On August 28 1986, Madonna and Sean opened in David Rabe’s Goose & Tomtom at Lincoln Centre’s Mitzi Newhouse Theatre, in New York.
Here’s a snippet of an article that Dena Kleiman published about the play:
A Revival that may not revive (New York Times August 19, 1986):
Madonna and Sean Penn are quietly dashing in and out of Lincoln Center these days in connection with closely guarded rehearsals of David Rabe’s Goose and Tomtom that may never be opened to the public.
But maybe, said Mr. Rabe, who is also directing the play, he will invite a special audience to come next week to a free performance – or even two. And after that? ”I’ve reserved the right not to show it,” Mr. Rabe said.
The rehearsals, in which Harvey Keitel, Barry Miller and Lorraine Bracco are also taking part, have been described by Mr. Rabe as a ”work in progress” for a play that was previously – but in his view unsuccessfully – produced. He said he believes he has a better handle on the play now, but is still not absolutely sure.
In the play, Goose (Barry Miller) and Tomtom (Sean Penn) are a pair of jewel thieves, who, in collaboration with a sexy woman named Lorraine (Madonna), amass a collection of gems only to have them stolen by a rival gang.
”I’m in the process of trying to understand it,” said Mr. Rabe, who is currently working with the actors on the stage of the Mitzi E. Newhouse Theater. ”I wrote it without understanding it, and it has taken a long time to grasp.”
On August 27 1983, Holiday/Lucky Star made its debut on Billboard’s Hot Dance Music/Club Play chart in the U.S., entering at #31.
The promo-only double A-side single was serviced to clubs by Sire/Warner in order to gauge public interest before deciding which track should be promoted to radio. Although technically serving as the B-side, Holiday was given top billing for its chart entry when it proved to be the more popular selection with club DJ’s. It was subsequently issued as Madonna’s third commercial single in North America, while Lucky Star was released as her fifth single a year later.
On August 26 1989, Madonna’s third single from the Like A Prayer album, Cherish, debuted at #32 on Billboard’s Adult Contemporary chart.
Song review by Stewart Mason (AllMusic.com):
True Blue had the gimmicky quality of an early Cyndi Lauper single, like a new waver’s vague approximation of what a 1960’s girl group song might have sounded like. Cherish is a much more successful dip into the musical past, not least because the ’60s flavor is very slight, more of a mood than any kind of particular stylistic pastiche. Perfect pop touches like the flirty “ooh, ooh” backing vocals on the bridge and the dead-on introduction of a short, sharp horn section accent on the final chorus are part of what puts the song over, but the bulk of the credit belongs to Madonna’s bubbly and endearing lead vocal, which uses the helium-pitched high register of her early singles, but minus the occasional harshness of those songs. Cherish is a delight, one of many highlights on Madonna’s best album.
On August 25 1984, Lucky Star entered the Billboard Hot 100 chart in the U.S. at number forty-nine.
On August 24 2014, Madonna was featured in a Forbes Magazine piece written by Hugh McIntyre examining the Most Expensive Music Videos Of All Time.
Of all the expensive music videos made over time (and there are quite a few), the top five are created by only two artists: Michael Jackson and Madonna. This shouldn’t come as much of a surprise, as those two legends are some of the only ones who would have enough clout to rustle up millions for a four-minute movie. While other artists typically use music videos as a way of selling more copies of a certain song or album, these two turned the music video into an art form, attempting to top themselves with each new project. (*Adjusted for inflation to 2013 dollars.)
5. Michael Jackson — “Black or White,” $6.9 million* (originally $4 million)
The lead single from Jackson’s Dangerous needed a video that would be many things all at once—fun, meaningful, and above all else, memorable.
4. Madonna — “Bedtime Story,” $7.7 million* (originally $5 million)
“Bedtime Story” is the first of three Madonna music videos on this list, though the single it was made to promote is not one of the singer’s greatest successes. Directed by Mark Romanek, who would also direct the music video that ends up surpassing “Bedtime” as the single most expensive of all time. Not one to miss a publicity opportunity, Madonna premiered the video at movie theatres in New York City, Chicago, and Santa Monica. These days, it is housed permanently in a collection at the Museum of Modern Art in New York.
3. Madonna — “Die Another Day,” $7.9 million* (originally $6.1 million)
While the song received mixed reviews from critics, Madonna’s Bond song went on to be the best-selling dance song of 2002 and 2003, and its video was nominated for a Grammy. The James Bond-inspired video has the legendary pop star fighting herself, which was a mixture of green screens and intricate and expensive special effects. A few years ago, Billboard ranked the song the #6 song from the Bond franchise.
2. Madonna — “Express Yourself,” $9.4 million* (originally $5 million)
Madonna’s “Express Yourself” video cost $5 million to make back in 1989, making it the most expensive video ever made at the time. The clip, which was inspired by 1927 German science fiction film Metropolis was directed by David Fincher, who would go on to be nominated for Academy Awards for also directing both The Curious Case of Benjamin Button and The Social Network. The video sees the singer dressing in a masculine fashion, yet being as sexual as ever.
1. Michael Jackson and Janet Jackson — “Scream,” $10.7 million* (originally $7 million)
The video for “Scream,” the first single off Michael’s HIStory: Past, Present and Future, Book I album is really one for the books, and one of the few videos that everybody remembers seeing for the first time.
(Source: Forbes Magazine – The Most Expensive Music Videos of All Time)
On August 23 1997, Evita: Music from the Motion Picture (the highlights disc) debuted at #168 on the Billboard Top 200 Albums Chart in the USA.
The highlights disc included 19 tracks from the film, and was released on July 29 1997 in North America to help promote the home video release. The single disc was released in select markets around the world in 1996 at the same time as the double disc complete soundtrack, but not in North America.
Evita: The Motion Picture Music Soundtrack featured all 34 tracks from the film, and was released on November 12 1996.
The highlights disc didn’t perform very well in the late summer of 1997 because it was released a full 8 months after the original release. No single was released to radio to promote it, and most die-hard fans had already secured an imported version of the single disc soundtrack the previous year. Why it was released at all in July 1997 remains a mystery. Why the single-disc set wasn’t released in North America in November 1996 is a better question. Why not release the double-disc set (expensive) and the single disc set (average price of a CD at the time) and appeal to the largest possible group of consumers? That was the approach around the world, but not in North America, we can’t help but wonder why? – Jay
On August 22 2009, Madonna scored her 55th Billboard Hot 100 hit with Celebration. The lead single from Madonna’s career spanning greatest hits collection of the same name debuted at #71.
Celebration was written and produced by Madonna, Paul Oakenfold and Ian Green, with additional writing from Ciaran Gribbin.
Billboard reviews Celebration:
Madonna’s latest single won’t start any new trends, but it does return the singer to her dance-floor roots. “Come join the party … ’cause everybody wants to party with you,” she sings on Celebration, the title track and one of a reported two new songs on her best-of set that’s due September 29. A notable assist comes courtesy of trance DJ/producer Paul Oakenfold, who co-wrote and co-produced the buoyant stomper. He supplies a surging beat that could easily have been lifted from the star’s Confessions On A Dance Floor period (Hung Up, Sorry) but can be traced even further back to her 1992 hit Deeper And Deeper. The melody, meanwhile, recalls her last single, 4 Minutes, in its urgency. Consider Celebration a score for Madonna’s retro-futuristic fan base and a nice bookend to her collection of chart glories.