On November 16 1996, Madonna’s You Must Love Me (the lead single from the EVITA soundtrack) debuted at #24 on the Billboard Hot 100 Single Sales chart in the USA.
On November 15 1986, Billboard reported that a 6-track Madonna remix EP titled You Can Dance, initially scheduled for a 1986 pre-Christmas release, would be delayed until the following year to avoid affecting holiday sales of her still red-hot True Blue LP.
The article also mentions Madonna’s upcoming film, Slammer (later retitled Who’s That Girl), her track for Nick Kamen, the video for her next single, Open Your Heart, touring plans and more.
Stay tuned for a third and final installment on the You Can Dance delay…
On November 13 2001, Madonna’s Drowned World Tour 2001 was released on home video and DVD.
The DVD/VHS release included the concert that was broadcast live on HBO from The Palace of Auburn Hills in Auburn Hills, Michigan on August 26, 2001.
A photo gallery was included as a bonus feature. Like the original airing of the show, the DVD received very good reviews. The photographs used on the DVD packaging were taken by Rosie O’Donnell.
Were you able to see the Drowned World Tour live in person?
On November 12 2002, the Die Another Day soundtrack for the 20th James Bond film of the same name, was released by Warner Bros. Records. The title song for Die Another Day was sung by Madonna, who also had a small cameo in the movie as Verity, a fencing instructor. The Die Another Day song was written and produced by Madonna and Mirwais Ahmadzaï.
What is your favourite James Bond theme song?
On November 11 1989, the music video for Oh Father premiered on MTV in the US. Filmed at Culver Studios, California in late October, 1989 by director David Fincher, the black & white clip drew cinematic influence from the 1941 Orson Welles film, Citizen Kane. Its narrative expanded on darker elements from Madonna’s life – focusing on the death of her mother, her relationship with her father and the recurring effects of childhood trauma in her adult life. The clip’s icily detached symbolism and heavy subject matter are counter-balanced by overarching themes of forgiveness and inner-strength.
In a 2009 interview with The Guardian, Fincher recalled:
“I had kinda talked Madonna into releasing Oh Father as a single and we did this video and were very happy with the video – but nobody ever saw it because the song wasn’t a hit.”
Although the video was put into rotation on MTV, the channel had requested that Madonna remove a scene that displayed a close-up of the deceased mother’s lips sewn shut – a request that she refused to consider. Compounded by a tepid response to the song from radio, where its bleak overtones clashed with playlists of the day, the single stalled at number twenty in the US – her lowest peak on the Hot 100 at the time (excluding her first two singles, neither of which broke into the Hot 100). In Canada the video was put into heavy rotation and the release fared slightly better on the charts, peaking at number fourteen.
Despite its relative lack of commercial appeal, the song and video are frequently cited as a creative triumph for Madonna by fans and critics alike.