On May 17 2007, Madonna’s Official Fan Club (Icon) announced the release of Hey You:
Hello ICON-ers,
We have the special track that M recorded especially for LIVE EARTH. The track is called Hey You and you can stream this new track in its entirety through ICON radio.
The charity single was made available for download on iTunes on May 24, 2007.
On May 16 1988, Madonna’s Spotlight reached a peak of #3 on the Oricon International Singles Chart in Japan. The single was released on 7″ vinyl and 3″ mini CD single by Sire and Warner-Pioneer Japan on April 25 1988.
Spotlight was originally planned to be included on the True Blue album, but was cut from the line-up and eventually appeared on Madonna’s You Can Dance remix album, released on November 17 1988.
The song was written by Madonna, Stephen Bray and Curtis Hudson. The song was remixed by Shep Pettibone, with additional mixing done by John “Jellybean” Benitez.
On May 15 2015, Madonna introduced her pink hair tips from the set of the Bitch I’m Madonna music video.
Madonna’s message to her fans on Instagram:
“Rise and shine New York!”
On May 14 2015, Madonna’s Ghosttown became her 45th #1 dance club hit, breaking George Strait’s record of total number ones.
Here’s what Billboard had to say about Madonna’s achievement:
The Queen of Pop reigns with Ghosttown giving her the most No. 1s of any artist on a single Billboard chart.
The Queen of Pop is now unequaled chart royalty. Madonna makes momentous Billboard chart history, as she now has the most No. 1s ever, 45, by an act on a singular Billboard chart. She earns her 45th No. 1 on Dance Club Songs, where Ghosttown lifts 3-1.
With the coronation, Madonna passes another icon, George Strait, who’s logged 44 No. 1s on Hot Country Songs.
“Thanks to all my fans on and off the dance floor,” Madonna said in an exclusive statement to Billboard. “I’ll always be your partner.”
With her 45th leader on Dance Club Songs, which measures reports submitted by a national sample of club DJs, Madonna pulls further ahead of runners-up Beyonce and Rihanna. In fact, Madonna has tallied more No. 1s as they have combined: 22 each. (The chart launched as a national survey in the Billboard issue dated Aug. 28, 1976.) Madonna bests Strait (still, and always, the King of Country), who’s sent 44 singles to No. 1 on Hot Country Songs between 1982 and 2009. He first reigned with “Fool Hearted Memory” (Aug. 28, 1982) and most recently ruled with “River of Love” (April 18, 2009).
On May 13 2008 Madonna scored her seventh Billboard 200 #1 album in the USA with Hard Candy. The achievement broke a tie with Janet Jackson and Mariah to give Madonna sole ownership of the #2 spot of all-time among female artists. Only Barbra Streisand, with eight #1 albums had more.
On May 12 1984, Madonna’s Borderline peaked at #4 on Billboard’s Hot Dance/Club Play chart (then known as the Dance/Disco chart).
The hit song was written and produced by Reggie Lucas.
On May 9 1985, Madonna and Rosanna Arquette appeared on the cover of Rolling Stone magazine, promoting their film, Desperately Seeking Susan, with photos by Herb Ritts.
Here’s a snippet from the interview featured in the magazine:
Rosanna has expressed resentment over the insertion into the movie of a Madonna song backing a quickly rewritten scene in which the Susan character gyrates around a New York club. A video clip using the unreleased tune, “Into the Groove,” spotlights Madonna. “It does take things out of context a bit,” says Madonna, “kinda calls attention to another facet, but…” What that “but” means is, it sells tickets, chumps. Still, it’s become an issue…
“Yeah, really?” says Madonna. “Who’s it become an issue with – besides Rosanna?” Her laugh is quick and not unkind. Insiders say the song found its way into the film on its own virtues. “Susan Seidelman was not out to make a pandering rock & roll movie,” says executive producer Michael Peyser, 31, who worked on Susan after serving as associate producer on Woody Allen’s film The Purple Rose of Cairo. One of the music coordinators, Danny Goldberg, had no time to compile a soundtrack LP when the film’s release date was pushed up, but in talks with MTV execs, he paved the way for “Into the Groove” to air, even though the song might never show up on vinyl.
Madonna is not naive about the studio’s gambit: “I have a big audience of kids for my music, and you know how they use soundtracks to push movies – I think they’re using me in the same way, and it’s really a drag, because I’m trying to establish myself as an actress, not as a singer making movies. But I’ll be happy if it becomes a commercial success, simply because it’s a different kind of movie than most of what’s out now. There are a few formulas people have been using the past five years, with Flashdance and Breakin’ and all that stuff; this movie is like a return to those simple, straightforward caper comedies Claudette Colbert and Carole Lombard made in the Thirties. They give you a taste of real life, some poignance, and leave you feeling up at the end – none of that adolescent-fantasy bullshit.”
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