On April 8 2006, tickets for Madonna’s UK Confessions Tour shows sold out in 10 minutes!
Fans snapped up every ticket for the first two Wembley Arena gigs as soon as the box office opened at 9am. A further four Wembley dates were swiftly added – and all had sold out by lunchtime. Finally, a seventh gig was added for August 15, and also sold out!
On April 7 2005, a new Versace campaign featuring Madonna appeared in Belgian Marie Claire.
Donatella Versace describes the campaign:
“When thinking of Madonna, you won’t picture an average business woman. But that’s exactly how she was photographed by Mario Testino for the latest campaign. Talking on the phone in her fancy office, Madonna shows off the summer collection.
She’s an icon, a chameleon, a trendsetter, and she’s the best in her profession. It doesn’t matter how old you are, everybody wants to identify himself with Madonna.”
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 April 5 2003, an Australian interview aired that demonstrated Madonna’s quick change of heart regarding the American Life music video.
During the interview with Richard Wilkins, the following dialog takes place:
Wilkins: “You’re going to get all sorts of criticism I think.”
Madonna: “Why. Tell me why!”
W: “People are going to say it’s inappropriate to show bombs going off and planes bombing people.”
M: “Why? That’s on the news every five minutes! I’m just using news footage that’s already been seen by everyone.”
W: “I’m suggesting that some people are going to think maybe it’s ill-timed.”
M: “But in a way it’s perfect timing, because it’s what we are experiencing right now – so, it’s American life. It’s very current and appropriate I think.”
Wilkins may have convinced Madonna to go cold on the idea.
“Maybe I did, perhaps I caused her to think again,” he said. “She is very proud of the video, as she should be because it’s incredible.”
By the time the interview aired (a week later), Madonna had already pulled the American Life video and made a statement regarding her choice.
You can read the statement and watch the full music video here.
On April 4 2010, Madonna’s Sticky & Sweet Tour entered the Billboard 200 chart at number ten, with first week sales of 28,000 according to Nielsen Soundscan. Sticky & Sweet Tour became Madonna’s 19th top-ten album on the Billboard 200, thus tying her with Bob Dylan for sixth place among acts with the most top 10s in the chart’s 54-year history, trailing The Rolling Stones (with 36), Frank Sinatra (33), The Beatles and Barbra Streisand (30) and Elvis Presley (27).
On April 3 1993, Fever entered the UK Singles Chart at its peak position of number-six. Without the support of a proper music video at the time of its release (Warner UK instead issued a rarely seen compilation video of previous clips), the single spent only six weeks on the UK charts, dropping to number-seven the following week.
Strangely, Madonna did eventually decide to film a video for the song in late April – nearly a month after its release in Europe. By the time the video premiered during the second week of May, Fever was spending its final week on the UK Singles Chart.
In North America the remixes for Fever had been issued commercially on Madonna’s previous international single, Bad Girl. Fever was also serviced to clubs as a promotional single in its own right, but it was not promoted to radio despite the video being added to into rotation on MTV and MuchMusic. While the release of the music video managed to coincide with Fever’s single week atop the Hot Dance/Club Play chart, its number-one status had already been confirmed several days prior to the clip’s debut, making the video’s intended purpose and the timing of its release all the more puzzling.
On April 2 2012, the third single from Madonna’s MDNA album, Masterpiece, was released in the United Kingdom.
Masterpiece was composed by Madonna, Julie Frost and Jimmy Harry and produced by Madonna and William Orbit.
When Madonna was directing her film W.E., her manager Guy Oseary persuaded her to compose a song for the soundtrack. Frost was living in Los Angeles at that time and was assessing her priorities in the music world, and wanted to collaborate with a number of artists, Madonna being the first. “She is an icon”, Frost said, “But most importantly she has some of the best Pop songs in the history of music… so yeah it’s always a dream to work with people like her.” Orbit, who was working with Frost and Harry on an assignment, contacted them for collaborating with Madonna on Masterpiece. He had heard Frost’s initial composition of the song and knew that Madonna would love it. According to Frost the theme explained to them was about bittersweet love and the hardships felt being in a relationship. Madonna, Frost and Harry sat together with this idea and brainstormed and came up with the lyrics and the melody. Over time, Madonna changed the structure of the song and the final version was ready for recording.
Madonna recalled:
“Guy harangued me for the entire time I was filming and editing my movie to write a song. And I said, ‘Please, Guy, I’m trying to focus on being a director and I want people to pay attention to the film and I don’t have time.’ So then I finished the film and I started making my record and somehow magically and miraculously the song emerged, ‘Masterpiece,’ so thank you, Guy Oseary, for being so irritating.”
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