Biggest Production EVER at a Stadium???

I'm having heart palpitations.....

Member of Madonna Tribe's forum 'waynieboy' has posted first LQ photos of Sticky & Sweet Tour stage and a short description of the stage.


He also reports that there are at least three screens on or above the stage, one is a circular screen in the center, and the side screens are huge.

Accordng to the security employee, there are two platforms that come out at each side of the stage. He also stated this was the biggest production he has seen at the stadium.


There is also a catwalk, but supposedly it isn't as big as on the Confessions Tour.








Source: Madonnatribe

Madonna's Influence on the history of Music.

Sorry I've been kind of MIA on this blog (if anyone even reads it but me. haha) but the posts will be heavy with concert stuff as soon.

A great article, Madonna getting the recognition she deserves:

There’s no easy way to say this, so I’ll just come right out with it. As Madonna’s 50th birthday approaches on Aug. 16, it’s looking like her influence on pop music has outshone that of the Beatles.

Let me qualify the above statement before all the peace-and-love baby boomers start hating. It’s Madonna’s impact on the course of pop music that bests the Fab Four, not her sociological importance, songwriting skills or recording innovations. Influence means an artist has an effect on the future direction of music. While the Beatles influenced scads of artists in their time, after their breakup, their sound became yesterday’s news. Artists that tried to copy them (Badfinger, the Raspberries, Squeeze) seemed quaint or quirky.

But a quarter century after Madonna emerged, artists still use her ideas and seem modern and edgy doing so. Beyond the obvious Madonna wannabe 1980s singers, Madonna’s influence is felt in artists from Gwen Stefani to Britney Spears to boy bands, who found in the 1990s there was an audience beyond the old rock crowd.

Madonna, like Elvis, recast the focus of popular music. By emphasizing modern R&B grooves where most singers used rock beats, she was the catalyst that changed music from being rock-centric to being dance and R&B-oriented. (Disco, which influenced Madonna, might have done the same thing had it not died because of rock resentment.) It’s worth noting that before Madonna, most music mega-stars were guy rockers; after her, almost all would be female singers.

Combining genres, inventing styles How did this happen? Let’s scroll back to 1983, the year of Madonna’s first album. Like Elvis and the Beatles, Madonna combined genres. So her first two singles (“Everybody” and “Burning Up”) may have been lost on people because of the way they didn’t quite fit in with R&B or rock. Top 40 and MTV back then treated black music like a subgenre — not the backbone of 20th century American music, as it’s recognized now. With her music and videos, Madonna sliced away at genre straightjackets like a surgeon, opening the doors for the future hip-hop explosion.

As for style, well, Madonna’s rag-tag early clothing get-up defined much of what was to come in the 1980s. She was also perhaps the ultimate video pioneer, because her videos were integral to her presentation, not an appendage of it. Her career highlights came early on. She famously rolled around on the stage singing “Like a Virgin” in a wedding dress at the 1984 MTV Video Music Awards. She had a featured role in “Desperately Seeking Susan” and got a huge hit out of that with “Into the Groove.” She topped the charts with “Crazy for You,” which wasn’t even on one of her albums. Forbes recently dubbed her the richest woman in music. The Billboard Book of Top 100 Hits lists her as the top female pop artist of the 1980s.

Women’s work
The word “female” is significant in that assessment of Madonna because she presented herself in a fresh way for women artists. She didn’t try to be one of the boys, but she wasn’t a girly-girl or a singer-songwriter. When the Beatles hit America, they changed the paradigm of performer from solo act to band. Madonna changed it back — with an emphasis on the female. With female artists everywhere these days, it’s easy to forget how revolutionary her success was (historically challenged Millennials especially seem not to realize this). But look at old music magazines or Billboard charts for proof that in the pre-Madonna era, women were the aberration, not the norm. Madonna’s countless hit records opened people’s minds as to how successful a female artist could be. Nineties artists such as Tori Amos and Bikini Kill have zilch in common with Madonna, but benefited from her opening the ears of teen-female pop fans to something other than the usual heavy metal shouters (trust me, teen girls in the 1980s loved that stuff). Her early audience was the recipient of some panic-stricken journalism early on, much of which took the tone of: “Madonna’s come to ruin your daughters!! Arghghgh!” The consensus then was that Madonna probably wouldn’t have the longevity of Cyndi Lauper (who immediately preceded her) and would disappear like other recent suggestive singers (remember Dale Bozzio? Terri Nunn?). But Madonna also had the Beatles-like tendency to anticipate the maturing of her audience and also the ability to reinvent her style. Her personal life became fodder for 1989’s “Like a Prayer,” just when her audience was looking beyond dance music. When Gen X grew more mature, she told erotic “Bedtime Stories” and unleashed her “Sex” book on the world.

Still in vogue
Madonna’s no-holds-barred example broadened the palette of what artists — especially female artists — could attempt. Liberate yourself, Madonna seemed to say, and the rest will follow. When her popularity didn’t fade, as predicted, people — especially skeptical Boomer critics — were forced to take her seriously. Madonna was also responsible for throwing off some of the unconscious modesty of pop music. Peripheral artists had attempted this, but Madonna was unique in that she brought a no-apologies approach to sex to her music. As she sung in “Burning Up:” “Unlike the others, I’d do anything / I’m not the same, I have no shame.” She could be calculating one minute and coy the next. Her concert tours, like 1992s “Girlie Show,” brought this to the fore, blurring sexuality, satire and social commentary. The late rock critic Lester Bangs observed in 1975 the Beatles’ jangly sound and somewhat naive worldview was unable to transcend its 1960s origins. Bangs never gave the band enough credit for their songs, but he was right that some of their continuing appeal was fueled by hippie era nostalgia. That’s still the case. It’s hard to get nostalgic about Madonna, though, because her influence stayed current. Not bad for someone who is about to hit the half-century mark.




Source: MSNBC (Found on Madgetribe)

The Queen Rules All...even during a recession.

Do people still really doubt this woman?!? OF COURSE she's sold out every venue, if she didn't something would be wrong..(but you can bet I would still be there!)

Material Girl Leaves Doubters In The Dust For Biggest Tour Of 2008

Neither wind, nor rain, gas prices, nor the economy can slow down the momentum of Madonna fans who are turning out in record numbers all over the globe to scoop up tickets for the upcoming "Sticky & Sweet" Tour. Today, Live Nation confirmed that Mexico City's Foro Sol Stadium shows scheduled for November 29th and 30th sold more than 100,000 tickets in just three hours, resulting in back to back sellouts at the famed stadium.


Mexico City joins the growing list of sold out Madonna shows in Paris, Lisbon, New York, Zurich, Boston, Chicago, Denver, East Rutherford, NJ, Oakland, Las Vegas, Houston, Montreal, Toronto and Vancouver all of which sold out within hours of going on sale.


To date Madonna has sold out 90% of the tickets available for her 42-date global tour, which kicks off in Cardiff, Wales on August 23rd.


With more than 70,000 tickets sold for the Sticky & Sweet Zurich Show at the Military Airfield Dubendorf on August 30th, Lisbon's 75,000 tickets sold and 50,000 tickets sold for her Vancouver dates and four Madison Square Garden shows sold out in New York City in addition to the nearby Izod Center in East Rutherford for a total of 65,000 New York area tickets sold, Madonna has sold more than 1 Million tickets thus far on her global tour.


Madonna, whose most recent CD 'Hard Candy' debuted at Number One in over 30 countries, has made it her personal mission to challenge herself to top her previous tours. With rehearsals well under way for 'Sticky & Sweet,' Madonna and famed director and long-time collaborator Jamie King are creating an extraordinary never-before seen stage set, groundbreaking audio and eye popping visual effects. Madonna will be joined onstage with a new band and 18 dancers that reaffirm that this is a singular event that Madonna fans can not miss.


"With 'Sticky & Sweet,' Madonna is on track to break her own record as the top grossing female artist of all time," said Arthur Fogel, Live Nation's of Chairman of Global Music and CEO of Global Touring. "Her sales are extraordinary in every market she's playing and illustrate what an unparalleled live draw Madonna is for music fans all over the world.
"

Source: Madonna Tribe

ME ON Associated Press For Madonna's Appearance at Roseland.

Click here and see if it works:

Here's the transcript and screen shots:

1. Exterior, Roseland Ballroom, tilt down from skyline

2. Exterior, zoom in to Roseland Ballroom marquee

3. Tracking shot, Madonna fans waiting in line

4. Madonna fans with vanity Madonna car license plate

5. Wide shot of crew interviewing fans

6. SOUNDBITE: (English) Voxpop: "I paid $2000 for my ticket. I had someone stand on line and it was forfeited because it was not on my wrist."

Reporter: "Are you serious? Are you still going to be able to get in?"

Voxpop: I'm serious. I'm still going to be able to get in. I will be in. I will see Madonna. I love you."

Reporter: "$2000? That's a crazy amount of money?"

Voxpop: "No it's not. Not for her.

Voxpop 2: "Madonna is worth any amount of money. If you have it... I would fork up my tuition bill to see her. I actually did that with refunded money from school, actually. Spend money to get Madonna merchandise."

Voxpop: "Love her... Love her!"

Voxpop 2: "Anything I could possibly get. I have some stuff. Yeah. Let's say. Madonna is the only person."

Voxpop: "And, Madonna 16..."

Voxpop 2: "Hello? License plate! Who else?"

Voxpop: "It's for August 16, 1958, she was born. And this is straight from my car and I probably have a ticket on my car right now."

7. Pull out, Dutch angle, Madonna signage

8. Fan shows off her "Kiss me Mrs. Ritchie" shirt and title belt (ME!)

9. Camera crew shoots Madonna fans

10. SOUNDBITE (English) Voxpop: "Yeah! She's smart. She's got brains. She knows her music, she's knows her business and she's got a wicked sense of humour. And she's hot!" - (YUP ME!)

11. Madonna fan sings "Holiday"

12. SOUNDBITE: (English) Voxpop: "I've never been here before, but I hear it's a smaller venue, so I hear it's going to be a-may-zing! So.. Awesome."

13. CONCERT FOOTAGE- "4 Minutes (To Save the World)" Madonna with Justin Timberlake

MADONNA CELEBRATES ALBUM RELEASE WITH LIVE SHOW

Madonna celebrated the release of her new album "Hard Candy" with a live show at Roseland Ballroom in New York on Wednesday night (30APR08).

The star gave a typically electric performance, singing several new songs from her hotly anticipated new album for the first time.

Superstar Justin Timberlake joined the Material Girl on stage for "4 Minutes (To Save the World)" - the first single to be released from "Hard Candy" and already a hit.

Devoted fans had lined up for days outside Roseland Ballroom in order to see the gig.

Some went to extraordinary lengths. One super fan admitted "I paid $2000 for my ticket. I had someone stand on line and it was forfeited because it was not on my wrist."

Her friend did not think that was too much. She said, "Madonna is worth any amount of money. If you have it... I would fork up my tuition bill to see her. I actually did that with refunded money from school, actually. Spend money to get Madonna merchandise"

Madonna and her dancers wore Dolce and Gabbana at the show and thrilled the packed ballroom.

"Hard Candy" was released on April 29th.

Madonna Dateline Interview and Interview In Cannes

Dateline Part One:

Dateline Part Two:


Interview with Getty Images

Madonna on Nightline Tomorrow...

I'm just crazy about this woman...


Video stills from her new single (And my favorite song on the album):

Surprise ..Surprise...well...not really...

From Madonnalicious.com

Madonna's tour garners quick sell-outs

Initial on-sales for Madonna's Sticky & Sweet tour are off to a strong start, with quick weekend sell-outs reported in Paris (Sept.20), Boston (Oct.15), Chicago (Oct.26) followed by sell-outs in New York this morning.
Performances at Manhattan's Madison Square Garden Oct.6-7 quickly went clean, followed by third show now confirmed for Oct.11.
Tour will begin August 23 in Cardiff, Wales and play stadiums and arenas throughout Europe including a number of cities where Madonna has not performed in the past 15 years,or ever.
The Tour begins in North America October 4 at Izod Center in East Rutherford, New Jersey with most U.S. dates going on sale now and May 24.
Live Nation Global Touring Chairman Arthur Fogel is the Worldwide Producer of the tour. From Billboard.com -

Presale for Iconers go on sale next week at 10 am. You can bet I will be poised and ready in front of my laptop at 9:59 am!

and the craziness begins!!!!!!!! whoot!

the last time i went crazy.....confessions tour '06. look how excited i was for getting 'loge' tickets! i was such an inexperienced child. This year? Front Row or bust!!! pleaseohplease Madonna have a catwalk....

Behind The Scenes, Making of the Elle Cover

GOH-JUS! Just GOH-JUS!!!!



Have I mentioned that I am completely in love with this woman?!?!

Madonna: Vanity Fair

Can't wait to get the magazine? Have no fear, the Vanity Fair article is below for your reading pleasure. Also, if you want to here one of Madonna's radio interviews this week (From Chicago), click here
Just scroll to the bottom of the page and you'll see the interview with Madonna.



As she nears 50, Madonna’s narrative is shifting. Yes, there’s another new super-pop album, Hard Candy, with Justin Timberlake and Pharrell Williams. But there’s also Filth and Wisdom, the feature film she’s co-written, produced, and directed, and I Am Because We Are, her documentary on Malawi, the aids-ravaged country where she controversially adopted her third child. Whisked to L.A. for an intense prep session, followed by an almost two-hour interview, the author explores the evolution of the Madonna myth as she harnesses her image-making genius to a cause, a philosophy, and the search for her true self.


by Rich Cohen May 2008



The world is a series of rooms, which are arranged like concentric circles, or rooms within rooms, joined by courtyards and antechambers, and in the room at the center of all those rooms Madonna sits alone, in a white dress, dreaming of Africa.



To reach her, you must wait for a sign. When it comes, if you are pure of heart, you begin to move toward Madonna, and move fast. One moment you are in Connecticut, wondering if it will snow, the next moment you are swept up by a force greater than yourself. You’re in a car on the highway, flashing past sleepy towns, moving closer and closer to the center, which you approach deftly and humbly, in the manner of a pilgrim. Like a pilgrim, you set off before first light. Like a pilgrim, you remove your shoes—to pass through security at the airport. Like a pilgrim, you read and reread sacred texts: profiles and reviews, the first published in the early 1980s, the most recent published just a second ago, which constitute a kind of record, the good news, the Gospel of Madonna.



Taken together, these chronicle the career of Madonna, each different, but each telling the same story, which is so established and archetypal it verges on folklore: the girl from suburban Detroit, which can stand for anywhere other than here; the early years in Eden, memories of which Madonna describes as “grainy and beautiful,” when her mother was young and alive; then tragedy, the wound that never heals, the death of her mother from breast cancer when Madonna was six; empty days plagued by tormented dreams. “You’re aware of a sense of loss, and feel a sense of abandonment,” she told me. “Children always think they did something wrong when their parents disappear.” Then her father’s second marriage, the stepmother, the drudgery, because she was the oldest girl in a house filled with eight children and so was pressed into adult service, cleaning and wiping and changing, when she was still a child herself; secrets and desires, her life before the mirror, which has followed her everywhere; high school, where she was beautiful, but punky and strange. “I didn’t fit into the popular group,” she said. “I wasn’t a hippie or a stoner, so I ended up being the weirdo. I was interested in classical ballet and music, and the kids were quite mean if you were different. I was one of those people that people were mean to. When that happened, instead of being a doormat, I decided to emphasize my differences. I didn’t shave my legs. I had hair growing under my arms. I refused to wear makeup, or fit the ideal of what a conventionally pretty girl would look like. So of course I was tortured even more, and that further validated my superiority, and helped me to survive and say, ‘I’m getting out of here, and everyone is a heathen in this school—you don’t even know who Mahler is!’ ” She found refuge in dance class and went on to the University of Michigan to study dance, but for just a year, because then she was gone to New York.



Because this is mythology, a short struggle was followed by a quick ascent to stardom. When was it? Nineteen eighty-two? Nineteen eighty-four? The birth of the music video? “Borderline”? And just like that, every girl in every school is Madonna Ciccone, with her slutty magnificence and lacy driving gloves and bare midriff and spangles.



Here is my favorite quote—it’s an editor at Billboard talking to Jay Cocks in 1985 for Time: “Cyndi Lauper will be around a long time. Madonna will be out of the business in six months.

”

I felt the presence of Madonna as soon as I landed at LAX. It was as if she had been there a moment ago, and, in fact, while waiting for my luggage, I scanned a copy of the New York Post and came upon a picture taken the day before which showed Madonna, having come through customs, holding her two-and-a-half-year-old son, David, whom she had adopted in Malawi in 2006, the cameras an inch from her face. “The paparazzi are out of control,” she would later say. “I haven’t been to Los Angeles in quite a while, and I don’t watch television here or in England, and I was told there’s now a television show where the paparazzi are the stars of the show—is that true? That they film each other doing paparazzi jobs? Which gives them more fuel. I usually found that type kept their distance—they definitely do in England, because it’s illegal to photograph children. But that’s not how it is here. They get this close, and don’t care how much they scare your children. Being famous has changed a lot, because now there’s so many outlets, between magazines, TV shows, and the Internet, for people to stalk and follow you. We created the monster.

”

I was rushed to Century City from the airport, to the towering new office building of CAA, the talent agency that represents Madonna, and seated in an empty screening room, which was spooky in the same way an empty church is spooky. The lights went down, and for 90 minutes I watched a documentary Madonna has written and produced, I Am Because We Are, which is African folk wisdom that means something like “It takes a village.” It too is about community—about identity and how it’s rooted in place. The movie sings of Malawi, a landlocked little nation in sub-Saharan Africa, ravaged by aids, filled with orphans—a world without adults that has become, in her middle years, the great cause of Madonna’s life. With this movie, it seems, she hopes not only to raise awareness but also to explain her own obsession with the motherless children of Africa.



It opens with Madonna walking in a crowd of Africans. Then her voice, which is the voice of the upper Midwest painted in Oxford glaze: “People always ask me why I chose Malawi. And I tell them, I didn’t. It chose me. I got a phone call from a woman named Victoria Keelan. She was born and raised in Malawi. She told me that there were over one million children orphaned by aids. She said there weren’t enough orphanages. And that the children were everywhere. Living on the streets. Sleeping under bridges. Hiding in abandoned buildings. Being abducted, kidnapped, raped. She said it was a state of emergency. She sounded exhausted and on the verge of tears. I asked her how I could help. She said, You’re a person with resources. People pay attention to what you say and do. I felt embarrassed. I told her I didn’t know where Malawi was. She told me to look it up on a map, and then she hung up on me. I decided to investigate, and I ended up finding out much more than I bargained for, about Malawi, about myself, about humanity.

”





To date, Madonna has adopted just the one child from Malawi, David, who has joined Madonna’s other children, 11-year-old Lourdes and 7-year-old Rocco, in a town house in London. It was the birth of Lourdes, in 1996, that put Madonna on the road that ended in Malawi. “If you have children, you know you’re responsible for somebody,” she explained. “You realize you are being imitated; your belief systems and priorities have a direct influence on these children, who are like flowers in a garden. So you start to second-guess everything you value, and the suffering of other children becomes much more intolerable.

”

If anyone ever won a lottery, it’s this child, David, who one moment was living in poverty in Africa and the next had been flown to a palace in the great frozen North. You see him in the film, bowlegged and stocky in the endearing way of the destitute man-child, looking adult, wizened. It’s no mystery why Madonna picked David. Look at him, he’s adorable. It was this adoption—the fact that Madonna went into an orphanage of aids-infected children and somehow came out with a child who did not have aids and is not an orphan—that set off the furor, especially in the British press, that the movie seems meant to address. Laws had been brushed aside, the request expedited. As if the dynamic of colonialism or First World/Third World were being played out between this one superstar and this one child. Then David’s father, Yohane Banda, turned up. He told reporters he had placed his son in the orphanage only temporarily, and let him be adopted at the urging of authorities. “The government people told me it would be a good thing for the country,” he told The Christian Science Monitor. “They said he would come back educated and be able to help us.

”

What a strange life for David, being carried off to London—like Pocahontas, the beautiful Indian girl found in wild America—because, as Conrad wrote of London, “this also has been one of the dark places of the earth.” Like Pocahontas, who marveled at the brick buildings and endless streets and was shown off and fêted, but still lonely, because the Empire has everything but what is most important—a kind of purity or righteous connection to the land. “Africa is not doing great,” Madonna told me, “but, on the other hand, how much have they contributed to the destruction of the world? Nothing compared to what we have, and we have everything.” In other words, Madonna brings this boy into her house and gives him everything, but gets something in return: a living totem of life as it was lived before machines.



After the movie, I was brought to the office of Madonna’s manager, where I sat in a boardroom and listened to Madonna’s new record (Hard Candy) on an iPod. It was a long day. The morning flight, the articles, the movie, the record, then the interview. It was like being brainwashed. Like being dropped in a vat of Madonna. But it’s how they wanted it—how I was purified and prepared. Like they do in the cults. Make sure the mark is softened before he sits with the eminence. As Madonna herself told me, “I just wanted you to know where my head is at.

”

Madonna made the record with Justin Timberlake, who co-wrote five of the songs and sings on four, Pharrell Williams, and the producer Timbaland. “I didn’t have any idea what kind of music I wanted to make,” Madonna told me. “I just knew I wanted to collaborate with Pharrell and Justin. I needed to be inspired and thought, Well, who’s making records I like? So I went, ‘I like that guy and I like that guy.’ It’s not like we hit it off right away. Writing is very intimate. You have to be vulnerable and it’s hard to do that with strangers. I had ups and downs before everybody got comfortable, but I grew very fond of Pharrell and Justin.

”

Many of the songs are hybrids, traditional Madonna super-pop, workout tunes giving way to white hip-hop, Justin Timberlake showering cascades of rhyme. I was listening to the music, and it’s a record I think Madonna fans will like, because it’s filled with songs you can imagine blasting from the room where they hold spinning class, but I kept thinking about Britney Spears. I mean, here is Madonna, singing with Justin, whose very public breakup with Britney marked the moment the pop tart began her battle with the furies. And, of course, I was also thinking of those MTV Video Music Awards in which Britney, already well on her way to madness, frenched Madonna. In light of this record, and all that’s happened, I wondered if, in the course of that kiss, Madonna somehow extracted Britney’s soul from her body, or implanted the crazy chip. When I began to ask Madonna about Britney—specifically in relation to the paparazzi—she stopped me (before I even said Britney’s name) with a raised hand, saying, “Yes, I know. I know exactly what you’re going to say. It’s very painful. Which leads us back to our question: When you think about the way people treat each other in Africa, about witchcraft and people inflicting cruelty and pain on each other, then come back here and, you know, people taking pictures of people when they’re in their homes, being taken to hospitals, or suffering, and selling them, getting energy from them, that’s a terrible infliction of cruelty.

So who’s worse off? You know what I mean?”

I took notes as I listened to Hard Candy. There are a dozen songs. Now and then, I took a break. Now and then, my mind drifted. Now and then, Liz Rosenberg, Madonna’s longtime publicist, who wore heavy glasses with dark frames, came in to see how I was doing.

Later, when I looked over my notes, I found just a few bits worth preserving:

•Madonna is turning 50 in August.


•Madonna made her fortune selling sex—what will she sell when the thought of sex with Madonna seems like a fetish?
•What if there were just the songs—no videos, no movies, no concerts.

How would we judge Madonna?
•How closely does the movie career of Madonna parallel the movie career of Elvis? (With the first film being the only one that matters.

)
•First you sit alone in a screening room, watching Madonna among Africans, then you sit alone in a boardroom, hearing Madonna with rappers.


•To reach Madonna, you must pass through many rooms.


•The lyrics to her song “Candy Shop”:
   I’ll be your one stop
   Candy shop …
   Have some more …
   Sticky and sweet





his is a big moment for Madonna. There is the documentary and the record, but also a dramatic film, Filth and Wisdom, which she co-wrote, produced, and directed. Madonna’s debut as an auteur. The movie, which started as a short and grew into a feature, will be released on iTunes, which, depending how you see the world, is a desperate act or a bold gesture. Its first showing was at the Berlin Film Festival, where it received some snotty reviews (much mocked was a press release in which the names of two of Madonna’s heroes, Godard and Pasolini, were misspelled) and some positive. “Madonna has done herself proud,” James Christopher wrote in The Times of London. “Her film has an artistic ambition that has simply bypassed her husband, the film director Guy Ritchie. She captures that wonderfully accidental nature of luck when people’s lives intersect for a whole swathe of unlikely but cherishable reasons. Altmanesque would be stretching the compliment too far, but Filth and Wisdom shows Madonna has real potential as a director.

”

“I’ve been inspired by films since I started dancing, and I’m married to a filmmaker, and I think it was one of my secret desires, but I was afraid to just say, ‘I want to be a director,’ ” she told me. “But then one day I said, O.K., stop dreaming and do it. But I didn’t want to do it the Hollywood way, and talk through agents. I decided it all had to be generated by me, so I wrote it.

”

She then said, “It was my film school.

”

Filth and Wisdom stars Eugene Hütz, the Ukrainian lead singer of the downtown New York gypsy-punk band Gogol Bordello, whose vocal style is somewhere between Joe Strummer and Borat. Hütz is lanky and wears an elaborate mustache, and is so charismatic he holds the movie together, almost, while it follows a half-dozen people around London as they search for truth.



“I feel this film was seriously influenced by Godard,” Madonna said. “He’s the one filmmaker I was always inspired by, but I have a lot of other filmmakers I was inspired by, all dead Europeans. I went to the University of Michigan for one year, and fortunately they had a foreign-film cinema, and I discovered it, and I thought I died and went to heaven. I discovered Fellini and Visconti and Pasolini and De Sica and Buñuel.

”

The movie is organized around Madonna’s philosophical notions, beliefs she has taken from Kabbalah, which is a Hebrew word for the teaching. Kabbalists believe there were two revelations on Mount Sinai: what God told Moses to write on the tablets, and a secret teaching, what the Infinite whispered to the Finite, which was then passed from father to son. Most celebrity religions, which is what Kabbalah became in L.A., offer distinct levels of understanding—one for the masses, another for the elite—which echoes the existing celebrity worldview: outside or inside, onstage or plunged into darkness. For Madonna, Kabbalah, as taught at the Kabbalah Centre, had the advantage of seeming to reinforce what she already felt to be true: there is no good and evil, no right and wrong. All such distinctions are artificial. “Ultimately everything’s good,” she told me. “Even bad is good, because bad is there to help you resist it. You need to have that resistance to be good, and, let’s face it, the worst things that happen are always the best things that happen. If you look back at your life and say, Well, what did you learn? What happened that changed your life, that made you strong, that made you grow, it’s always things you perceived as bad.



“So is there bad?”

What’s Madonna’s genius?

It’s not her work as a singer, nor as a songwriter, nor as a director, certainly not as an actor, nor as a maker of videos, even if that’s what Norman Mailer said in 1994 in his Esquire interview with Madonna: “She not only made the best music videos of them all, but they transcended personality. She was the premier artist of the music video, and it might be the only new popular art form in American life.

”

In the end, Madonna will be remembered as a minter of images. Think back on her career. It’s not songs you remember, or not primarily, nor films, nor videos; it’s the scenes or little tableaux. Madonna is the Joseph Cornell of pop music.

You recall her career as a series of lit boxes, face cards in a marked deck: Madonna as a street urchin, in spangles; Madonna as Marilyn, in satin; Madonna as a deflowered virgin, writhing onstage in a wedding dress; Madonna as Saint Francis of Assisi, covered in icons and weeping for fragile things; Madonna on the Cross, like Jesus, but better, because did Jesus ever come down from the Cross to sing a song?

Fashioning images: images that riff on Scripture, images that riff on junk culture, images that riff on other images—that’s been her genius. If you go back and consider her career—because Madonna is one of the stars of the age so presumably tells a story greater than her own, about her people or time—you will see there has been nothing but images, spun off one after another, like souls flying off the mighty wheel. Beautiful artifice, puzzles, surfaces, masks. So you decide that only the first Madonna was real, the sexy round-faced girl in lacy gloves, but when you go back and look, you see this Madonna too was borrowed—as she borrowed from Marilyn, as she borrowed from Evita. It came from the downtown dance joints and club kids, the last of the 70s punk and art scenes. (In the early 80s, Madonna dated the painter Jean-Michel Basquiat.) So you decide that only Madonna before Madonna was real, the girl whose mother died, who let hair grow on her legs, who pestered her father to send her to dance class, then lit out. But when you go back and really look, the details seem so vague and generic that that too dissolves. It’s like a tub filled with suds, and you search and search but never find the naked lady. I think Madonna is aware of this, which, in part, explains her interest in Kabbalah, which is a search for timeless things, for depth. She is hunting for what might be salvaged, for what will remain when she is 65, when she is 70. For a pop star, there are, in a way, two deaths—or maybe more: maybe a pop star dies again and again.



I interviewed Madonna for almost two hours. Liz Rosenberg took me in. We went down a nondescript hall, made two turns, went through a door, and here, finally, was the room at the center of the maze. Madonna sat bolt upright on a leather couch. She wore a white dress—at least, that’s what I think she was wearing. She was stunningly beautiful. I mean, you’ve seen this person only on TV or in movies, in two dimensions, now here she is. What’s more, when I was in high school, I dated so many girls because they looked like Madonna that I had the feeling I had slipped off my chains and made my way out of Plato’s cave and was seeing the real thing at last.







Madonna’s hair was blond and pulled back from her face, which was porcelain and perfect in the way of Grace Kelly in Rear Window, when she moves in to kiss Jimmy Stewart, who is sweaty. Something clean in a dirty world. I turned on my tape recorder. Liz Rosenberg sat in the corner, working on her BlackBerry.



Madonna spoke of Africa: “If you’ve got one iota of compassion, you can’t ignore what’s going on. You have to figure out a way to be a part of the solution.

”

Madonna spoke of New York, how it’s changed: “It’s not the exciting place it used to be. It still has great energy; I still put my finger in the socket. But it doesn’t feel alive, cracking with that synergy between the art world and music world and fashion world that was happening in the 80s. A lot of people died.

”

She spoke of the music business: “Well, there’s one thing you can’t download and that’s a live performance. And I know how to put on a show, and enjoy performing, and I’ll always have that.

”

She spoke of the long career: “Honestly, it’s not something I sit around ruminating about. Who is my role model and how long can I keep this going? I just move around and do different things and come back to music, try making films and come back to music, write children’s books and come back to music.

”

She spoke of Guy Ritchie: “We make different kinds of movies. I don’t have the technical knowledge he has. He’s got a vision, and his films are very testosterone-fueled. Mine are much more from a female point of view, and I can’t help but be autobiographical in everything I do.

”

She spoke of having children, how it changes everything. I asked her to name her favorite children’s books. She said Winnie the Pooh, Pippi Longstocking, Horrid Henry. I told her I had never read Pippi Longstocking.



madonna: Do you have a daughter?
me: No, three sons.


[Madonna looks at me accusingly.

]
me: I didn’t choose it—it just happened.


madonna: Do you believe that? You think things just happen?
me: I think that just happened.


madonna: Mm-hmm.


me: So who’s making the decision?
madonna: You are, you and your missus.


me: About what kind of kids we want?
madonna: You chose it. Your soul chose it.


me: No.

Do you believe that? That my insides wanted boys?
madonna: Unconsciously. Yes.


me: I kind of like the idea, three sons—it’s like having a little army out in the woods.


madonna: And all the work they can do, and you can teach them carpentry and then build houses for you in Old Greenwich, or wherever you live.



I asked Madonna about Kabbalah. She looked at me as if to gauge the nature of my interest, then spoke.



“A lot of people join the group, but don’t know why,” Madonna said. “I was raised a Catholic and was never encouraged to ask questions, or understand the deeper meanings or mystical implications of the New Testament or the history of Jesus, or the fact that he was Jewish, or anything, you know? So I rejected that, because who wants to go through life being told you do things because you do things? When I started going to classes and studying [Kabbalah], I did it out of curiosity. I was told it was the mystical interpretation of the Old Testament.

”

She said Kabbalah is a philosophy, a way of understanding, lessons.



“Like what?” I asked.



She said, “One is that we are all responsible for our actions, our behavior, and our words, and we must take responsibility for everything we say and do. When you get your head wrapped around that, you can no longer think of life as a series of random events—you participate in life in a way you didn’t previously. I am the architect of my destiny. I am in charge. I bring that to me, or I push that away. You can no longer blame other people for things that happened to you.



“The other is that there is order in the universe, even though it looks like chaos. We separate the world into categories: this is good and this is bad. But life is set up to trick us. It’s a series of illusions we invest in. And ultimately those investments don’t serve our understanding, because physicality is always going to let you down, because physicality doesn’t last.

”

She looked out the window. Los Angeles was there, the hills studded with houses, marbled by streets and ablaze in light, rising and falling, ending at the sea. It seemed to beckon in the way of those crystalline landscapes in old Flemish religious paintings, where Jerusalem looks just like, say, Holland, not because the painter was stupid, or untraveled, or did not know, but because, when you believe, every city is Jerusalem. “You have to get to a point where you care as little about getting smoke blown up your ass as you do when you become a whipping boy in the press,” Madonna said, “because ultimately they both add up to shit. You just have to keep doing your work, and hope and pray somebody’s dialing into your frequency.

”

She then said, “If your joy is derived from what society thinks of you, you’re always going to be disappointed.

”

Rich Cohen is a regular contributor to Rolling Stone and is the author of Sweet and Low: A Family Story and Tough Jews, among other books.




Source: Vanity Fair

Madonna: Ruler of The World

I love Madonna not only for her music (and I find her hilarious) but also because she's such a savvy business woman and a marketing genius. No other pop star out there is as smart as her. This is why the woman has staying power, because she's well edumacated and as I've said over and over again. Madonna is a genius.

The Telegraphs features an article about Madonna's marketing ability and the lucrative contracts she signed with major companies including Vodafone, Uniliver/Sunsilk and Fuji. You can read the whole article here. Here's an excerpt:

In a move that is likely to infuriate some fans, the eagerly awaited video for 4 Minutes, with Madonna and Timberlake, will make its debut online rather than on MTV.

John Reid, the president of Warner Music Europe and vice-chairman of Warner Music International, Madonna’s label, said: "It’s not about upfront payments, it’s about selling the product. She is a very smart businesswoman who wants to sell a lot of albums.

"These companies want their customers to know about their links with Madonna. They are going to promote the deals and her music online and in extensive television, radio and press adverts."

He added: "If it all goes to plan then there is no reason why other acts shouldn’t strike similar deals."

Madonna is not the first artist to make her work available to advertisers, but past commercials have tended to feature songs only after they have been released.

Claire Beale, the editor of Campaign, the advertising industry’s trade paper said: "These deals prove that Madonna is the most marketing-savvy musician in the world. She’s a case study of what great marketing is.

"Using advertisements to promote a new single in advance of its release is very shrewd indeed."

Stuart Clarke, the talent editor of Music Week, said: "When you first hear about 4 Minutes being used for a Sunsilk campaign you think ’how tacky’. You then see the advert and you realise what a brilliant idea it is.

"It is as much an advert for her and her music as it is for the product she is supposed to be selling. No one else could get away with that."

The song 4 Minutes has already entered the UK charts at number seven on downloads alone. It is expected to enter the top five today, even though the video still has not been seen and the record has yet to released.

Gennaro Castalodo, a spokesman for HMV, said: "Madonna knows it’s not just about reaching her own fans, who are going to buy the record anyway."

Source: Drowned Madonna

And The Madonna Train begins to chug...

How can I explain a Madonna fan's excitement when one hears the Madonna press junket train start to warm up it's engine? Well if you've ever had a bad burrito at Carlo's Taco Shop and got that crampy diarrhea stomach roll....that would be pretty close..except with a Madonna fan. Its a welcome feeling.

After my whirlwind Madonna groupie love of 06 where I achieved my goal of getting front row and breathing in the same air as my queen, everything from then til' now has been an futile effort of feeding my insatiable Madonna hunger. Re-watching DVDs, checking Madonnalicious.com three times a day for news and/or any new "previously unreleased" pictures, trolling fan sites, watching old interviews on Youtube...they're all pretty much like throwing goldfish crackers at a polar bear. It just doesn't cut it.

So now, with the promise of fresh fish coming next month, (song leaks on the internet, Madonna on the cover of at least two magazines and best of all, Madonna inducted in the Rock N' Roll Hall of Fame!!! And she deserves it, I don't care what the critics say. Fact of the matter is, if Mrs. Ritchie had a penis, she'd would've been touted as Elvis' heir to the throne.)
I'm getting the diarrhea cramps. Because with a single comes an album and with an album comes promo appearances and after that????
A TOUR BIZNATCHES!!!

Therefore the game planning begins. After you go first row, you don't go back, so this year, front row ..at least TWICE. Twice you say? Hell yes, I'm going at least twice if not three times and I'm even thinking about taking in a show somewhere....international perhaps??? (If the financial gods are good to me).

So stay tuned because the midge is about to go batshit crazy. (and just to make things interesting this year, I'm buying THIS to document my concert shenanigans for your amusement. You're welcome.)

Let The Madgeness BEGIN!!!

Madonna's busy schedule - album, books, tour:

Madonna steels herself for imminent visit by Malawi child welfare officers
With the future of her son's adoption depending on an imminent visit by a child welfare officer from his native Malawi, Madonna is doing everything in her power to make sure she keeps custody of 18-month-old David Banda.

Last week she flew back from New York – where she is recording a new album and house-hunting – to prepare for the arrival of Penston Kilembe, who is due to spend up to five days at the singer's £6.5 million London home.

But the 48-year-old star's plans to be reunited with her family are to be short-lived. She aims to return to New York as soon as the inspection is over, to put the finishing touches to her new album.

After a short break with her film director husband Guy Ritchie and their children, Madonna will then be WORKING non-stop until mid-2008. "The finishing touches still have to be added to her new album, so she is flying back to the States once the officer's visit is over."

Madonna, who has a daughter, Lourdes, 11, and a six-year-old son, Rocco, has already told her husband she will be working back to back from September.

"Madonna has promised to take a six-week break to spend time with Guy and the children before embarking on her mammoth ten-month work regime," adds the source.

"After the new record is released in November she is getting ready for a world tour that kicks off next June, then she is launching a 25th anniversary box set and a set of 12 children's books."


I have nothing to say about this except:
WHOOO HOOOO!!!!!! I'm so excitamated!!!!!