On December 4 2011, shoe designer John Fluevog told the Calgary Herald’s Theresa Tayler that he never expected that Madonna would pay her respects by whipping out a pair of shoes he had gifted to her, putting them on during a scene in her infamous, documentary Truth Or Dare.
“Yah like ‘em?!” she said, as she flirted with the camera, showing off the “Munster” platforms. At the time, it was a massive publicity break for the respected, but still little-known, Canadian designer.
Fluevog told Tayler that he rarely tells the story of how Madge ended up with a pair of his kicks:
“I don’t really like giving away shoes. It’s not what I do. This is a business. One night I was watching Madonna on one of those American talk shows. She was being very naughty, talking about spankings and saying all of these silly things. I thought, this is a game player. Her whole thing is a game. She needs a pair of my shoes.”
Fluevog then sent one of Madonna’s stylists a pair of his shoes and he never heard back.
“Not a thank you, not anything. Then, someone told me she wore them in the movie . . . I didn’t like Madonna’s game. I found it annoying, but I respected what she was doing. The movie moment was a game-changer for Fluevog. Things exploded for us. It was all a bit of shock to me.”
On July 2 1990, Madonna was featured on the cover of People Magazine with Warren Beatty to promote Dick Tracy.
“Tell me you want me,” Breathless Mahoney implores to Dick Tracy in the wide-screen moonlight. “Tell me you want it all.”
On June 22 1990, the second and final single from Madonna’s I’m Breathless album, Hanky Panky, was released in North America.
Greg Sandow, from Entertainment Weekly, called the song a “delightful challenge to censorship”.
On June 1 1990, Madonna was controversially featured grabbing her crotch and breast on the cover of Interview magazine.
Madonna was interviewed by Glenn O’Brien at the Disney Studios, where she was rehearsing the Blond Ambition Tour. Here’s a snippet from the interview:
Glenn: Let’s talk about your show.
Madonna: Let’s not. Today was a horrible day. That was the worst rehearsal.
Glenn: Well, I liked it, but I haven’t seen it when you thought it was good. I loved the number where you’re lying on the piano singing a torch song.
Madonna: You saw only one segment of the show. I’ve created five different worlds, and the set is all based on hydraulics. One is going down and another is coming up. The world changes completely. I think of it more as a musical than as a rock concert. There is a straightforward Metropolis section, like my Express Yourself video – that set with all the gears and machinery; it’s very hard and metallic. That’s the heavy-duty dance music. Then the set changes and it’s like a church. We call it the temple ruins. It’s all these columns, trays of votive candles, a cross. I do Like a Virgin on a bed, but we changed the arrangement, so it sounds Indian. Then I’m being punished for masturbation on this bed, which is, as you know, what happens. Then we do the more serious, religious-type material – Like a Prayer, Papa Don’t Preach… Then it changes to what you saw, this Art Deco ’50s-musical set. That’s when we do three songs from Dick Tracy, and then after that we do what I call the camp section. Then it gets really serious again and we go into our Clockwork Orange cabaret set.
On May 15 1990, Brenda Lee was quoted in the LA Times, talking about how Madonna got her involved in the Dick Tracy soundtrack:
“Madonna asked specifically that I sing the songs–which are brand-new numbers. I had no idea she was a fan of my singing, but I’m delighted she is.”
Brenda recorded two songs for Dick Tracy, but only one made the final cut: You’re in the Doghouse Now, written by Ned Clafin, Mike Kernan, Jeff Lass and Andy Paley.
Brenda is best known for Rockin’ Around the Christmas Tree (recorded when she was just 13).
On April 6 1990, Madonna’s Vogue maxi single was released.
Here is the allmusic.com review of the maxi single:
Vogue, the first single from Madonna’s Dick Tracy-inspired 1990 album I’m Breathless, was arguably one of her crowning artistic achievements (both song-wise and video-wise), one of the biggest all-time house music hits (spending three weeks atop the U.S. pop charts), and her second proper U.S. maxi-single release. The single includes four versions: the single version, the 12″ version, the Bette Davis Dub, and the Strike-A-Pose Dub. The song’s most definitive version, that being the album/video version, is not on the single. The single version, where she asks “what are you looking at,” begins with drumbeats and goes straight into the song, as opposed to the album version’s minute-long introduction. Besides the different intros, however, the rest is the same. The 12″ version is, naturally, quite longer, and just as good. The “Bette Davis Dub” begins with the extended album intro, but, save for the chorus and the “rap,” is virtually instrumental, as is the last mix, which cleverly uses samples from Like a Virgin. This disc’s main selling point is the fact that it’s a collection piece, and for collectors and diehards, it’s nice to have the single edit and 12″ mix. But if one is a casual fan, go with the album version.
On July 15 1990, Madonna’s Hanky Panky single was released in the UK.