On August 30 2005, the Madonna.com splash page was updated with the release dates for Madonna’s forthcoming studio album, Confessions On A Dance Floor.
The word Confess appeared in several languages.
The page promoted November 15th for the USA release and November 14 for the rest of the world.
A clock ticking in a continuous loop played in the background.
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 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 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.
On August 19 1989, Madonna’s Cherish single debuted at #37 on the Billboard Hot 100 in the USA.
Give me faith
Give me joy, my boy
I will always cherish you
Give me faith
Give me joy, my boy
I will always cherish you
On August 18 2002, the official poster for Swept Away was released.
The film Swept Away, starring Madonna and directed by her husband, Guy Ritchie, would open on October 11 2002 in US theatres. The movie was initially titled Love, Sex, Drugs, and Money, and was based on the 1974 Italian film Travolti da un Insolito Destino Nell’Azzurro Mare D’Agosto. Adriano Giannini and Bruce Greenwood also starred in the film. In the film, Madonna played a socialite stranded on an island with a handsome, Communist sailor (Giannini).