On March 24 2005, Madonna completed a photoshoot at Farley’s Prop House in London with photographer Lorenzo Agius. The photos later appeared in Ladies Home Journal.
According to Agius, the concept of the shoot was “to see the subject steeped in the mystery and magic of an old world library where one can get lost in the discovery of knowledge.”
On March 23 1985, Madonna’s Material Girl hit #2 in the USA.
The US and UK 12″ singles included:
Side A: Material Girl (Extended Dance Remix) 6:05
Side B: Pretender 4:28
Material Girl also appeared on the 1990 greatest hits compilation, The Immaculate Collection, and on the 2009 greatest hits compilation, Celebration. The song was written by Peter Brown and Robert Rans, and Nile Rodgers produced the track.
On March 22 1996, Girl 6 was released in the US.
Girl 6 is an American film by director Spike Lee about a phone sex operator. Madonna has a cameo in the film, as a strip club/phone sex owner.
Girl 6 earned mostly mixed-to-negative reviews during its release.
The film was not a box office success.
On March 21 2012, a William Orbit interview by Larry Flick to promote the release of MDNA aired on Sirius radio.
Madonna was also interviewed by Flick, although her spot aired a few days earlier.
On March 20 1990, the lead single from Madonna’s I’m Breathless album, Vogue, was released.
Vogue was written and produced by Madonna and Shep Pettibone in December 1989. The song was recorded with the intention of being the b-side to the upcoming (and last single for the Like A Prayer album), Keep It Together (released on January 30 1990).
The finished product was too good to be a single b-side, so it was decided that Vogue would be a stand-alone single on Madonna’s forthcoming album, I’m Breathless (even though the song had nothing to do with Dick Tracy).
On March 19 1989, Madonna was the featured artist in the Arts section of the New York Times in an article and interview by Stephen Holden.
Like a Prayer, said Madonna, “is the song of a passionate young girl so in love with God that it is almost as though He were the male figure in her life. From around 8 to 12 years old, I had the same feelings. I really wanted to be a nun.”
What follows is a description in Madonna’s own words of what happens in the video:
“A girl on the street witnesses an assault on a young woman. Afraid to get involved because she might get hurt, she is frozen in fear. A black man walking down the street also sees the incident and decides to help the woman. But just then, the police arrive and arrest him. As they take him away, she looks up and sees one of the gang members who assaulted the girl. He gives her a look that says she’ll be dead if she tells. The girl runs, not knowing where to go until she sees a church. She goes in and sees a saint in a cage who looks very much like the black man on the street, and says a prayer to help her make the right decision. He seems to be crying, but she is not sure. She lies down on a pew and falls into a dream in which she begins to tumble in space with no one to break her fall. Suddenly she is caught by a woman who represents earth and emotional strength and who tosses her back up and tells her to do the right thing. Still dreaming, she returns to the saint, and her religious and erotic feelings begin to stir. The saint becomes a man. She picks up a knife and cuts her hands. That’s the guilt in Catholicism that if you do something that feels good you will be punished. As the choir sings, she reaches an orgasmic crescendo of sexual fulfillment intertwined with her love of God. She knows that nothing’s going to happen to her if she does what she believes is right. She wakes up, goes to the jail, tells the police the man is innocent, and he is freed. Then everybody takes a bow as if to say we all play a part in this little scenario.”
On March 18 2015, Madonna performed Joan Of Arc for the first time during her week as featured artist on the Ellen DeGeneres Show.
The performance, which featured a slower acoustic arrangement of the fan favorite from her album Rebel Heart (including Ellen’s own favorite), earned praise from critics:
Digital Journal reviewer Markos Papadatos wrote that it was “an outstanding vocal performance,” where Madonna “showcased tremendous control over her voice, and allows the lyrics to speak for themselves. Her delivery is emotional, vulnerable yet delicate.” Writing for The Inquisitr, Daryl Deino praised her vocal performance, saying that she “showed the world once again just what her voice is made of” and calling the version “beautiful.” Furthermore, Bradley Stern of MuuMuse also applauded the performance, calling it “really great…super vulnerable, super emotional…and that chilly guitar finish was a wonderful surprise.”
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