On October 30 2006, Madonna appeared on the cover of People magazine with the headline: Madonna’s Adoption Drama.
Here’s a snippet of the article:
Bringing Home David By Karen S. Schneider
As Madonna and Her Husband, Guy Ritchie Welcome Home Their New 13-Month-Old Son from Malawi, Local Human Rights Groups—and Some of the Boy’s Relatives—Raise Questions Over the Legality of the Adoption.
Madonna had only seen a snapshot of David Banda and had learned only basic information about him when she and her husband, Guy Ritchie flew to the African nation of Malawi on Oct. 3. But when the singer arrived at the Home of Hope Orphanage Centre and met the 13-month-old boy, says Madonna’s spokeswoman Liz Rosenberg, “It was love at first sight.” Adds a witness: “The look of pure joy on her face was beyond words, not unlike when her children [Lourdes, 10, and Rocco, 6] were born.”
About a week later—even as a storm of controversy was brewing over the planned adoption—Madonna’s happiness was echoed in a dimly lit room of the High Court in the Malawian capital of Lilongwe. The pop superstar, 48, and her director husband, 38, met, for the first time, with David’s dad, a farmer named Yohane Banda. Through a translator who spoke Banda’s Chichewa language, “she asked lots of questions,” says Banda, 32. “How old I am, what I do for a living, everything.”
Madonna also made promises—to provide Banda’s only child with a loving home, and to bring him back to Malawi to visit. For the singer, the face-to-face with Banda marked a turning point in an almost year-long effort to adopt a child from an impoverished nation where she helps fund six orphanages. (She has also pledged to sponsor improvements through the Millennium Promise program.) For Banda—who ekes out a living farming onions and cabbage, and placed David in the church-run Home of Hope when his wife died—it was a chance to give his son, he tells PEOPLE, “a brighter future.” Adds David’s grandmother Asineti Mwale, 56: “God has heard our prayer. May he bless this kindhearted woman abundantly.”
On May 28 2008, Madonna learned that she was officially going to be allowed to adopt David Banda.
The High Court in Malawi granted Madonna permanent adoption of 2-year-old David Banda.
Madonna’s lawyer made this statement:
“We are very happy with what the judge has ruled. Finally the court has granted Madonna full adoption rights of the boy…It’s all over, thank God. It is a positive and beautiful judgment that will have an impact on Malawi’s adoption laws.”
On December 23 2016, Madonna was featured in Vogue magazine’s on-line Celebrity Style section: Madonna’s Winter Airport Look Is All About the Show of the Year.
Vogue contributor Edward Barsamian had this to say:
All hail Queen Madge. Earlier in the month at Billboard’s Women in Music Awards, Madonna made waves in a custom Gucci suit embroidered with the phrase The Greek goddess of music that brings joy, and the same could be said of her approach to airport style at JFK. Lately the singer’s off-duty ensembles have included posh looks for the school run and carrying the It bag of the season. Her latest in-flight outfit was a fresh take on winter dressing that featured the year’s most wanted shoes.
Lately, A-listers like Harry Styles, Justin Bieber, and Kim Kardashian West have been stepping out in teddy bear coats, but Madonna opted for a sportier, cheekier rendition with her fur-trimmed parka from Mackage and Moschino’s bear-print tee. A Stars and Stripes scarf provided a directional slant on the American flag, while her frayed-hem trousers were simultaneously polished yet edgy. But stealing the show were the little details: shield shades, a Ralph Lauren satchel, and Rihanna’s chic, highly coveted creepers for Puma.
“I’m not here to be popular. I’m here to be free,” Madonna declared to a packed, adoring audience on Tuesday night at the Brooklyn Academy of Music’s Howard Gilman Opera House. It was the premiere of her Madame X Tour, named after the album she released in June that she has said was influenced by the music in Lisbon, her adopted home. The show follows her decades of arena spectacles by scaling the same kind of razzle-dazzle — dancers! costumes! video! choir! — for a theater stage.
Unlike jukebox musicals or “Springsteen on Broadway,” Madame X is a concert focusing on new songs and the present moment. In other words, Madonna is still taking chances. She will reach arena-size attendance in only a handful of venues on the eight-city tour, but with much longer engagements; the Gilman Opera House holds 2,098, and she booked 17 shows there, through Oct. 12. Onstage, “selling” a selfie Polaroid to an audience member who happened to be Rosie O’Donnell, she claimed, “I’m not making a dime on this show.”
Concertgoers arrived to what was billed as a phone-free experience. Cellphones and smart watches were locked into bags at the door, though quickly unlocked afterward. It helped prevent online spoilers; it certainly removed the distractions of waving screens. (No photography was permitted, including press.)
As both album and show, Madame X is Madonna’s latest declaration of a defiant, self-assured, flexible identity that’s entirely comfortable with dualities: attentive parent and sexual adventurer, lapsed Catholic and spiritual seeker, party girl and political voice, self-described “icon” and self-described “soccer mom,” an American and — more than ever — a world traveler.
Yes, she is 61, but her music remains determinedly contemporary, with the drum-machine sounds of trap, collaborations with hip-hop vocalists (Quavo and Swae Lee, shown on video) and the bilingual, reggaeton-flavored Latin pop sometimes called urbano (with the Colombian singer Maluma, also shown on video). The concert, with most of its music drawn from the Madame X album, was packed with pronouncements, symbols and enigmatic vignettes to frame the songs. Madonna often wore an eye patch with an X on it, no doubt a challenge to her depth perception as a dancer.
By the time Madonna had completed just the first two songs, she had already presented an epigraph from James Baldwin — “Artists are here to disturb the peace” — that was knocked out onstage by one of the concert’s recurring figures, a woman (sometimes Madonna herself) at a typewriter.
Gunshots introduced God Control, which moves from bitter mourning about gun deaths to happy memories of string-laden 1970s disco, while Madonna and dancers appeared in glittery versions of Revolutionary War finery, complete with feathered tricorn hats, only to be confronted by police with riot shields. Dark Ballet had Joan of Arc references, a montage of gothic cathedrals and scary priests, a synthesizer excerpt from Tchaikovsky’s “Nutcracker” and Madonna grappling with masked dancers, until cops pulled her off the piano she had been perched on. The signifiers were already piling up.
And there were more. Film-noir detectives pursued and interrogated Madonna in another disco-tinged song, I Don’t Search I Find; Crave, which warns, “My cravings get dangerous,” flaunted a full-sized disco ball. A pair of robotic but sinuous dancers, with red lights for eyes, flanked Madonna as she sat at a piano for the ominous Future, while the video screen filled with images of urban and environmental destruction. She surrounded herself with a choir of brightly robed women and geometric Arabic designs in Come Alive, which used the metal castanets and triplet rhythm of Moroccan gnawa music to back her as, once again, Madonna’s lyrics rejected unwanted opinions and restrictions.
The concert’s unquestioned showstopper was Frozen, a somber ballad from the 1998 album Ray Of Light that offers healing: “If I could melt your heart, we’d never be apart.” Madonna appeared as a tiny figure onstage, surrounded by giant video projections of a dancer moving from a self-protective clutch to a tentative, then joyful unfurling and back. It was her oldest daughter, Lourdes, affirming the family connection in movement.
Madonna was more suited to the harder beat of Batuka a song based on the matriarchal, call-and-response Cape Verdean tradition of batuque. Backed by more than a dozen batuque drummers and singers — Orquestra Batukadeiras — and doing some hip-shimmying batuque moves, Madonna conveyed the delight of her discovery, even as the hand-played beat gave way to electronic percussion.
Forty-one musicians, dancers and singers appeared throughout the two-hour-plus show, which came with the same wardrobe changes as any of Madonna’s large-scale extravaganzas (one, before Vogue, was executed before the audience, shielded by a dressing table). The singer wasn’t onstage for one of the most powerful dance moments, a break between acts when a row of performers convulsed gracefully at the lip of the stage to irregular breaths, set to a recording of Madonna intoning lyrics from Rescue Me.
Madonna spoke to and with the audience repeatedly, taking advantage of the intimacy of the room to tell bawdy jokes, apologize for starting the show late and sip a fan’s beer. But in songs and stage patter, she sometimes conflated self-realization and self-absorption with social progress. Contrasting freedom and slavery after Come Alive, she announced that slavery “begins with ourselves,” forgetting that the slave trade was not the same as being “slaves to our phones.”
Yet with Madonna, the spirit is more about sounds and images than literalism. I Rise, which ends both the album and the concert, samples a speech by Emma Gonzalez, a survivor of the shooting at Marjory Stoneman Douglas High School in Parkland, Fla. then goes on to some clumsy lyrics. But in a small theater, with a gospelly beat, raised fists, images of protests worldwide, a rainbow flag, and Madonna and her troupe parading up the aisle — close enough for fans to touch — there was no denying the conviction.
- God Control
- Dark Ballet
- Human Nature
- Express Yourself
- Madame X Manifesto (video interlude)
- I Don’t Search I Find
- Papa Don’t Preach / American Life
- Coffin (video interlude)
- Fado Pechincha (with Gasper Varela)
- Killers Who Are Partying
- Welcome to My Fado Club / La Isla Bonita
- Extreme Occident
- Rescue Me” (video interlude)
- Come Alive
- Like a Prayer
- I Rise
On January 1 2019, Madonna rang in the New Year with a surprise appearance at New York City’s historic Stonewall Inn.
A heartfelt speech about the gay rights movement was followed by a sing-along performance of Like A Prayer and a cover of Elvis Presley’s hit, Can’t Help Falling in Love, with her son David Banda providing musical accompaniment on acoustic guitar.
“I stand here proudly at the place where pride began, the legendary Stonewall Inn, on the birth of a New Year. We come together tonight to celebrate fifty years of revolution, fifty years of freedom fighting, fifty years of blood, sweat, and tears. Fifty years of sacrifice, fifty years of standing up to discrimination, hatred, and worst of all, indifference. And it started here, at Stonewall. Let us never forget the Stonewall riots and those who bravely stood up and said ‘enough!’
A half a century later, Stonewall has become a defying moment and a critical turning point in history, catapulting LGBT rights into public conversation and consciousness and awakening gay activism, giving birth to the civil rights movement of the 21st century.
Now you can’t imagine how happy I am to return home, to New York City, my beautiful city, where dreams are born and forged out of fire and brought to life, where I am proud to say that my journey as an artist began, and my commitment to equality for all people took root. As a lifelong ally, I have had the privilege of using my art as a vehicle for change, to provoke, to inspire, to wake people up and to bring the LGBTQ community with me.
There is so much destruction in the world, but you cannot stop art. And creation always wins in the end. So as we move forward, let’s not forget the work that we had to do from the ground up. We must never forget where we’ve been, the challenges and the road blocks along the way. We must never forget where we came from. This movement was born out of the need to survive discrimination and hatred. But why do people hate? Yes – fear of the unknown. But if we look and we truly take the time to get to know one another we will find that we all bleed the same color and we all need to love and be loved. When we stand here together tonight let’s remember who we are fighting for and what we are fighting for. We are fighting for ourselves, yes, we are fighting for each other, yes, but truly and most importantly, what are we fighting for? We are fighting for love! Thank you, people – we are fighting for love!
So let’s take a moment to reflect on how we can bring more love and peace into 2019. In this New Year let’s commit to disarming people with unexpected acts of kindness. Let’s become more intuitive. Share what you know with someone you don’t agree with. Think about that. Try it. Get outside of your comfort zone. Let’s try to be more forgiving. Maybe we can find an opening to let the light come in. Let’s close up the distance between one human being and another.
I walk in the shadow of giants, our freedom fighters who have gone before me. But let’s be giants ourselves! Let’s be giants and carry each other on our shoulders into the New Year and into a future of love and understanding. Are you ready?”