They’ve been best friends since they met in an elevator in the ’80s.
So when Debi Mazar, 48, dishes on Madonna, 54, as she did on Watch What Happens: Live with Andy Cohen, it’s a good idea to sit up and take notice.
Cohen fired quickfire questions at the actress, who revealed that the love of her friend’s life is still ‘Sean,’ and though she wouldn’t confirm that she was referring to Madonna’s ex, Mr Penn, 52, it’s a safe bet to assume she was.
Author Andrew Sean Greer has revealed that Madonna has snapped up the rights to his book “The Impossible Lives Of Greta Wells,” though it’s not yet clear if she’ll just produce, or take on a bigger role in the production. “I got a phone call last week…I think it’s fine. No one’s asked me about this… from a celebrity who read the book and loved it so much she called me up personally to talk to me about it,” he told Litseen. “I thought it was going to be one of her assistants who was like, loved your book, she’s interested. Right. She didn’t read it. But oh no no no. She called me. She read it. She totally got it. There were a couple other people interested and they sort of all made a deal together, and she’s optioned the rights to it. We’ll see what happens. But it’s fun because it was Madonna.”
And it’s easy to see why Madonna might be curious about this one as movie material. Like “W.E.,” the story here is also split between a couple of a time periods, with another romance at its core. Here’s the synopsis from Amazon:
From the critically acclaimed author of the New York Times bestseller The Confessions of Max Tivoli comes The Impossible Lives of Greta Wells, a rapturously romantic story of a woman who finds herself transported to the “other lives” she might have lived.
After the death of her beloved twin brother and the abandonment of her long-time lover, Greta Wells undergoes electroshock therapy. Over the course of the treatment, Greta finds herself repeatedly sent to 1918, 1941, and back to the present. Whisked from the gas-lit streets and horse-drawn carriages of the West Village to a martini-fueled lunch at the Oak Room, in these other worlds, Greta finds her brother alive and well—though fearfully masking his true personality. And her former lover is now her devoted husband…but will he be unfaithful to her in this life as well? Greta Wells is fascinated by her alter egos: in 1941, she is a devoted mother; in 1918, she is a bohemian adulteress.
In this spellbinding novel by Andrew Sean Greer, each reality has its own losses, its own rewards; each extracts a different price. Which life will she choose as she wrestles with the unpredictability of love and the consequences of even her most carefully considered choices?
Thirty years ago this past week, Sire Records released Madonna’s debut album. Although it only created one pop icon, Madonna the album was the culmination of months of effort by diverse artists, photographers, executives and musicians. “The first new wave disco music,” as one of her friends described it, carried plenty in its DNA: bouncy R&B grooves; traces of the last gasps of the pre-AIDS Downtown NYC culture; and, of course, the force of personality of the future Queen of Pop.
In early 1982, Madonna was 23 years old. In the four years since leaving Detroit for New York City, she’d earned her starving-artist bona fides, working at a Dunkin Donuts, sleeping in an abandoned Queens synagogue and rocking studded bracelets, ripped jeans and bleached, cropped hair. She’d traveled as a backup dancer for French disco singer Patrick Hernandez and auditioned for Martin Scorsese’s Last Temptation of Christ. She’d also gone into a Times Square studio with her ex-bandmate (and ex-boyfriend) Steven Bray and recorded a demo of four songs. With her music, she hoped to capture the attention of “the kind of people who might like Grace Jones.” It was that hope, and that demo, that she brought with her one Saturday night to the Danceteria nightclub.
Seymour Stein, founder, Sire Records:
Mark Kamins was the best DJ in New York. I followed him to various clubs – I didn’t dance, but I liked the way he spun. He could mix Portuguse and Indian music with whatever was going on in England at the time. I gave him some work to remix some things for me. One day he said, “I want to be a producer. Let me work with one of your new artists.” I said, “I can’t do that, Mark. You don’t have a track record.” But I said, “Why don’t you bring me an artist. Then the artist is indebted to you.” I gave him $18,000 to record demos for six artists.
Michael Rosenblatt, A&R, Sire Records:
Mark Kamins told me there was this girl who had a demo and was trying to get him to play it over the dance floor. And he was going to have none of that – he didn’t play any demos. But he said she looked amazing, so I was trying to keep an eye peeled for her. …continue reading »
1. Secret Garden.
The day she ever stops “wanting, needing, waiting” will never happen, a point Madonna drives home at the climax of Erotica when she muses, “I wonder when I’ll start to show/I wonder if I’ll ever know/Where my place is/Where my face is.” Andre Betts’s shuffling breakbeat and the jazzy piano and sax flourishes serve as a musical palate cleanser following Shep Pettibone’s highly icy house beats. But make no mistake, she’s no closer to wrapping up this story, and the way her discontent radiates even through lines about how “the sun has kissed me” is a lens through which her entire rocky career can be viewed. Henderson
2. Impressive Instant
3. Sooner or Later
4. Thief of Hearts
5. Till Death Do Us Part
6. Inside of Me
8. I Want You
9. Sky Fits Heaven
11. Has to Be
12. Gang Bang
13. Over and Over
14. Easy Ride
15. Physical Attraction
“Luka smiling after successful surgery at Queen Elizabeth Hospital in Blantyre Performed by my hero Dr. Borgstein. If you want to help him do his work And/or the children of Malawi go to rayofllight.org Thank you!”
On July 27, 1983, the world would be introduced to a budding superstar from the streets of New York City (by way of Bay City, Michigan) named Madonna. On that date 30 years ago, Sire Records released her debut, Madonna. The record would go on to sell more than 10 million copies worldwide and spawn five singles, including the hits “Holiday,” “Lucky Star,” and “Borderline.”
Behind the boards during recording was producer Reggie Lucas, who had seen success working with Lou Rawls, Stephanie Mills, Phyllis Hyman, and Roberta Flack, among other artists. Later in the process, Madonna brought in DJ John “Jellybean” Benitez to assist.
In the years since the album’s release, Madonna’s become a household name, one of music’s most influential artists ever, and a source of controversy–including among her collaborators. I spoke with Lucas about recording Madonna, about what made its singer so novel, and about who he think really deserves credit for the album that served as a launchpad for one of the greatest pop acts in history.
Your background was primarily as an R&B and jazz artist. How did that influence you creating the songs for Madonna? Because she was a different kind of artist.
Well, she was a white artist wasn’t she? [laughs] It was the main thing that made her different. When I came to the Madonna record, I came with two things. The first thing was I brought a lot of success and a solid background as a hit producer and songwriter within the R&B world, but it was also with the skill as a composer and rock and roll guitarist. Madonna was simply the first opportunity that I had to play around with other musical interests that I had. You couldn’t make the first Madonna record for Phyllis Hyman. I couldn’t make Miles Davis music for Roberta Flack. Miles was the one place where I got it all out of my system, and that was the beauty of Miles.
As a producer, you understood that your first job was to support people to achieve that end. You challenged the artist just enough to bring out the best in them and introduce them to audiences that they normally wouldn’t be introduced to. When I did “Physical Attraction,” that was just it. She was a little different. Madonna was wilder in terms of her look and image; I don’t know if her music was that much wilder than anyone else back then. I think her music was sexually freer and it predicted what was going to happen in the future. She was definitely an innovator when it became to being more suggestive, which was pretty cool. I thought it was great.
So–mixing that with my musical background, Madonna’s first album was really a hybrid of her interests and mine. “Physical Attraction” was our starting point with that style. It did pretty well and she began to move forward with her career and sound. …continue reading »