
On December 1 1992, Mayor Tom Bradley of Los Angeles, California, declared the day: Frederick’s Of Hollywood Day to celebrate the return of Madonna’s bustier which was stolen on April 30 during the Los Angeles riots.


On December 1 1992, Mayor Tom Bradley of Los Angeles, California, declared the day: Frederick’s Of Hollywood Day to celebrate the return of Madonna’s bustier which was stolen on April 30 during the Los Angeles riots.

On December 30 1989, Dear Jessie peaked at number-five on the UK singles chart. The track was released as the fourth single from Like A Prayer in Europe (with the exception of France which instead opted to service the North American/Japanese fourth single, Oh Father) and as the fifth single in Australia.
Dear Jessie was written and produced by Madonna and Patrick Leonard and was inspired by Leonard’s young daughter, Jessie, with whom Madonna had developed a special connection.
The psychedelia-infused reflection on childhood fantasy and innocence was particularly poignant within the context of the Like A Prayer album’s sequencing, with its segue into Oh Father offering a stark musical and emotional contrast that is perhaps one of the most effective in Madonna’s body of work.

On December 29 2005, Madonna’s Official Fan Club, ICON, published an interview with Stuart Price about his experiences working with Madonna on Confessions on a Dance Floor.
Here’s part of the interview they posted:
ICON: What’s the best part in being involved with Madonna’s new album?
STUART: Watching it take shape from a few demos done for fun into an entire spectacle with dancers, videos and nightclubs full of people!
ICON: What made you want to record this album in your home studio? Why not a big studio instead?
STUART: It wasn’t really thought about that much, we just found that we had got into several songs before we even thought about it. But that was the thing for much of the album concept; it wasn’t over-thought or analyzed. We liked the sound of my studio and so thought why go elsewhere?
ICON: How would you describe your collaboration with Madonna?
STUART: Like finding your favourite musician, comedian and friend all in one!
ICON: How is working on a Madonna project different from working with a new artist?
STUART: It’s not in many ways. She is very fresh, exciting and full of ideas the same way as someone is when they do their first record. The difference is she has the experience and integrity of someone who understands the creative process very deeply and can therefore suggest directions and ideas that can inspire greater heights.

On December 28 1988, Madonna filed assault charges against Sean Penn at the sheriff’s office in Malibu, California.
Versions of what happened on that date include:
When she arrived at the sheriff’s office, Lieutenant Bill McSweeny is quoted as saying, “I hardly recognized her as Madonna. She was weeping, her lip was bleeding and she had obviously been struck.”
Sean was charged with inflicting “corporal injury and traumatic conditions” on Madonna as well as committing “battery”.
Madonna filed for divorce a few days later and withdrew the assault charges against Sean.
On December 17 2015, Madonna made this statement about the above mentioned rumours/speculation:
“I am aware of the allegations that have surfaced over the years accusing Sean of incidents of physical assault and abuse against me, which purportedly resulted in Sean’s arrest for domestic assault and battery against me. Sean has never struck me, ‘tied me up,’ or physically assaulted me, and any report to the contrary is completely outrageous, malicious, reckless and false.”
So .. according to Madonna in 2015, these stories are false. But, if you listen to Till Death Do Us Part and piece the story together bit-by-bit — you might think she’s re-writing history to save a long-time friend and life-long love. Either way, it’s her decision ..
Till Death Do Us Part:
Our luck is running out of time
You’re not in love with me anymore
I wish that it would change, but it won’t, if you don’t
Our luck is running out of time
You’re not in love with me anymore
I wish that it would change, but it won’t
‘Cause you don’t love me no more
You need so much but not from me
Turn your back in my hour of need
Something’s wrong but you pretend you don’t see
I think I interrupt your life
When you laugh it cuts me just like a knife
I’m not your friend, I’m just your little wife
They never laugh, not like before
She takes the keys, he breaks the door
She cannot stay here anymore
He’s not in love with her anymore
The bruises they will fade away
You hit so hard with the things you say
I will not stay to watch your hate as it grows
You’re not in love with someone else
You don’t even love yourself
Still I wish you’d ask me not to go
He takes a drink, she goes inside
He starts to scream, the vases fly
He wishes that she wouldn’t cry
He’s not in move with her anymore
He makes demands, she draws the line
He starts the fight, she starts the lie
But what is truth when something dies
He’s not in love with her anymore
You’re not in love with someone else
You don’t even love yourself
Still I wish you’d ask me not to go
She’s had enough, she says the end
But she’ll come back, she knows it then
A chance to start it all again
Till death do us part

On December 27 1986, RPM magazine published their list of the top charting singles of 1986 in Canada.
Here’s how Madonna’s singles stacked up in the year-end ranking:
A stark departure from her earlier pop hits, Live To Tell was initially considered by her record label to be a risky choice for a single. Its success showed that programmers were willing to give Madonna some room to grow on radio.