- Crave (Tracy Young Dangerous Remix) 4:48
- Crave (Tracy Young Dangerous Radio Edit) 3:24
- Crave (Benny Benassi & BB Team Extended Remix) 4:52
- Crave (Benny Benassi & BB Team Radio Edit) 3:19
- Crave (RNG Club Remix) 6:39
- Crave (Otto Benson Remix) 4:23
- Crave (Twisted Dee & Diego Fernandez) 7:17
- Crave (Dan De Leon & Anthony Griego Remix) 7:10
Available on October 25. Check back for direct download links!
Happy 27th to the most notorious coffeetable book of all time! The world was in shock when Madonna released her SEX book back in 1992 and today we are still discussing it. Way ahead of its time with stunning photography, the book remains an important time in Madonna’s legacy.
In our Erotica album promo page we have a dedicated section to a lot of (mostly Dutch) press on the book’s release, check that out HERE.
I remember getting the book as a gift from my father back in 1992, he had no clue what he bought me! All my father knew was that there was a new Madonna book out and everyone was talking about it. Clueless as he was he went to a Dutch book store where he had reserved ‘the new Madonna book’ and paid around 60 Dutch guilders for it (around 26 EUR now). When he presented the book brand new in foil packaging to me, I was ecstatic with joy! It felt like I held something truly remarkable in my hands, something that the entire world was discussing. When opening the foil with scissors and browsing through the pages, my father’s expression started to change rapidly. The poor soul had no idea that this was a book on erotic fantasies by the biggest star in the world. He made me promise to store it in a safe place and to not really check it out again until I was older (and don’t show your friends!)
Well here we are 27 years later and I still have the book my father gave me back in 1992 neat in its original foil. Needless to say it has been read from start to finish once I was older and it has been shown to many curious people. Say what you want about Madonna, but she’s always been there throughout my life connected to many memories.
But it’s still kind of odd when people ask me about the book and I say ‘yes my father gave it to me’……….
Kimberly van Pinxteren
Next in our discography is Madonna’s collaboration with Missy Elliott for GAP back in 2003. Madonna recorded a new nostalgic version of ‘Hollywood’ titled ‘Into The Hollywood Groove’ mixing ‘Into The Groove’ (with new vocals and lyrics) with ‘Hollywood’ featuring Missy Elliott for this campaign. Besides the track they filmed a commercial together and a promo/free CD was pressed as a giveaway.
Madonna used this version during the Re-Invention Tour in 2004 with Missy on backdrop visuals. The track was later included on Madonna’s Remixed & Revisited EP (discography coming up, but working in chronological order)
In the discography we have collected four different (promo) pressings, click HERE to view
This small sized magazine is one of the very few that put Madonna on their cover so early on in her rise to stardom. The front cover simply says ‘her name is Madonna’.
Magazine has been added to our The First Album promo page HERE
Artistic expression was displayed in a mega way on stage at the Chicago Theatre Wednesday night.
Madonna was in the house and lighting up the wee hours of the night with an out-of-the-ordinary artsy production on her “Madame X” tour. Wednesday’s concert was the first show in her mini Chicago residency, which runs through Oct. 28 and has the “Material Girl” performing seven shows.
The tour is promoting her “Madame X” album, which is her latest release.
As Madonna indicated early on in the show, she wanted her audience to be “present” in the moment and fully engaged in the artistry of it all. So, as soon as people entered the building, phones were taken and placed in a little pouch and not allowed to be used.
“How do you feel not being able to use your phones?” she shouted to fans.
A common theme of the show remained that “artists are here to disturb the peace.” Those words were among the words typed on the stage backdrop at the beginning of the show and throughout other segments. Madonna also uttered that phrase throughout as well.
Madonna took the stage at 11 p.m., opening with the tune “God Control” from “Madame X.” The show starred a great number of songs from the new album as well as other selections inspired by various world music including Portugese inspirations. Her show ran for more than two hours, ending at 1:20 a.m.
For fans craving the hits, perhaps this isn’t the show for you. The biggest of Madonna’s hits offered by the singer this time around included “Vogue,” a bit of “Papa Don’t Preach,” “La Isla Bonita,” “Express Yourself,” and “Like Prayer,” which audience members enthusiastically sang with her.
Among tunes on the playlist were “Frozen,” “Come Alive,” “Crazy,” “I Don’t Search, I Find” and “I Rise.”
The singer is always full of surprises so mega fans of the “Material Girl” will always be curious to see what she’s up to.
Madame X Tour
October 16, 2019
“Artists are here to disturb the peace.”
One has to wonder if Madonna Louise Ciccone has accepted this James Baldwin quote as her life’s mantra. Let’s face it; the native Michigander has always had a reputation as a rabble-rouser. So, when it was announced that she would embark on an intimate, multi-city tour playing multiple dates at each locale, well, the surprising move probably shouldn’t have come as a surprise.
This past week saw her kick off the first of seven shows at Chicago’s intimate (as far as an arena-filling Madonna is concerned) and acoustically superb Chicago Theatre. Dubbed the “Madame X” tour, in support of her 14th album of the same name, it quickly became apparent why these shows wouldn’t play at the local Enormodome. The show had more in common with a Broadway musical or an art performance than to a big stadium spectacle. Loosely divided into five acts, the evening mostly ignored Madge’s vast cavalcade of hits, and instead focused on her most recent release. And when the chestnuts made appearances, they didn’t resemble their former selves. The disco-pop of “Express Yourself” was transformed into an acapella singalong, and “Papa Don’t Preach” became a revolutionary anthem for the #metoo movement. Still, a small sacrifice to pay for the equivalent of seeing an icon in what felt like a living room setting.
Flanked by a dozen or so backup dancers, the 61-year-old Madonna left most of the heavy lifting in her routines for them to execute throughout the night. At times, she still seemed hampered by a recent knee injury that didn’t allow her movements to be as fluid as one might expect. Fortunately, it felt like addition by subtraction. It freed her up to focus on her singing, something that usually gets lost amongst the pageantry and window dressing that accompanied so many previous tours. Not to imply that this was Madonna unplugged. Her complex set pieces helped drive home her raging against abortion rights (the aforementioned “Papa Don’t Preach”), gun violence (“Dark Ballet”), and oppression of women (a group of Cape Verde Batuque singers helped make “Batuka” an evening highlight).
Of course, with ambition, sometimes failure trails close behind. And this evening had those as well. In an effort to make the performances feel more intimate, Madge took moments between songs to engage with the audience. While it certainly brought a human element to the performance, some of the exchanges played out for too long, zapping the evening of some desperately need pacing and momentum. “Get out of your comfort zone!” she exclaimed at one point, completely owning her shortcomings with the same enthusiasm with which she owned her victories.
The overreaching arch was about the artist pushing the boundaries of what they know and expanding it outward to discover how much further you can reach. “Not everyone is coming to the future because not everyone is learning from the past,” she sang during “Future.” She was pushing her audience as well. Buy the ticket. Take the ride. Fall flat on your face in the hopes of flying past the sun. No hits meant that she also wanted YOU to work to get there because that’s where she’s heading. But again, this is Madonna. She’s here to disrupt, and if you’re not with her, you can damn well expect to be left behind.
– Curt Baran
More at IllinoisEntertainer
REVIEW ’10:45 p.m. start time very much in vogue (and worth the wait) when you’re Madonna’ (Chicago Sun*Times)
The pop music icon delivered a potent three-hour spectacle Wednesday night at the Chicago Theatre where she kicked off the first of seven shows at the venue.
There will be a lot of exhausted people in Chicago over the next week and a half, particularly after attending one of Madonna’s shows during her mini-residency at the Chicago Theatre, which, after Wednesday night’s kickoff affair, boasts six more shows over the next 10 days.
With a 10:45 p.m. start time, and topping nearly three hours, the late-night, cell-phone-free spectacle will no doubt garner the ire of some attendees, but the greater takeaway is just how mentally exhausted the performer leaves her fans after the multi-faceted affair, making the show a worthwhile time investment at any start time.
In support of her new album, “Madame X,” released in June on Interscope Records, the show — like the record — extrapolates the many personas of one of the most polarizing figures in music history through well-rehearsed theatrical bits that blur the lines of performance art. Madonna as an artist, a mother, a global citizen, a New Yorker, a Midwesterner, a feminist, a provocateur, a human — all shine through in very distinct and connected ways under the guise of a secret agent looking to find her true identity.
The album/tour title is the moniker originally given to Madonna by dancer and choreographer Martha Graham, with whom she studied in her late teens. But while Madame X is a nod to the singer’s origin story — with a very concerted effort to bring the concert back to an intimate theater setting much like her very first tour — it’s also indicative of how Madonna is pushing the envelope forward with a conscientiousness demanded in the new world order.
“Artists are here to disrupt the peace” was the proclaimed theme of the night. Taken from a quote from the great American writer-playwright-activist James Baldwin, the words were scrawled across a massive sheer curtain, spelled out one letter at a time, as the pounding of every “typewriter” key stroke became a percussive heart beat introducing the opening number “God Control,” which begged for a new democracy. “Everybody’s hurt. What is important is that you must find some way of using this to connect you with everyone else alive,” the passage continued.
The words also hinted at Madonna’s decision to also ban cell phones throughout the tour. “I want nothing to be between us … be present and enjoy the world of Madame X,” she explained.
Madonna, who now lives in Lisbon, Portugal, gave fans a view into her personal world, talking of how she repressed her loneliness in a new country by venturing out into fado clubs and meeting people who would eventually shape her new record, including the late singer Celeste Rebordão Rodrigues whose 16-year-old grandson, Gaspar, was part of the instrumental ensemble. The two paired up for a sweet fado serenade sung in Portuguese; Madonna would also sing in Spanish throughout the show. In another act, Madonna delivered her new song “Batuka” with a history lesson, introducing her audience to the women carrying on the traditions of the Batuque, a music and dance genre native to the Republic of Cabo Verde.
Through panoramic projections, hi-def video and a brilliant use of light and silhouette to denote set changes, concertgoers were transported to the clubs of Lisbon for a trifecta of “La Isla Bonita,” “Sodade” (a Cesaria Evora cover) and “Medellin” and then to the desert of Marrakesh for rousing versions of “Come Alive” and “Future.” There were easily 25 collaborators who made the vision come to life, including her own children. Seven-year-old twins Stella and Estere were an adorable addition to the live ensemble, while oldest daughter Lourdes was projected on a giant screen in a slow-mo, black-and-white dance montage as Madonna delivered a tender version of “Frozen” that made the two virtually inseparable.
Though Madonna relied way too heavily on Auto-Tune, and her intimate between-act stage banter was incredibly bizarre and disjointed (swigging beer from strangers, selling Polaroid selfies to the highest bidder and making jokes about Trump’s small manhood), when she was on stage all eyes were glued to her and her backup squad, particularly for legacy songs “Vogue” and “Like A Prayer.”
The queen of choreography lived up to that title with evocative interpretations, even though a knee injury that delayed the beginning of the tour prevented her from fully participating. True to character, every song rendition had its share of innuendo, sexual or topical, and Madonna relied heavily on the latter in a good deal of hyper-political moments, using “Papa Don’t Preach” as a platform for pro-choice beliefs and padding “Express Yourself” and “Human Nature” with feminist credos. It was the final song “I Rise” that left a lasting impression as a video reel documenting the students of Parkland, the fight for marriage equality and the Flint water crisis gave way to a rainbow-colored flag as Madonna and her backup dancers marched through the audience with fists raised.
“I ask you to be freedom fighters, stand up for those that don’t have the voice or privileges we have. We won’t always be popular,” said Madonna, “but we have to disturb the peace.”
Selena Fragassi is a local freelance writer.
“I Don’t Search I Find”
“Papa Don’t Preach”
“Killers Who Are Partying”
“La Isla Bonita”
“Like A Prayer”
More at ChicagoSunTimes
The Queen of Pop, The Material Girl, Ms. Ciccone. Madonna has many names and even more personas, several of which were on display during her Oct. 16 performance at The Chicago Theatre, the first of seven sold-out concerts during her Chicago residency.
Of all Madonna’s alter-ego’s, Madame X – the title character of her fourteenth studio album whose roles include a teacher, a mother, a nun, a whore and a spy – spent the most time in the spotlight on Wednesday night as songs from the 2019 release appeared in all five sets of the operatic evening. The show – with its sleep-be-damned start time of almost 11 p.m. – felt like a party attended by old friends, as fans, many clad in Madame X eye-patches, were ready to celebrate Madonna’s 30-plus year career and the music that served as the soundtrack to so many monumental moments in their collective lives.
The words of James Baldwin served as the theme of the evening as the show began with a projection of his quote, “Artists are here to disturb the peace.” Madonna wasted no time in using her art, music, dance, costumes and set design to disturb political and societal norms opening with the body-moving call for truth that is “God Control.” “Dark Ballet” soon followed, Madonna wielding the genre-bending pop composition – complete with an interlude of Tchaikovsky’s “The Dance of the Reed-Flutes” – to lead fans in worship at the altar of art.
Act III found Madonna basking in Portuguese moonlight as her stage resembled a Lisbon street scene inspired by her new hometown where she spends her time as a “soccer mom.” The setting provided the perfect backdrop for the eight-song segment, comprised primarily of Madame X music with traditional Fado songs mixed in. Portuguese guitarra player Gaspar Varela provided intricate accompaniment to Madonna’s soulful vocals on “Fado Pechincha,” while “Crazy” blended styles with irresistible results. Orquestra Batukadeiras – an all-female group of singers, dancers and percussionists – joined the Queen of Pop on “Batuka” propelling waves of pure joy from the stage to the seats.
Along with the track list of Madame X, the set was dominated by candid conversations during which Madonna would riff with the crowd, often taking time out to revel in the opportunity to enjoy a cell phone-free night as fans’ mobiles were safely locked away in Yondr pouches.
“It’s so amazing to look out there and not see a single phone,” said Madonna, adding her intent to perform a show so exciting that fans would forget about their devices completely.
Elsewhere, Madonna’s politics took center stage as she declared “death to the patriarchy” and encouraged audience members to dedicate their lives to being “freedom fighters.” She even inserted the issues of the day into some of her biggest hits most notably “Papa Don’t Preach,” which featured the lyric change, “I’ve made up my mind / I’m not keeping my baby.”
“Are you good with my right to choose,” Madonna asked the crowd noting that she’s neither for or against abortion rather she’s for the “right to choose for ourselves.”
“If men got pregnant, you could get an abortion at an ATM machine,” she scoffed.
“Papa Don’t Preach” wasn’t the only classic Madonna hit of the performance. “Vogue” felt as current as ever – thanks in part to the popularity of the FX series Pose – with dancers capturing the essence of the 1990 hit while wearing larger than life ensembles. “Human Nature” showcased Madonna’s legendary dance moves, including a gravity-defying handstand, as projected shadows pushed and pulled the icon in every direction.
“Like a Prayer” led to one of the biggest sing-alongs of the night – tired fans rallying to make the most of the joyful post-1 a.m. moment – and “Frozen” best demonstrated the tender emotional range of Madonna’s vocals as she sang in the spotlight behind a screen displaying her daughter, Lourdes Leon, dancing with passionate abandon.
After decades of performing at amphitheaters and stadiums, Madonna’s opening Madame X show at the Chicago Theatre was a gift, a chance to experience an artist’s vision in an intimate setting without filters. Her Chicago residency continues through Oct. 28, after which fans can relive the experience through the magic of memories rather than on the tiny screens of their iPhones.
Information about Madonna and the Madame X Tour can be found at www.madonna.com.
More at RebelliousMagazine
REVIEW ‘Madonna fears no one at the Chicago Theatre in a late-night, cell phone-free clash between old and new’
Madonna does what she wants, when she wants, for whatever reason she wants. In fact, the Madonna of today may be more stubborn. Yes, she has amassed a trove of hits from each decade of her career. But the hits matter less to the artist than the intention behind her music.
Known as something of a chameleon, Madonna made a case for the interconnectedness of her total body of work during the first night of the Chicago leg of her intimate, cell phone-free Madame X tour. A small number of older songs were carefully intertwined with a heavy selection of tracks off her latest album, “Madame X,” to tell the story of this new character. And who is Madame X?
A freedom fighter, for one. Dance is politics. Music is politics. Madonna laid plain the intentions of each “Madame X” show from the start. On stage was very little in the beginning, just a silhouette of a woman at a typewriter, a large black screen, and a fit young dancer jerking his limbs to the rhythm of each keystroke. Behind him, a 1961 quote by James Baldwin splashed across the screen: “Artists are here to disturb the peace.” Get the picture? This is not a moment of nostalgia for Madonna. But if you’re interested in “waking up,” in getting uncomfortable, then stick around.
The first half of the set blended a mix of old and new tunes, starting with “Dark Ballet” from “Madame X.” Dancers clad in white gowns and riot gear clashed on stage. Behind a brutalist pyramid staircase were projected images of marches for gun control. Clashing — of old and new, of right and wrong, of fun and seriousness — became a theme throughout the set.
For Madge, art is the medium by which she fights for the freedom of others. It is the medium delivering the message, whether audiences understand or like it at all. “Are you good with me not keeping my baby?” she asked the audience halfway through her set after a spirited rendition of “Papa Don’t Preach.” An audience member in the front row expressed his displeasure and she was not afraid to confront him about reproductive rights. “It is my choice. It’s everybody’s choice,” she uttered. The room erupted in applause. She fears no one. The easy choice would be to next play something light, but Madonna chose “American Life,” an oft-forgotten yet underrated single from the aughts. Back then, it was an awkward song, but here, its mashup of genres and conflicted lyrics make sense. It was perfect.
The latter half of the show was packed with guest artists from across the globe as she performed Latin-inspired selections — including “Medellin” and “Come Alive” — from the new album. A group of Cape Verde batuque singers walked through the aisles and joined Madonna on stage for the “Madame X” cut “Batuka.” During her numerous chat breaks, Madge talked about her move to Lisbon to “become a soccer mom,” and the depression and loneliness that soon set in. It was not until she began frequenting fado clubs that she found herself again. It made sense then that the stage was transformed into a colorful recreation of a fado club. “Get out of your comfort zone!” she cried to the audience. Most people were on board.
The “Madame X” show is not a concert as much as it is performance art and dance theater. This explains some of 10:30 p.m. start time, to the surprise and consternation of some fans worried about a late night (the show ended around 1:30 a.m.). This was also a cell-phone-free show, where attendees had to secure their phones. The entry process was smooth, but expect a post-show bottleneck.
Storytelling framed the evening. Madge is a shifting and growing human urging her audience to do the same, but she’s not afraid to get playful, like when she took a Polaroid selfie of herself and auctioned it off to the audience. The winning bid was $3600, to a man who said he was a writer. “Writer? Bull—- artist is more like it,” Madonna said, in reference to him having that much cash.
“Not everyone is coming to the future because not everyone is learning from the past,” she said before playing the “Madame X” single “Future.” It was a coded message. Casual fans looking for an intimate dance party should stay away. Madonna chose small theater settings for a reason — she is interested in touching and seeing and communicating her message with her audience. Theater breeds emotional risks; the fire of each moment is palpable. Madonna knows this. An arena won’t start revolutions, but a musical confrontation a half-foot away will.
It’s a big one….
The 1,000th Issue of Hot Press hits the streets on October 17 – and it’s gonna be a big one.
Hot Press started out in 1977 with the avowed intent of making Ireland safe for rock ’n’ roll. Since then the country has been transformed (no, we didn’t do it on our own!).
70 million words later (give or take a few), this once-in-a lifetime Very Special Edition of the magazine will be jam-packed with extraordinary editorial things…
– brilliant writing from the Hot Press crew
– guest contributions from celebrities and stars
– major interviews with key figures
– big think-pieces about what ails – or inspires – us
– great pictures that also tell a story
– and lots more besides, indeed…
The Hot Press 1,000th Issue is a historic landmark. It is one of those special items to have and to hold – and to keep.
Our 1,000th issue we will publish five covers to choose from
- Rory Gallagher (70’s)
- U2 (80’s)
- Madonna (90’s)
- Amy Winehouse (00’s)
- Hozier (10’s)
To ensure that you get a copy, order here… straight away.
Thanks to Steve!
Madonna performed the track on an extensive promotional tour, European performances included: Absolut Madonna (Germany), Jonathan Ross (U.K.), CD:UK (U.K.), TOTP (U.K.), La Chanson Nr.1 (France). Madonna has yet to perform it live during a (world) tour. A remix was used as an interlude during the Re-Invention Tour, with dancers Cloud and Tamara. The music video premiered in Holland on Veronica.
The most memorable performance is definitely the VMA’s with Britney, Christina and Missy Elliott. In true Madonna style her kiss with Britney made the front cover of various newspapers worldwide. What a shocker!
In our discography we have collected 31 pressings for you to view. Check them out HERE
Bhavna: It is common knowledge that you work with Madonna. Every time I’ve seen her, she appears ageless. Can you talk a little bit about how you met, how has she changed your perspective on aging and beauty in general and the MDNA skincare collaboration?
Dr. Frank: So, we met about five years ago and she came to me on a recommendation of another patient, as sadly the last doctor she worked with had passed away. After working with her for about a year or two, I got involved in developing the skincare line with her and a Japanese technology company. Together, our tools and our formulas created the perfect synergy to defy the boundaries of modern science and deliver game-changing results.
I think that with Madonna – she’s learned a lot from me, I’ve learned a lot from her. To me, she is a perfect example of the ethos of my profession right now. There isn’t one thing that will keep you from aging. It’s a lifestyle combination. Madonna is the example of someone that is so driven in all of the aspects of her life. She takes good care of herself and her body with diet and exercise. So the small things I do make me look very talented as a doctor because she takes great care of herself. She also does all of these other things, from religion to meditation to diet to exercise to spending time with her family. These are the things that keep her looking ageless as you say, and they are working really well.
Before you walk through my doors, your diet, exercise, sleep, stress management, intimacy levels at home, and meditation should all be things that you are working on at home. I’m the icing on the cake – that is my philosophy. I really take a very holistic approach. You can’t inject happiness into someone’s life. However, when someone is taking care of themselves and working on themselves holistically, then it makes my job easy and together we can achieve the patient’s desired results.
Read full article at ThriveGlobal
Swift documented the fun outing with a selfie of her and Porowski, as well as other friends, on her Instagram Story, praising the “Like a Prayer” singer for putting on an incredible performance.
“Thank you Madonna for an outstanding show,” she wrote. “Shout out to the phenomenal dancers, singers, musicians, set designers, crew, wardrobe, glam and M who gave it EVERYTHING.”
The setlist for the show was packed with tracks from Madonna’s latest album, Madame X, but also included classics like “Human Nature,” “Vogue” and “Like a Prayer.”
After multiple gigs at Brooklyn’s BAM Howard Gilman Opera House, the concert series will have a short residency at the Chicago Theatre in Chicago in late October, then another at Los Angeles’ Wiltern Theater in November.
Full article HERE