Vogue Italia

I'm always glad to see a new interview but I wish she'd appear on a different show. She has been on Jimmy Fallon so many times in the last 7 years and this kind of feels like déjà vu. She probably feels safe because he'll just fangirl and doesn't ask any pressing questions. I mean he didn't even ask about the new remixes or the movie she has been working on for years.
About her outfit... it was a choice. The outfit she wore to DiscOasis was much better. 
I can't help but think about how amazing she looked during the Facebook chat with Jimmy Fallon in 2012. I know it was a decade ago and we all age, but I never thought she'd be someone to start following trends like getting butt implants and getting excessive fillers in her face. You can see how it has changed the shape of her face.


She still looked great when she appeared on Jimmy Fallon in 2015. I miss this face and body.



She's starting to get that feline look in her face. Ricardo can't facetune every single picture taken of her.

Excessive is the keyword I used. I know she been getting fillers and other nips and tucks for probably decades but she still looked like herself until a few years ago and it is not due to her weight. I think her weight is fine and she has clearly gotten breast implants too, which aren't bad but she wears a lot of unflattering outfits. I did not expect her to remain a gym enthusiast all of her life but I thought she would age gracefully. She has never been one to conform to society's expectations, but she was a trailblazer and exuded confidence so I thought that's how she'd tackle aging, by redefining it instead of trying to run from it and following bad trends. Now she hides behind filters, a tight wrinkle-free face and grillz. She has her moments when she looks decent these days but she has lost that certain je ne sais quoi.
On a positive note, she did seems to be in good spirits. It would be nice to get a serious televised interview of her speaking like she did during the TIMEPieces conversation with Beeple earlier this year.

Has Beyonce's team even posted about it on any of her social media accounts? Meanwhile, Madonna peddled it for days and she didn't even record new vocals. It's more of a tribute than a collaboration.

I'm always glad to see a new interview but I wish she'd appear on a different show. She has been on Jimmy Fallon so many times in the last 7 years and this kind of feels like déjà vu. She probably feels safe because he'll just fangirl and doesn't ask any pressing questions. I mean he didn't even ask about the new remixes or the movie she has been working on for years.
About her outfit... it was a choice. The outfit she wore to DiscOasis was much better. 
I can't help but think about how amazing she looked during the Facebook chat with Jimmy Fallon in 2012. I know it was a decade ago and we all age, but I never thought she'd be someone to start following trends like getting butt implants and getting excessive fillers in her face. You can see how it has changed the shape of her face.


She still looked great when she appeared on Jimmy Fallon in 2015. I miss this face and body.



She's starting to get that feline look in her face. Ricardo can't facetune every single picture taken of her.

Painting by Paul Daniels

 
Madonna Madame X Painting by Vincent Vee

 
Art by Emma Sheldrake

 
Art by @Brendonshayart

 
Paintings by Pure Evil AKA Charles Uzzell Edward at Artêria Gallery in Quebec

Painting by Paul Daniels

 
Madonna Madame X Painting by Vincent Vee

 
Art by Emma Sheldrake

 
Art by @Brendonshayart

 
Paintings by Pure Evil AKA Charles Uzzell Edward at Artêria Gallery in Quebec

Thank you so much , im getting much of my original madonna art photographed as to create art prints which will be available by the end of the year, thank for following! xoxoxoxox

Madonna became close with the man she calls her “ride or die” in the same way that most people bond: through late nights out, long conversations — and no small amount of mischief.
In an interview with Variety, the pop icon opens up about her unconventional relationship with Variety’s 2022 Music Mogul of the Year Guy Oseary, that extends from partner-in-crime, at least in their early days in Miami, to trusted business partner and source of “calm wisdom.”
“I was always the adventurous, crazy one,” Madonna says. “As soon as Guy would get a little look of fear in his eyes, I’d think it was a good idea. I would use him as a weathervane.” However, that dynamic only crystallized over time. When the hitmaker first met Oseary, just 18 at the time, they were both unapologetic troublemakers. “As the years went by, he took on a more of a parental role,” Madonna reveals.
 
Oseary urged the notorious workaholic to rest more and spend wisely. Occasionally, Madonna heeded his advice. More often than not, she remained unswayed — such as the time Oseary suggested the superstar tone down on the elaborate staging of her tours. “He would try to get me to do less production because then I would have less overhead and make more money,” Madonna says. “He was always the voice of reason.”
While Oseary is now “the old man in the house in Benedict Canyon” according to his most famous charge, Madonna’s fearlessness has rubbed off on him in perhaps unexpected ways. Like his forays into the world of cryptocurrency and NFTs. “He’s always been the man behind the artist taking the risk,” she says. “Now he’s taking risks. He reminds me on a regular basis that he’s essentially invested all this money in the crypto world.” (Amusingly, their close bond didn’t guarantee Madonna the NFT ape she wanted from the Oseary-repped Bored Ape Yacht Club. )
 
As Oseary settled down, started a family, and rose in prominence as a manager, producer and investor, Madonna has learned, somewhat begrudgingly, to share her dear friend. “I’m not happy sharing him with apes. Cryptocurrency, Ethereum, U2, Anthony Kiedis, his four children and wife,” she jokes. “Why did all these people have to show up?”
Read on for more from the endlessly quotable multi-hyphenate.
 
How has Guy evolved over the years?
He’s changed a lot since I met him. When I met Guy, he was 18 years old. My first reaction to him was that he had a lot of opinions. But then, as I got to know him, I realized that he had good taste in music and recognized talent. We just became friends. I would get his advice about people I was dating and he was always going after supermodels that were breaking his heart.
In business, was he good cop to your bad cop?
More or less. I was always the adventurous, crazy one. As soon as Guy would get a little look of fear in his eyes, I’d think it was a good idea. I would use him as a weathervane. But that didn’t happen right away. We were on even ground and then, as the years went by, he took on a more of a parental role. He was always very practical. When I would go on tour, he would try to get me to do less production because then I would have less overhead and make more money. He was always the voice of reason and I was the mischievous one pushing the envelope.
Guy says that your risk taking rubbed off on him as a businessman.
He’s always been the man behind the artist taking the risk. Now he’s taking risks. He reminds me on a regular basis that he’s essentially invested all this money in the crypto world.
Which brings us to Bored Ape #3756.
I was so pissed off that I didn’t get the one I wanted. Once I get my mind around something then that’s what I’m going to have. But I learned quickly that wanting 32 musicians on stage in a small theater is not the same as wanting an ape with a leather motorcycle cap and multicolored teeth.
That’s the one you wanted?
Yeah and I didn’t get it. Even though I was told that it was inspired by me, and modeled after me. It was bought by a woman who is a fan of mine. I was like, “She should just sell it to me!” She was gonna sell it to me, but it was way, way too expensive. I can’t afford my own ape.
Do you share everything with Guy?
To a point. Once he got married, he created his own universe. Obviously, I had him all to myself and now I have to share him with his wife, which really pisses me off. I’m kidding! Before that a lot of pretty girls came and went — he’s gonna kill me for saying all of this — but then he settled down with a really nice girl. I was like, “God dammit. Now I have competition!” And then he started managing other artists, which really pushed me over the edge.
You have an unconventional relationship.
Like I said, before it was just me and Guy. We did everything together. I remember the tour where he went, “I can’t do this anymore.” It was for MDNA. I never settled down in a conventional way. I have a very unconventional family. I call myself a citizen of the world and my family unit moves with me.
He couldn’t be on the road all the time?
It probably had to do with him wanting to grow a business, but also having a family. Now he’s the old man in the house in Benedict Canyon. Is that where he lives? One of those canyons. I’ve only been to his house 3,000 times. But he has a lot of practical, calm wisdom that I do not have, so we still have a good dynamic. It’s just shifted.
What are your plans for music going forward?
I’m just looking for interesting, fun ways to rerelease my catalog and introduce my music to a new generation. I’m focused on that and I’ve been writing a screenplay for my film for the last couple of years. The whole thing with “Frozen” was so fun, but I woke up one day and went, “I’m sick of living in the past!” I want to go on tour again, I’m a creature of the stage. That is my happy place.
Would you miss Guy on tour?
I’m always happy to see him. In my opinion, he doesn’t come around enough. I wish he would come around more. I’m not happy sharing him with apes. crypto currency, Ethereum, U2, Anthony Kiedis, his four children and wife. Why did all these people have to show up?
Guy says you shot down any consideration of selling your song catalog. Why? 
Because they’re my songs. Ownership is everything isn’t it?  I mean, that’s why he’s buying apes.
Where are you at with the biopic?
I have a very long script that is really hard for me to make shorter. I’ve been whittling away at it, but it’s like hacking off my limbs.
Why did you decide to make the film?
I’ve had an extraordinary life, I must make an extraordinary film. It was also a preemptive strike because a lot of people were trying to make movies about me. Mostly misogynistic men. So I put my foot in the door and said, “No one’s going to tell my story, but me.”

I don't remember the last time I voted for the VMAs, but I voted today!

Has it ever been confirmed that Martin was part of that design process for this Lucky Star cover?

I imagine Martin's design was something different maybe similar to Burning up. I'm not sure but even though I like the photos from the shoot I do think she made the right choice in re-shooting and going with a black and white photo. Going behind Martin's back instead of just telling him she didn't want to use his design was shady but she also gave him a lot of opportunities and supported him.
Here are some photos from the Edo Bertoglio shoot with Martin in April 1983
This would've been a nice cover, she looks ethereal but the Gary Heery shoot in May 1983 with the accessories has the downtown cool vibe.

Martin seems to be directing her on her hand pose. Maybe he came up with the concept for the shoot 

Debi Mazar did her makeup for the shoot

 
Martin has the following credits:


Art concept for NV's 1983 single "It's Alright" and their 1984 single "Let Me Do You" (Sire Records)


 
Cover design for Jellybean's 1984 single "The Mexican" (EMI America Records)

Design along with Amy Nagasawa for Jellybean's 1984 album Wotupski!?!  (EMI America Records)


Cover art for the 1986 album Hand To Mouth by General Public (I.R.S. Records)

 
Sleeve design and artwork for  The Jamaica Girls'  1986 single "On The Move" (Sire Records)

Ironically, Martin Burgoyne was supposed to design the album sleeve for her debut, but according to Seymour Stein, Madonna didn't think it was "Iconic" enough and discreetly asked A&R man Michael Rosenblatt to reject it. Here is a passage from Seymour Stein's autobiography Siren Song: My Life in Music.

 
 

Has it ever been confirmed that Martin was part of that design process for this Lucky Star cover?

I imagine Martin's design was something different maybe similar to Burning up. I'm not sure but even though I like the photos from the shoot I do think she made the right choice in re-shooting and going with a black and white photo. Going behind Martin's back instead of just telling him she didn't want to use his design was shady but she also gave him a lot of opportunities and supported him.
Here are some photos from the Edo Bertoglio shoot with Martin in April 1983
This would've been a nice cover, she looks ethereal but the Gary Heery shoot in May 1983 with the accessories has the downtown cool vibe.

Martin seems to be directing her on her hand pose. Maybe he came up with the concept for the shoot 

Debi Mazar did her makeup for the shoot

 
Martin has the following credits:


Art concept for NV's 1983 single "It's Alright" and their 1984 single "Let Me Do You" (Sire Records)


 
Cover design for Jellybean's 1984 single "The Mexican" (EMI America Records)

Design along with Amy Nagasawa for Jellybean's 1984 album Wotupski!?!  (EMI America Records)


Cover art for the 1986 album Hand To Mouth by General Public (I.R.S. Records)

 
Sleeve design and artwork for  The Jamaica Girls'  1986 single "On The Move" (Sire Records)

Has it ever been confirmed that Martin was part of that design process for this Lucky Star cover?

I imagine Martin's design was something different maybe similar to Burning up. I'm not sure but even though I like the photos from the shoot I do think she made the right choice in re-shooting and going with a black and white photo. Going behind Martin's back instead of just telling him she didn't want to use his design was shady but she also gave him a lot of opportunities and supported him.
Here are some photos from the Edo Bertoglio shoot with Martin in April 1983
This would've been a nice cover, she looks ethereal but the Gary Heery shoot in May 1983 with the accessories has the downtown cool vibe.

Martin seems to be directing her on her hand pose. Maybe he came up with the concept for the shoot 

Debi Mazar did her makeup for the shoot

 
Martin has the following credits:


Art concept for NV's 1983 single "It's Alright" and their 1984 single "Let Me Do You" (Sire Records)


 
Cover design for Jellybean's 1984 single "The Mexican" (EMI America Records)

Design along with Amy Nagasawa for Jellybean's 1984 album Wotupski!?!  (EMI America Records)


Cover art for the 1986 album Hand To Mouth by General Public (I.R.S. Records)

 
Sleeve design and artwork for  The Jamaica Girls'  1986 single "On The Move" (Sire Records)

Has it ever been confirmed that Martin was part of that design process for this Lucky Star cover?

I imagine Martin's design was something different maybe similar to Burning up. I'm not sure but even though I like the photos from the shoot I do think she made the right choice in re-shooting and going with a black and white photo. Going behind Martin's back instead of just telling him she didn't want to use his design was shady but she also gave him a lot of opportunities and supported him.
Here are some photos from the Edo Bertoglio shoot with Martin in April 1983
This would've been a nice cover, she looks ethereal but the Gary Heery shoot in May 1983 with the accessories has the downtown cool vibe.

Martin seems to be directing her on her hand pose. Maybe he came up with the concept for the shoot 

Debi Mazar did her makeup for the shoot

 
Martin has the following credits:


Art concept for NV's 1983 single "It's Alright" and their 1984 single "Let Me Do You" (Sire Records)


 
Cover design for Jellybean's 1984 single "The Mexican" (EMI America Records)

Design along with Amy Nagasawa for Jellybean's 1984 album Wotupski!?!  (EMI America Records)


Cover art for the 1986 album Hand To Mouth by General Public (I.R.S. Records)

 
Sleeve design and artwork for  The Jamaica Girls'  1986 single "On The Move" (Sire Records)

Has it ever been confirmed that Martin was part of that design process for this Lucky Star cover?

I imagine Martin's design was something different maybe similar to Burning up. I'm not sure but even though I like the photos from the shoot I do think she made the right choice in re-shooting and going with a black and white photo. Going behind Martin's back instead of just telling him she didn't want to use his design was shady but she also gave him a lot of opportunities and supported him.
Here are some photos from the Edo Bertoglio shoot with Martin in April 1983
This would've been a nice cover, she looks ethereal but the Gary Heery shoot in May 1983 with the accessories has the downtown cool vibe.

Martin seems to be directing her on her hand pose. Maybe he came up with the concept for the shoot 

Debi Mazar did her makeup for the shoot

 
Martin has the following credits:


Art concept for NV's 1983 single "It's Alright" and their 1984 single "Let Me Do You" (Sire Records)


 
Cover design for Jellybean's 1984 single "The Mexican" (EMI America Records)

Design along with Amy Nagasawa for Jellybean's 1984 album Wotupski!?!  (EMI America Records)


Cover art for the 1986 album Hand To Mouth by General Public (I.R.S. Records)

 
Sleeve design and artwork for  The Jamaica Girls'  1986 single "On The Move" (Sire Records)

Ironically, Martin Burgoyne was supposed to design the album sleeve for her debut, but according to Seymour Stein, Madonna didn't think it was "Iconic" enough and discreetly asked A&R man Michael Rosenblatt to reject it. Here is a passage from Seymour Stein's autobiography Siren Song: My Life in Music.

 
 

Ironically, Martin Burgoyne was supposed to design the album sleeve for her debut, but according to Seymour Stein, Madonna didn't think it was "Iconic" enough and discreetly asked A&R man Michael Rosenblatt to reject it. Here is a passage from Seymour Stein's autobiography Siren Song: My Life in Music.

 
 

I saw a new Basquiat book today at a store for the new exhibition Jean-Michel Basquiat: King Pleasure. I skimmed through the book and I saw a page about Madonna. Basquiat's sisters and his stepmother (who wasn't married to his father Gerard but they were together for decades until his death and his sisters refer to her as their stepmother)  share their memories of Madonna and there are 2 rare Polaroid photos of her. I took a picture of the page with the flash off because there was security all around and I didn't want to seem suspicious. The book looks good, I might buy it later when I see the new exhibition. It's in New York City so I think Madonna might go see it. She took her children to see the Basquiat exhibition in London a few years ago and since she's making her own biopic, this might be some more #research.
Basquiat's sister Lisane said: 
I remember hearing that Jean-Michel and Madonna were dating. It was very matter-of-fact. After that I would party extra hard to "Everybody" LOL.
 
His father's partner Nora said: 
It was Thanksgiving in the early 1980s, Jean-Michel was on the phone with Gerard, inviting us for dinner. Several calls later he found a restaurant and made a reservation at One Fifth Avenue. Gerard, Jeanine, and I went to the restaurant, and Jean-Michel was already there with Madonna and some friends. (We didn't know who Madonna was at the time). He knew I liked vodka gimlets, so everybody was drinking vodka gimlets. He was very thoughtful and charming. We had a lovely dinner, after which there was the usual fight between Jean-Michel and Gerard about who would pay the bill. After dinner we went to his apartment on Crosby Street to hang out. It was a lovely occasion I will always remember.
 
Basquiat's sister Jeanine said:
I remember the night that we (Papa, Nora and I) met Madonna. It was the only time I saw her. We went to dinner at the restaurant One Fifth Avenue. Jean-Michel introduced us to his girlfriend: "This is Madonna. And she has a song out right now." I had no idea who she was at the time, but he showed us her first single "Everybody." After dinner we went to his loft on Crosby Street. While we were there Madonna asked if I knew how to do the popular dance at the time, because I was a teenager. I did—I showed her how to do "the Webo."



 

vogue ..............................

The only way I'd agree it should end at the Blond Ambition Tour is if the film begins during her childhood. If it begins around 1977 then I think Ray of Light would be a good endpoint. I know she mentioned wanting to include parts of her childhood but I figured it could be flashbacks. We know she has the script going as far as Evita in the original draft with Diablo since she confirmed it on Instagram Live. I hope the final draft includes Eroica and the Sex book. I feel like she would love to showcase the controversy and the media scrutiny she overcame at the height of her career.

The transition between "Live to tell" and "Oh father"... i got chills. At 42:30 
 

I’ve been an artist forever I guess,
but I would say for the last 5 years I have been trying to pursue art as a career. 
 
Madonna hasn’t commissioned or brought any of my art, though I did GIFT her two pieces that she liked. I will include a photo! 
 
JMB is one of my many muses, and yes, I have had the brief opportunity to speak of him with M. She loves him dearly. I think we will all see a lot more about their story in the movie. 
 
 

Congrats! That is a nice resume booster! How long have you been working as an artist? 
Has Madonna commissioned or purchased some of your artwork as a collector? If so which pieces?
I can see some of Jean-Michel Basquiat's influence in your work, we know Madonna dated him and has a deep appreciation for his work, Is that something you guys discussed? 

Hey Guys! 
I created the FEL 16-track Album Art, Frozen feat. 070 Shake Cover and contributed my art to the Frozen on Fire Lyric Video…
Ask me anything!
Stumbled upon this forum a few weeks back and love reading EVERYONES opinion!