Less than 2 weeks b*tches <3 #rebelhearttour
Madonna’s video “B*tch I’m Madonna” now has over 100 million views and it’s oficially her first Vevo certified video!
US distributors Olive Films have announed that they will bring Abel Ferrara’s film Dangerous Game, starring Madonna, Harvey Keitel and James Russo, to Blu-Ray.
Release date is set for October 27th!
Dance Spirit: What’s the process of choreographing for a tour of this scale?
Megan Lawson: Jamie King is the show’s director. The process starts with a discussion between Jamie, Madonna and I about ideas and concepts. Then, my dancers, Jamie and I get into the studio and experiment for a while before presenting to M. She always has a hand in the choreography. She loves to be part of the process and collaborate with everyone, from the lighting designer to the makeup artist. I’d say every number in the tour has at least one part Madonna choreographed herself. It’s a really fun process.
DS: Are there other choreographers working with you?
ML: Since I’m the lead choreographer on this tour, I got to recommend other choreographers to collaborate with. I was so fortunate to bring in other artists, including Jillian Meyers, Matt Cady and Kevin Maher, who are all friends of mine. The great thing about involving other choreographers is that the show becomes really diverse. Every song is different stylistically, and each has a unique choreographic vibe.
DS: Does anything about the tour scare you?
ML: Getting it all done in time! It’s been a challenge to coordinate everything. Madonna doesn’t settle for anything but the best—she’s a perfectionist. It takes time. This is certainly the biggest-scale production I’ve ever experienced. I can’t wait to see it all come together. I know it will. But right now it’s crunch time, and that’s a little scary.
DS: What are your top three favorite Madonna songs?
ML: “Human Nature,” “Messiah” and “Falling Free.”
DS: What’s your advice for Dance Spirit readers?
ML: Explore as many avenues as you can. I never really had goals or plans that were set in stone. I just knew I wanted to dance and create for living. I tried lots of different things—from taking a wide variety of classes to assisting choreographers to picking up small gigs here and there. What really paid off the most, though, was grabbing some friends and making a few little videos of my own. Those experiences were more satisfying than working as a backup dancer—and Madonna ended up hiring me after seeing some of the clips! It’s OK if your goals change over time. Be open to your desires and follow your heart.
17. Madonna, “Into the Groove” (1985)
With two hit albums, Like a Virgin rising in the charts, and one wild MTV wedding cake performance behind her, Madonna’s career was in a very sweet spot in 1985. So it’s no wonder the It Girl would make moves in Hollywood, starring in Susan Seidelman’s Desperately Seeking Susan. It’s there, in the closing credits of the movie, that a demo version of “Into the Groove” was not just heard, but also essentially released.
“Music can be such a revelation,” preaches Madonna on “Into the Groove”, yet again making the dance floor a place for physical and emotional freedom. Playing shy, she bounces between earnestly begging for company and aggressively making her partner dance right to win her affection. While songs like “Borderline” and “Dress You Up” were successful dance-pop tracks, nothing Madonna had put out was as club-appropriate as “Into the Groove”. Penned by Madonna and songwriter Steve Bray, “Into the Groove” was initially intended for producer Mark Kamins. But Madonna thought it would suit her new movie well, much to the chagrin of Kamins.
The fact that Madonna would give the song such an unconventional debut shows how strong her popularity was at the time and how big of a hit the song really is. With filming finishing right before Like a Virgin was out, Desperately Seeking Susan swiftly became a Madonna vehicle before its release. Ratings were lowered specifically to accommodate the star’s teen fanbase and lead Rosanna Arquette was seen as a supporting actress in Madge’s shadow. The unpolished demo didn’t even land on the film’s soundtrack and was only available as the B-side to “Angel” in the U.S., but it’s still regarded as one of Madonna’s best dance tracks. —Hazel Cills
50. Madonna, “Like a Prayer” (1989)
Madonna filed for divorce from Sean Penn two months before she released “Like a Prayer”, the title track to the 1989 album that would cement her as a serious songwriter and an unstoppable cultural force as she entered her thirties. In anticipation of her fourth album, Madonna would grace the covers of Interview, Rolling Stone, and Spin. Like a Prayer was her most visible album to date, and also her darkest.
“This is reality, and reality sucks,” Madonna said in her Interview cover story. She was describing her initial vision for the “Like a Prayer” video, which was apparently even more brutal than the one that scandalized the Vatican, but the statement undercuts the whole song, too. Written toward the end of an abusive marriage, “Like a Prayer” sees Madonna assume a pose of surrender. Its gospel triumph comes only from its embrace of absolute darkness—”everyone must stand alone,” she sings into the emptiness. Then she’s falling from the sky, calling to God, or really just any power that will listen. She’s singing from her own rock bottom, waiting for someone—anyone—to carry her back up to the top. —Sasha Geffen
106. Madonna, “Borderline” (1984)
Released in 1983, “Borderline” is one of the first laid bricks in the cathedral of Madonna’s mythology, four minutes of emotional helium that became her first Top 10 hit on the heels of an iconic music video. In the clip, Madonna closes the gap between the club kid she was and the glamorous star she’d become as she plays her two beaux—a Latino tough boy and a snobby British photographer—off each other. Ironically, while lyrics refer to the gnawing desolation one might feel while navigating a relationship in which they don’t have any power, Madonna has total control in the video. She makes the tough boy miss his shot at the pool table by simply standing in the doorway; she spray paints the photographer’s car, causing him to flip out. She takes the energy from the song—a bubblegum instrumental given weight by her legible vocal performance—and uses it to dispel all the lingering demons from that bad relationship. There’s so much charisma, it’s easy to see why this was the song that catapulted her toward being the biggest pop star in the world. —Jeremy Gordon
Often recalled as the “Marie Antoinette” performance, Madonna’s game-changing 1990 rendition of her hit “Vogue” was based on the film Dangerous Liaisons, with Madge donning Michelle Pfeiffer’s actual dress from the movie. Luis Camacho and Jose Gutierez, both of whom danced on Madonna’s “Blonde Ambition” tour and choreographed and danced in the original “Vogue” video and VMA number, recall that unforgettable night.
Gutierez: At first, we were going to do another song, ’cause people were already sick of us doing this. We had already vogued all year. It was between “Keep it Together” and something else.
Camacho: The idea [for the “Vogue” performance] came about during a game of charades. During the last days of the tour, we were in the South of France, in Nice, and one of the charades was Dangerous Liaisons. I was sitting next to her, and Madonna goes, “You know, that’s very ‘Vogue.’ ”
Gutierez: For the choreography, I was trying to basically keep the same stuff that was in the chorus section [of the video]. Everyone remembers those counts of eight from the chorus. Voguing is very arrogant and very aristocratic with all this attitude, so I think the theme and the costumes made us emulate it even more.
Camacho: The only thing that had us a little nervous were the fans the women [dancers] had. At one point in the choreography, they flipped the fans in the air, and they’re supposed to catch them. At almost every rehearsal, somebody would drop the fan.
Gutierez: Janet Jackson’s dancers also were performing that night, and there was always this Janet and Madonna competition throughout the years. Janet opened the show with “Black Cat” and we were closing the show, so we got to see them go on first. We were so amped because we were like, “Oh my God, they sucked! They were so bad!” We were like, “Oh, it’s in the bag!”
Camacho: We were also up for an award that night for best choreography.
Gutierez: I really wanted to win, but I knew that we weren’t going to. Madonna told us, “Don’t get your hopes up, because it’s very political in these awards ceremonies. They’re not going to give it to two young kids from the Lower East Side.” I was like, “You don’t know that!”
Camacho: By the time we went to perform, we [hadn’t won]. Standing offstage, Jose and I felt like, “We are about to show you why we should have gotten that award.” We always did a prayer circle before we went on stage. Madonna was like, “Let’s go out there and give it to them! Let’s serve it up, ladies and gentlemen!”
Gutierez: You can see our energy. It’s that moment when the curtain goes up and we are there, and everyone in the crowd just rises to their feet. I was jumping out of my skin.
Camacho: And no one dropped a fan! After they all caught it, we all clapped and breathed a sigh of relief. It was a nail-biter.
Gutierez: Talking about it now is like reliving those moments of being on stage—it gives you this rush of wanting to be the best and wanting to leave such an impression. It’s crazy because 25 years later, people still remember. I still get recognized on the street from this job that I did 25 years ago, and it feels so good.
“With Madonna… I had to gain her trust. I was really honest with her in the studio about what I’m doing, what we’re doing. I wasn’t like a fan. She knows I wasn’t trying to be there and make some money..”
Madonna gave Diplo full permission to go left-field on songs like “Bitch I’m Madonna,” which features production work from SOPHIE, an affiliate of London’s enigmatic PC Music collective. “I think Madonna’s manager was like, ‘Who is this person?’ and I was like, ‘Trust me, this is very cool to have him be part of this song,’” Diplo remembers. “PC Music is a really post-modern attempt at pop. It’s something the kids are generating because everything is so clean as far dance music [is concerned].”
Watch the interview at Time.com
Madonna learned the hard way this weekend you can’t throw a banger in The Hamptons without neighbors calling the cops.
We’re told Madge threw her 57th B-Day party Saturday night and it was so loud the neighbor’s houses were shaking. Law enforcement tells us, around 2:30 AM, they were called after a neighbor complained about ear-shattering noise.
Cops say they never spoke with Madonna, because by the time they got there the partygoers knew something was about to go down so they muted the noise.
One source says … after cops left the party started raging again.
Gypsy Rosa Lee………..best birthday present ever! <3 #rebelheart
In case we got lost………….
M turns 57 today! Happy Birthday, Madonna! #longlivethequeen #HappyBirthdayMadonna
Hair stylist Sam McKnight discusses working with Patrick Demarchelier on Madonna’s ‘Bedtime Stories’ album cover from 1994
Before she was a star, Madonna was a songwriter with a sharp ear for a hook and a lyrical catchphrase, playing tracks like “Lucky Star” for record companies in the hope of scoring a contract. Her earliest hits honed the electro beats coming out of the New York club scene into universal radio gold. But songs like her greatest statement, “Like a Prayer,” can also summon an anthemic power to rival Springsteen or U2. Madonna has enlisted numerous collaborators en route to selling more than 300 million albums — she started working with longtime writing partner Patrick Leonard after he brought her “Live to Tell” in 1986, and from Shep Pettibone and William Orbit in the Nineties through Diplo, Avicii and Kanye West on 2015’s Rebel Heart, she’s worked successfully with producers across many genres. Through it all, her songs have been consistently stamped with her own sensibility and inflected with autobiographical detail. “She grew up on Joni Mitchell and Motown and. . . embodies the best of both worlds,” says Rick Nowells, who co-wrote with Madonna on 1998’s Ray of Light. “She is a wonderful confessional songwriter, as well as being a superb hit chorus pop writer.”