Today in Madonna History: May 21, 2001

On May 21 2001, the U.S. leg of Madonna’s Drowned World Tour continued to sell out performances in the final seven markets that went on sale the previous weekend. A press release stated that the tour, promoted by SFX, promised to be the most extravagant stage spectacle of Madonna’s career thus far. The last batch of cities announced for the tour included sold-out dates in New York, New Jersey, Washington, Miami, Atlanta, Las Vegas and Los Angeles. It was also announced that due to overwhelming demand, an additional three shows in New York and two in Los Angeles had been added to the itinerary, with tickets to go on sale May 30th.

Today in Madonna History: May 13, 1983

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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.

Today in Madonna History: May 9, 1998

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On May 9 1998, Ray of Light debuted and peaked at #2 on the UK Singles Chart. It was held back from the top spot by another debut entry, All Saints’s double A-side charity single, Under the Bridge/Lady Marmalade.

Ray Of Light was the 68th best-selling song of 1998 in the UK, with the British Phonographic Industry (BPI) certifying it Silver for shipment of 200,000 copies.

Today in Madonna History: April 29, 1995

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On April 29, 1995, Bedtime Story peaked at #42 on the Billboard Hot 100 in the U.S.

Released as the follow-up to the longest-running U.S. #1 single of her career (Take A Bow), Madonna & Warner Bros. likely hoped that the momentum would carry over to the cutting-edge Björk penned title track. Despite a respectable reception in Europe (in the U.K. it performed better than Take A Bow) and significant buzz generated by its music video, Bedtime Story proved to be too unconventional for radio in North America, where it became her first fully promoted single to miss the Top 40 since Burning Up in 1983. It fared no better in Canada, peaking at #46 on May 1st, 1995.

The remixes for Bedtime Story, however, were a hit with North American D.J.’s and earned Madonna another #1 on Billboard’s Hot Dance/Club Play chart.

Today in Madonna History: April 8, 1999

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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.

Today in Madonna History: April 1, 2012

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On April 1 2012, Madonna achieved her 12th UK #1 album with MDNA, overtaking Elvis Presley as the solo artist with the most chart-topping albums of all-time in Great Britain.

Today in Madonna History: March 18, 2005

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.