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Madonna News Archives for March 2008

Madonna poses for her 10th Vanity Fair cover

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NEW YORK, N.Y.- Madonna appears on the cover of Vanity Fair for the 10th time, posing for photographer and longtime collaborator Steven Meisel for V.F.’s third annual Green Issue. The inspiration for the cover image (Madonna holding up a custom-made globe of the world measuring four feet in diameter) came from the cover of a mid-century fashion magazine and the 1920s work of Czech photographer Frantisek Drtikol.

Madonna tells Vanity Fair contributing editor Rich Cohen that in high school, “I was one of those people that people were mean to.” She continues, “I wasn’t a hippie or a stoner, so I ended up being the weirdo. I was interested in classical ballet and music, and the kids were quite mean if you were different…. When that happened, instead of being a doormat, I decided to emphasize my differences. I didn’t shave my legs. I had hair growing under my arms. I refused to wear makeup, or fit the ideal of what a conventionally pretty girl would look like. So of course I was tortured even more, and that further validated my superiority, and helped me to survive and say, ‘I’m getting out of here, and everyone is a heathen in this school–you don’t even know who Mahler is!'”

Madonna draws on the same kinds of survival skills today when it comes to dealing with all of the media attention, telling Cohen, “You have to get to a point where you care as little about getting smoke blown up your ass as you do when you become a whipping boy in the press, because ultimately they both add up to shit. You just have to keep doing your work, and hope and pray somebody’s dialing into your frequency. If your joy is derived from what society thinks of you, you’re always going to be disappointed.”

Madonna speaks on a range of topics, including:

BRITNEY SPEARS:
“Yes, I know. I know exactly what you’re going to say. It’s very painful. Which leads us back to our question: When you think about the way people treat each other in Africa, about witchcraft and people inflicting cruelty and pain on each other, then come back here and, you know, people taking pictures of people when they’re in their homes, being taken to hospitals, or suffering, and selling them, getting energy from them, that’s a terrible infliction of cruelty. So who’s worse off? You know what I mean?”

THE PAPARAZZI:
“The paparazzi are out of control. I haven’t been to Los Angeles in quite a while, and I don’t watch television here or in England, and I was told there’s now a television show where the paparazzi are the stars of the show–is that true? That they film each other doing paparazzi jobs? Which gives them more fuel. I usually found that type kept their distance–they definitely do in England, because it’s illegal to photograph children. But that’s not how it is here. They get this close, and don’t care how much they scare your children. Being famous has changed a lot, because now there’s so many outlets, between magazines, TV shows, and the Internet, for people to stalk and follow you. We created the monster.”

WRITING AND DIRECTING HER FIRST FILM:
“I’ve been inspired by films since I started dancing, and I’m married to a filmmaker, and I think it was one of my secret desires, but I was afraid to just say, ‘I want to be a director.’ But then one day I said, O.K., stop dreaming and do it. But I didn’t want to do it the Hollywood way, and talk through agents. I decided it all had to be generated by me, so I wrote it…. It was my film school.”

HOW NEW YORK HAS CHANGED:
“It’s not the exciting place it used to be. It still has great energy; I still put my finger in the socket. But it doesn’t feel alive, cracking with that synergy between the art world and music world and fashion world that was happening in the 80s. A lot of people died.”

THE MUSIC BUSINESS:
“Well, there’s one thing you can’t download and that’s a live performance. And I know how to put on a show, and enjoy performing, and I’ll always have that.”

HER LONG CAREER:
“Honestly, it’s not something I sit around ruminating about. Who is my role model and how long can I keep this going? I just move around and do different things and come back to music, try making films and come back to music, write children’s books and come back to music.”

HOW HER MOVIES ARE DIFFERENT FROM HER HUSBAND, GUY RITCHIE’S:
“We make different kinds of movies. I don’t have the technical knowledge he has. He’s got a vision, and his films are very testosterone-fueled. Mine are much more from a female point of view, and I can’t help but be autobiographical in everything I do.”

HOW HAVING CHILDREN CHANGES YOU:
“If you have children, you know you’re responsible for somebody. You realize you are being imitated; your belief systems and priorities have a direct influence on these children, who are like flowers in a garden. So you start to second-guess everything you value, and the suffering of other children becomes much more intolerable.”

HER FAVORITE CHILDREN’S BOOKS:
“Winnie the Pooh, Pippi Longstocking, Horrid Henry.”

THE LOSS OF HER MOTHER [AT AGE SIX]:
“You’re aware of a sense of loss, and feel a sense of abandonment. Children always think they did something wrong when their parents disappear.”

The May issue of Vanity Fair hits newsstands in New York and Los Angeles on April 2 and nationally on April 8.

Thanks to Elizabeth Hurlbut from Vanity Fair

Madonnarama – Vanity Fair Article Preview

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Madonnarama - Vanity Fair Article Preview

Madonnarama!

by Rich Cohen – May 2008

As she nears 50, Madonna’s narrative is shifting. Yes, there’s another new super-pop album, Hard Candy, with Justin Timberlake and Pharrell Williams. But there’s also Filth and Wisdom, the feature film she’s co-written, produced, and directed, and I Am Because We Are, her documentary on Malawi, the aids-ravaged country where she controversially adopted her third child. Whisked to L.A. for an intense prep session, followed by an almost two-hour interview, the author explores the evolution of the Madonna myth as she harnesses her image-making genius to a cause, a philosophy, and the search for her true self.

The world is a series of rooms, which are arranged like concentric circles, or rooms within rooms, joined by courtyards and antechambers, and in the room at the center of all those rooms Madonna sits alone, in a white dress, dreaming of Africa.

To reach her, you must wait for a sign. When it comes, if you are pure of heart, you begin to move toward Madonna, and move fast. One moment you are in Connecticut, wondering if it will snow, the next moment you are swept up by a force greater than yourself. You’re in a car on the highway, flashing past sleepy towns, moving closer and closer to the center, which you approach deftly and humbly, in the manner of a pilgrim. Like a pilgrim, you set off before first light. Like a pilgrim, you remove your shoes–to pass through security at the airport. Like a pilgrim, you read and reread sacred texts: profiles and reviews, the first published in the early 1980s, the most recent published just a second ago, which constitute a kind of record, the good news, the Gospel of Madonna.

Taken together, these chronicle the career of Madonna, each different, but each telling the same story, which is so established and archetypal it verges on folklore: the girl from suburban Detroit, which can stand for anywhere other than here; the early years in Eden, memories of which Madonna describes as “grainy and beautiful,” when her mother was young and alive; then tragedy, the wound that never heals, the death of her mother from breast cancer when Madonna was six; empty days plagued by tormented dreams. “You’re aware of a sense of loss, and feel a sense of abandonment,” she told me. “Children always think they did something wrong when their parents disappear.” Then her father’s second marriage, the stepmother, the drudgery, because she was the oldest girl in a house filled with eight children and so was pressed into adult service, cleaning and wiping and changing, when she was still a child herself; secrets and desires, her life before the mirror, which has followed her everywhere; high school, where she was beautiful, but punky and strange. “I didn’t fit into the popular group,” she said. “I wasn’t a hippie or a stoner, so I ended up being the weirdo. I was interested in classical ballet and music, and the kids were quite mean if you were different. I was one of those people that people were mean to. When that happened, instead of being a doormat, I decided to emphasize my differences. I didn’t shave my legs. I had hair growing under my arms. I refused to wear makeup, or fit the ideal of what a conventionally pretty girl would look like. So of course I was tortured even more, and that further validated my superiority, and helped me to survive and say, ‘I’m getting out of here, and everyone is a heathen in this school–you don’t even know who Mahler is!’?” She found refuge in dance class and went on to the University of Michigan to study dance, but for just a year, because then she was gone to New York.

Because this is mythology, a short struggle was followed by a quick ascent to stardom. When was it? Nineteen eighty-two? Nineteen eighty-four? The birth of the music video? “Borderline”? And just like that, every girl in every school is Madonna Ciccone, with her slutty magnificence and lacy driving gloves and bare midriff and spangles.

Here is my favorite quote–it’s an editor at Billboard talking to Jay Cocks in 1985 for Time: “Cyndi Lauper will be around a long time. Madonna will be out of the business in six months.”

Madonnarama - Vanity Fair Article PreviewMadonnarama - Vanity Fair Article PreviewMadonnarama - Vanity Fair Article Preview

more at vanityfair.com

“4 Minutes” Video available for pre-order at iTunes

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Madonna's '4 Minutes' Video available for pre-order at iTunes

“4 Minutes” #5 in UK

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#5 (7) Madonna Ft Justin Timberlake – 4 Minutes (Warner Bros)

Rumour : Madonna wants to remake Casablanca

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Pop superstar Madonna wants to remake Casablanca — and plans to set it in war-torn Iraq, it has been claimed.

The singer, whose previous film career was widely panned by the critics, is reportedly planning to take the lead role of Ilsa Lund, which originally made a star of Ingrid Bergman.

A source at a major Hollywood studio that was recently approached by the 49-year-old star said: “She is still determined to make it in the movies.

“She and her representatives have been touting around a project which is a remake of Casablanca. The reception has been lukewarm to say the least. No one can understand why she wants to redo what many people consider the greatest film of all time.”

In the 1942 original, Bergman starred opposite Humphrey Bogart, who played Rick Blaine, a cynical bar owner in the Moroccan city of Casablanca in the early days of the Second World War. Ilsa is torn between love for her husband, a Czech Resistance leader, and her ex-lover Rick.

Madonna is said to believe the film will make her reputation as an actress, after a string of high-profile flops such as Shanghai Surprise, Body Of Evidence and Swept Away, her much-derided 2002 collaboration with husband Guy Ritchie.

The source added to Britain’s Daily Mail newspaper: “Madonna is talking about taking the Ingrid Bergman role for herself, even though Bergman was in her 20s when she played Ilsa and Madonna is nearly 50.

“She wants to update the story and maybe set it in a modern war zone such as Iraq. There is no script yet.

“Madonna and her people are testing the waters to see if this is the right vehicle for her and if a major studio will get behind the project.”

Bollywood filmmaker Rajeev Nath is also said to be working on a remake set in India, calling it “a tribute to the original”.

A spokeswoman for Madonna refused to comment.

source : showbizspy

More about Madonna’s Vanity Fair cover

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from vanityfair.com:

You just couldn’t wait, could you? Yesterday, a low-quality scan of Vanity Fair’s May cover, featuring Madonna, leaked onto the Internet. We have no idea how it happened, but why fight it? Click the thumbnail for a beautiful image of the entire cover to tide you over until Monday, when we’ll post Rich Cohen’s insightful profile and much, much more.

The new cover was shot at Smashbox Studios, in West Hollywood, by Madonna’s longtime collaborator Steven Meisel. The idea for the image came from V.F.’s editor, Graydon Carter, who was inspired by a midcentury fashion-magazine cover. A custom-made globe of the world (measuring four feet in diameter) served as the centerpiece, and at the end of the shoot Madonna agreed to autograph the globe so that it can be auctioned off for charity. (Details on the auction will be posted soon.)

That’s all for now, but be sure to come back Monday!

Madonna on the cover of Vanity Fair

Thanks to Jessica

Madonna on the cover of Vanity Fair

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Madonna will be on the cover of Vanity Fair May 2008 Issue!

Madonna on the cover of Vanity Fair

Z100 & 93.3 FLZ Interviews with Madonna

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Z100 – listen / download here
93.3FLZ – listen/download here

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