her label heard Vogue for the first time, they decided to tack it on the end of the album, I’m Breathless, which is why it sounds so distinctly different from the musical theatre-inspired tracks that precede it.

4. She was inspired to write the song after seeing the House of Xtravaganza performing in a nightclub

“I’ve been very inspired [by New York],” Madonna told iHeartRadio last year, while reflecting on her career. “The song Vogue was inspired by walking into a nightclub and seeing the Xtravaganza crew voguing. And I was like ‘woah, what the hell is that?’. It was just the most amazing thing.”

5. But Madonna wasn’t actually the first to try and bring voguing into the pop scene

A year earlier, Malcolm McClaren (yes, the former Sex Pistols manager) paid homage to the ballroom scene with the single Deep In Vogue, which topped the US dance charts.

The track was co-produced by William Orbit, who would later go on to work with Madonna on her albums Ray Of Light, Music and MDNA, even earning the singer her very first Grammy for Ray Of Light. 

Read the full article at Huffington Post

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Strike a Pose! Why Madonna’s “Vogue” Is Still Relevant 30 Years Later

Strike a Pose Why Madonnas Vogue Is Still Relevant 30 Years Later

Back in the 1980s, the word “vogue” would have recalled little more than a magazine—that is, unless, you were immersed in New York City counterculture, where it had taken on another meaning entirely. After many decades in the shadows, the pageantry of the Harlem ball scene, a community of African American and Latinx creatives seeking to build their own world of self-expression through the medium of dance and DIY fashion, was poised to hit the mainstream.

In 1989, Susanne Bartsch held the first annual Love Ball as an AIDS fundraiser. Bartsch had witnessed many of these dancers and misfits “mopping” (or, to put it politely, borrowing without intent of return) from her avant-garde boutique off Spring Street, one of the first in the U.S. to stock designers like John Galliano and Vivienne Westwood. Duly fascinated, she invited them downtown for a ball like nobody had seen before. The judges included Vogue’s André Leon Talley, the supermodel Iman, and Talking Heads frontman David Byrne; somewhere within the crowd, according to queer folklore, was Madonna herself, witnessing the legendary Houses of LaBeija and Ninja storm the runway with their dips, pops, and spins. By the time the long, hot summer of 1990 rolled around, Madonna’s “Vogue” was topping charts around the world—eventually becoming that year’s best-selling single—and this subcultural movement had officially boiled over into the zeitgeist.

 

Looking back on the 30th anniversary of its release, “Vogue” should never have been the smash that it was. In an interview with Billboard, the song’s producer, Shep Pettibone, noted that they recorded it as a last-minute track in a basement studio for $5,000; within a week, the final cut was sent over to the executives at Madonna’s record label. While they instinctively knew the song deserved to be more than just a B-side, they struggled to figure out how the singer could release it between album cycles. Eventually, it ended up awkwardly wedged into the soundtrack for Dick Tracy—Madonna’s latest movie venture—despite it having nothing to do with the film at all. Against the odds, it became a runaway hit.

 

But it wasn’t just the song, and its unlikely mash-up of then-underground house music with a middle eight namechecking Old Hollywood filmstars, that captured the public imagination. It was the iconic video, directed by David Fincher, many years before he became the award-sweeping auteur behind films like Fight Club and The Social Network. The black-and-white, soft-focus visual took inspiration directly from the pages of the fashion magazines the dancers worshipped. (Rumor has it that Horst P. Horst even considered a lawsuit over the lack of acknowledgement for the inspiration he had so clearly provided.) And for anyone doubting Madonna’s commitment to the spirit of “Vogue,” you need only look to her MTV Awards performance from the same year. Dressed in full Dangerous Liaisons drag, she and her dancers flick their fans with all the glamorous nonchalance of Marie Antoinette, letting them eat camp.

The video itself was choreographed by and featured Jose Gutierez Xtravaganza and Luis Xtravaganza, of the House of Extravaganza, who dressed up in cravats and spats to whirl around Madonna as she aped her Old Hollywood icons. They had style, they had grace, Rita Hayworth gave good face. Both Xtravaganzas would go on to choreograph her infamous Blonde Ambition tour; captured in flattering terms by 1991’s Truth or Dare, and later more poignantly in 2016’s Strike a Pose, which charted how this wider exposure began to compromise the integrity of the scene they came from, especially in light of the ongoing AIDS crisis. The latter also looked at how Madonna’s role in bringing the vogueing phenomenon into the public consciousness will always be linked to the febrile political context from which it sprung. Around the world, many were mimicking the playful, exaggerated gestures of the Harlem ballrooms with little clue as to the deeper significance those dance moves contained, leading to the eternal question: were Madonna’s efforts to spotlight this overlooked scene appreciation or appropriation?

It’s a topic that was grappled with thoughtfully in Ryan Murphy’s award-winning show Pose, premiering in 2018 to retell the birth of the Harlem ballroom scene with an authenticity that can only be arrived at through meticulous research. Its second season took the moment of Madonna’s “Vogue” hitting the charts as its starting point. While some of its characters met the news with excitement, as underground queer culture was repackaged into something the public could respect and appreciate, others, like Billy Porter’s Pray Tell, approached it with scepticism, recognizing that the dilution of their culture into a series of dance moves would see it remembered merely as a fad.

Both perspectives are valid, but the irony now is that “Vogue” is remembered as neither of those things—instead, it’s looked at with hindsight as a seismic shift for queer culture in the broadest sense, as it hit the mainstream for the very first time. Yes, there are valid questions around Madonna profiting off a movement that was spearheaded by a marginalized community she was not a part of, but, in her own way, she gave back. Even the year before “Vogue” was released, the liner notes for her album Like a Prayer came not with a series of thank yous to those who had helped her with the record, but an urgent message describing the “Facts About AIDS” to encourage safe sex, her most visible step yet in her to promote AIDS/HIV awareness. And while she might occasionally miss the mark, who knows the number of young, queer people of color who saw Madonna’s video playing on MTV and recognized within it a community that promised a lifeline. The possibility of upping sticks and moving to New York City, where, within the four walls of the ballroom, they could find a small slice of freedom.

At its heart, both the song and video are odes to escapism. While few of us may be able to relate directly to the urgent need for uplift that defined the culture that spawned it, 30 years on, we can still lose ourselves in the deliriously euphoric feeling when the chorus of “come on, Vogue!” gets played by a DJ. (Or, right now, as we dance to it in the comfort of our own homes under lockdown.)

After all, its emotional resonance, whether intended by Madonna or not, was always about the obsessive pursuit of beauty, and how we can democratize it. By picking up a $3 fashion magazine, a closeted queer black or Latinx kid growing up in the suburbs of ’80s America could enjoy a rare moment of transportive fantasy. Today, where many countries continue to reject the LGBTQ+ community, this still, sadly, holds meaning. The models that grace the pages of fashion magazines with their flamboyant poses and opulent settings carry the assurance of a freer, uninhibited world, where self-expression can run unchecked.

The disappointment doesn’t lie with Madonna, but simply that these images offer a promise that, even three decades later, we’re yet to see realized fully. By comparing how much, and how little, has changed 30 years after “Vogue” was released, it serves as a pressing reminder that the work of our brothers and sisters from decades past is still not done. So, don’t just stand there—let’s get to it.

More at VOGUE

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The 40 Best Deep Cuts of 2000 (Impressive Instant at 12)

12. Madonna, “Impressive Instant” (Music)

The synth-groan that opens the song is, by all indications, the sound of a pop star who’s just had her first kid and released her most introspective album and wants to hit the friggin’ clubs already. Coming after the set’s title track and lead single on Music, “Impressive Instant” cranks up the electro-pop exhilaration even further, Madonna dragged to the dancefloor by forces greater than herself: “And the world is spinning, spinning baby out of control/ I let the music take me, take me where my heart wants to go.” It sounded like the future, if we were lucky. — A.U.

Full article at Billboard

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Strike A Pose! Madonna’s Game-Changing “Vogue” Turns 30

 

Very few songs stand the test of time and only a fraction of those become so ingrained in popular culture that you can’t imagine the world without it. Madonna’s “Vogue” is one of those God-tier bops. From Shep Pettibone’s brilliant production that fused house and disco, to the iconic lyrics and rapped middle eight, every element of “Vogue” slotted together perfectly to create something timeless and game-changing. 30 years have passed — “Vogue” celebrates that milestone on March 27 — and the crowning jewel of Madonna’s discography shines brighter than ever.

From the initial demo to the final edit, “Vogue” came together over three weeks in early 1990. At the time, Madonna’s label was still working Like A Prayer and planned on releasing “Keep It Together” as her next single. But that all changed when they heard “Vogue.” It was special and they knew it. The cogs of the industry machine immediately started turning and the Queen of Pop was soon on set filming the video. Much like the song, the David Fincher-directed visual is still the gold standard for pop music today.

Given that Madonna was at the very peak of her popularity, “Vogue” was expected to be a hit, but it still surpassed all expectations. The banger topped the charts in more than 30 countries — selling six million copies in the process. It was the highest-selling single of 1990 around the globe and ultimately found its way on the pop icon’s I’m Breathless album. Which wasn’t the most organic fit considering that the half of the project is comprised of show tunes penned by Stephen Sondheim for the big-screen adaptation of Dick Tracy.

The enduring appeal of “Vogue” lies in its celebration of escapism. “When all else fails and you long to be, something better than you are today,” Madonna sings over Pettibone’s piano keys and mercurial bassline. “I know a place where you can get away, it’s called a dance floor and here’s what it’s for — so, come on, vogue! Let your body move to the music.” The near-universal desire to disappear into a sweaty crowd of people and forget yourself for a couple of hours — while being as fabulous as possible — has never been captured so eloquently.

Of course, no account of “Vogue” should be written without addressing the concern that it co-opted queer culture — specifically, of the Harlem “House Ball” community. Vogueing was an art form long before Madonna first struck a pose in 1990 and founders of the movement deserve to be championed and celebrated as they have been in documentaries like Paris Is Burning and FX TV show Pose. Madonna owes those queens an eternal debt of gratitude for inspiring arguably the greatest pop song of the ’90s.

Is this your favorite Madonna song? Let us know below, or by hitting us up on Facebook and Twitter!

More at IDOLATOR

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I’m Going To Tell You A Secret discography online – 16 different pressings

Madonna was giving us so many treats in 2005 and 2006. In between the single releases off Confessions on a Dance Floor there was the release of Madonna’s tour documentary ‘I’m Going To Tell You A Secret’.

The documentary was filmed during Madonna’s Re-Invention Tour in 2004 by Jonas Akerlund and crew. The film premiered in New York and in London (Chelsea Cinema) in 2005 but it wasn’t until 2006 that we were finally able to add it to our collections. 

The documentary came in a special CD+DVD package that included an audio CD with 14 tracks from the show. This was Madonna’s first ever live CD. 

For its discography we have collected 16 various pressings, check it all out HERE

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