On March 31 2004, the first teaser ad for Madonna’s upcoming Re-Invention World Tour appeared in London’s Evening Standard newspaper.
The first ad got readers wondering if Vogue would be performed in the show. Additional ads for Like A Prayer and Music also appeared in the paper.
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On March 30 1992, Madonna attended Swifty Lazar’s annual post-Academy Awards party at Spago in Los Angeles. Madonna arrived with Rosie O’Donnell.
On March 29 2015, Madonna performed Ghosttown with Taylor Swift at the iHeartRadio Music Awards.
Here’s what Rolling Stone magazine had to say about the performance:
The 2015 iHeartRadio Music Awards promised there would be “unexpected collaborations” between the marquee artists attending the Los Angeles event, and the ceremony didn’t disappoint as Taylor Swift joined Madonna for an acoustic rendition of the Rebel Heart singer’s new single Ghosttown.
Following the performance, Madonna tweeted, “My new favorite guitar player! Thank you Taylor!”
On March 28, 2001, Madonna began filming the BMW commercial Star in Los Angeles, California, co-starring Clive Owen and directed by Guy Ritchie. Star was part of a series of short films (called The Hire) produced to promote BMW.
“I’m gracing this armpit of a town for one night, if you think I’m gonna know the name of the venue in El Arm-Pitto… You’re Sadly Mistaken” – Madonna’s character in Star
During the week of March 27 1999, Madonna’s The Power Of Good-Bye spent a final week on Billboard’s Hot Adult Contemporary chart in the USA.
On March 26 1983, the music video for Madonna’s Everybody was briefly mentioned in Billboard magazine along side the music video for Konk’s Konk Party, noting that both videos were directed by Ed Steinberg of Soft Focus Productions. What is not mentioned and likely not known to the columnist (considering they think Madonna is the name of a group!) is that Madonna appears as an extra in Konk Party along with her pals Erika Belle and Martin Burgoyne. Original Sonic Youth drummer and member of Konk, Richard Edson, is also featured in the video. Edson would later appear in the film Desperately Seeking Susan, holding open a newspaper box for Madonna, and is pictured prominently next to Madonna in the film’s cast photo – which is unusual considering the brevity of his time on-screen. He worked with Madonna again in 1988, playing the character of Johnny Crackow in the film, Bloodhounds Of Broadway.
Sonic Youth would explore their own fascination with Madonna with their side project, Ciccone Youth. In liner notes for Sonic Youth’s reissue of their landmark album, Daydream Nation (1988), the band revealed that they had given an advance copy of Ciccone Youth’s The Whitey Album (1988) to Madonna’s sister, who was working in Warner’s art department at the time, seeking Madonna’s approval for the use of her image on the album cover (her songs Into The Groove & Burning Up were also covered & sampled). Word came back that Madonna had no issues with it, adding that she remembered the band from their early days in New York.
Sonic Youth made humourous references to Madonna’s place in popular culture in their promotional artwork throughout the 80’s – typically designed by bassist/vocalist/guitarist and visual artist, Kim Gordon. They were even known to use Madonna’s music as interludes during guitar changes at their shows in the 80’s, bewildering audience members who were not privy to their shared origins as part of the early 80’s underground music scene in NYC.
In another connection, Sonic Youth’s 2004 album, Sonic Nurse, featured artwork from Richard Prince’s acclaimed Nurse Paintings series. In 2015, Madonna used a rotating selection of paintings from her own art collection as backdrops for a series of press junket interviews to promote her Rebel Heart album. One of the paintings displayed was Prince’s Heartbreak Nurse from his Nurse Paintings series.
On March 25 1997, Madonna performed You Must Love Me at the 68th Academy Awards. The song won the Academy Award for Best Original Song.
Kathleen Guerdo from Billboard said that “Madonna delivers what is by far one of the strongest vocal performances of her career, comfortably scaling to the song’s demanding soprano heights while infusing it with delicate, heart-rending emotion.”
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