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Nothig is coming, it's their usual aproach to celebrate her anniversaries: a random video / live performance from the song (in this case Vogue - 30th anniversary), and some old remixes on youtube from the maxi single.

The complete show is now streaming on YouTube! It's INCREDIBLE. Link below: ApRIl FOolS

RIT: Filmed September 2004 Release: 2045 btw, the effort in that post is unreal. Quality stuff.

For me I'd say RIT is the best performance of the song, but that's more so because I prefer the sound of that performance to the others. Girlie Show isn't without it's charms though, and the drummer on that tour was absolutely incredible.

LOL 30 years and people still have hopes...

I love Gambler. Jimmy Jimmy is OK.

What an odd comparison ? I suppose it’s the same tempo for both songs ?

Wow, due to covid pandemic we're not even getting a Vogue litograph this time, just a video already seen a million times...

I can’t decide between Erotica and Madame X but chose Madame X cause I know she will need more representation cause no one appreciates her for the immaculate art it is!

I think the audio simply have the dynamic range compressed (You know, the loudness war...)

Of course it’s 720p lol, also, I never noticed the final part of the song after the rap is completely live.

I'm drawing a blank here, has there always been live vocals over the playback a the end?

Yeah, maybe! Both audio and video seem to have been remastered IMO (or is it just my impression?)

The BAT on DVD/Blu-ray is coming...? ?

He’s so petty, desperate and jealous, but it’s also quite sad when you think about it. It’s like the playground bully lashing out just to get everyone’s attention. Elton John is the same. Isn’t it strange how the mainstream media never call out either of them and refer to their beef with Madonna as a ‘feud’. As far as I can recall, she has only ever responded when asked about it, all be it in a slightly passive-aggressive way; but you can bet the media would be all over it, if she were Taylor Swift! Then again, victimhood is Taylor (and Gaga’s) stock-in-trade! I’m glad Madonna doesn’t complain about it relentlessly. She wouldn’t give them the satisfaction; but unfortunately, ageism and misogyny do walk hand-in-hand, and it remains the last form of unchecked-bigotry in our society. Things will change eventually.

Live: The Virgin Tour Film date: May 25, 1985 TV premiere: (?) Maybe later than its video release Video release date: November 13, 1985 (6 months) Who's That Girl - Live in Japan Film date: June 22, 1987 TV premiere: (?) I don't know if it was a live broadcast/premiered a couple of months later. Pat Leonard talked about doing the mixing on his Instagram and mentioned a date a few years ago but he deleted the account! It was titled "Live In Japan - Mitsubishi Special" Video release date: November 26, 1987 (5 months) Ciao Italia: Live from Italy Film date: September 4 & 6, 1987 TV premiere: September 4, 1987 (Live broadcast) titled "Madonna in Concerto" Video release date: May 24, 1988 (8 months) Blond Ambition Japan Tour 90 Film date: April 26, 1990 TV premiere: June 23, 1990 (2 months) Video release date: July 25, 1990 (3 months) Blond Ambition World Tour Live! Film date: August 5, 1990 TV premiere: August 5, 1990 (Live broadcast) Video release date: December 13, 1990 (4 months) The Girlie Show - Live Down Under Film date: November 19, 1993 TV premiere: November 20, 1993 (1 day) Video release date: April 25, 1994 (5 months) Drowned World Tour 2001 Film date: August 26, 2001 TV premiere: August 26, 2001 (Live broadcast) Video release date: November 13, 2001 (3 months) The Confessions Tour Film date: August 15-16, 2006 TV premiere: November 22, 2006 (3 months) titled "Live from London" Video release date: January 16, 2007 (5 months) Sticky & Sweet Tour Film date: December 7-8, 2008 TV premiere: July 4, 2009 (7 months) titled "Madonna: Sticky & Sweet" Video release date: March 26, 2010 (15 months) MDNA World Tour Film date: November 19-20, 2012 TV premiere: June 18, 2013 (7 months) titled "Madonna: The MDNA Tour" Video release date: September 6, 2013 (10 months) Rebel Heart Tour Film date: March 19-20, 2016 TV premiere: December 9, 2016 (9 months) Video release date: September 15, 2017 (18 months)

Which do you favor more Gambler or Jimmy Jimmy? I love both, but, I'm voting for Jimmy Jimmy by a hair!

Welcome in the world of fake Madame X @cindy_ve When we found out it was like when you find out Father Xmas doesn't exist... Best lyrics of the album are not Madonna's... probably her contribution is just we need to wake up or it's a con

OMAR GIVE ME SOME DRUMS!!! Omar Hakim is an American jazz, jazz fusion and pop musicdrummer, producer, arranger and composer. He has worked with Weather Report, David Bowie, Sting, Madonna, Dire Straits, Journey, Kate Bush, George Benson, Miles Davis, Daft Punk, Mariah Carey, and Celine Dion.

yes it wasn't! casey worked with mirwais on this and got no credit! maybe thats the reason why god control wasn't a single! Casey was pissed and made it public!

New York: M's city of choice when she first left home and decided to make it big edit- we posted at the same time lol

Ug, this is like compare "Like A Prayer" with "I'm Going Bananas". "Gambler" is an amazing song. "Jimmy Jimmy" is just a nice album filler.

its the same on Apple Music. Don't forget the messed up version on the Immaculate Collection.

I think the reality of the situation is, with something like this, Vogue anniversary or not it’s so easy to pick apart EVERY detail. And I guess ppl ask why this performance? Why not something officially released like from IGTTYAS Vogue? Or any other one. I think the fact that it’s BAT everyone was hyped and freaking out. Myself included. I’m not reading too much into it, but it is important to generate curiosity in something like this to gain her attention when it happens. I only hope someone on her team tells her “M your fans are gagging, are you going to do something about it”. And I’m SURE her answer will be...... bahahah!!!

Hair is finally done ! (Well at the wood pencil i mean lol). Even her jewellery takes a lot of time to draw. I have enough for today !

It's getting more and more difficult for me to say which album I ove the most. I voted for Erotica (first album release being a fan) but Like A Prayer, American Life and Rebel Heart are among my ultimate fav, and I'm still very much into Madame X.

My contribution ... work in progress ... no yet AI upscaled

I just realised that the Blond Ambition audio is on her youtube channel, as well the Girlie Show!

Thank you @madgefan for this list. Only one thing needs correction: WTGT Turin was broadcast LIVE on September 4, I clearly remember. I was one of those 14 million viewers that night, making it the third most watched tv programme of 1987. https://www.tvblog.it/post/20791/auditel-rewind-1987 If you look at Ciao Italia video, you can see people in the audience throwing many combs at her: it's clearly Florence footage, as they had seen the show on tv 2 days before and many people brought a comb at the concert in Florence. As for the release dates: we should also consider when the tour ended. Considering that S&S had a second leg in 2009, it's ok that it was released in 2010. From September 2009 to March 2010 is 6/7 months. RHT was the only one with an almost unbearable wait!!

My favorite album is (and always have been) Like A Virgin because that's the Madonna I fell in love with - the 'original' one I'd say. I just love the style, the songs, the energy, the mood... The only 'problem' is my favorite song of the album, Dress You Up - a very underrated song - never got a proper video, although the live video is amazing. By the way The Virgin Tour is my favorite too... My dream album tracklist, duration 79:18 (I do have this on my archive): 01. Material Girl 02. Angel 03. Like A Virgin 04. Crazy For You 05. Gambler 06. Over And Over 07. Love Don't Live Here Anymore 08. Into The Groove 09. Dress You Up 10. Shoo-Bee-Doo 11. Pretender 12. Stay 13. Ain't No Big Deal 14. Material Girl (Extended Dance Remix) 15. Angel (Dance Mix Edit) 16. Like A Virgin (Extended Dance Remix) 17. Dress You Up (The 12'' Formal Mix)

With the glut of BA videos on YouTube these days, seeing this again in black and white... utter filthy Madonna porn ? TWO releases...TWO different shows... SAME year ? Imagine THAT in 2020!

Madonna.com had a couple of videos from the Nice show around 10 years ago. One of them was Where's The Party which was also available on her old Youtube channel. I don't know if it's still there. It's sad that most fans get their hopes up when they do this kind of stuff, especially if it's related to BAT. But I wouldn't hold my breath on this. Time is wise. They don't care anymore! Just play your high quality bootlegs at home and relive the best spectable she ever put on.

Can we only hope?✨??

Yeah, l thought the synth bass seemed a little more prominent than usual.

He’s been saying her career was over since he trashed her in the Sun when he saw her Girlie Show concert at Wembley stadium - I think his words were “ I predict Madonna will never fill a stadium again “ and 27 years later she’s the biggest grossing solo tour artist and he’s on a TV show ?

^ This Madonna has copied, mimicked, or paid homage to (whichever phrase you prefer to use) Marilyn Monroe and Kylie Minogue so many times Those are just a handful of examples, I could make an even bigger list for Gaga and others. Everything is copied, inspired, or duplicated by someone else at some point

I mean... I'll only answer if it's not ripped apart in a negative way. Saying I'm reaching or whatever. Im a fan of both, and I personally think they both influenced each other in different ways. I think the very first inspiration was the dress she wore in the Celebration video. Having that boys in heels dance group in the GGW video was definitely inspired by Gaga's Alejandro video. Which yes was directly inspired by Vogue and X-Static Process photoshoot. I think Gaga's overt expression of her love for "the gays" inspired a bunch of stuff. Before the MDNA tour gayness wasn't really a thing on a Madonna tour since 1993, if I'm remembering correctly. Then in MDNA she has dudes in heels. She has cross dressers in Vogue. and Nobody Knows Me backdrop for all the gay kids who ended their own lives. (Please don't take this as I don't think Madonna cares about this issue, I think he does...but I believe she supported gay rights subtly for a long time until (I Believe) Gaga came along shouting it from the rooftops. Hell even one of her arguably gayest songs EVER, Hung Up, didn't have anything gay in it. The line in Superstar... "Im your biggest fan its true" Gaga Paparazzi..."I'm your biggest fan I'll follow you until you love me" I think generally the idea of "transgression" in MDNA and the accompanying tour came from Gaga. I think it was too obvious for Madonna to adopt her musical style, so she adopted the dangerousness of Gaga. One example of this would be the violence, but also the references to drugs which Madonna had NEVER done before. The only thing close was a Sasha remix title of Drowned World if Im not mistaking.MDNA was the first time Madonna seemed to "play" with the idea of condoning drug use. Obviously we know she doesn't condone drugs. If you're wondering what Im talking of specifically... I'm Addicted... the whole song is comparing someone to a drug... chanting MDNA at the end which only sounds like MDMA considering the song topic... and the fact earlier in the song she says "like MDMA, and that's OK". Asking people if they seen Molly at that Avicci concert. Inspiration doesn't have to be copycat. I think Give Me All Your Luvin is basically a love letter to Gaga. At least the first verse/prechorus. "I see u coming and I don't wanna know your name". (Gaga seems to say her name in every song at this point.) "I see u coming and ur gonna have to change your game". (Her game is copying Madonna and other artists.) I think Madonna was inspired by Gaga's declaration of her love of ART. We all know Madonna collects art and has ties to Basquiat and Keith Haring but she didn't mention them for 25 years until Gaga was running around dressed like a Picasso. Madonna's Revolution of Love is oddly similar to Gaga's Manifesto of Mother Monster and the Born this Way album in general. Saying a race within the race of humanity was born without prejudice. blah blah blah ... Singing of driving on the Road to Love on Highway Unicorn. The almost pandering to the underdog or outcast. Madonna has always inspired by "being" who she is. Defiant and strong. Yes, in Express Yourself she is telling someone to think better of themselves, but for the most part Madonna has always led by example. Over and Over... I get up again. It's always been Madonna telling her own story (for the most part). Then after Born this Way, Madonna adapts this type of songwriting TO the listener that Gaga did so well on BTW. The songs also insinuate that the listener is broken in some way. Again in the Living for Love intro... she's speaking to the listener ... "someone unique, rare, and fearless". blah blah blah "perfectly content of who you are" (the implication is that you are NOT) Iconic... "If you try and fail get up again, destiny will choose you in the end..." "just shine your light like a beautiful star, show the world who you are" (the implication is that you are not doing these things) They may seem like trivial examples at first glance, but I can't really remember a time that Madonna ever did this in song. The closest we have is Beat Goes On, but I think this is different as it seems like she's singing to Lola. (to me) Fishnets, satin sheets Garter belt, Raw meat I could go on a bit more... but this is long enough. Put your paws up

What is your favorite "Dress You Up" performance on tour? They've all been fun, but, there is just nothing like this one in the beginning. Just so cute too....

It's strange indeed. I remember quite clearly the comb affair. Wikipedia for instance says: On September 4, 1987, Madonna's concert special, Madonna in Concerto, filmed at the Comunale Stadium in Turin, Italy was broadcast live on TV in Italy (RAI), France (TF1), Germany (SAT1), Austria (ORF) and Spain (TVE). The poster you posted (ahah) says "replica", I remember it was broadcast again in 1988 due to its huge success, that is when I recorded it cause I bought my vhs recorder in 1988. I was disappointed cause they didn't show the first part, the meeting with the Pacentro family.

Thanks a lot !!!!

Not a megafan of those 2 but I like Jimmy Jimmy better. Love those parts: Why, oh why, oh why, oh why, oh why, oh why, oh why Do fools fall in love with fools like you Oop shoo boop oop oop sha la la la Oop shoo boop oop oop sha la la la

Keep It Together is the best part for me

This was the song that cemented Madonna's legacy, imo. This song was a global phenomenon

Gaga copied Madonna a lot with too many instances to list (Just Dance = Hung Up, Alejandro = Vogue, etc) but it's kind of funny considering how many people Madonna has copied over the years. I think when someone wants to put it nicely they'll say "paying homage" to that person The only time I thought Madonna was trying to copy the weirdness of Gaga is when she dressed like this:

I know it but im too old and fat to get down on the floor for that part lol

I don't think so at all. It could be Gaga-related very well. Madonna seemed to be a bit bothered with it all and it would be a good reason to give up on the project (whatever it was).

I love how Vogue Magazine is tributing Madonna and this song.... Strike a Pose! Why Madonna’s “Vogue” Is Still Relevant 30 Years Later Back in the 1980s, the word “vogue” would have recalled little more than a magazine—that is, unless, you were immersed in New York City counterculture, where it had taken on another meaning entirely. After many decades in the shadows, the pageantry of the Harlem ball scene, a community of African American and Latinx creatives seeking to build their own world of self-expression through the medium of dance and DIY fashion, was poised to hit the mainstream. In 1989, Susanne Bartsch held the first annual Love Ball as an AIDS fundraiser. Bartsch had witnessed many of these dancers and misfits “mopping” (or, to put it politely, borrowing without intent of return) from her avant-garde boutique off Spring Street, one of the first in the U.S. to stock designers like John Galliano and Vivienne Westwood. Duly fascinated, she invited them downtown for a ball like nobody had seen before. The judges included Vogue’s André Leon Talley, the supermodel Iman, and Talking Heads frontman David Byrne; somewhere within the crowd, according to queer folklore, was Madonna herself, witnessing the legendary Houses of LaBeija and Ninja storm the runway with their dips, pops, and spins. By the time the long, hot summer of 1990 rolled around, Madonna’s “Vogue” was topping charts around the world—eventually becoming that year’s best-selling single—and this subcultural movement had officially boiled over into the zeitgeist. Looking back on the 30th anniversary of its release, “Vogue” should never have been the smash that it was. In an interview with Billboard, the song’s producer, Shep Pettibone, noted that they recorded it as a last-minute track in a basement studio for $5,000; within a week, the final cut was sent over to the executives at Madonna’s record label. While they instinctively knew the song deserved to be more than just a B-side, they struggled to figure out how the singer could release it between album cycles. Eventually, it ended up awkwardly wedged into the soundtrack for Dick Tracy—Madonna’s latest movie venture—despite it having nothing to do with the film at all. Against the odds, it became a runaway hit. But it wasn’t just the song, and its unlikely mash-up of then-underground house music with a middle eight namechecking Old Hollywood filmstars, that captured the public imagination. It was the iconic video, directed by David Fincher, many years before he became the award-sweeping auteur behind films like Fight Club and The Social Network. The black-and-white, soft-focus visual took inspiration directly from the pages of the fashion magazines the dancers worshipped. (Rumor has it that Horst P. Horst even considered a lawsuit over the lack of acknowledgement for the inspiration he had so clearly provided.) And for anyone doubting Madonna’s commitment to the spirit of “Vogue,” you need only look to her MTV Awards performance from the same year. Dressed in full Dangerous Liaisons drag, she and her dancers flick their fans with all the glamorous nonchalance of Marie Antoinette, letting them eat camp. The video itself was choreographed by and featured Jose Gutierez Xtravaganza and Luis Xtravaganza, of the House of Extravaganza, who dressed up in cravats and spats to whirl around Madonna as she aped her Old Hollywood icons. They had style, they had grace, Rita Hayworth gave good face. Both Xtravaganzas would go on to choreograph her infamous Blonde Ambition tour; captured in flattering terms by 1991’s Truth or Dare, and later more poignantly in 2016’s Strike a Pose, which charted how this wider exposure began to compromise the integrity of the scene they came from, especially in light of the ongoing AIDS crisis. The latter also looked at how Madonna’s role in bringing the vogueing phenomenon into the public consciousness will always be linked to the febrile political context from which it sprung. Around the world, many were mimicking the playful, exaggerated gestures of the Harlem ballrooms with little clue as to the deeper significance those dance moves contained, leading to the eternal question: were Madonna’s efforts to spotlight this overlooked scene appreciation or appropriation? It’s a topic that was grappled with thoughtfully in Ryan Murphy’s award-winning show Pose, premiering in 2018 to retell the birth of the Harlem ballroom scene with an authenticity that can only be arrived at through meticulous research. Its second season took the moment of Madonna’s “Vogue” hitting the charts as its starting point. While some of its characters met the news with excitement, as underground queer culture was repackaged into something the public could respect and appreciate, others, like Billy Porter’s Pray Tell, approached it with scepticism, recognizing that the dilution of their culture into a series of dance moves would see it remembered merely as a fad. Both perspectives are valid, but the irony now is that “Vogue” is remembered as neither of those things—instead, it’s looked at with hindsight as a seismic shift for queer culture in the broadest sense, as it hit the mainstream for the very first time. Yes, there are valid questions around Madonna profiting off a movement that was spearheaded by a marginalized community she was not a part of, but, in her own way, she gave back. Even the year before “Vogue” was released, the liner notes for her album Like a Prayer came not with a series of thank yous to those who had helped her with the record, but an urgent message describing the “Facts About AIDS” to encourage safe sex, her most visible step yet in her to promote AIDS/HIV awareness. And while she might occasionally miss the mark, who knows the number of young, queer people of color who saw Madonna’s video playing on MTV and recognized within it a community that promised a lifeline. The possibility of upping sticks and moving to New York City, where, within the four walls of the ballroom, they could find a small slice of freedom. At its heart, both the song and video are odes to escapism. While few of us may be able to relate directly to the urgent need for uplift that defined the culture that spawned it, 30 years on, we can still lose ourselves in the deliriously euphoric feeling when the chorus of “come on, Vogue!” gets played by a DJ. (Or, right now, as we dance to it in the comfort of our own homes under lockdown.) After all, its emotional resonance, whether intended by Madonna or not, was always about the obsessive pursuit of beauty, and how we can democratize it. By picking up a $3 fashion magazine, a closeted queer black or Latinx kid growing up in the suburbs of ’80s America could enjoy a rare moment of transportive fantasy. Today, where many countries continue to reject the LGBTQ+ community, this still, sadly, holds meaning. The models that grace the pages of fashion magazines with their flamboyant poses and opulent surroundings carry the assurance of a freer, uninhibited world, where self-expression can run unchecked. The disappointment doesn’t lie with Madonna, but simply that these images offer a promise that, even three decades later, we’re yet to see realized fully. By comparing how much, and how little, has changed 30 years after “Vogue” was released, it serves as a pressing reminder that the work of our brothers and sisters from decades past is still not done. So, don’t just stand there—let’s get to it.

I only wish the album was all just her and Mirwais.