On July 21 2001, Madonna kicked off the U.S. leg of her Drowned World Tour with the first of two sold-out concerts at the First Union Centre (now the Wells Fargo Centre) in Philadelphia.
For the first time in her career, Madonna altered one of her tour set lists by performing You’ll See in the place Gone at select shows during the U.S. leg of the tour. You’ll See made its live debut at the July 21st show in Philadelphia and was performed again the following night. The decision to alter the set list was rumoured to have been made in response to European reviews of the tour, which despite being generally favorable, often lamented the show’s overabundance of new material and lack of hits.
Personally, we were pleased that the Ray Of Light and Music albums were the primary focus of the Drowned World Tour. If she had instead focused on hits, it is likely that these two essential Madonna albums would have been treated similarly to Bedtime Stories–an album from which she has yet to perform anything other than its four released singles.
Were you disappointed at the time by the lack of hits and the focus on recent album cuts during the Drowned World Tour? Have your views shifted at all in retrospect?
On June 29 1998, Madonna’s Ray of Light single peaked at #3 on RPM’s Top 100 Canadian Singles chart.
As with all the singles from the Ray of Light album, the title track was issued by Warner Music Canada as a 2-track CD single and as a CD maxi-single. In the U.S. the album’s CD singles were issued in cardboard sleeves with “draw pack” trays and the CD maxi-singles in “FLP digipak” cases, while in Canada the two configurations for each of the album’s four domestic singles were packaged in standard CD jewel cases with printed inserts.
On June 4 2015, the first batch of remixes for the single Bitch I’m Madonna were released:
- Bitch I’m Madonna (Oscar G 305 Dub) 8:45
- Bitch I’m Madonna (Oscar G Bitch Beats) 8:45
- Bitch I’m Madonna (Rosabel’s Bitch Move Dub) 7:36
- Bitch I’m Madonna (Sander Kleinenberg Club Mix) 5:00
- Bitch I’m Madonna (Rosabel’s Bitch Move Mix) 7:06
Oscar G previously remixed Madonna’s cover of Fever back in 1993. Sander Kleinenberg was commissioned to produce remixes of Hollywood in 2003, although his mixes remained shelved until they surfaced on the internet in 2010. Clearly Madonna was more fond of Kleinenberg’s treatment of Bitch I’m Madonna, as it was featured in her first official remix video since leaving Warner Bros. Records.
On May 24 1991, Madonna’s Rescue Me single was certified Gold by the RIAA for shipment of over 500,000 units in the U.S.
On May 13 1983, Madonna performed Physical Attraction during a track date at the FunHouse in New York City.
Located at 526 West 26th St, the FunHouse (1979-1985) was a breeding ground for the new electronic sounds of the street and helped to make its resident disc jockey, Jellybean Benitez, one of dance music’s first superstar DJ’s.
Of course, Jellybean’s close association with Madonna certainly didn’t hinder his growing popularity either. His first working collaboration with Madonna was to remix Physical Attraction, the b-side to her sophomore single on Sire Records, Burning Up/Physical Attraction, which may explain why it was chosen over the more frequently performed lead track for her performance at the FunHouse. The same remix of Physical Attraction was later used on her debut album, together with new remixes Jellybean provided for Burning Up and Lucky Star alongside his first full production for Holiday.
On April 8 1999, American TV newsmagazine Entertainment Tonight (aka ET) revealed the title of the new song Madonna had recorded for the Austin Powers: The Spy Who Shagged Me soundtrack: Beautiful Stranger.
Beautiful Stranger launched to radio in mid-May and quickly became a sizeable summertime hit along with the Maverick Records issued soundtrack album which landed in North American record stores on June 1st, 1999.
On March 18 2005, a resolution was reached in a UK copyright lawsuit (Coffey v Warner/Chappell Music Ltd. & Others) which alleged that elements of the Madonna & Patrick Leonard composition, Nothing Really Matters, had infringed on the copyright of claimant Elizabeth Coffey and her song, Forever After, performed by Peter Twomey.
The case took almost four years to reach the court and went under a considerable number of amendments by the plaintiff during that time. Coffey eventually alleged that the recording of Forever After included an original musical work, which consisted of the combination of vocal expression, pitch contour, and syncopation of or around the words “does it really matter,” but did not extend to the melody or lyrics surrounding those words. She pleaded that the words “does it really matter” comprised the song’s lyrical hook and alleged that the copyright in Forever After was infringed by the defendants’ activities in relation to Nothing Really Matters.
In turn, the defendants moved to have the claim struck out as the method the plaintiff had identified the alleged copied elements was contrary to copyright law in general. Another defense offered was that, in any event, no copying had occurred.
The case was dismissed on the legal grounds that, in copyright, one cannot cherry pick the elements of the song that are the most similar in an attempt to build a stronger case. In his findings, the presiding Judge Blackburn, noted:
“The three somewhat elusive features identified by the claimant as her musical work cannot by any stretch of the imagination be said to be sufficiently separable from the remainder of the song as themselves to constitute a musical work. […] What the copyright work is in any given case is not governed by what the claimant alleging copyright infringement chooses to say that it is. Rather, it is a matter for objective determination by the court.”
A summary analysis and MIDI clip of the claimant’s song (which, incidentally, bears no perceivable resemblance to Nothing Really Matters
) can be found here
. The complete judgement in the lawsuit can be viewed here