me1981

And for the record, she never says they were defnitely going to be in the film. She said she had hoped they would be. She was writing with that intention, but Beatty kept saying no.

I think this still gels though. I got the feeling Madonna wanted her songs in the movie and Beatty didn't, so that still holds that she was writing with the hopes they would be in the film. I am guessing he never outright told her but instead just kept telling her the songs were not the right fit and she eventually gave up.

Lets just call it a compilation album, haha. Outtakes that didn't make the film but were written for it, songs that were in the film, songs written that were inspired by the film but were written after she realised she wasn't going to get any music in the film and one random song that had nothing to do with the film

I am only going on what Madonna herself said. She stated before I'm Breathless came out that the songs were written with the intention of being in the film. Each time she would write a batch of songs and give them to Warren, he rejected them, so she would go back and write more and so it went, until she had a bunch of songs and nowhere to put them. Maybe Something to Remember is autobiographical, doesn't mean she didn't write it with the intention of including it in the movie. I'm Breathless exists solely because Warren rejected these songs from being in the film. M had no intention of making an album, she wanted in on the soundtrack and the royalties that would come from millions of sales. She found a way to do it. Pretty simple.

Madonna said in her BBC interview in 1990 she wrote the songs for the soundtrack, but when Warren kept rejecting them she put the album together. So the songs were created as Soundtrack songs and she made the best of the situation since she had so many songs written and ready to go. So the answer is it is whatever you want it to be, but the songs were written as Soundtrack songs with the exception of Vogue

Meh, I think she would have been the same

I think Winger is a good actress, but she is such a horrible person. She has a history of being a jerk, and often for no reason.

Pretty sure Warner Music Japan released Yokohama. Nice isn't owned in purpetuity by Pioneer. Pretty sure it was a exclusive distribution deal with M and WB agreeing not to release a competing VHS release of the concert during the time of the deal. In other words Pioneer probably never actually owned BAT Nice

This is so exciting. I want everything, haha I honestly don't think M will tie herself down to any label for new music. We are in the era of "If I feel inspired to do new music I will" and she has WB right there to distribute it if she wants. No need for her to sign a multi album deal anymore. WB wanted her back and I don't think they are going to let her go again. M is no longer under pressure to deliver new material but has the option anytime she is feeling it.

From what I have read, the UK and France were the only solid dates for BAT in Europe, and everything else was a big mess

Yes it was a surprise, and it took me six months after it was released to listen to the whole album. I still feel like after American Life, M wanted to regain her commercial success in the USA and as a result she put the political stuff in the background and worked with a hot producer she felt could help deliver a hit. And he did in every country but the US. Billboard asked a bunch of radio programmers back in the day why they were not playing Confessions after Hung Up had been such a big hit. They basically said she was not really an American entertainer anymore and she wasn't doing US style music anymore. Though if you read between the lines, many were saying she was un-American. So it really should not have been a surprise that her next move to was to hire Pharell and Timberlake/Timbaland. Unfortuntely I think her massive drop in success might have made her doubt her own abilities and hand over too much power to her producers because whether the tracks are good or bad, I always come away with the feeling that M is a guest on her own album.

Does anyone remember the gathering to celebrate MDNA going to #1. She looked lke she wanted to kill him. She tried throwing the cake in his face but looked like she wanted to smash it in his face instead. Maybe I am remembering it wrong as I haven't seen it since it first was released.

I never said he made her do anything. Guy is in her life and a big part of her career. If we are discussing her career choices he will come up. He is her manager. Just like Freddy pushed M in certain directions it is reasonable to assume Guy did too. M isn't doing all this alone.

Well we can agree to disagree. Seymour had his say and it is one side of the story, which has had different details depending on which interview you read of his. Yes that is the job of the A&R guy, just like Seymour was doing his job. Both deserve credit. Just like Madonna does, just like Stephen Bray does. Just like Mark Kamins does. I am saying of all the people involved he basically gets no credit at all and regardless of the one sided story Stein tells, looking through mutliple interviews throughout M's career, Stein was not the be all and end all of her career. A memoir is that persons view of how things happened, not the absolute truth of what happened.

Oh right I guess like Madonna I had totally forgotten about her

I was talking more the first year. It really was Michael Rosenblatt. Michael got Reggie Lucas in, he took M to LA as the NYC execs hated her and got her more money to complete the first LP and for more publicity and he got Jellybean on board who found Holiday. He also introduced her to Freddy DeMann, she had asked for MJ's manager and Michael made it happen. I am sure Seymour was doing stuff at that time too, but it does seem he got more involved and Rosenblatt less involved towards the end of 83 or beginning of 84. Yes Seymour believed in her and definitely supported her, but he was a busy man and it was Michael's job to guide M more in the day to day. Seymour would have done some of the big stuff. I have no doubt he trusted his A&R guy Michael who truly believed in her. M met Michael before Seymour. It was because of Michael that her demo got to Seymour and she met him in the hospital. And my point was Seymour gets all the credit and Rosenblatt gets pretty much none. I definitely was not saying Seymour deserved none of the credit.

Yeah I do have to agree with this. I also think Guy O, unlike Freddy, caves into her more. I think Freddy would stand up to her and knew how to convince her that certain things were best for her, while stroking her ego. I think Guy and M are too close as friends and it is harder to be tough with a friend.

I feel like Seymour (who ran Sire at the time M was signed, not WB) gets too much credit. Michael Rosenblatt was far more instrumental in Madonna's early rise. Seymour more than likely signed her in part because of Rosenblatt, who guided her very early career. Not that Seymour did nothing, he did and should be credited too of course. M had been having issues with WB for a while, especially where Maverick was concerned. I do think there was some bad blood there and when Live Nation (who to that point, had only been in charge of her recent tours) came out with the massive 360 deal, WB couldn't match it and M walked. We also don't know how much Guy O may have convinced her it was the right thing to do. I don't say this to slag him. I do also wonder if M and Guy R were done when she signed the deal in 2007. On Madonnatribe in 2007 or early 2008 there was a post from some anon that said M and Guy were going to divorce but she wanted to wait until promo for the album was done so she wouldn't need to deal with the publicity and they could split quietly. Everyone responded that the poster was a moron. I have never been able to find the post since. If this was true, maybe in 2007 she decided to throw herself into work and the ten year deal was attractive as it meant work, work, work. She has admitted to signing to tour a long schedule and then regretting it.

Apparently not even the record stores knew when a single was set for release, even when it was sitting in the back waiting to go on sale. Only albums got official release dates from what I have heard. Which is why Billboard kept changing certain rules to deal with it as the delays kept causing havoc with the charts. You also hit on another point. Teens would trawl through looking for singles. Adults would generally not. So a kid at 12 was more likely to search for and find the plain 7" while an adult would need to have it right in their face with a picture sleeve or they would give up and buy something else.

Thanks for that. It is interesting how quickly she often pulled things together back then

Yeah, but not sure that was a thought to the record companies back then, plus the video would have cost a bundle so maybe they hoped they would recoup some money through the single. Also M was so successful that if she asked for a single release back then, WB was probably willing to take the risk. Though not a massive risk. I think it was Prince who implied M pretty much got whatever she wanted at WB, to a point anyway.

Didn't David Fincher say WB didn't really want this single released. He pushed M to do it as he had a great video in mind. So they probably didn't want to spend the money. My other guess would be that WB felt the single was too Adult Contemporary. Older people were less likely to buy a 7" single and would be more likely to buy a cassette single. In fact WB was trying to phase 7" singles out, which is why from Vogue onwards none of her US 7" releases had picture sleeves. Cassette singles were a little bit more up market at the time than 7" singles. I think they assumed only young people bought 7" singles as they were cheap and young people wouldn't buy Oh Father so why spend the money. M had young fans so she was one of the few that continued to have 7" releases post 1990. In terms of Keep It Together. WB was desperate to restore M's top 10 status. KIT was a dance single and they probably thought would appeal to her younger audience, so they did the picture sleeve for the 7" By the time of Vogue, as a I said above, WB was done with the 7". I guess the cassette single was selling well enough that they could mostly abandon the 7" format (for the record, the cassette maxi in 1987 did not sell as well as the 12" which is why the 12" stayed and the cassette maxi was shelved, it returned in 1992 and was gone again by 1994)

Why would it be a fuck you? I actually felt after MDNA she would never do another stadium tour. She seemed miserable with the constant rain, tech issues, outages and her illness. She did say once she prefers arenas but Stadiums are more convenient.

Pretty sure it was based off the Diane Keaton movie Looking for Mr. Goodbar. In which she is murdered during a one night stand

Honestly the apathy towards movie and music celebs and the industries in general since COVID has been refreshing, but it doesn't bode well for people like M. I remember ten years ago when she went for jury duty and it made the news. Now she could set her hair on fire and no one would care. I remember seeing teens react to Mariah's Fantasy and few had any idea who was singing the song and when they found out they were like "Oh right, she hasn't done much recently" Blew me away. That song is such a bop I figured it would remain a classic regardless. The world has changed and is changing rapidly. It is unfortunate and M will probably lose out as a result. When she came out in defense of Britney and approved of her new lawyer, whom she knew, I expected more response, but again few cared. Good or bad publicity, doesn't matter, but people no longer giving a toss means your days in the sun are over, and it is no ones fault. I have seen articles and videos praising M and trying to get a sort of resurgance in interest in her, but it has failed every time. I do think it is up to her to push herself out there with the biopic and re-releases and stuff, but I also feel she somewhat missed the boat. COVID changed so much that I have to wonder whether she will ever get the legendary style respect she deserves from this younger generation.