On September 1 1990, Madonna’s Vogue spent its final week on Billboard’s Hot Singles Sales chart at #40. The massive hit was present on the U.S. sales chart for a total of twenty weeks, including two weeks at #1 in May of 1990.
Vogue has been certified double-platinum by the RIAA for physical sales of over two million units. In terms of physical sales alone, it remains Madonna’s best-selling single in the U.S.
On August 10 1985, Into The Groove spent the first of four weeks in the #1 position on the UK Singles Chart. It was Madonna’s first chart-topping single in the UK, where she has collected a total of thirteen #1 hits to date.
As an added validation, Into the Groove was Madonna’s first self-produced release (co-produced with Stephen Bray). While artists co-producing their own work is common today, it was relatively unusual at the time, particularly for female artists. The immense success of the single undoubtedly helped convince the powers at Sire/Warner to grant Madonna the artistic freedom to co-produce her next album, True Blue, together with her collaborators Stephen Bray and Patrick Leonard.
On July 28 1990, Hanky Panky hit its peak position of number-ten on the Billboard Hot 100 in the U.S.
The rarely seen official video for Hanky Panky was recorded at the May 27th 1990 concert in Toronto, Canada. Rather than use live audio from the tour, Warner opted to overdub the live performance with the album version. The video was broadcast for a few weeks and then withdrawn from rotation in most countries. Although no official reason was given, it is assumed that due to the low-budget nature of the video, it was only ever intended to serve as an initial promotional push for the song, with its subsequent withdrawal from rotation being part of the plan.
On June 1 1990, Madonna was controversially featured grabbing her crotch and breast on the cover of Interview magazine.
Madonna was interviewed by Glenn O’Brien at the Disney Studios, where she was rehearsing the Blond Ambition Tour. Here’s a snippet from the interview:
Glenn: Let’s talk about your show.
Madonna: Let’s not. Today was a horrible day. That was the worst rehearsal.
Glenn: Well, I liked it, but I haven’t seen it when you thought it was good. I loved the number where you’re lying on the piano singing a torch song.
Madonna: You saw only one segment of the show. I’ve created five different worlds, and the set is all based on hydraulics. One is going down and another is coming up. The world changes completely. I think of it more as a musical than as a rock concert. There is a straightforward Metropolis section, like my Express Yourself video – that set with all the gears and machinery; it’s very hard and metallic. That’s the heavy-duty dance music. Then the set changes and it’s like a church. We call it the temple ruins. It’s all these columns, trays of votive candles, a cross. I do Like a Virgin on a bed, but we changed the arrangement, so it sounds Indian. Then I’m being punished for masturbation on this bed, which is, as you know, what happens. Then we do the more serious, religious-type material – Like a Prayer, Papa Don’t Preach… Then it changes to what you saw, this Art Deco ’50s-musical set. That’s when we do three songs from Dick Tracy, and then after that we do what I call the camp section. Then it gets really serious again and we go into our Clockwork Orange cabaret set.