“For me, spirituality is something very important and I don’t like it when people take it lightly. At times, I don’t understand why there are artists who play that card, like when Madonna gets up on a cross to sing.” Katy Perry, (The Sun)
In Madonna‘s upcoming film, “W.E.” history is going to take a back seat to fantasy.
According to 29 year old british actress Andrea Riseborough, the Duke and Duchess of Windsor were not Nazi sympathizers–even though they visited the Third Reich, appeared in a newsreel with them, and are well documented historically to have made some horrendous social and political choices. As well, the Duchess of Windsor–Wallis Simpson–did not cheat on the Duke. And the Duke–formerly King Edward VIII–was brilliant.
Riseborough, who plays Wallis in “W.E.,” told me at the all star BAFTA/LA tea party yesterday at the Four Seasons Hotel in West Hollywood that I’ve got it all wrong, and so does everyone else.
“W.E.” in fact will be quite different than “The King’s Speech,” that’s for sure. But as one “Speech” actor said,m gesticulating as if weighing the two options: “Director Madonna? or Director Tom Hooper? Hmmm…”
According to Riseborough, who resembles the Duchess and is quite articulate: “Do you know how many people visited the Nazis? Everyone was enthralled with them.” She told me that the Duke and Duchess were just two of lots of people, and shouldn’ t be thought of badly. Also, the gist of “W.E.”– or least its back story–is going to be that Edward was the brilliant brother, and that Bertie–King George–played so brilliantly by Colin Firth in “The King’s Speech’–was the wanker.
10. Madonna, “Vogue.”
Much has been written (specifically on this site) about the cultural impact of the appropriation of queer and nonwhite motifs in Madonna’s “Vogue,” so I’ll focus instead on the song’s musical archaeology and influence. Lest I completely ignore its substance, Madonna’s message is clear (“Beauty is where you find it”), but the track’s origins are part and parcel with its star’s mining of gay club trends and Old Hollywood: Inspired by the Salsoul Orchestra’s “Ooh, I Love It (Love Break)” by way of Danny Krivit’s remix of MFSB’s “Love Is the Message,” the song has a family tree that even includes producer/DJ Shep Pettibone’s remix of Janet Jackson’s “Miss You Much” and serves as a sort of musical map of disco. Pettibone recorded “Vogue” with Madonna as a B-side for her single “Keep It Together,” making its impact all the more impressive (it would go on to inspire a glut of pop-house copycats) and begging the question: If disco died a decade earlier, what the f*ck was this big, gay, fuscia drag-queen boa of a dance song sitting on top of the charts for a month for?
16. Madonna, “Ray of Light.”
Once the Material Girl made it her mission to bring electronica to the masses, she could have named her collaborator. Her decision to work with William Orbit shows that, for all the flack she’s faced for “appropriation,” her interest in underground dance music is deep and not wholly commercial. Madonna discovered techno just as she turned 40 and took up Kabbalah, and listening to “Ray of Light,” it’s easy to imagine Madonna finding in rave culture not just a new image, but a way of expressing her spiritual awakening. The beat is restless and Madonna sings breathlessly, but she exudes contentment: “I feel like I just got home!” Her emotional warmth is what establishes the song as a standout single even in a catalogue as replete with classics as Madonna’s.
34. Madonna, “Erotica.”
Madonna accepts the burden of her throaty, spent-from-touring voice, which makes Erotica’s taunting, aggressive lyrics—an elaborate exploration of sex, from seduction to disease—feel unmistakably honest. The title track, whose opening put-a-record-on scratchiness mirrors that of Madonna’s most divisive instrument, is the singer’s invitation to the dance, a slithering, sinister snake rising from a gaudily ornate chalice. The beats are, by design, hypnotic—at once alluring and devious. With “Erotica,” Madonna promises to get you off, but not without giving you something.
36. Madonna, “Deeper and Deeper.”
Among Madonna’s finest achievements, the angsty pop anthem “Deeper and Deeper” is both an acute distillation of Erotica’s smut-glam decadence and the singer’s lifelong blond ambition. The song, like its video, practically plays out as an autobiography of the singer’s life: Atop sambalicious disco, Madonna delivers a burning, poignant fairy tale of yearning and escape in which she plays both Little Red Riding Hood and the Big Bad Wolf. Armond White once praised Madonna for how she took “outsider art inside herself”—which is to say, justified it by personalizing it. The uncontrolled, fierce tension of the song derives from the feeling that Madonna is taking a plunge into some hedonistic abyss of her own liberated, uninhibited making.
42. Madonna, “Secret.”
Despite the common misconception that she often sings about sex, Madonna’s songs aren’t always sexy. “Secret” is perhaps the finest exception to that rule. As it slinks along a simple R&B backbeat and an unfussy acoustic guitar figure, “Secret” is also one of the most organic-sounding singles of Madonna’s career, taking its sweet time to get where it’s going and not giving up too much along the way. The arrangement gets off on being withholding, and, at least for one glorious single, so does Madonna: When she sings, “You knew all along/What I never wanted to say,” she sounds positively rapturous.
Hey, I’ll give y’all one info snippet: I’ve seen her new movie a few times, in progress, and it’s really really good!
Madonna, whose Raising Malawi charity has made substantial inroads helping over a million children orphaned from the AIDS epidemic in that African nation, is stepping up the pace considerably on all fronts – especially in regard to her plans for building the Raising Malawi Academy for Girls.
Madonna issued the following statement this morning to the Huffington Post (www.huffingtonpost.com)
“I remain deeply committed and am more passionate than ever about helping the children of Malawi – especially the girls. In a country where only 33% of Malawian girls attend secondary school, I realize that the plans we had in place for the Raising Malawi Academy for Girls simply would not serve enough children. My original vision is now on a much bigger scale. I want to reach thousands not hundreds of girls. I want to do more and I want to do it better. While I am grateful to all the people who have given me guidance and support up until now, we are in the process of implementing several changes and additions to the management of Raising Malawi in both the US and Malawi. I am also working with Trevor Neilson and his team at Global Philanthropy Group to shift the strategies that we had in place so that we can accomplish our goals with more efficiency as we continue to consult with our government partners in Malawi. This is a larger challenge than I thought, but I welcome it. We are focused on an approach which builds schools within communities across the country. We are currently determining the size, location, staffing and curriculum of the schools. I will continue to monitor the process of reaching these goals here and through my ongoing visits to Malawi.”
Neilson, whose company Global Philanthropy Group advises some of the world’s leading philanthropists, was positive about the shift in strategy. “Raising Malawi’s new community-based approach will provide the opportunity for many more girls to receive a quality education. We are focused on ensuring the most efficient implementation of this new strategy in collaboration with Raising Malawi’s partners on the ground.” Neilson also noted the many achievements of Raising Malawi including the construction of a model orphan care center in partnership with Malawi’s largest community-based organization as well as assistance to thousands of HIV+ children and caregivers through life saving medical treatments and daily nutritious meals and nutrition supplements. Additional programming has also provided thousands of children and caregivers in the south of the country with access to clean water through the implementation of piped safe water and the construction of new boreholes.
Avril told the Daily Record, “I definitely can see myself still being out there in 20 years’ time”.
“I want to be around the way Madonna has done it. She’s had her life but still maintained her career throughout.”
And the 26-year-old thinks that avoiding over-exposure could be the key to success. She explained, “Well, it’s like you go away and you come back. I put out a record, I’m around doing a million things, and then I shut up and go away”.
“I think it’s good to change but it’s better if it’s a natural progression rather than being forced.”
from last night’s episode of Family Guy
Vanilla Ice has revealed that he dated Madonna when he was 24-years-old and she was 33.
The rapper admitted that it was “exciting” to have a relationship with an older woman but said he ended it when Madonna published her 1992 coffee-table book Sex, which featured intimate photographs of the pair and images of her with other men.
“Going out with Madonna was exciting,” he told the News of the World. “She was older than me and a great lover. She’s still the oldest person I’ve ever been with, so it was an experience.
“But I broke up with her after she printed that book because I was hurt to be an unwitting part of this slutty package. It was disgusting and cheap. We were in a relationship yet it looked like she was screwing all these other people.
“I thought she was taking pictures and running round naked because she was like that. Then when the book came out I was so embarrassed and ashamed. It was a porno. She threw me in like I was a product off a shelf and I didn’t appreciate it. That was it and I ended it. She said she didn’t have sex with these men but it looked like she was.”