Today in Madonna History: May 3, 2019

On May 3 2019, British Vogue revealed that Madonna would be gracing their June cover, with photos by Mert Alas & Marcus Piggott.

Vogue also published a fantastic article about Madonna’s fight against ageism:

Is The Fight Against Ageism Madonna’s Biggest Revolution Ever?

With her new album Madame X, out June 14th, Madonna stages another reinvention in her revolutionary career. But in a new era of self-expression, individual freedom and all-encompassing diversity, it’s perplexing that her age remains her biggest barrier, argues Anders Christian Madsen.

The morning after Madonna’s red-blooded performance at the Billboard Awards on Wednesday evening, entertainment websites quoted the court of Twitter. It was the same old story: granny emojis, ageist slurs and chauvinist memes. At the release of Madame X, her fourteenth studio album, 60-year-old rebel Madonna is still facing the toughest of all her revolutions: making the world accept that women at sixty can create, perform and make an impact with the same freedom of expression as a thirty-year-old. Regardless of her artistic merit, age and ageism have formed the background noise to every album Madonna has released since she turned fifty; perhaps even forty. What seems to be society’s issue with her is that she refuses to abide by the unwritten rules of age pertaining to everything from behaviour to dress codes and humour. The implication is that Madonna is in denial of her age; that she wants to trick us into thinking she’s young. The nerve!

Yet, on the contrary, Madonna’s music and performances in recent years have owned and celebrated her age and legacy, from the way she proudly references every reinvention of her career on her every tour, to her nostalgically reflective lyrics and samples of her own evergreens on her last album Rebel Heart, and her new single Medellín, which opens with verses that entirely embrace where she’s at in life: “I took a pill and had a dream, I went back to my seventeenth year. Allowed myself to be naïve, to be someone I’ve never been.” At sixty, Madonna is anything but old news. Medellín, a duet with Maluma, is the most experimental work she’s written since Ray of Light: a multi-layered, mostly Spanish-language song that breaks all the conventions of pop music, yet echoes in your ear like the catchiest of Generation Z radio hits. So why is BBC’s Radio 1 – home to all the pop stars for whom Madonna paved the way – not adding Medellín to its playlist?

Their actions echo the statement made by the station’s head of music, George Ergatoudis, when Madonna released Rebel Heart in 2015: “The BBC Trust have asked us to go after a young audience. We’ve got to concentrate on [people aged] fifteen to thirty. We have to bring our average age down. That’s something we’re very conscious of. The vast majority of people who like Madonna, who like her music now, are over thirty and frankly, we’ve moved on from Madonna.” It was a sad message to stand by in a time when all the things Madonna has spent her life fighting for finally seem to be materialising in our shared mentality. Madame X is the first album Madonna has released since Time’s Up changed the world in 2017. Those waves made a lot of the causes she has worked for throughout her career come true. But they also brought with them a heightened sense of the witch-hunts Madonna has been subjected to since she hit the scene in the 1980s.

Her fearless tackling of sex as a topic in the public forum, refusal of sexual and gender-specific categorisation, and inexhaustible fight against racism, sexism, homophobia, religious suppression and ageism in the post-modern world should have made her the most celebrated pop star alive. And yet, by denying Madonna the same platform to promote her music as Rihanna, Beyoncé and Ariana Grande, we seem to forget the invaluable part she has played in creating the culture of individuality and diversity so attributed to the new generations. The destruction of icons has never been more practised than in this moment in time. There’s no knowing when the next accusations will hit the people you admire most, dead or alive, and tarnish their legacies with the indefinite effect that deems public defence temporarily unadvisable.

It’s why the opening scene in Madonna’s video for Medellín is so pertinent. “How could I trust anyone after years of disappointment and betrayal? How could I not want to run away?” she asks, confiding in her god the way she’s done it publicly so many times in her career. “I will never be what society expects me to be. I have been kidnapped, tortured, humiliated and abused. In the end I still have hope. I still believe in the goodness of humans.” Cynics will say her words are self-pitying and conceited, but for those of us to whom Madonna has served as an inspiration, an educator and a revolutionary for three or four decades, her prayer is as haunting as it is relevant. After all, it’s hard to think of a living person with a continuous platform as big as hers, who has persistently used it to inspire and improve the world around her. The provocative nature of Madonna’s behaviour is a very small part of her total sum as a freedom fighter.

But perhaps she’s met her match in what we all fear more than the battles she won in the past, which revolved around sexual and cultural differences and views different to our own. Age is the threat that hits us all, a fact that explains the existence of ageism. It’s why it’s such a towering barrier to climb, even for Madonna and her age-defying racehorse physique. But shouldn’t the #MeToo era, with all its morals and ethics, inevitably result in a better climate for a woman like Madonna? At the end of the day, she’s putting her 60-year-old, scanty-clad ass on the line for future generations to experience less societal limits than she did once she passed the 40-year mark. Rather than pointing out her age, every person on social media – young or old – should be celebrating it, thanking Madonna for continuously going where no one else dares to go. Because while all of Madonna’s revolutions have gained her attention, it’s nothing compared to what she’s done for the rest of us.

Today In Madonna History: January 31, 2012

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On January 31 2012, the deluxe edition cover for MDNA was unveiled through Madonna’s official Facebook page.  The album’s artwork was shot by Mert and Marcus and directed by Giovanni Bianco.

Today in Madonna History: December 3, 2014

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On December 3 2014, two photos for Donatella Versace’s 2015 spring/summer collection were revealed.  The photos were taken by Mert Alas and Marcus Piggott.

Donatella said of Madonna:

“Madonna says it best herself: She is unapologetic.  She is her own woman, a role model who shows other women how we can do what we want, and get what we want, and do so for all of our lives, with no compromise.”

Today in Madonna History: March 24, 2012

mert and marcus girl gone wild set 550mert and marcus girl gone wild set 8 550

On March 24th 2012, The New York Post’s Page Six reported that Madonna’s video for Girl Gone Wild had been deemed too wild for general viewing on YouTube. It would be restricted to registered users over the age of eighteen in its uncensored form:

“Madonna’s steamy new video for Girl Gone Wild has been banned from open view on YouTube for being too raunchy, with scenes including nudity and a close-up of a man’s PVC-clad crotch. YouTube chiefs have restricted the video for those 18 years or above, and sources tell us they’ve told the superstar’s management that if they want it to be available for viewing by all, they must edit out shots of bare bottoms, a man rubbing his crotch and an implied masturbation scene where a man gyrates before a mirror. Madonna’s team was working yesterday on an edited version of the video for YouTube because, for the first time, it’s based its marketing strategy for her new album, MDNA, on social media, including a live Facebook interview with Jimmy Fallon today. A source told us, ‘YouTube has decided the video is too raunchy and should only be viewed by those 18 or over, and actually, the video is hard to find on the site. YouTube has sent Madonna’s team a list of shots that should be cut to make it appropriate for everyone.’ Fashion photographers Mert Alas and Marcus Piggott directed Girl Gone Wild, using much of the singer’s trademark erotic imagery, including topless men dancing in black tights (mantyhose) and platform heels. YouTube also took exception to an S&M-inspired scene of a silhouette in chains. The video was deemed ‘inappropriate for some users’ by YouTube, and viewers must verify they’re 18 or older and log in to watch it. Madonna’s rep, Liz Rosenberg, told us, ‘Some things never change. This is a throwback to [1990] when MTV refused to show Justify My Love.'”

A re-edited version of the Girl Gone Wild video was provided to YouTube several days later and was approved for general viewing.

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: March 24, 2012

mert and marcus girl gone wild set 550mert and marcus girl gone wild set 8 550

On March 24th 2012, The New York Post’s Page Six reported that Madonna’s video for Girl Gone Wild had been deemed too wild for general viewing on YouTube. It would be restricted to registered users over the age of eighteen in its uncensored form:

“Madonna’s steamy new video for Girl Gone Wild has been banned from open view on YouTube for being too raunchy, with scenes including nudity and a close-up of a man’s PVC-clad crotch. YouTube chiefs have restricted the video for those 18 years or above, and sources tell us they’ve told the superstar’s management that if they want it to be available for viewing by all, they must edit out shots of bare bottoms, a man rubbing his crotch and an implied masturbation scene where a man gyrates before a mirror. Madonna’s team was working yesterday on an edited version of the video for YouTube because, for the first time, it’s based its marketing strategy for her new album, MDNA, on social media, including a live Facebook interview with Jimmy Fallon today. A source told us, ‘YouTube has decided the video is too raunchy and should only be viewed by those 18 or over, and actually, the video is hard to find on the site. YouTube has sent Madonna’s team a list of shots that should be cut to make it appropriate for everyone.’ Fashion photographers Mert Alas and Marcus Piggott directed Girl Gone Wild, using much of the singer’s trademark erotic imagery, including topless men dancing in black tights (mantyhose) and platform heels. YouTube also took exception to an S&M-inspired scene of a silhouette in chains. The video was deemed ‘inappropriate for some users’ by YouTube, and viewers must verify they’re 18 or older and log in to watch it. Madonna’s rep, Liz Rosenberg, told us, ‘Some things never change. This is a throwback to [1990] when MTV refused to show Justify My Love.'”

A re-edited version of the Girl Gone Wild video was provided to YouTube several days later and was approved for general viewing.

Today in Madonna History: May 3, 2012

madonna-vogue-italy-cover-may-2012

On May 3 2012, the May 9th issue of Vanity Fair Italy started to hit newsstands.

The issue included an 8-page article and featured photos taken during the making of the Truth or Dare fragrance campaign.

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