Super top secret footage, like @madonna’s #MDNASKIN secret formula, of her & @thefatjewish on set. Stay tuned for the full video on LAUNCH day!
MDNA Skin via Instagram
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Monday, September 25: Guests include Madonna, Camila Cabello and musical guest Camila Cabello. Show 744
According to NBC, Madonna will be the episode’s lead interview guest. Cabello will meanwhile appear for an interview and musical performance.
Madonna‘s ex-pal is asking a Manhattan judge to toss a lawsuit filed against her by the aging pop star over a planned auction of the singer’s possessions.
Her Madgesty had filed the suit in January asking a judge to bar the former friend, Darlene Lutz, and the company Gotta Have It! Collectibles from selling some of her “highly personal items,” such as a love letter to late rapper and former boyfriend Tupac Shakur, a pair of worn panties and a strand-snarled hairbrush containing her blond locks.
Lawyers for Lutz noted in their new motion that Madonna admitted during an undated deposition that she had no real reason to believe the items were snatched.
“Do you have any good-faith basis to allege that my client, Darlene Lutz, took these underwear [Lot No. 10] from you?” one of Lutz’s lawyers, Judd Grossman, asked.
“I do not,” Madonna responded, according to the papers.
The papers also argue that the “Like a Virgin” singer can’t claim ownership of her “previously worn underwear” because she sent it as a gift to ex Peter Shue in the 1990s.
The underwear was accompanied by a note in which Madonna told Shue that the delicates are for “luck & love … even though I’ve only known you for less than a week.”
Lutz has previously said Shue was behind the auction of the lingerie.
“Ms. Lutz acquired other correspondence, including a letter from Tupac Shakur (Lot No. 128), directly from Plaintiff’s assistants,” the paper say, adding the items were being tossed at the time.
Grossman also argued that Madonna couldn’t balk at his client selling her “DNA”– an accusation she made about the hair-filled hairbrush — when she gives it away freely on underwear.
Manhattan Supreme Court Justice Gerald Leibovitz previously ordered the auction halted, at least for now.
He has yet to rule on whether he will toss the case.
Whether she’s riding a sexy nun like a human surfboard (as one does) or performing stripped-down versions of old hits, no one entertains — or provokes — like Madonna. That much is clear from her Rebel Heart Tour concert film and live album combo, out now, which documents her 2015-16 world tour along with behind-the-scenes footage. But who knows when fans might next get a chance to see her gyrate in front of massive video screens or outdo herself with elaborate costume changes. The Material Girl says she’s pushed arena shows to the limit and is now thinking of developing a smaller, more intimate kind of show. “It’s time for me to take a different approach and really get back down to the beauty and simplicity of music and lyrics,” she tells EW. Below, the 59-year-old looks back on the Rebel Heart Tour’s prescient political messages, dishes on her post-show routines, and gives a tight-lipped (but exciting!) progress report on new music.
ENTERTAINMENT WEEKLY: This tour opened with ominous video footage of you saying, “When those fascist dictators posing as righteous men come for you…. be prepared to fight for what you believe in.” You recorded that in 2015, but it feels especially timely now.
Madonna: Yeah, people should listen to me! [Laughs]
When you look at the state of the world in 2017, do you think I told you so, or are you surprised about where we find ourselves?
No, I’m not surprised at all. I was already witnessing it on the previous tour: The winds were changing, and people were becoming more and more fearful and marginalized. I thought we were going backwards on a lot of the progress that we’ve made as the human race. So cut to my Rebel Heart Tour and then the election and then what’s happened in the rest of the world — of course I’m saying I predicted it. I’m sure I’m not the only one. A lot of people have been talking about it and trying to call attention to it. But people just want to hear good news, or they want to be distracted. So yes, I did feel like I was warning people.
What role do you think concerts should play in this political climate? Should they be two hours of escapism? Should they feel like rallies or protests?
I can’t speak for other artists, I can only speak for myself. My role obviously is to entertain, but I’m not going to entertain without being provocative. I’m not going to entertain without sharing my point of view, without reflecting what’s going on in the world. That just wouldn’t be me.
There’s a clip of you telling your dancers that doing this show was like going to war every night. What made this tour such a battle? Most reviews noted how much fun you seemed to be having on stage.
When I say war, it’s just what you have to go through every night to do this show. It’s physically a very demanding show. There’s a lot of moving parts going on backstage and underneath the stage. Everyone has to be super organized and vigilant. There’s no room for error. There are 30 seconds to change. You’re passing people under the stage, there are lifts going up and down. There’s a lot of dangerous stuff happening, and you have to fight through all of that and fight your fatigue or whatever personal issues you might be having that evening and get out there. It’s showtime! No matter what’s going on, you have to push through it and be a warrior. Sometimes you’re playing in venues where there’s no air, where people are smoking. There are always challenges. Couple that with your own personal issues — you don’t feel well, you’re sick, one of your dancers is injured. When you do live shows, you never know what can happen, so you do have to have that warrior-going-into-battle mentality. No matter what, you just keep going.
That’s intense. How long does it take you to come down from that?
I need about 20 minutes to cool down and go to my dressing room or my hotel room. I do vocal cool-downs. I drink tea for my throat. And I have to wait 20 minutes for the ringing in my ears to go away. Then I come back down to earth. After that, I like to have dinner and socialize in a small way. On tour, it’s too demanding — I can’t go out and party or drink or be crazy. That’s for everybody else. I’m the only one that doesn’t have fun on tour. I don’t want to be alone. Sometimes I get treatments: I get a massage or shiatsu or acupuncture. I watch films — things that get me out of my head and stop worrying. I tend to fixate on mistakes that were made or technical problems that happened. It takes me a couple of hours to unwind.
Rebel Heart, your 13th studio album, featured some of your most vulnerable material in years. Did it feel like you were baring your soul on stage at times with this tour?
I’m not really conscious of it. Sometimes I’m in the mood to share my inner feelings and I’m aware that I’m doing it and feel like it’s the right time. And other times I feel like being more mysterious. I’ve been playing that balancing act for my entire career. A lot of the songs I write are meant to be ironic and not taken literally, and some are just straight-up, “Open my veins, this is who I am.”
My favorite moments from this DVD are when you’re performing with just a ukulele or a guitar. What’s it going to take for fans to get a stripped-down, small-venues-only acoustic Madonna tour?
Well, I would probably use other instruments, not just a guitar. I’m definitely thinking about experimenting with other musical genres right now and working with musicians from around the world to create a show that continues to involve music and dance [but also] poetry and humor, something on the intimate level of Tears of Clown [Madonna’s experimental theater show, which is included in the Rebel Heart Tour DVD]. There would be still some small production with lights, but much simpler and in a much smaller venue. I really like doing that.
As you brainstorm a new kind of show, are you also thinking about recording new music and what’s next on that front?
Yes, I’m doing it all!
Can you share anything about what direction you want to go in?
No! [Laughs] I don’t want to give it away! I’m traveling the world right now and listening to lots of different music. I’m getting inspired by people and I’m just soaking things up right now. I feel like I’ve pushed the whole big-production arena tour to the max and done it the best that I could for such a long time. It’s time for me to take a different approach and really get back down to the beauty and simplicity of music and lyrics and intimacy.
Was there anything you haven’t been able to do in an arena show that you’ve wanted to try?
One thing I wanted but was always told was too expensive or too crazy or too dangerous was water. I always wanted water features, like rain or something. But [I was told], “If we’re outside doing a stadium tour, it’s too dangerous if there’s wind. And what if the wind pushes the water into the audience and everyone gets wet? We’re going to have insurance problems. And carrying water around with us is too complicated — too many trucks, too many airplanes, too expensive.” Water was something I always wanted to use in my shows but never did. Beyoncé used it in her last show [the Formation World Tour], but I think she had a lot of problems with it too. It’s good if you don’t move, if you’re stationary and everything is fixed. And if it’s indoors, of course.
Most of your tours have been recorded or broadcast in some capacity. With your past few records, you’ve been putting out these live DVDs almost like clockwork. Why is it important for you to create this archive?
Tours are art. It’s like documenting and archiving your artwork. It’s a record of something I created with a lot of great and talented people: from the musicians I work with to the costumes that are designed, to the songs being arranged in new and different ways, to the political statements I might be making. They’re stages of my career, and they tell a story. They’re an important part of my legacy, so I’m documenting them. There are tours I haven’t documented, and I regret that. I get a lot of s— from people: Why don’t we have a DVD of this, why don’t we have a DVD of that? I’m trying to be more vigilant and document things more than I actually would want to. To film shows is really complicated. It messes up the show. It takes days to film it completely. It takes me three to six months to edit it and mix it. It’s a lot of work, but I think it’s important.
When you watched the footage of this show, was there anything that stood out to you or surprised you that you didn’t notice when you were in the thick of it?
Yeah, I didn’t think some songs would be so moving or so fun to watch, like “True Blue.” It’s such a simple song. I’m playing the ukulele and just sitting there on stage, but I couldn’t see the audience as closely as the camera did. Then [while watching the footage] I see all these couples together and people kissing and hugging — a real feeling of love and connection — and that really moved me. That was a pleasant surprise.
You worked with some notable fresh talent on Rebel Heart, like rising hitmaker MNEK and a pre-Coloring Book Chance the Rapper. Who has your ear right now?
Well, as you know I moved to Lisbon, and I’ve been listening to a lot of music here, like fado, which is the music of Portugal. There’s such a cultural mix of people and music here. You could go out every night and hear different kinds of music. There’s a great jazz scene here. So right now I’m listening to a lot of local artists I’ve never heard of before, and that’s been really inspiring.
In the world of entertainment, only a few stars are big enough to be known far and wide by just a single name. And it turns out that one of the biggest of those one-name stars has a whole second calling … a mission of hope and healing in a place that badly needs it. Tracy Smith reports our Cover Story:
Malawi, a landlocked African nation of 17 million, is about the size of Pennsylvania, and one of the poorest countries on Earth. Disease is rampant here — and pediatric health care is almost unheard of. But this past July, Malawi’s children got some help.
To you and me, she’s Madonna. But to people in the city of Blantyre, she’s the lady behind the new hospital, and she was there for opening day, along with Mercy, Esther, Stella and David, four of her six children (and all from Malawi).
It was the first time she’d seen the finished building. “Oh my gosh, what a beautiful hospital!” said Madonna. “It’s the brightest, most cheerful hospital entrance I’ve ever seen.”
The Mercy James Pediatric Surgery Center (named for her adopted daughter) has new operating rooms and a children’s ICU.
“Pretty amazing,” she said. “Yeah, it’s gorgeous. It’s kind of awesome. I mean, if you’re gonna get sick, come here.”
And there are few other options: hospital beds in Malawi are scarce, and children often have to compete with adults for thinsg like intensive care.
Madonna didn’t know much about Malawi when she made her first trip there in 2006. “I did have to look it up on a map, I’m not gonna lie,” she said. “This is a very small country, bordered by Mozambique and Zambia. And it was the best trip I ever made.” more →
Music superstar Madonna opens up about adoption, motherhood, and building the first-ever children’s hospital in Malawi, in a revealing interview with Tracy Smith to be broadcast Sunday, Sept. 17, on CBS’ “Sunday Morning.”
Smith traveled to Malawi to tour the new hospital with Madonna. The facility is the result of the singer’s multiple visits there, which eventually led to her adopting four children (she has two others from previous relationships).
Is her family complete at six? “Who knows?” the singer told Smith. “Yeah, I never say never. You never know what surprise awaits you around the corner.”
Madonna admits being a mom helps her, too; her own mother died when she was just five years old.
“I get to become the mom I never had. So, yeah, it’s a very healing experience,” she said.
Madonna admits didn’t know much about Malawi, a small country in southeastern Africa, when she first visited in 2006 — specifically, where it was — but has since founded the charity Raising Malawi to help provide health and education services. Still, getting the new hospital built wasn’t easy. She says she would often think, “I’m a crazy person. What am I doing this for? So here we are. It happened. It’s built, and it’s up and running. And children’s lives are being saved as a result. And I feel like, you know, sometimes you can’t think too far in advance.”
The superstar singer also talks with Smith about visiting HIV and AIDS patients at St. Vincent’s Hospital; how she compares herself today to the strong-willed woman in the documentary “Truth or Dare”; and her tendency to push every envelope.
“Oh, I’m sure I’ve done provocative things just for the sake of provocation,” she said. “Not so much now. Definitely not since I have children. But I think, when I was younger, I used to just say things, do crazy things. But everybody does.”
The Emmy Award-winning “CBS Sunday Morning,” hosted by Jane Pauley, is broadcast on CBS Sundays beginning at 9:00 a.m. ET. Executive producer is Rand Morrison.
Twenty-seven years ago, Madonna set the template for modern pop concerts with her Blond Ambition world tour.
From its hydraulic stage to Jean-Paul Gaultier’s iconic costumes, it raised the bar for stadium-sized spectacle.
Now, after seven huge world tours, the star tells the BBC she’s “exploring” a smaller-scale show in the future.
“I’ve done so many shows – world tours, stadiums, sports arenas, you name it – that I feel like I have to reinvent that now too,” she explains.
“I like doing intimate shows and being able to talk directly to the audience.
“This is something I’m exploring right now: the idea of doing a show that doesn’t travel the world, but stays in one place and utilises not only humour and the music in a more intimate setting but other people’s music, as well, and other entertainment.
“Kind of a revolving door of amazing, gifted, unique talent – dancers, musicians, singers, comedians, me, humour. I don’t know! Like, I’m trying to come up with all those ideas now.”
The concerts will presumably owe much to the vaudeville-style Tears of a Clown show that Madonna performed twice in 2016 – once as a gift to fans in Australia, and again at a fundraiser for her Raising Malawi charity.
The low-key gigs featured the pop icon dressed as a clown, riding a tricycle, chatting to the audience and telling jokes when not performing stripped-back renditions of some of her favourite songs.
Footage of the Australian concert appears on the star’s new DVD, released on Friday, which documents her 2015-16 Rebel Heart Tour.
In an exclusive interview with BBC News, she talked about touring life, changing attitudes to sex, and her recent dispute with a courier company…
Before we start, there’s one thing I need to know: Did your FedEx package ever arrive?
Ha ha! Yes, it has. FedEx is blaming customs, customs is blaming FedEx and we’ll never know what happened. But I have it now. more →