Marking the release of her new album, Madame X, the pop icon sits down for a chat with Andrew in London. This wide-ranging, funny, thoughtful conversation touches on: the Madame X persona and what it means to her; the move to Lisbon and the musical inspiration it provided; her memories of the first time she went to a gay club; motherhood, her six children and the surprising places they have taken her; why Catholic iconography continues to draw her in; what she would say to the Pope if they met; and her makeover tips for Andrew, one of which defines her whole career: “Be daring”.
On-air Contest: For the Win MADONNA Tickets with K&K contest, be the 14th caller at 617-931-1234 when solicited between the hours of 6:00am (ET) and 10:00am (ET) on Tuesday June 25, 2019 and Wednesday June 26, 2019 during Karson and Kennedy’s show for a chance to win two (2) tickets to see Madonna on December 1, 2019 at The Boch Center Wang Theatre located at 270 Tremont St, Boston, MA 02116. Upon verification, there will be up to two (2) winners selected during this contest period. The prize is valued at $300, and courtesy of Live Nation. Otherwise, WWBX’s general contest rules apply and are available by clicking HERE.
More at Mix1041
“Freedom,” sings Madonna, “is what you choose to do with what’s been done to you.” This lyric from the artist’s new song “I Rise,” off her 14th studio album Madame X, is a tribute to the resilience of the human spirit. A new video inspired by the song, created by Madonna and TIME Studios, weaves together footage of the survivors of the Parkland shooting, supporters of LGBTQ equality, Olympic gymnast Aly Raisman’s powerful testimony about sexual abuse, first responders to natural disasters and other social justice movements. The video, directed by Peter Matkiwsky, tells the story of a global population fighting for rights, recognition and survival. TIME Studios recently released its first feature film, “Amazing Grace.”
More at TIME
The Day I Was There series of books proudly presents the next title in their series :MADONNA – THE DAY I WAS THERE
We are inviting all Madonna fans from around the world to share their own fan experiences of seeing Madonna live and be part of this book made by and for all Madonna fans, which will be published in June 2020.
Did you attend The Virgin Tour in the US in 1985 or were you one of the 120,000 fans to see Madonna live for the first time in Parc de Sceaux in Paris during The Who’s That Girl World Tour?
Where ever you saw Madonna we want to hear from you and include your story in the book.
Were you at special Madonna occasions like TV shows, showcases, premieres, signing sessions, meet & greets or presentations and was that your ultimate Madonna experience ?
Send in your story, anecdotes, your secrets and your memories including a photo of yourself from the period you saw a show to madonnathedayiwasthere@
MADONNA – THE DAY I WAS THERE will be the first book on Madonna, filled with hundreds of her fan’s experiences and you could be part of it.
Previous books in the series include: David Bowie, Bob Dylan, Jimi Hendrix, Led Zeppelin and Bruce Springsteen amongst others.
DISTRIBUTED BY MUSIC SALES LTD.
Madonna has never shied away from getting political. Whether in her music videos for songs like “Like a Prayer,” or in her outward actions like fighting against the AIDS crisis, Madge has always made it a goal to express her politics openly whenever she gets the chance. Now, the star is taking on yet another issue in hopes of inspiring change — gun violence.
On Tuesday (June 18), Madonna released a teaser for her upcoming “God Control” music video. The clip starts off with the star talking to the camera, saying that writing songs about “the downfall of humanity” can get her down, so she has to find a positive release. “Where does a girl go? She goes to the disco,” she says.
The clip then shows behind-the-scenes footage of Madonna, clad in a fully-sequined outfit and a blonde bob, dancing and shaking at a disco club for the video, as she speaks about how the joy of disco clubs in the 1970s helped her feel welcome in New York. But the video takes a dark turn as Madonna and her fellow dancers are suddenly shown on the floor of the club, with blood staining their hands and clothes.
“I tried to bring the world of disco and freedom, and having that joy silenced by a small thing made of metal that can end someone’s life,” Madonna says over a clip of a man with a shotgun firing rounds in the club. “Guns need to be made illegal.” Fans have begun speculating that the clip is a reference to the tragic Pulse nightclub shooting of 2016, where 49 men and women were killed in the Orlando gay club.
The content of “God Control,” off of the singer’s new album Madame X, point to the specific subject of the video; the song begins as an emotional ballad, but culminates into a classic disco-style track, while Madonna admonishes America’s lack of gun safety through her lyrics. “People think that I’m insane/ The only gun is in my brain,” she sings.
Check out the new clip for Madonna’s “God Control” video below.
Andrew Denton got straight to the heart of the matter with Madonna on Seven’s Interview on Tuesday night: “I have to start with the eye patch.”
It’s a question the world has asked for months.
Madonna, sitting in Interview’s blue chair (taken to London for the chat) in a green floral dress, black leather gloves and the now-ubiquitous black eye patch with silver X, laughed.
“Of course. The eye sore,” she said breezily.
It didn’t satisfy Denton, who had been gifted Champagne by Madonna and told, “This is a dress that looks good standing up or laying down. We can lay down and talk.”
He went back to the unusual accessory, which Madonna has worn relentlessly since the April release of Medellin, her first single from her album Madame X, which dropped on June 14.
“How did you get to the eye patch?” Denton, 59, asked again.
Turns out, it came naturally once Madonna, 60, “wrote the Madame X manifesto and all the different things she did”.
Denton’s expression remained admirably Easter Island statue as the singer explained her latest alter ego is a “dancer, professor, head of state, a housekeeper, an equestrian, a prisoner, a student, a mother”.
Madonna confided those are “things I’ve done”, and she is paying homage to women from prostitutes to nuns.
The nuns sparked Denton’s interest.
“I’ve lived the life of a nun minus the habit,” Madonna said.
“The chastity. Everybody goes through periods of time when they’re not having sex.”
Full article HERE
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Rejoice, Madonna fans: She’s still blazing trails. By titling a song “Extreme Occidental,” she’s become the first pop behemoth to use this anachronistic descriptor for a Westerner.
And it’s not a bad song either! One of the many reassurances Madame X offers is that, for all the ways she’s taught us how the pop song can vaporize our received ideas about sex, Catholicism, and motherhood, Madonna remains a dork. She’s the big sister who stumbles on interesting words and figures out how to write songs around them. A syncretic talent till the death, Madonna shares travel notes, invites Swae Lee, Quavo, and Maluma along for a car ride to Lisbon, and proffers theories about gun control along the way. Her 14th studio album is her most satisfying since 2005’s long-ago-and-far-away Confessions on a Dance Floor. Thank her curiosity.
On first listen this wouldn’t seem so. The so-called traditional songs—the on-brand title “I Don’t Search I Find,” the bathos of “Looking for Mercy,” the stu-stu-stuttered Portuguese on “Crazy”—are strong enough that she could’ve kept things simple and gotten a high five from critics for Getting Back to Basics. Return to that Quavo track, “Future,” which unfurls as listeners might expect, or “Crave,” whose fado-indebted melody allows Swae to float on a trap beat away from an on-the-prowl Madonna. These are OK to pretty good songs, recorded, no doubt, because she’s canny enough to know how Spotify (to use a gruesome verb) maximizes streams across artist platforms. But she also no doubt wanted to know how her fascination with non-American musical textures and her impatient lustrous melancholy mesh with younger talents.
Similarly, check those production credits. Diplo you know, and Mike Dean (Travis Scott, 2 Chainz), fine, especially after the frantic attempts to contemporize herself on MDNA (2012) and the better Rebel Heart (2015). But Music’s Mirwais Ahmandzai? Yet he assembled Madame X’s most intricate exoskeletons. Teasing us with piano and one of her more ruminative recent sets of lyrics, “God Control” shifts into “Disco Inferno” turf complete with slap bass and a bubble-headed rap that makes “the double shot-tee” of “soy latte” bit in “American Life” sound like Rakim. The strings go psycho while Madonna, who has struggled with how to mechanize her post-Evita vocal control so that she doesn’t sound like she’s squeezing her larynx with tweezers, shouts, “It’s a new kind of democracy/God and pornography”—damn, girl, express yourself. All this, and the Tiffin Children’s Choir too. And we’re only on the third track.
Fascinated with textures that resonate beyond her Manhattan dance origins yet rarely ossify into occidental (thanks, Maddie!) tourism, Madonna schlocks up experiments with batuque (“Batuka”) and a cover of “Faz Gostoso” (joined by Annita) as if they’re weathered, sturdy branches in her musical tree. “Dark Ballet,” the most successful of these experiments in Fourth World possible musics, applies the chirruped vocal approach familiar to “Don’t Tell Me” aficionados to the album’s most batshit synthesis: rippling piano trills indebted to Michael Nyman, recitative vaguely calling shit on the Supreme Court, and a synth bass that would knock Donald Trump’s smartphone out of his hands. In a welcome callback to her days as an MTV semiotician, the video starring Mykkie Blanco as Joan of Arc would make Carl Dreyer blush.
If MDNA and 2008’s crusty Justin-and-Timbo-riding Hard Candy represented flailing attempts to grapple with a shifting marketplace, Madame X occupies its own space. No way in hell will radio play her—although with Lil Nas X’s “Old Town Road” and Billie Eilish’s “Bad Guy” weirding things up, why not? Ambitious in its muddle, versatile by design, a product of an incubation both fruitful and debilitating for a pop polymath, Madame X is deluxe semi-pop: the Madonna equivalent of early-’00s Pearl Jam. Not giving a fuck has liberated her as it did them—would someone who did come up with an English-allergic title like “Killers Who Are Partying”? If she keeps recording streaming experiences like this, she might turn into the world’s biggest cult artist.
More at CityPages
Madonna thinks Maluma looks ‘cuter’ than her in the Medellín music video: ‘I think he looks really handsome’
Madonna appeared on The One Show this evening for a chat with Rylan Clark-Neal and it seems like the Queen of Pop has a bit of a thing for her collaborator, Maluma. The 60-year-old teamed up with the Latin star for her Medellín music video from her Madame X album. Madge revealed she knows when she wants to collaborate with someone if they have a ‘twinkle in their eye’. The pair perform a seductive dance routine in the video and the signer thinks he co-star looks ‘really handsome’. ‘I think he looks really handsome – I think he looks cuter than me though,’ she joked. ‘I never work with people who aren’t willing to push the envelope, let’s put it like that,’ she told Rylan. Madonna on The One Show (Picture: BBC) ‘When I met Maluma, I said, “we’re going to work together, we’re going to go all the way.”’ Madonna also coaches the Colombian musician with his lyrics and encourages him not to be ‘too safe’.
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Wie gaf er eigenlijk nog wat om Madonna na haar dramatisch slechte optreden tijdens in Tel Aviv tijdens de finale van het Eurovisie Songfestival? Wat kwam ze daar trouwens doen, met de van raptrio Migos geleende Quavo, een jongen die haar zoon had kunnen zijn?
Zat de popwereld anno 2019 nog wel te wachten op deze 60-jarige diva die al jaren vergeefs zoekende was naar de juiste vorm. De popmuziek is vergeven van dominante vrouwelijke popsterren. Hoe dacht Madonna na mislukte platen als MDNA (2012) en Rebel Heart (2015) weer een plaatsje te bemachtigen tussen Beyoncé, Rihanna, Ariana Grande, en Katy Perry?
Door met een album te komen, Madame X, waarop ze niet al te krampachtig probeert vast te houden aan het dance-popmetier waar ze maar niet los van leek te komen.
In augustus wordt ze 61, dan hoef je niet meer te doen alsof je ieder weekend op de dansvloer staat. En dat doet ze dan ook niet op Madame X. Tuurlijk weet ze wat er speelt. Zo heeft ze goed geluisterd naar Zuid-Amerikaanse reggaeton (in twee liedjes krijgt ze hulp van de Colombiaanse popster Maluma), en weet ze van Beyoncé dat een beetje leentjebuur spelen bij hiphop een popsong kan verrijken.
Maar ze durft eindelijk ook met een paar liedjes te komen die zo krankjorum in elkaar steken dat je na drie keer nog niet weet waar je precies naar luistert. Dark Ballet begint als een ‘gewoon’ midtempo Madonna-liedje om over te gaan in elektronisch vormgegeven fragment uit Tsjaikovski’s Notenkraker. Nog idioter is God Control, dat we gerust haar eigen Bohemian Rhapsody mogen noemen. Drie nummers verwerkt tot een volledig over de top gearrangeerd orkestraal werkje met een discobeat en een stukje oldskool rap dat Madonna heeft geleend van de hit Wordy Rappinghood van de Tom Tom Club (1981).
En het werkt ook nog. Wat helpt is dat ze goeddeels vasthoudt aan één producer, Mirwais, met wie ze in 2000 al samenwerkte op het album Music.
Geen parade aan hippe jongens en meisjes dus die Madonna weer wat hit-credibility moeten geven. Wel een enorm gevarieerd klinkende plaat die na een weekend intensieve beluistering alleen maar boeiender wordt.
Goed, de teksten zijn soms tergend onnozel zoals in het muzikaal best spannende Killers Who Are Partying: ‘I will be gay, if the gay are burned/ I’ll be Africa, if Africa is shut down/ I will be poor, if the poor are humiliated/ I’ll be a child, if the children are exploited.’
Niet zo sterk is ook dat Madonna zich als Madame X in allerlei personages verstopt. Professor, chachadansleraar, student, hoer en heilige: Madame X is het allemaal, reizend rond de wereld ‘licht brengend naar plaatsen waar het donker is.’
Maar ze stopt echt meer wereldse muziek in haar liedjes dan op haar andere albums. Crave met Rae Sremmurds Swae Lee is een sterke ballad en het allermooist is I Don’t Search, I Find. Mooi, die dreigende techno-strings die van Massive Attack hadden kunnen zijn. Langzaam ontvouwt zich een stevige dancetrack. Zo overtuigend als op dit veertiende studio-album heeft Madonna deze eeuw nog niet geklonken.
Madonna, Madame X. Maverick/Universal.
I wanted to do my Parisian residency at “Folies Bergeres” (venue she visited during the premiere of Jean Paul Gaultier’s fashion freaks show) but the venue wasn’t available…
First minute HERE
Full interview available on June 28th on cheriefm.fr !
Madonna is the most successful female musical artist of all time; a music, fashion and culture A-lister for four decades. One of our most defiantly outspoken of all female role models really doesn’t need me to defend her.
But if one ever wondered what misogyny, casual and overt ageism, being patronised and suffering vituperative ridicule looked like, then look no further than the spiteful reactions to her new Madame X persona and her appearance on the Graham Norton Show this weekend.
Celebrities don’t do chat shows for fun, however lovely Norton is. Danny Boyle. Lily James and Himesh Patel were promoting “Yesterday” and Sir Ian McKellan was touting his one-man show.
Madonna is pushing Madame X, her first album in four years. She was drily funny, genuinely pleased to be sitting with Boyle, whose Trainspotting film she admires, and admitted honestly she didn’t recall working with McKellan, with whom she sparred playfully. She has adopted a Madame X vaudeville persona for the album: all bustier and eye patch.
Madonna is the one time “Material Girl”, “Vogue”, “Evita” and “Queen of Pop” and so many more. Like David Bowie, the key to her longevity is talent, chutzpah and re-invention. Unlike David Bowie, she is ridiculed at every turn for having the temerity to put herself out there and subvert cultural expectations. If that includes pushing up her boobs via an excruciatingly tight bustier and wearing an eye patch for “the look”, what of it?
“Holiday”, her first hit, came out in 1983. What were you like 36 years ago? Do you look, think and sound the same? I saw her first world tour at Wembley Stadium in 1987. There was a real frisson about seeing a global icon then – perhaps like Beyoncé today. She had already created a rebel persona with the attendant criticism for her outspokenness. Fast-forward 30-plus years and her honest concerns about moving to Portugal to be a soccer mom, or the dangers of social media, or being asked for sexual favours by powerful men only lead to her being damned.
How should she behave at 60? She has no real role models at her level of fame. Why should she conform to notions of behaviour and dress that are rooted in our casual ageism and misogyny? Some admire her for supposedly giving “zero f***s”, but as she spoke of her children perhaps wishing Madonna wasn’t their mother for an easier life, it’s clear she actually does. The kneejerk, patronising and spiteful criticism she receives in truth reveals more about us than her.
More at iNews
Thursday evening at 7pm we were FINALLY allowed to buy our copies of Madame X. I arrived early at Concerto to help Kimberly, Amon and the Concerto staff preparing for the party.
Madonna will be a guest on The Tonight Show with Jimmy Fallon on June 20!
Madonna is a Grammy Award-winning singer-songwriter often dubbed the “Queen of Pop.” She has released 14 studio albums since 1983, eight of which topped the Billboard 200 albums chart, and had 38 singles reach the Top 10 of the Billboard Hot 100, including 12 No. 1 hits. Madonna has been nominated for 29 Grammys, winning five. In addition, Madonna has starred in the films Desperately Seeking Susan, Dick Tracy, A League of Their Own and Evita. Her newest album, Madame X, was released on June 14, and she will begin touring on September 12 in Brooklyn, New York.
— Rylan Clark-Neal (@Rylan) 15 juni 2019
— Rylan Clark-Neal (@Rylan) 14 juni 2019