The 60-year-old Queen of Pop took to Instagram to share a video of Orquestra Batukadeiras PT singing in the studio for an unknown track on her forthcoming 14th studio album.
Alongside the clip, she wrote: 'A prayer at the end of a magical recording session with the @orquestra.batukadeiras.pt So Lucky to have these Amazing Powerful Women on my record. #caboverde #lisbon #music #magic #mirwais @dinodsantiago (sic)'
A prayer at the end of a magical recording session with the Orquestra Batukadeiras 🇨🇻 So Lucky to have these Amazing Powerful Women on my record. ♥️ #caboverde #lisbon #music #magic #mirwais #dinodsantiago pic.twitter.com/Uvv4IcWRNH— Madonna (@Madonna) 29 January 2019
From IOL Entertainment
I wanna talk about Madonna’s elegiac 'What It Feels Like For A Girl.' At this post-Brett Kavanaugh juncture in American life, I think it’s a fine time to appreciate it.
'What It Feels Like For A Girl' was the low-key, musically understated third single from Madonna’s Music album.
Released in 2000, Music followed 1998’s ambitious, resplendent Ray Of Light. For Ray Of Light, Madonna selected William Orbit as a collaborator, which was at that time considered a left-field choice. Orbit was an eccentric, progressive composer and musician who was best-known for his own curious amalgam of classical and electronic music. Interesting stuff, but the dude definitely did not have any hits. Madonna adored his work and commissioned Orbit to produce, which was a nervy move. It paid off with a gorgeous masterpiece that, while not her greatest commercial success, certainly did sell well. Five million copies in the U.S. and 11 million globally.
When it came time to make a follow-up album, Madonna once again zigzagged. She chose yet another collaborative team, headed by French producer Mirwais Ahmadzaï. She didn’t rebuke Orbit—he was invited to participate in a minor, supporting role—but she did not attempt to duplicate the alchemy of Ray Of Light. When you’re a chart-topping artist like Madonna, there is a lot of incentive to play it safe: Last album worked out great! Let’s do that exact same thing again!
To read the rest of the article visit: www.washingtoncitypaper.com/arts/music/blog
As i wait to finish my new record and think about the future, i can’t help thinking about the past and the amazing humans that came into my life.........♥️ if we knew then what we know now. #history #gratitude #wisdom #hindsight pic.twitter.com/9BLV2kVQTv— Madonna (@Madonna) 29 November 2018
The many faces and sounds of Portugal!! ♥️🇵🇹💃🏾 at tejo bar with #dinodsantiago #vaniaduarte! 🎸 the guitarist behind me is the grandson of the legendary Fado singer Celeste Rodriguez (may she RIP). 🙏🏼 So much talent! #inspiration #lisbonnights #newmusic #mertalas pic.twitter.com/5j34DVP9NY— Madonna (@Madonna) 25 October 2018
Quavo‘s debut album is here and it is lit! The Migos member got assists from some of music’s biggest names as collaborators for the 19 song LP called Quavo Huncho. He raps alongside Offset on the track 'F**k 12' and Takeoff on 'Keep That S**t.' Not only were his Migos band mates there for him, he has the biggest female rapper in the game as well as pop icon joining him on 'Champagne Rose.' Cardi B drops several bars and Madonna sings throughout the tune in a high voice where if her name wasn’t featured as a player listeners might not realize it’s the superstar.
Cardi was so stoked she took to her Instagram to prop it up. 'QUAVO ALBUM ITS OUT NOW !!!!!!!! Who listening ? Make sure ya check me out on CHAMPAGNE Quavo ft Madonna and me !!! ISSA PARTY TONIGHT!!' she excitedly wrote. Since she’s married to Quavo’s bandmate Offset, she was probably happy to help out on a track.
Immediately Quavo’s name jumped near the top of Twitter as fans reacted to it. 'Quavo Huncho I love you,' one fan tweeted while another added 'Quavo’s Lost with Kid Cudi smooth af got me vibing.' 'Not gone this Quavo album is exceeding my expectations,' someone else wrote while another added 'Quavo goin off on his new album.'
The 60-year-old pop icon was promoting the new beauty roller addition to her MDNA Skin lineup, but slyly alluded to the fact that she’s working on more than just skincare.
'I’m finishing my record, which I’m going to release next year,' Madonna told WWD. 'Yep, in between rose mist spray and serums, I’m actually making music. Can’t quit my day job.'
This currently unnamed album will be the Queen of Pop’s 14th LP and her first release since 2015’s Rebel Heart.
Let’s reign it in a bit, though. With all due respect, we’re still waiting for Madonna to release a great album this decade. But the good news is that her 14th LP is on its way, and she’s absolutely got it in her to give us a batch of tunes to be reckoned with. After all, you don’t become the queen without capturing lightning in a bottle multiple times over.
Her unrivaled string of hit releases in the 1980s seemed to all be building toward the golden - actually, make that quadruple-Platinum - Like A Prayer in 1989, an album that would have been an enviable career best for any other artist if they’d simply stopped there. But this is Madonna! She proceeded to triumphantly march forward by eschewing the big, glossy sound that helped make her famous and stripping down - both the music and, um, herself - and giving us 1992’s brilliant, confessional house-pop hybrid Erotica. The Queen of Pop would end the second decade of her reign with her pièce de résistance, 1998's reflective Ray of Light. Her seventh studio album, it saw her pick up a staggering 10 statues between the Grammys and the MTV Video Music Awards alone.
Subsequent years have seen tireless Madge raise her kids, direct films, open schools, launch a chain of gyms and launch clothing and skincare lines. Those cosnistently fantastic full length releases, meanwhile, tapered off after 2005’s Confessions on a Dance Floor, a bumping, peak-hour trek through clubland that earned the singer yet another Grammy. That’s not to say Madonna’s post-Confessions studio albums are all bad by any means - the urban thump of 2008's Hard Candy remains a mostly satisfying experience, thanks to the focus of collaborators Timbaland, Justin Timberlake and Pharrell Williams; while 2015's Rebel Heart, though spotty, contains about seven playlist-worthy tracks throughout.
Looking on the bright side, the best could very well still be to come with Madonna’s 14th studio release. What do we want from it? Nothing short of everything, of course. But we’d settle for any (or all!) of the following.
Let Madonna Sing
You know what needs to be hung up? Auto-Tune. At least in the Queen of Pop's case. This is Madonna, and she’s amassed a loyal army of fans, sold hundreds of millions of records and inspired countless Gwens, Britneys, Katys and Gagas by simply being herself.
Cuts from the last decade like 'Ghosttown' and 'Messiah' off Rebel Heart, MDNA’s 'Masterpiece' and Hard Candy single 'Miles Away' seem, for the most part, to be devoid of too much technical wizardry affecting her voice. And she sounds great on each one! Alas, for every one of those, there’s been a 'Bitch I’m Madonna,' 'Girl Gone Wild' or 'Give It 2 Me' - performances that find the singer coming off like she downed a vocoder smoothie before stepping to the mic.
Madonna, voice included, is a national treasure. Also, she kicked ass performing live at the Met Gala in New York three months ago. Just give it to us plain and simple going forward.
To read the other four things visit: www.billboard.com/articles
Ariana Grande just answered pop fans’ prayers, dropping the music video for her sexy, empowering new single 'God Is a Woman' - which includes a surprise monologue from her pal Madonna.
Throughout the epic video, Grande serves cosmic vibes, bathing in a pool of paint, sitting atop a globe and weathering an onslaught of insults ('bitch,' 'fake,' 'annoying,' 'slut,' 'hoe,' 'stupid') from men.
Then, at the 2:24 mark, Madge - or rather, her voice! - appears, like manna from heaven.
The queen of pop portrays the voice of God, reciting scripture from Ezekiel 25:17: 'And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my sisters. And you will know my name is the Lord when I lay my vengeance upon you.'
A follow-up to 'No Tears Left to Cry,' 'God Is a Woman' is the second single off Grande’s upcoming fourth studio album, Sweetener, due Aug. 17.
Grande posted a picture Wednesday (July 11) with Madonna, someone Grande has consistently cited as an inspiration and mentor. The caption on the photo read 'thank you @madonna... u know why,' with a heart emoji and an emoji of the Golden Gate Bridge - an emoji Grande has used often when posting about her new music. This is not the first time the two hitmakers have met, as Grande joined Madonna onstage in Miami during her Rebel Heart Tour and also performed at Madonna's 2016 charity event at Art Basel in Miami.
The picture excited Grande's fans and also sparked curiosity as to why the picture was posted now, and whether the pic is from a prior event or was taken recently. Grande has been finishing up her upcoming studio album Sweetener (due Aug. 17), and fans were quick to hope and wish - just like a prayer - that a Madonna collaboration will be on the album.
With no release date in sight, fans have been given their first glimpse of the new album - which is still untitled - through the leaked details. A source close to Madonna’s camp has spilled the beans, revealing the titles of a number of songs and details about some of the lyrics.
Those titles include Risky Places - which, it’s claimed, lists off the places where Madonna would like to have sex (which apparently includes Kendrick Lamar’s bathroom) - Dos Hermano (which is partly sung in Spanish) and Turn Back Time. Two other tracks - Smartgun, which tells the story of a black boy who is shot by police, and Persistence - have also been brought to light in the leak.
‘Madonna is desperate to make her 14th album her most cutting edge yet,’ the insider told The Sun newspaper. ‘She is going to be furious that her early work is already being leaked when the whole point is for it to have a shock impact.’ Metro.co.uk has contacted Madonna’s reps for comment.
Lucas, who produced the bulk of Madonna's eponymous debut album, died in New York on Saturday at the age of 65. His daughter, Lisa Lucas, told the Associated Press her father died from complications with his heart.
Madonna shared a picture of Lucas on her social media pages and wrote: 'Sad to hear that Reggie Lucas is Gone. An important part of my musical past! RIP #gratitude #luckystar'
Lucas was also known for playing with legendary jazz trumpeter Miles Davis in the 1970s, before beginning a musical partnership with percussionist James Mtume.
Together they wrote hits such as Roberta Flack and Donny Hathaway's The Closer I Get To You and Stephanie Mills's Never Knew Love Like This Before, which won the duo a Grammy for best R&B song.
Lucas went on to produce the majority of Madonna's 1983 debut album, which sold more than five million copies and included the hits Borderline and Lucky Star.
His daughter Lisa said on Facebook: 'After a long and arduous struggle with his physical heart (his emotional one was perfect) he was called home. I wish he'd had more time, I wish we'd all had more time with him, but he left this world absolutely covered in love, with his hands held and his family beside him. I'm glad he's at peace now.'
From RTE News
The singer has also released what appears to be accompanying artwork for the song via her social media platforms.
The picture features Madonna wearing a crown of thorns under the words Beautiful Game.
In a caption alongside the photo the singer wrote: 'That I never Learned … Coming Soon! #music #magic #mirwais'
In the message Madonna appears to be alluding to the lyrics of the song, which she performed live at the Met Gala.
During her performance on May 8 she sang: 'It’s a beautiful plan, but I’m not concerned, it’s a beautiful game, that I never learned, you have taught me to shut my mouth, that I not get burned, keep your beautiful lies, ‘cause I’m not concerned.'
Madonna also performed her 1989 number one single Like A Prayer during her appearance on stage at the Metropolitan Museum of Art in New York.
On the night she again wore a crown of thorns and was flanked by a choir dressed in monk’s robes.
Announcing her new music Madonna, 59, also mentioned the producer Mirwais (full name Mirwais Ahmadzai) who she has been collaborating with on her new record.
Mirwais previously worked on her albums Music and American Life.
Madonna has been working on what will be her 14th studio album for some time and has been posting regular studio updates on social media.
Madonna’s last album was 2015’s Rebel Heart which peaked at number two in the US and on the Official Albums Chart in the UK.
From The Irish Times
After all, the 59-year-old singer - who carried the namesake of Mary, mother of Jesus, from her own mother - has long used Catholic imagery in her music videos and stage shows. Most notably? 1989’s 'Like a Prayer,' its music video featuring burning crosses, stigmata and Madonna kissing a black saint.
Still, Madonna’s performance at the Costume Institute benefit came as a surprise for attendees. Though the annual affair has had musical performances by stars like Bruno Mars and Katy Perry in the past, Madonna’s turn on Monday night was completely unannounced.
Among the songs in her set was a reimagined version of 'Like a Prayer' - performed with singers dressed as monks, naturally - and a cover of Leonard Cohen’s 1984 song 'Hallelujah,' sung sitting on the Met’s stairs.
She also appeared to premiere a new song off her upcoming album called 'Beautiful Game' with the lyrics, 'It’s a beautiful plan, but I’m not concerned / It’s a beautiful game, that I never learned / You have taught me to shut my mouth, so I don’t get burned / Keep your beautiful lies, ‘cause I’m not concerned.'
Videos of her songs were shared by Vogue as well as various attendees, who quickly spread them on social media.
As for her costume, Madonna began her performance in a monk robe before stripping it off in exchange for a flowing white ensemble.
On the red carpet, she wore a Jean Paul Gaultier black ball gown that featured a fitted bodice, a sheer cross cutout, and a full ball skirt. Stylist Eyob Yohannes accessorized the look with a black veil, cross-adorned crown and a black flower which she carried in her hand.
Yohannes described her look in three words: 'Immaculate Goth Queen.'
The strong lyrical perspective is complemented by the cohesive musical vision. Madonna worked with one producer, French electronic savant Mirwais Ahmadzaï, for the entire album - although there was additional production by Mark 'Spike' Spent on 'I’m So Stupid' and 'Nothing Fails' - and they expanded on the folktronica experimentation they did on 2000’s Music. Indeed, if there is one Music song that served as the biggest touchstone for American Life, it's 'Don’t Tell Me,' with its twangy trip-hop. Madonna and Mirwais - who are back in the studio working on new music together in 2018—also co-wrote all but three of 11 songs together. With such a tight team, not one of the songs feels out of place (although the dramatic “Die Another Day” from the James Bond film of the same name feels like it should have been sequenced earlier in the record).
In retrospect, American Life - the last truly ambitious album that Madonna has made - also marked the end of a very important phase of her career. Having achieved new artistic depth with 1998’s Ray of Light and continued that creative spirit with Music, she was very much still in risk-taking mode on American Life. You might say those three albums - starting from an electronica base but veering in different directions - amounted to her Berlin Trilogy. On an aesthetic level, this period was Madonna at her Bowie-est.
'Love Profusion,' 'Nobody Knows Me' and 'Nothing Fails' make for a thrilling three-song sequence that displays varied moods and styles. While glowing with its sweet strumminess, 'Love Profusion' faces some troubling uncertainties: 'There are too many questions/There is not one solution/There is no resurrection/There is so much confusion.' The zig-zagging 'Nobody Knows Me' packs a rock thump and a sense of disillusionment: 'This world is not so kind/People trap your mind/It’s so hard to find/Someone to admire.' And 'Nothing Fails' - the glorious, gospel-infused centerpiece of American Life - is nothing short of a latter-day 'Like a Prayer.'
Elsewhere, 'X-Static Process' - co-written by Stuart Price, who Madonna would go on to work with for much of Confessions on a Dance Floor - is a beautiful ballad rich in harmony and emotional directness. You can almost hear echoes of R.E.M. on that and the previous track, 'Intervention.' Meanwhile, the solemn, string-laden 'Easy Ride' may be one of the best album closers of Madonna’s career. The lyric nods to her notorious work ethic: 'I want the good life/But I don’t want an easy ride/What I want is to work for it/Feel the blood and sweat on my fingertips/That’s what I want for me.'
American Life - which still sounds very modern and, in some ways, seems eerily prescient of Trump-era despair - feels more like the Madonna album for now than her recent efforts. It’s not a perfect album - 'I’m So Stupid' is still irritating - but it’s the sound of Madonna challenging herself, and us.
'No This is NOT my new music. But I'm having fun in the studio in between takes! #music #mirwais #magic,' the singer wrote in the caption of the video.
The 'Ghosttown' singer confirmed in early 2018 that she has been in the studio working on her 14th record. She's remained cryptic about who she's working with, but by tagging the French record producer and songwriter, many fans are convinced that he's involved. 'Is this a hint Mirwais is back in the mix???' one tweeted. 'Are you working with #Mirwais again??? Yay!' another wrote.
Madonna and Mirwais previously worked together on three of her albums, including her 2000 record Music, which was nominated for three Grammy Awards and whose title track hit No. 1 on the Billboard Hot 100. They also collaborated for 2003's American Life and Confessions on a Dance Floor in 2005.
Billboard has reached out to Madonna's rep for confirmation that she's reuniting with Mirwais but hasn't heard back as of press time.
'Love this woman. Love this album. One day she will hopefully do a tour for this album. It deserves to be performed from start to finish... respect to [music producer, William Orbit] for his brilliant work on this album... also two groundbreaking videos [‘Frozen’] by Chris Cunningham and [title track, ‘Ray Of Light’] by my dear friend [Jonas Akerlund]. Those were really fun times.'
Two days later, Madonna shared some comments on the post, which revealed things weren’t going so well behind the scenes of her latest musical offering.
Apparently comparing her current work with the making of ‘Ray Of Light’, she fumed: 'Remember when I made records with other artists from beginning to end and I was allowed to be a visionary and not have to go to song writing camps where no one can sit still for more than 15 minutes....'
She also joked to her manager: 'Can you help me now please!!'
Throughout her career, Madonna has notably worked with only one or two producers on each of her albums, such as Stuart Price on ‘Confessions On A Dance Floor’, William Orbit on ‘Ray Of Light’ and, more recently, ‘MDNA’ or Patrick Leonard on ‘Like A Prayer’.
Her most recent collection, ‘Rebel Heart’, featured a much more eclectic mix of collaborators, though the majority of tracks saw either Diplo or Avicii listed as co-producers, among several others.
But by 1998, Madonna had awoken again. On 'Sky Fits Heaven,' the seventh track from the enlightened electro-rock masterpiece 'Ray of Light,' she repeated a familiar phrase - except here it ended on an upbeat: 'Traveling, traveling / Watching the signs as I go.' This time, pop music’s doyenne of reinvention was anything but unconscious.
Her footpath from the 'Bedtime Story' era to 'Ray of Light,' which turns 20 on Feb. 22, places Madonna at the nexus of celebrity culture circa 1997 (when she spent five months writing and recording the album) and early 1998 (when she released and promoted the album, which went on to win three Grammys and six MTV Video Music Awards). Nearing 40 and competing with a fresh generation of A&R-packaged teenyboppers, Madonna had risked aging out of mainstream stardom, one of the many sectors of society that isn’t kind to mature women. Instead, the ambient fizzes and mystical flurries on 'Ray of Light' formed a cutting-edge benediction that rehabilitated Madonna’s image - a coup few legacy acts could hope for today. She was a new mother, animated by Kabbalah and Ashtanga yoga, but uninterested in maternity leave.
Madonna’s late ’90s eminence can be further distilled through one morsel about the creation of 'Ray of Light,' her seventh studio disc: On July 15, 1997, the day she recorded the gritty meditation 'Swim,' Donatella Versace called Madonna to report that her brother Gianni had been shot outside his Miami mansion.
William Orbit, the English producer who helped shape 'Ray of Light,' has related this anecdote at least twice. The first time was in 1998, during an interview with Music Week.
'The day she [recorded ‘Swim’] she got a call on the way to the studio that her next-door neighbor Versace had been murdered,' he said. 'Lyrically it was written before that, but it is topical.'
To read the rest of the article visit: huffingtonpost.co.uk/madonna-ray-of-light
Release Date: TBA
Now living outside Lisbon, Portugal, the shape-shifting superstar hinted that she'd be returning to the pop world when she dropped by Live with Kelly and Ryan in December. '2017 was soccer mom in Portugal - 2018, I'm coming back, baby,' she told fellow guest Anderson Cooper, who asked about her tour plans. 'I'm traveling the world right now and listening to lots of different music,' she told Entertainment Weekly in September. 'I'm getting inspired by people and I'm just soaking things up right now. ... It's time for me to take a different approach and really get back down to the beauty and simplicity of music and lyrics and intimacy.'
The Grammy winner, 59, shared a cover of Elliott Smith‘s 'Between the Bars' on her Twitter page, where she’s softly singing and playing guitar during a late-night music session.
'Strumming my favorite song when everyone else is asleep,' she captioned the black and white video posted early Thursday, adding the hashtags #prayer #lullaby and #love.
This isn’t the first time Madonna has expressed her love for the track off Smith’s 1997 album Either/Or. In a 2006 interview with Q magazine, she named 'Between the Bars' as the song from the last 20 years she wished she’d written.
She also covered the tune at a 2013 screening of the short film #SecretProjectRevolution. The singer was dragged into the room by men dressed as prison guards. Halfway through the performance, she was accompanied by a masked dancer dressed head-to-toe in black—who just happened to be her son Rocco.
But between Bedtime Stories and Evita, Madonna experienced her first real career dip. After several years of hypersexual imagery and songwriting (from the 'Justify My Love' video to the Sex book) and some family-unfriendly public appearances (her 1994 Letterman interview in particular), a portion of the American public was exhausted with her by 1995. Puritanical pop listeners might be OK with a heartfelt plea for keeping a baby, but leather and whips is just too much.
While she soon got back on track with a prestige motion picture (Evita) and an elegant ballad collection (Something to Remember), there was one unfortunate musical casualty of her brief lull: 'Human Nature.'
One of the few hip-hop-inflected singles in her discography (it samples a song from Main Source, the same rap group that gave Nas his first on-wax appearance), 'Human Nature' has a deeply funk foundation while maintaining the spacious, thin production common to many '90s R&B hits.
To read the rest of the article visit: http://www.billboard.com/articles
Still True Blue to all my fans! Thanks for all your support! 💙 30 years later! 🙏🏻🎉😂 pic.twitter.com/MCxDAm74J1— Madonna (@Madonna) 1 July 2016
The 9th U.S. Circuit Court of Appeals ruled that a general audience would not recognize the 0.23-second snippet in 'Vogue' as originating from the song "Love Break."
Attorneys for the plaintiff, VMG Salsoul LLC, could not immediately be reached for comment.
A producer of 'Vogue,' Shep Pettibone, also recorded 'Love Break' in the early 1980's, according to the court ruling.
VMG Salsoul owns the copyright to 'Love Break' and alleged Pettibone sampled the 'horn hit' from the earlier work and added it to 'Vogue.'
The three-judge 9th Circuit panel ruled 2-1 in favor of Madonna, Pettibone and other defendants including Warner Bros Records. Dissenting Judge Barry Silverman said even a small sample of music, used without a license, should be a copyright violation.
'In any other context, this would be called theft,' Silverman wrote.
An attorney for Madonna could not immediately be reached for comment.
From Reuters Via Yahoo! News
Diplo’s choosing to shine a spotlight on his relationship with Madonna in particular, praising her for the way she fully integrated him in the recording process and extended herself as a friend in a way he didn’t think possible. Diplo posted a photo of the two attending the 2015 Met Gala together to Instagram along with the following lengthy caption:
'When I first got a chance to work with @madonna I didn’t expect much to come from it. Maybe because she is one of the biggest pop stars of all time. I didn’t think she would take me serious just another producer working on a huge album. I didn’t expect to make a great friend for life and didn’t expect to be such a big part of her record. She showed me a whole other level of dedication and old school work ethic when it comes to writing. I’m proud of the work we did. Those sessions were some of the most fun I have done to date. I played some shows and shot videos with her later in the year but going to the Met ball with Madonna was a highlight of 2015.'
And it’s not the first time Diplo’s publicly praised Madonna. Back in July, Diplo spoke with Rolling Stone about the ageism even a living legend like Madonna faces.
He said, 'She created the world we live in. It already sucks to be a woman in the music industry, but to be a boss woman is even harder. She sold out her tour in minutes, but no one seems to want her to succeed - ‘Madonna, we’ve been there, done that, now we’re about Kim Kardashian.’ Her song ‘Ghosttown’ was a guaranteed Number One for anybody else, but she didn’t get a fair shot. With ‘Bitch I’m Madonna,’ everyone said there’s no way it will go anywhere, but I’m like, ‘Screw it, it represents you more than anything.’-
Thanks to Readers Poll @RollingStone Magazine for voting for my song Ghostown As the # ONE song if the year! I'm so grateful‼️💘💘💘🙏🏻🎉🎉💯😀— Madonna (@Madonna) December 17, 2015
Coming off a huge tour with established artists like The Jacksons, how did you view Madonna’s persona at the very start of her career?
She did not get in the way at all where she did not know what was going on. Where she didn’t know what was going on, she allowed it to be, and yet kept her own vision very much intact. And that’s tough for people to do. Most people need to control everything, and she did not need to control everything. That was one of the first things I noticed. She was a total pro. Like our relationship remained, it was always real open and real simple - you do what you do and I do what I do, and it’s good. She knew how to allow space for things that she didn’t understand.
Madonna is someone who experienced instant fame, but there's no doubt that her stature escalated by the time the Who's That Girl Tour launched in 1987. What had changed about her by then?
You know, 'change' is a dangerous word. I never saw change. She remained the same. The work ethic remained the same. Where there were things she knew that she wanted, she demanded them at the highest level, as we all do. And from there to working on her documentary film about Malawi some years ago - and I think we did some things after that with a musical that was a potential - nothing changed. I’m not in touch with her very much, but my communication with her is not through the press. I don’t care what people say. I’ve seen her be exactly the same human being and consistent as can be. She’s present and generous about what’s real. Even as it got bigger and bigger, she remained consistent. She really did.
To read the rest of the article visit: www.huffingtonpost.com
The third single from Madonna's album Rebel Heart becomes the set's first Hot 100 hit, preventing the LP from becoming her first studio album not to generate a Hot 100 entry. Lead single 'Living for Love' and follow-up 'Ghosttown' both fell shy of the list. Still, both songs crowned the Dance Club Songs chart, with the latter becoming her 45th No. 1 on the survey and rewriting the record for the most leaders an artist has notched on any Billboard ranking. ('Bitch' debuts at No. 26 on Dance Club Songs this week.)
'Bitch' arrives as Madonna's 57th Hot 100 hit and first since 'Give Me All Your Luvin'' (also featuring Minaj, as well as M.I.A.) became her record-extending 38th top 10 in 2012. The Beatles follow with 34 Hot 100 top 10s.
'At the beginning we were all on the same page and then...I wasn't....happy with the final product,' he said.
Avicii's version of the song leaked early. He says he still prefers his version over the final cut Madonna eventually released. 'I thought it was better. It was more me,' he said.
Despite butting heads, Avicii isn't on a mission to diss the Queen of Pop. After the Daily Star published their article with the original headline 'Madonna ruined my track: Avicii slams the Queen of Pop,' the deejay quickly took to social media to blast the tabloid
And it worked! The site softened their headline to 'LISTEN: ‘My demos were better' Hear Avicii on Madonna's latest album.' Avicii thanked the Daily Star for correcting their story. 'Thank you @daily_star for correcting the headline - and rest of article - after hearing the actual audio recording of the interview!' he wrote on Instagram.
Good to know there's no bad blood here.
Meanwhile, Avicii did reveal to the Daily Star who he would like to work with next. 'I'd love to work with Adele and Rihanna,' he said. 'I'm super excited for Rihanna's record, I haven't heard any of it yet either. She is one of the most talented artists of our time.'
From E! Online
Rumours began last year that the British dance duo were working with the pop star after Madonna posted a picture of herself with the pair backstage at the Governors Ball festival in New York during June 2014. While Disclosure denied that they were producing Madonna's next album ('Rebel Heart', which was released in March), they didn't at the time rule out a potential collaboration with the singer in the future.
Now, speaking to NME in this week's issue, available digitally and on newsstands now, the electronic duo explained that they 'did discuss maybe working together' but '[we] never really got our hopes up'.
'We never really had any indication that we were going to be working together,' Howard Lawrence said. 'We met her and hung out and she's a lovely person and she's a fan - and I mean, who's not a fan of Madonna? We did discuss maybe working together one day but we never tried to put dates in or anything like that. But I wouldn't say we were disappointed because we never really got our hopes up.'
We talked to Pettibone, of course, about the genesis and making of 'Vogue,' but also his later work with the diva on The Immaculate Collection and Erotica, the sampling lawsuit against him and Madonna over 'Vogue,' and why he stepped away from the music business nearly 20 years ago.
To read the full interview visit www.billboard.com/vogue-producer-shep-pettibone-interview
The Queen of Pop is now unequaled chart royalty. Madonna makes momentous Billboard chart history, as she now has the most No. 1s ever, 45, by an act on a singular Billboard chart. She earns her 45th No. 1 on Dance Club Songs, where 'Ghosttown' lifts 3-1.
(The chart, dated May 30, will refresh on Billboard.com Thursday, May 21.)
With the coronation, Madonna passes another icon, George Strait, who's logged 44 No. 1s on Hot Country Songs.
'Thanks to all my fans on and off the dancefloor,' Madonna said in an exclusive statement to Billboard. 'I'll (always) be your partner.'
With her 45th leader on Dance Club Songs, which measures reports submitted by a national sample of club DJs, Madonna pulls further ahead of runners-up Beyonce and Rihanna. In fact, Madonna has tallied more No. 1s as they have combined: 22 each. (The chart launched as a national survey in the Billboard issue dated Aug. 28, 1976.)
Madonna bests Strait (still, and always, the King of Country), who's sent 44 singles to No. 1 on Hot Country Songs between 1982 and 2009. He first reigned with 'Fool Hearted Memory' (Aug. 28, 1982) and most recently ruled with 'River of Love' (April 18, 2009).
'Ghosttown' again is the 'Greatest Gainer' of the week. For the 3rd week in a row!
From Billboard.com - thanks to Micheal