jeannvogue

Enjoy this fake 24 stems pack circulating on twitter

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Give reaction to this post to see the hidden content. So here is the 20 Anniversary Remastered EP with the L.E.X vocal mix as a gift to the song for being so special for me
My concept for the cover art was to grab the hollywood single artwork pic and make her clothes red or add the dress in the reinvention red photoshoot to make a alternate cool version but my attempts flopped and I had to rush out the cover art..just the hollywood pic with the text
I will release a brand new artwork and a new deluxe EP with some more remastered mixes tomorrow as the full celebration
 

Please do Drowned World Tour!!! That show deserves to be in HD (keeping the 4:3 ratio) and dehaze that bright effect. hehe. thank you for this amazing work!!

Yes. Thank you !
https://www.youtube.com/c/InterlacedGeek
Lot's more to come ;-)
Next is Blond Ambition Tour Barcelona ...
Check my previous release on my channel. I loooooove your support guys.

2013

YES I'M IN!

Happy 30th Anniversay of Vogue! Thank you #TodayShowAustralia/#TodayExtra for the shout out!! ???????
 

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.

He says it in Italian, "I made it easier"

Not to be a cunt, but he's doing it wrong. 

I don't know how many follow Luca Tommassini on IG, but during these quarantine days he is teaching a choreo to his followers that also includes Vogue (unfortunately, only a small part of the chorus, the easiest):
 

I’m kind of glad I haven’t bought tickets for the London shows now - I think  I’ll just wait for the blu ray and see how much Danny Tull makes a mess of it instead ??

Imagine her team getting their shit together...and for a year we would be getting remastered albums and tours on Netflix, music videos in 4k on youtube...all this starting this summer and lasting until next summer. Spreading out the releases. She wouldn't even need to get out of bed for all this to happen honestly. All in preparation for Madonna first Greatest Hits Summer Stadium Tour in 2021. A couple dates in each continent. No need to go big. No crazy 3 dates in 3 days in a row or anything. Do North America. Stop 15 days. Do Europe, stop 15 days, etc...
This would be an amazing way to reintroduce Madonna to people that used to love her as well as introduce her to a younger audience as well. Her music has been used in plenty of TV Shows lately and movies: Stranger Things (Material Girl and Angel), Pose (Vogue), Euphoria (Lucky Star), the movie Uncut Gems (Rain), etc...i'm sure the royalties to be paid have gone down considerably in the last couple years, that's why so many tv shows/ movies are using her music now.
Then she would vanish and comeback with another studio album for fall 2022 and a smaller arena tour during 2023, 2 years after the stadium tour and she could again focus on newer material like she loves. 
I honestly can't imagine any of this happening. It all sounds...good. But 

Well said

is this the facist State of Madame X??? 

Didnt Madonna said once that rules were made to be broken? Break the rules ;-) And Yes I will take souvenir photos.

I respect your point of view but mine is different. I hate mobile phones, but if it's not forbidden to use it, I use mine to take souvenir photos, and I always keep it on, even at night, in case someone should look for me for an important reason, having elderly parents who might need help in any time.
I keep it on, always remembering the rules of good education.
I keep it on even if I attend a concert in the theater if it is not explicitly forbidden.
Otherwise I adapt to the prescriptions, even if in my playful tone you have been able to catch rudeness.
But this prohibition is a disappointment to me.
It is a question of points of view...
The important thing is not to violate the prohibitions if they are imposed

She better tape this thing. ???

I feel sorry for the people who spent lots of money in advance. Must be hard to know that your show which was supposed to be the Opening Night of the tour won't be anymore. It makes you lose the excitement to be the first ones ever to witness her new live concept. A shame to be honest. Live Nation should have foreseen this would happen AGAIN. I know Madonna is a perfectionist and wants everything to flow the best it can, especially when it comes to concert tours. Hope she makes up to you guys and don't fuck it up by starting the shows late again. That would be so embarrasing... like for everybody who is attending the tour (I'm looking at you Britain).
In my personal experiencie, if it wasn't for the last time she rescheduled the Miami, Atlanta, and San Juan shows in 2015 I would have never had the chance to see her. So I suppose these horrifying announcement has both positive and negative outcomes. At least New York City is still getting 16 shows! 

Well west end and broadway shows have to open on time... its a bit poor tbh and and and underestimate of time it takes...

The show needs to either start or end with a bang, and that bang my friends, is no other than God Control.

I always had the impression that God Control had a chance to be the opening number (similar to Iconic and not strong enough to be a closing number), and now from an Instagram Story NewsofMadonna is sharing the same idea:

https://www.news-of-madonna.com/Titre-d-ouverture-de-Madame-X-Tour_a1155.html
 
From the picture it seems that GC is immediately following an opening sequence (an intro?) featuring only Ahlamalik and Sierra.
 

I think Vogue could be the option, ala Pride.

I'll be getting my japanese bluray from CDJapan on Monday 18, with DHL, and the bd+cd digipack and 2cds from Amazon France on Friday 22. But if it's really region A only, that really sucks. I won't be able to play it on my bdplayer so i guess i'll just rip TAB in my computer to watch it everytime i want.