Today in Madonna History: October 25, 2019

On October 25 2019, Madonna’s Crave Remixes EP Part 1 was released to digital platforms.

The digital EP includes the following remixes:

  • Crave (Tracy Young Dangerous Remix) 4:48
  • Crave (Tracy Young Dangerous Radio Edit) 3:24
  • Crave (Benny Benassi & BB Team Extended Remix) 4:52
  • Crave (Benny Benassi & BB Team Radio Edit) 3:19
  • Crave (RNG Club Remix) 6:39
  • Crave (Otto Benson Remix) 4:23
  • Crave (Twisted Dee & Diego Fernandez Remix) 7:17
  • Crave (Dan De Leon & Anthony Griego Remix) 7:12

Today in Madonna History: October 17, 2019

On October 17 2019, The Chicago Tribune published Britt Julious’ review of Madonna’s first Madame X Tour show at the Chicago Theatre (the first of seven shows):

Madonna fears no one at the Chicago Theatre in a late-night, cellphone-free clash between old and new
Madonna does what she wants, when she wants, for whatever reason she wants. In fact, the Madonna of today may be more stubborn. Yes, she has amassed a trove of hits from each decade of her career. But the hits matter less to the artist than the intention behind her music.

Known as something of a chameleon, Madonna made a case for the interconnectedness of her total body of work during the first night of the Chicago leg of her intimate, cellphone-free Madame X tour. A small number of older songs were carefully intertwined with a heavy selection of tracks off her latest album, “Madame X,” to tell the story of this new character. And who is Madame X?

A freedom fighter, for one. Dance is politics. Music is politics. Madonna laid plain the intentions of each “Madame X” show from the start. On stage was very little in the beginning, just a silhouette of a woman at a typewriter, a large black screen, and a fit young dancer jerking his limbs to the rhythm of each keystroke. Behind him, a 1961 quote by James Baldwin splashed across the screen: “Artists are here to disturb the peace.” Get the picture? This is not a moment of nostalgia for Madonna. But if you’re interested in “waking up,” in getting uncomfortable, then stick around.

The first half of the set blended a mix of old and new tunes, starting with “Dark Ballet” from “Madame X.” Dancers clad in white gowns and riot gear clashed on stage. Behind a brutalist pyramid staircase were projected images of marches for gun control. Clashing — of old and new, of right and wrong, of fun and seriousness — became a theme throughout the set.

During a slowed-down rendition of “Human Nature,” her twin daughters, Estere and Stella, joined the singer and her backup dancers on stage. She asked each girl to make a statement, with one saying “Hashtag time’s up!” in reference to the social movement. Moments later, Madonna fittingly transitioned into an a-cappella sing-a-long to her smash ’90s hit “Express Yourself,” before asking the audience, “This revolution is bloody. Is there a doctor in the house?” Sometimes the fight to be heard can be jarring, just as it was on stage.

For Madge, art is the medium by which she fights for the freedom of others. It is the medium delivering the message, whether audiences understand or like it at all. “Are you good with me not keeping my baby?” she asked the audience halfway through her set after a spirited rendition of “Papa Don’t Preach.” An audience member in the front row expressed his displeasure and she was not afraid to confront him about reproductive rights. “It is my choice. It’s everybody’s choice,” she uttered. The room erupted in applause. She fears no one. The easy choice would be to next play something light, but Madonna chose “American Life,” an oft-forgotten yet underrated single from the aughts. Back then, it was an awkward song, but here, its mashup of genres and conflicted lyrics make sense. It was perfect.

The latter half of the show was packed with guest artists from across the globe as she performed Latin-inspired selections — including “Medellin” and “Come Alive” — from the new album. A group of Cape Verde batuque singers walked through the aisles and joined Madonna on stage for the “Madame X” cut “Batuka.” During her numerous chat breaks, Madge talked about her move to Lisbon to “become a soccer mom,” and the depression and loneliness that soon set in. It was not until she began frequenting fado clubs that she found herself again. It made sense then that the stage was transformed into a colorful recreation of a fado club. “Get out of your comfort zone!” she cried to the audience. Most people were on board.

The “Madame X” show is not a concert as much as it is performance art and dance theater. This explains some of 10:30 p.m. start time, to the surprise and consternation of some fans worried about a late night (the show ended around 1:30 a.m.). This was also a cellphone-free show, where attendees had to secure their phones. The entry process was smooth, but expect a post-show bottleneck.

Storytelling framed the evening. Madge is a shifting and growing human urging her audience to do the same, but she’s not afraid to get playful, like when she took a Polaroid selfie of herself and auctioned it off to the audience. The winning bid was $3600, to a man who said he was a writer. “Writer? Bull—- artist is more like it,” Madonna said, in reference to him having that much cash.

“Not everyone is coming to the future because not everyone is learning from the past,” she said before playing the “Madame X” single “Future.” It was a coded message. Casual fans looking for an intimate dance party should stay away. Madonna chose small theater settings for a reason — she is interested in touching and seeing and communicating her message with her audience. Theater breeds emotional risks; the fire of each moment is palpable. Madonna knows this. An arena won’t start revolutions, but a musical confrontation a half-foot away will.

Today in Madonna History: September 18, 2019

On September 18 2019, the New York Times published a review (Jon Pareles) of Madonna’s opening Madame X Tour show held the night before at the BAM Howard Gilman Opera House in Brooklyn:

Madonna Is Still Taking Chances

Her Madame X show reimagines pop spectacle for a theater stage, merging her newest music and calls for political awareness with striking intimacy.

“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 songs Madonna chose from her past were mostly exhortations and pushbacks, sometimes coupled with direct political statements. She sang part of Papa Don’t Preach, reversing its decision to “keep my baby,” then spoke directly about supporting abortion rights. Dancing while surrounded by video imagery of pointing fingers, she revived Human Nature, which already testified — a full 25 years ago — to Madonna’s tenacity and determination to express herself uncensored. When it ended, her daughters Mercy James, Estere and Stella were onstage, and the singers and a full-throated audience shared an a cappella Express Yourself.

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.

Since 2017 Madonna has lived in Lisbon, where her son David plays soccer, and she spoke about savoring the city’s music: the Portuguese tradition of fado and music from Portugal’s former empire, particularly from the Cape Verde Islands near Senegal. One of the show’s most elaborate backdrops simulated a club in Lisbon.

But appreciation doesn’t equal mastery. Madonna was backed by the Portuguese guitarra player Gaspar Varela, the grandson of the fado singer Celeste Rodrigues, in an earnest, awkward fado-rooted song, Killers Who Are Partying from the Madame X album; she also performed a Cape Verdean classic, Sodade, made famous by Cesária Évora.

Reminding the audience that she had sung in Cape Verdean Creole and other languages, Madonna boasted, “This is a girl who gets around. This is a girl who does her homework.” But in the songs themselves, she only sounded like a well-meaning tourist.

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.

Set List: 

  • God Control
  • Dark Ballet
  • Human Nature
  • Express Yourself
  • Madame X Manifesto (video interlude)
  • Vogue
  • I Don’t Search I Find
  • Papa Don’t Preach / American Life
  • Coffin (video interlude)
  • Batuka
  • Fado Pechincha (with Gasper Varela)
  • Killers Who Are Partying
  • Crazy
  • Welcome to My Fado Club / La Isla Bonita
  • Sodade
  • Medellín
  • Extreme Occident
  • Rescue Me” (video interlude)
  • Frozen
  • Come Alive
  • Future
  • Crave
  • Like a Prayer
  • I Rise

Today in Madonna History: July 1, 2019

On July 1 2019, Billboard’s Joe Lynch reported on Madonna’s performance at the World Pride festivities in New York City the previous night:

Madonna opened with her Harlem ballroom scene-indebted smash Vogue and the audience response was deafening. After that, the musical shapeshifter brought out a single it’s safe to say no one expected to hear as part of a limited-length set: American Life. That being said, while it’s not one of her, say, 20 most renowned songs, the message of American Life has only grown more timely in the 16 years since its release, and its strangely compelling melange of squelching synths, strings and folk had the crowd rapt — especially when she dove head-first into the “soy latte” rap (which reals Stans in the crowd parroted back to her perfectly).

Midway through her wind-whipped set, Madge spoke to the historicity of the moment and the significance to her life. “Fifty years, people,” Madonna said. “Fifty years of freedom fighting. Fifty years of putting up with discrimination, hatred and intemperance. Fifty years of blood, sweat and tears. Fifty years of not bowing down to fear. We have been on this journey together, and I am so proud and honored to share this historical evening with you.”

Before returning to performing, she shouted-out her early NYC days. “You really don’t know. Since I came to New York as a wee little girl, I have always been embraced by queer nation. I always felt like an outsider but you made me feel like an insider. You must know how much I love and appreciate everyone here tonight.”

After that, the cops busted in — well, at least the police-themed dancers Madonna employs. They helped her create a visually powerful live performance of her Madame X highlight God Control, replete with detailed choreography and a disco groove that had the crowd gyrating and shimmying. She closed with I Rise, a powerful anthem for both gun control and LGBTQ rights, after which fireworks exploded over Pride Island as starry-eyed attendees headed home.

Source: Billboard.com

 

Today in Madonna History: June 21, 2019

On June 21 2019, Madonna’s Medellín reached #1 on Billboard’s Dance Club Play chart for the issue dated June 29.

The upbeat gem of a summer song featuring Maluma is Madonna’s 47th No. 1 hit on the Dance Club Play chart. Woo!

Here is a list of Madonna’s 47 number one Dance hits so far (June 2019):

1983 – Holiday/Lucky Star
1984 – Like A Virgin
1985 – Material Girl
1985 – Angel/Into the Groove
1987 – Open Your Heart
1987 – Causing a Commotion (Remix)
1988 – You Can Dance (LP Cuts)
1989 – Like A Prayer
1989 – Express Yourself
1990 – Keep It Together
1990 – Vogue
1991 – Justify My Love
1992 – Erotica
1993 – Deeper and Deeper
1993 – Fever
1994 – Secret
1995 – Bedtime Story
1997 – Don’t Cry for Me Argentina
1998 – Frozen
1998 – Ray of Light
1999 – Nothing Really Matters
1999 – Beautiful Stranger
2000 – American Pie
2000 – Music
2001 – Don’t Tell Me
2001 – What It Feels Like for a Girl
2001 – Impressive Instant
2002 – Die Another Day
2003 – American Life
2003 – Hollywood
2003 – Me Against the Music – Britney Spears featuring Madonna
2004 – Nothing Fails
2004 – Love Profusion
2005 – Hung Up
2006 – Sorry
2006 – Get Together
2006 – Jump
2008 – 4 Minutes
2008 – Give It 2 Me
2009 – Celebration
2012 – Give Me All Your Luvin’
2012 – Girl Gone Wild
2012 – Turn Up the Radio
2015 – Living for Love
2015 – Ghosttown
2015 – Bitch I’m Madonna
2019 – Medellín

Today in Madonna History: June 14, 2019

On June 14 2019, Madonna’s fourteenth studio album, Madame X, was released worldwide on Interscope Records.

In a 4-star (out of 5) review of the album, Slant Magazine’s Sal Cinquemani noted:

“Madonna has a reputation for being a trendsetter, but her true talent lies in bending those trends to her will, twisting them around until they’re barely recognizable, and creating something entirely new. Madame X is fearless, the sound of an artist unapologetically indulging all of her whims and quirks.”

Deluxe Album:

1. Medellín (feat. Maluma)
(Madonna, Mirwais Ahmadzai, Maluma Londono, Edgar Barrera) produced by Madonna & Mirwais
2. Dark Ballet
(Madonna & Mirwais Ahmadzai) produced by Madonna & Mirwais
3. God Control
(Madonna & Mirwais Ahmadzai) produced by Madonna, Mirwais & Mike Dean
4. Future (feat. Quavo)
(Madonna, Thomas Pentz, Brittany Talia Hazzard, Quavious Keyate Marshall) produced by Madonna & Diplo
5. Batuka
(Madonna, Banda, Mirwais Ahmadzai) produced by Madonna & Mirwais
6. Killers Who Are Partying
(Madonna & Mirwais Ahmadzai) produced by Madonna & Mirwais
7. Crave (feat. Swae Lee)
(Madonna, Khalif Malik Ibn Shaman Brown, B T Hazzard) produced by Madonna, Billboard & Mike Dean
8. Crazy
(Jason Evigan, Madonna, B T Hazzard) produced by Madonna, Mike Dean & Jason Evigan
9. Come Alive
(Jeff Bhasker, Madonna, B T Hazzard) produced by Madonna, Jeff Bhasker & Mike Dean
10. Extreme Occident
(Madonna & Mirwais Ahmadzai) produced by Madonna & Mirwais
11. Faz Gostoso (feat. Anitta)
(Carmo, Nuno, Oliveira, Seabra, Vieira, Rodrigues, Madonna) produced by Madonna, Billboard & Mike Dean
12. Bitch I’m Loca (feat. Maluma)
(Madonna, L D’Elia, Londono, Barrera, JAMES, Rodriguez, Stiven Rojas) produced by Madonna & Billboard
13. I Don’t Search I Find
(Madonna & Mirwais Ahmadzai) produced by Madonna & Mirwais
14. Looking For Mercy
(Madonna & B T Hazzard) produced by Madonna, Jeff Bhasker & Mike Dean
15. I Rise
(Jason Evigan, Madonna, B T Hazzard) produced by Madonna & Jason Evigan

Deluxe CD Edition (Bonus Disc):

1. Funana
(Madonna & Mirwais Ahmadzai) produced by Madonna & Mirwais
2. Back That Up to the Beat
(Madonna, Pharrell Williams, B T Hazzard) produced by Madonna, Jeff Bhasker, Mike Dean & Pharrell Williams
3. Ciao Bella
(Madonna & Mirwais Ahmadzai) produced by Madonna & Mirwais

Today in Madonna History: June 10, 2019

On Monday June 10 2019, the official Madonna store added the following new Madonnabilia items for sale (available for FIVE days only – so get in there!) in in support/celebration of World Pride 2019:

  • Limited edition lithograph (hand-numbered poster)
  • Limited edition t-shirt
  • Limited edition Pride flag (bundled with the limited edition rainbow Madame X picture disc vinyl)

Here is the message from the official store:

Celebrate your PRIDE and help Madonna support a great cause with the Limited Edition Madame X Crave x World Pride Tee & Digital Download

In Honor of Pride, all of Madonna’s proceeds will go to The Trevor Project, the world’s largest suicide prevention and crisis intervention organization for LGBTQ youth.

For more information about their life-affirming work, please visit www.thetrevorproject.org.

If you’re thinking about suicide, The Trevor Project is free, confidential and here for you 24/7 – call them at 1-866-488-7386 or text 678-678.

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