‘Celebration’ discography online – 30 different items (the single)

Next up in our discography is:

‘Celebration’

Madonna’s brand new single released in 2009 and the first of two new songs to be featured on her greatest hits package bearing the same title. Madonna premiered a bit of the new song during the second leg of the Sticky & Sweet Tour during ‘Holiday’. 

She performed the song during her MDNA Tour as the finale song and released two different music video’s for it featuring the Benny Benassi remix. The second video featured various fans and Madonna’s daughter Lourdes. 

For the discography we have collected 30 different pressings, there are so many promotional variations of this release that we couldn’t keep up (check back for more when it arrives).

Check it all out HERE

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Madame X VIP Book back in stock!

Back in Stock! Madonna’s Madame X VIP Book.  Limited Quantities available.

  • Spray painted exterior black envelope sealed with a wax stamp
  • Metallic red hard cover in a black soft-touch hard slip-case with a die-cut window
  • Red gilded edges
  • 140 pages plus cover
  • Mixture of specialty paper stocks sprinkled through-out
  • Red paper mini dance book bound into the larger book
  • Foiled linen playing card
  • Envelope of instant photographs affixed to the inside back cover

BUY HERE

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Madonna surprises protesters by joining the crowd for Black Lives Matter march in London

The protesters marching for Black Lives Matter in London were in for a surprise on Saturday as they were joined by Madonna, who turned up to support.  Pictures and videos were shared on social media showing Madonna turning up to join the rally despite still being on crutches after heading to hospital for her knee injury a week earlier.   The 61-year-old music legend didn’t let her knee issues stop her joining in, and she was spotted chanting ‘no justice, no peace’ in the middle of the crowds.  Madonna was seen speaking to other protesters as people casually freaked out at recognising the global megastar in their midst. 

Protests have been taking place in cities around the world following the death of George Floyd in the USA, after a police officer knelt on his neck for almost nine minutes while arresting him.  Fans took to social media to praise Madonna for heading out to support the protests, writing: ‘Madonna is out here protesting ON CRUTCHES in London, UK. Your faves could never EVER!’

Others added: ‘Good for @Madonna! #BlackLivesMatter’ and ‘This has made my day @Madonna fighting for all rights since forever’.  Madonna had been seen leaving hospital in London last week after suffering a knee injury while on tour.  The injury led to her cancelling multiple dates, and it appears she is still suffering with the injury as she has had to use crutches while in the UK. 

But she’s not going to let a dodgy knee keep her from fighting for change – and that’s exactly why the fans were excited to see her in the crowd.  As well as her daughter Lourdes and son Rocco, Madonna is also the mother of four adopted children, David, Mercy, Stella and Esther, from Malawi.

Read more: https://metro.co.uk/2020/06/06/madonna-surprises-protesters-joining-crowd-black-lives-matter-march-london-12815469/?ito=cbshare

Twitter: https://twitter.com/MetroUK | Facebook: https://www.facebook.com/MetroUK/

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Madonna’s Vogue And 9 Other Videos Made By Famous Directors

Madonna in the Vogue music video
 

For many of us, there is nothing that compares to a great music video. There’s a special art to being able to tell a story or evoke emotions by brining visuals to a popular song, an art that requires someone with a great deal of skill and an eye for the dramatic. Much like David Fincher’s 1990 music video for the Madonna song “Vogue.” But Fincher isn’t alone.

There are dozens of directors who have either gotten their start in the music video industry or jumped over to the medium after finding success on the big screen or television. Names like Spike Lee, Paul Thomas Anderson, and Spike Jonze have all made some of the most culturally significant and eye-catching videos of all time. But some of us may forget, or don’t know, that some of our favorite videos were directed by the biggest names in Hollywood. But fear not, as I have you covered…

 

David Fincher – Vogue, Madonna (1990)

Before creating some of the most important films of the last 25 years with the likes of SevenFight Club, and The Social Network, David Fincher got his start in the music video business by creating groundbreaking videos like the 1990 black-and-white masterpiece that is Madonna’s “Vogue.” This iconic and the visionary video is filled with the technical precision and artistry that the English director would bring to his movies just a few years later and showed what he was capable of pulling off. It also didn’t hurt that this was the third time Fincher and Madonna had teamed up after collaborating on “Express Yourself” and “Oh Father,” a year earlier.

Full article at Cinemablend

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Lost Hit: Madonna & Maluma’s “Bitch I’m Loca”

 

“Bitch I’m Loca” isn’t the best song on Madonna’s Madame X. I’m not even sure if it’s a particularly good song in general, but — with the exception of the Swae Lee-assisted “Crave” — it’s the closest thing on the album to a commercial bop. Would it have made a difference? Probably not. Radio has turned its back on the Queen of Pop, the general public can’t deal with an outspoken woman (of any age) and The Gays have moved on to second-rate imitations. At the very least, however, it would have clocked up a lot streams and charted in Spanish-speaking markets thanks to Maluma.

Yes, “Bitch I’m Loca” is Madonna’s other collaboration with the Latin heartthrob. While “Medellín” is sprawling and grandiose, their second offering is radio-ready reggaeton with the kind of lusty lyrics that would have assured a scandalous video. Maluma does most of the heavy-lifting, beginning the song with an amusing verse about meeting the 61-year-old sex symbol at the club. He is enamored by her style, but learns that she’s something of a scarlet women, who cheated on her ex-boyfriend. Not that Madonna gives a fuck.

“Forget about the future and we have no past, I like the way you move and you know you’re just my type,” she purrs in the song’s only English-language verse. “I guess you like a crazy girl, but it’s alright.” That takes us to the sing-along chorus. “Bitch, I’m loca,” Madonna admits. “Y yo loco, loco,” Maluma replies. Then, one thing leads to another. As much as I love weird and wonderful anthems like “Dark Ballet,” “God Control” and “I Don’t Search I Find,” there’s something refreshing about Madonna just letting her hair down and having some fun. Revisit “Bitch I’m Loca” below.

Do you love the song? Let us know below, or by hitting us up on Facebook and Twitter!

More at IDOLATOR

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PREMIERE: NORA ROTHMAN’S “BORDERLINE” FT. BLUSH WILSON ADDS HAUNTING NUANCE TO A MADONNA CLASSIC

Nora Rothman © Nora Rothman
 
An expressive, haunting cover of Madonna’s hit single, Nora Rothman’s “Borderline” cover ft. Blush Wilson aches with intense sonics and stirringly dark emotion.
Stream: “Borderline” – Nora Rothman ft. Blush Wilson


Silver Lake’s Nora Rothman is without a doubt a name to keep on your radar for this year and next. Originally catching our attention back in early 2017, the singer/songwriter has been on a continuous journey of self-discovery and self-expression that has to date resulted in two dazzlingly distinct EPs and a number of songs that provoke and push boundaries, compel us to think, and inspire us to listen. Her latest offering echoes her talents and unique sound: An expressive, haunting cover of Madonna’s hit, “Borderline” ft. Blush Wilson aches with intense sonics and stirringly dark emotion.

enough - Nora Rothman

enough – Nora Rothman

Something in the way
you love me won’t let me be

I don’t want to be your prisoner
so baby won’t you set me free

Stop playing with my heart
Finish what you start
When you make my love come down
If you want me let me know
Baby let it show
Honey don’t you fool around

Atwood Magazine is proud to be premiering “Borderline,” Nora Rothman’s first single of 2020 and her first music release since putting out her sophomore EP Nothing New last July. Self-identifying not only as an artist but also as an activist, Rothman has been an exciting and fresh voice for quite some time now. In premiering her song “fifteen / feet” featuring Cape Francis, Atwood writer Nick Baron commented how the artist, “has always found a way to combine her passion for music and activism in resourceful ways… her upcoming EP is an extension of that ingenuity.” Rothman injects not only emotion, but also powerful imagery and messaging into her art – all of which was on full display on the five-track Nothing New, and remains prominent in Rothman’s distinguished cover.

Nora Rothman © Nora Rothman

Nora Rothman © Nora Rothman

 

A dynamic thirty-six years young, the song “Borderline” first arrived to the masses as the fifth single off Madonna’s eponymous debut album in 1984. A buoyant, upbeat pop jam, “Borderline” is among Madonna’s early seminal hits, finding her in a moving moment of submission and vulnerability layered in glistening keyboards and fervent synths. A product of its time, “Borderline” feels distinctly ’80s not only because it is, but also because the song (and Madonna in general) shaped so much of the music released throughout that decade and beyond.

Just try to understand, I’ve given all I can,
‘Cause you got the best of me
Borderline feels like I’m going to lose my mind
You just keep on pushing my love over the borderline
Borderline feels like I’m going to lose my mind
You just keep on pushing my love over the borderline

Full article at AtWood Magazine

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Soundtrack Of My Life: ‘RuPaul’s Drag Race’ star Detox (Madonna)

The first album I owned

Madonna – ‘The Immaculate Collection’

“I was basically birthed loving Madonna because my sister Heather, who’s seven years older than me, was a huge Madonna fan. This was her first greatest hits album and I was probably only five or six when it came out, but I can remember we played the shit out of it. Really, Madonna’s been the soundtrack of my life for as long as I can remember.”

The song I can no longer listen to

Lady Gaga – ‘Born This Way’

“I mean, I hear so many of the same songs over and over again because I perform all over the world and queens do the same numbers everywhere, but ‘Born This Way’ I could probably stand without hearing again – especially because it’s so contrived. I feel like she didn’t get much shit [about the song] to begin with, except from Madonna fans, so maybe that’s why I feel the way I feel about it. But you know, I’ve been hearing it in every gay bar all over the world and at every Pride event for so long now – anything that’s trying to be inclusive to the LGBTQ community, it’s always ‘Born This Way’ they’re amping.”

The album that saved my life

Madonna – ‘Ray Of Light’

“I would say that this album saved my life. My dad had a mid-life crisis and moved us from Arizona to this tiny town in North Carolina and it was the first time I was made aware of racism and bigotry and stuff like that, and I got bullied for being different. This was all happening at the time the album came out, so of course being a huge Madonna fan I bought the album – it was basically the only thing that kept me going. There were multiple suicide attempts in that time, but this album was the only thing that kept me out of that negative head space and focused on positivity. I think ‘Ray Of Light’ was a precursor to me owning my sexuality and owning my individualism and trying to work through that.”

Full article at NME

 

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The Black Eyed Peas, Ozuna and J.Rey Soul’s ‘Mamacita’ Rises to Top 10 on Hot Latin Songs Chart (samples ‘La Isla Bonita’)

Black-Eyed-Peas-Ozuna-J.-Rey-Soul-MAMACITA-screenshot-2020-a-billboard-1548-1591364829
Courtesy Photo

Black Eyed Peas, Ozuna, J. Rey Soul “MAMACITA”

The Black Eyed PeasOzuna and J.Rey Soul’s “Mamacita” hits the top 10 on the Hot Latin Songs chart (dated Jun 6) climbing 17-7. It’s the second top 10 for the Peas, the 22nd for Ozuna, and first for J.Rey Soul.

With “Mamacita’s” rise to the top 10, Black Eyes Peas have two concurrent top 10s, as “Ritmo (Bad Boys for Life),” with J Balvin, sits at No. 1 for a 19th nonconsecutive week.

“Ritmo” marked the group’s return to the chart for the first time since 2011, and first top 10. The Hot Latin Songs chart blends airplay, digital sales and streaming activity.

“Mamacita” is the Peas’ first collaboration with singer-songwriter J.Rey Soul (real name: Jessica Reynoso), but not the last — as the Filipina will be contributing to the Peas’ forthcoming album.

“Mamacita” samples Madonna’s 1987 hit single “La Isla Bonita,” which reached No. 4 on the all-genre Billboard Hot 100 chart. As “La Isla Bonita” was co-written by Madonna, she also gets songwriting credit on “Mamacita.” In turn, “Mamacita” gives Madonna her first top 10 as a songwriter on Hot Latin Songs.

“Mamacita” rises on the strength of airplay and streaming activity: it logged 8 million in audience impressions (up 20%), earned in the week ending May 31, according to Nielsen Music/MRC Data. It also pushes 10-5 on the Latin Airplay chart.

Meanwhile, “Mamacita” drew 2.4 million in U.S. streams in the week ending May 28.

While the Black Eye Peas secure their second top 10 on the tally, Ozuna ups his career count to his 22 while J.Rey Soul secures her first. She joins a group of two other acts who have scored a top 10 with their first chart entry in 2020: Tyga (“Loco Contigo,” with DJ Snake and J Balvin), Frank Ocean (“Cayendo [Side A Acoustic]”.)

In addition to its Hot Latin Songs’ hike, “Mamacita” also rises 10-7 on the Latin Digital Song Sales chart thanks to an 11% boost in digital sales.

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‘MISS M’ early cassette of what became ‘Bedtime Stories’ with unique ‘Secret’ intro

This original early cassette of what became ‘Bedtime Stories’ recently found its way to me.

This is an early collection of the songs that would make the follow-up to ‘Erotica’ and whilst there was no title yet, it does include most of the songs of the final tracklisting (in different order though.)

Don’t Stop is not included!

Most interesting when listening is the track ‘Secret’ that ultimately became the lead single off the album. The intro to the song is completely different from the album version we all know. The song starts with the drum beats and continues throughout the intro to the song whereas on the final version the drum beats only start AFTER Madonna sings the intro. Basically the drum mix of the song (though a bit sped up)

 

 

 

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Madonna, U2 Manager Guy Oseary No Longer Running Maverick; What Does it Mean for the Collective?

Guy Oseary
Joe Schildhorn/BFA/REX/Shutterstock

Guy Oseary has “stepped down” from the day-to-day running Maverick, the management collective he founded in 2014. “I’m ready for my new chapter and welcome the opportunity to have more time to focus on management of Madonna and U2 while furthering my passion for identifying and incubating revolutionary businesses,” said Oseary in a statement, first published by Billboard.

Moving forward, Oseary will segue to a consulting role with Live Nation, specifically for CEO Michael Rapino for the next three years, while continuing to represent Madonna and U2 under the Maverick banner. A statement by Live Nation notes that Oseary will be “concentrating on his entrepreneurial interests, investing in and incubating companies on the cutting edge of technology and entertainment.”

Said Rapino: “Guy built an incredible team at Maverick and his work with U2 and Madonna is unmatched. Live Nation has always been about putting the artist first and no one knows that better than Guy. I look forward to continuing our work together on projects including U2, Madonna and beyond.”

Partnered with Ashton Kutcher in venture capital firm Sound Ventures, Oseary’s investments include prescient stakes in Uber, Airbnb, Spotify, Pinterest and Square, among others. He’s also an investor in Peloton and the co-founder of budding social media platform Community.

What does the move mean for such seasoned managers as Adam Leber (Miley Cyrus. Lil Nas X), Larry Rudolph (Britney Spears, Pitbull), Sal Slaiby (The Weeknd, Doja Cat), Scott Rodger (Paul McCartney, Andrea Bocelli) and Lee Anne Callahan-Longo (Ricky Martin) — just a handful of the power brokers under the Maverick umbrella — and their clients? Not much changes, it seems, as most of the Maverick collective is contracted for employment by Live Nation and their deals made with Rapino.

Indeed, the number of acts Live Nation manages has ballooned over the last five years and, as of 2019, counts more than 500 acts represented by “70 managers across 16 management companies,” the company notes of its Artist Nation management arm which is also partnered with such concerns as Roc Nation (home to management clients Rihanna, Shakira and Mariah Carey, among many more). Live Nation “will continue to invest in this division,” the statement continues.

Still, it stands to reason that some managers might want to pivot off of the Maverick brand to another firm within the Live Nation-Artist Nation ecosystem.

Perplexed? You’re not alone. Multiple insiders are scratching their heads over the purpose of such a “vague” announcement, pointing to Maverick’s structure as more of a loose collective of management silos than one requiring heavy oversight by a chief executive. It’s also worth noting that both Madonna and U2 have touring agreements with Live Nation (each reported to be worth north of $120 million when they were signed as 360 deals in 2007 and 2008, respectively) — Oseary had worked with the Madonna since he was in his twenties, but came aboard the U2 train in 2013 — so they remain under the tent no matter their management representation.

Oseary himself has made no secret of his desire to reach beyond music, amassing credits as a film producer (four “Twilight” films, Rob Zombie’s “House of 1,000 Corpses” and “The Devil’s Rejects”) and television executive (“Last Call with Carson Daly”), in addition to author and photographer. More recently — and with the absence of awards shows or afterparties due to the coronavirus pandemic — Oseary has been hosting A-list Zoom get-togethers that have drawn the likes of Tom Hanks, Leonardo DiCaprio, Chris Rock, Dave Chappelle, Adam Sandler, Dakota Fanning, Laura Dern and Netflix’s Ted Sarandos, according to the New York Post.

Oseary got his start in the entertainment business as an A&R executive at Madonna’s label while barely out of his teens. He credits his longtime client for being a master of reinvention. “She has a lot to do with that because I’ve been around her relentless process of innovating since I was 18 years old,” Oseary told Variety last August. As it turns out, Madonna similarly shaped the work ethic of this visionary who was born in Jerusalem but bred in Beverly Hills. “She doesn’t have many peers and she’s always pushing new ground — the word lazy doesn’t connect to her,” he said, though he could have easily been talking about himself.  “Maybe being around [her] helped to show me that’s just the way it goes.”

The writing seemed to be on the wall as early as last summer when Oseary reflected on the potential peak of Maverick’s success. “Let’s look at the totality of it all: Every manager is doing really well,” he said, citing Rudolph, Slaiby, Clarence Spalding (Jason Alean) and “the guys on the country side,” Nashville-focused Big Loud Management. Of Leber and Gee Roberson, who jointly guide the career of Lil Nas X, Oseary added: “I’m proud that two managers came together here under the Maverick roof and were able to achieve this incredible success and break all these world records.”

When Variety asked Oseary what sets him apart from everyone else in business, he replied: “I think that it’s always day one. Every morning I wake up like: ‘Okay, now where do I begin?’ I don’t have a sense of a sense of accomplishment as much as I do: ‘Today is day one — let’s go.’ “

More at Variety

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