Today in Madonna History: June 1, 1990

madonna-herb-ritts-interview madonna-herb-ritts-interview-c madonna-herb-ritts-interview-b madonna-herb-ritts-interview-a madonna-herb-ritts-interview-d

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.

Today in Madonna History: May 3, 2010

On May 3 2010, Madonna was featured on the cover of Interview magazine, with photos by Mert Atlas and Marcus Piggott.

Here’s a snippet of the interview between Gus Van Sant and Madonna featured in Interview:

MADONNA: Did you like working with my ex-husband? [laughs]

VAN SANT: I did. Sean [Penn] was amazing.

MADONNA: He is amazing.

VAN SANT: I haven’t really caught up with Sean since he’s been going to Haiti. I mean, it’s incredible, what he’s been doing.

MADONNA: Yup. He’s got a fire under his ass, that’s for sure. A bee in his bonnet.

VAN SANT: When I called him to see whether he would play the role in Milk, he took half a second to say yes. I guess he knew the elements were there.

MADONNA: I could see why he would be attracted to the role and be able to say yes in two seconds. Watching Milk was such a trip down memory lane for me.

VAN SANT: Yeah? Did you go to the Castro a lot?

MADONNA: I did when I was younger. But you know, what the movie triggered for me was all my early days in New York and the scene that I came up in-you know, with Andy Warhol and Keith Haring and Jean-Michel Basquiat and Kenny Scharf. It was just so alive with art and politics and this wonderful spirit. So many of those people are dead now. I think that’s one of the reasons I cried. In fact, the character that Richard E. Grant plays in the film I directed, Filth and Wisdom [2008], is this blind professor who was based on my ballet teacher, Christopher Flynn. Growing up in Michigan, I didn’t really know what a gay man was. He was the first man-the first human being-who made me feel good about myself and special. He was the first person who told me that I was beautiful or that I had something to offer the world, and he encouraged me to believe in my dreams, to go to New York. He was such an important person in my life. He died of AIDS, but he went blind toward the end of his life. He was such a lover of art, classical music, literature, opera. You know, I grew up in the Midwest, and it was really because of him that I was exposed to so many of those things. He brought me to my first gay club-it was this club in Detroit. I always felt like I was a freak when I was growing up and that there was something wrong with me because I couldn’t fit in anywhere. But when he took me to that club, he brought me to a place where I finally felt at home. So that character in Filth and Wisdom was dedicated to him and inspired by him. I don’t know why I’m bringing all this up, but I guess it’s just coming from that world in Michigan and the trajectory of my life: after going to New York and being a dancer when the whole AIDS epidemic started and nobody knew what it was. And then suddenly, all these beautiful men around me, people who I loved so dearly, were dying-just one after the next. It was just such a crazy time. And watching the world freak out-the gay community was so ostracized. But it was also when I was beginning my career. . . . I don’t know. Your movie really struck a chord for me and made me remember all that. It’s a time I don’t think many people have captured on film. It’s a time that people don’t talk about much. And even though there was so much death, for me, New York was so alive.

VAN SANT: It’s amazing that you had a person like that in your life who was such an influence.

MADONNA: Thank god! Otherwise, I don’t know if I would’ve gotten out of Michigan. I think it was Christopher and my Russian history teacher, Marilyn Fellows. The two of them, I think they were a conspiracy that god sent to me. The conspiracy of angels that gave me the confidence and helped me turn my lemons into lemonade, if you know what I’m saying. Because when you grow up in a really conservative place and you don’t fit in, it’s kind of hard. . . . You can go one way or the other.

 

Today in Madonna History: August 12, 1989

madonna-express

On August 12 1989, Madonna’s Express Yourself spent a fourth week at #1 on the Billboard Hot Dance Music and Maxi Single Sales chart.

Madonna explained to Becky Johnston in the May 1989 issue of Interview magazine:

“The ultimate thing behind the song is that if you don’t express yourself, if you don’t say what you want, then you’re not going to get it. And in effect you are chained down by your inability to say what you feel or go after what you want. No matter how in control you think are about sexuality in a relationship there is always the power struggle… always a certain amount of compromise. Of being beholden, if you love them. You do it because you choose to. No one put the chain around this neck but me. I wrote Express Yourself to tell women around the world that pick and choose the best for yourself, before that chain around your neck, kills you instead. It’s my take on how man can express what they want, the same prerogative should be there for a woman too.”

Today in Madonna History: June 1, 1990

madonna-herb-ritts-interview madonna-herb-ritts-interview-c madonna-herb-ritts-interview-b madonna-herb-ritts-interview-a madonna-herb-ritts-interview-d

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.

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