On June 19 2012, Evita: 15th Anniversary Edition was released on Blu-ray, with the You Must Love Me music video included as a bonus feature.
The music video for You Must Love Me was directed by Alan Parker. Madonna was eight months pregnant (with Lourdes) when the video was shot. Madonna stood behind a piano to conceal her pregnancy during the video shoot.
On June 18 1994, Madonna’s I’ll Remember spent a second week at #1 on the Billboard Adult Contemporary chart in the USA. I’ll Remember spent a total of 4 weeks at the top of the chart.
On June 17 2003, the single cover for Madonna’s Hollywood single was revealed. The photo was taken from the photo shoot by Steven Klein for W Magazine.
Hollywood was the second single from the American Life album, released on July 14, 2003.
In April 2003, in an interview with Q Magazine, Madonna described the allure of life in Hollywood:
“I’ve had 20 years of fame and fortune, and I feel that I have a right to an opinion on what it is and what it isn’t. All everyone is obsessed about at the moment is being a celebrity. I’m saying that’s bullshit and who knows better than me? Before it happens you have all kinds of notions about how wonderful celebrity is and how much joy it’s going to bring you. Then you arrive … Look like this you’re gonna be happy. Drive this car you’re gonna be popular. Wear these clothes and people are gonna wanna fuck you. It’s a very powerful illusion and people are caught up in it, including myself. Or I was.”
On June 16 1990, Vogue hit #1 on the Canadian Top 100 Singles chart by RPM magazine.
Vogue would top the chart for three weeks in Canada and would earn a platinum sales certification – a fairly unusual distinction in Canada, where singles are rarely certified.
On June 15 1985, Madonna’s Angel peaked at #5 on the Canadian Top 100 Singles Chart (RPM magazine).
Angel was written by Madonna and Stephen Bray and produced by Nile Rodgers for the Like A Virgin album.
On June 1 1990, Madonna performed her “Blond Ambition Tour” at The Palace Of Auburn Hills, in Auburn Hills, Michigan. During the show, Madonna invited her father (Silvio Anthony Ciccone) onstage to sing him “Happy Birthday”.
On May 31 1986, Madonna’s Live To Tell hit #1 for 3 weeks on US Hot Adult Contemporary singles chart.
The haunting and dramatic ballad, written and produced by Madonna & Patrick Leonard, was the first commercially released collaboration between the pair – a songwriting partnership that is viewed by many fans as one of her most creatively successful.
Leonard had previously been involved with Madonna’s Virgin Tour as musical director, and when Madonna agreed to participate in Live Aid in the Summer of 1985, she asked him to collaborate on a new song for the performance, which evolved into Love Makes The World Go Round.
Although both songs would find their way on to Madonna’s next studio album, True Blue, at the time of Live To Tell’s release the album’s title had not yet been decided. Instead, the song was used to promote Sean Penn’s film At Close Range, in which it was featured alongside an original score composed by Leonard.
He had initially composed the music that evolved into Live To Tell for another film he had been invited to score for Paramount, titled Fire With Fire. The producers of the film passed on the theme. Leonard recalled the subsequent series of events that led to the song’s completion in The Billboard Book of Number One Hits by Random House:
“Madonna said ‘This song would be great for Sean’s new movie.’ She wrote the lyrics–she just wrote them on the spot, which is what we always do. I don’t think we’ve ever taken more than three hours to complete a song from start to finish. She sang it on the demo only once and left with the cassette. That day I went to work with Michael Jackson on some transcriptions for material he was writing for the Bad album. The phone rang at Michael’s and it was Sean. He said ‘I’m over at the director’s house and Madonna just brought the song over. We love it and we’d like to talk to you about it.’ … We re-cut the song, but we used the same vocal. She only sang it once for the demo and that was the vocal we used because it was so innocent and so shy. She had a legal pad in her hand and you can hear the paper. It’s as raw as raw can be and that’s part of what gave it all its charm.”
When the demo recording of Live To Tell eventually surfaced, it became evident that Madonna had in fact re-recorded the first verse, but all remaining vocals do indeed appear to have been carried over from the demo to the final mix (along with a generously added dose of reverb to smooth over the rough edges of the demo take).
Given the song’s dark undercurrents and unresolved narrative, it was a bold choice for a single release. It marked a dramatic shift from the yearning love song, Crazy For You – her only other ballad to have been issued as a single at the time. But any radio programmers who were hesitant to consider Madonna as a serious artist simply couldn’t deny the artistry of the song and nor could record buyers, with the combined support sending Live To Tell straight to the top of the pop charts.
Live To Tell was Madonna’s third #1 single on the Billboard Hot 100, and her first #1 on the Adult Contemporary chart, where it would reign for three weeks.
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