boytoy77

I do recall her putting out calendars at the very last moment.  2 years ago, the same thing happened.  Then all of a sudden, she was selling 16 month calendars in January. (the extra 4 months are the last months of the previous year) which make no sense because it was not released until January.  I guess we will just have to wait and see.  

When all else fails, you can always use the 1992 official calendar. LMFAO!!

The email is real although I can't guarantee how much the person who replied knows.
But considering we are also at the end of November, it seems very possible.
It’s a shame
And you got no one to blame
 

If the email is true, than this will be the 3rd time that Madonna has not had a calendar during her entire career. It’s a stupid decision, because they always sell well, and could have been handed to pretty much anyone on her team. 

Same here. In Canada.cannot afford to travel south to see her.

tbh I can't be mad at celebrities doing those kinds of things. We have no idea what it is like to be treated like an alien everywhere you go and have everyone stare at you.... but then again I wouldn't want to be a celebrity like her (especially nowadays with social media)

Enough ?

Ha! She’s not the only one, my father has a drink problem. I can relate. Thankfully he doesn’t own a vineyard!

I never understood the logic behind it.  Not even Warner itself sees it as a studio album of her.
"Something To Remember" is one of her best songs together with "Vogue" as one of her best singles/videos ever.
Too bad that the solo demo version of "What Can You Lose" exists in such poor sound quality

Either way, Vogue sold the album 

So in that case I'm Breathless is a STUDIO album too

This "music from and inspired by" stuff was pioneered by Prince with his Batman soundtrack album in 1989. M, as usual, got the trend. Dick tracy has THREE soundtrack albums, don't forget that, and Madonna's just one of them, and includes only three songs featured in the album. I've always consider it a "concept studio allbum". And don't forget that either a soundtrack album or a studio album, both are recorded in a STUDIO. Period (LOL)

Except for the various times she's mentioned it lol

To me it is an album. I've never seen it as a soundtrack. I remember when it was released, it was not pushed as a soundtrack at all. Vogue was definitely used to sell it.

Madonna was inspired by her Breathless character in the movie, that album is not a soundtrack but an album that was inspired by the movie, and as far as I know most of those songs were written during or after the filming of the movie, I don't think that many of those songs were ever considered to be on the film since she is not a producer or director in that film and by the time Madonna was involved as cast in the movie, the movie had already been decided, written and approved by the people producing it and the movie studio, etc.she was just Inspired by her character.

Yes!! It only became an issue once she left Warner Bros. and they could (or would) not agree on the tally of what was considered actual albums and soundtrack albums/songs recorded for movies (Who’s That Girl, Into the Groove, Crazy For You, Evita, etc.)
Also, Dick Tracy already has a soundtrack album that includes songs from k.d. lang and other artists. 
So for me, I’m Breathless will always be a studio album. 

Question about Madonna at 3:43..posting here because they both talk about going to the Brooklyn show and how much they loved it

Tony Ward

It's airing tonight in the US...
Please record and share!!
 

I often watch the entire first act, including the 8 minute audience shots.  It reminds me of actually being there, to hear the crowd get louder and louder as the lights turn off and the video begins! Waiting for a Madonna show to start is beyond anticipation.

I think it's just something that came up during the recording sessions. Everything was already there, they just had to flip the track, add some kickdrum and Madonna thought it'd be hilarious to recite a prayer over it to close the album. It's "like" a prayer,but not exactly.

It is now a wide shared opinion that the official MDNA Tour film is nothing more than wasted potential. Horribly edited, color saturation turned up the max, over edited vocals, added crowd reactions taking away from the performance. All things that are accurate. However, many fans only complain about the shortcomings of the film. In reality, we should feel lucky it turned out the way that it did. Join me on the long journey it took to get the MDNA Tour on film. 
 
 
Background
The MDNA Tour was the ninth concert tour undertaken by Madonna in support of her twelfth studio album, MDNA. The tour was one of Madonna's largest and most intricate performances to date. Played in predominately stadiums in Europe and South America, and mostly in arenas in North America, the tour was a critical and commercial success. The show did find some controversy for the usage of firearms in the performance, Madonna flashing her breasts, and accusations of lip syncing. Madonna did not let this deter her and she gave 110% each and every night.
 
 
The Initial Film Plan
It was decided early on that the team wanted to film at least part of the show during the July 14 stop of the tour in Paris at the Stade de France. Indeed, crane cameras and hand held cameras found their way inside the stadium. However, deciding to film the show here created a scenario rarely used in modern concert film production; it was one night only show. Usually, the selection of the venue to film a concert goes to venues that will be getting the show for multiple nights in order to make sure the show is completely captured and there is footage to fall back on should something in one show go wrong. So the filming here as you can see was strange. The show in Paris went off mostly without hitch (and even included the nipple flash from M) and the crowd was mostly into it. However, the footage that was captured didn't suit Madonna completely. Some rumors say that she felt the footage was shot from too far away and that not enough of the performance and energy on stage was captured in the footage. So, the choice was made to cut this footage and start from scratch. 
 
 
South America? Yes! No!
Madonna found incredible success with the filming of her Sticky & Sweet Tour in Argentina. It is a very well known fact that crowds in South America are some of the most energetic in the world. Madonna planned to film the first two shows of the South American leg and her first ever shows in Columbia. It was all perfect. Amazing crowd. Beautiful stadium. Incredible show. Except...the director that M so desperately wanted to film the show was unavailable to shoot in Columbia. So, instead of not using the team she wanted, she decided to axe the filming in Columbia and looked for another place to film. However, cranes were placed in the stadium in Buenos Aires for extra crowd shots. 
 
 
Miami Life Saver
Madonna decided to film the last two shows in the US at the American Airlines Arena in Miami on November 19th and 20th. The venue is a mid-size arena (not a small arena, but far the biggest arena she brought the show to) and the arena always looks great on film. So, all the equipment was loaded in. The shows were sold out and the crowds in Miami usually promised to be energetic. However, on the 19th, Madonna was much later arriving on stage than usual and by the time the show began, there were very noticeable empty patches in the venue. The same happened the following night. While the show footage that was captured was exactly what M wanted, the empty spaces and lack of energy by the third act of the show rendered much of the Miami footage unusable.
 
 
A Brilliant Solution
Faced with the issue of having two less than satisfactory shoots, less than a month left in the tour and no time to organize another shoot. It was time for M and her team to make a choice. Which footage was going to be used in the final film? After some deliberation...obviously it was decided that they would blend the footage of the two shoots and throw in some of the club show for good measure. That is what we ended up with.
 
 
So, my point? Maybe we should all spend less time picking out the faults of the DVD and just be grateful that we even got one.  

I have this argument so many times.  I really and truly believe that the MDNA Tour was the best tour of all recent 5. 
For me, it was just brilliant!

I do not know how to do the side to side comparison for you (wish I was that tech savy lol) but there has indeed been changes made from the Showtime version. This is what I've noticed, but there could be more: 
 
The audio track has been changed. They added much more of her live vocals, presumably from the Sydney show, so the audio track does now match up to the visual in most places. Her vocals are still edited in some places, mostly on the older songs, but overall, it's much less studio sounding.  The visual presentation has been altered. There are still filters applied throughout, but they aren't as strong and overbearing. I'm sure you noticed on the Showtime presentation that sometimes the contrast on the picture made certain things blurry. Well, that has been corrected. It is still bright, but it is blended much better so things don't get washed out. They slightly tweaked some of the over zealous editing. It's still a tad chaotic in spots, but they did slow down some of the camera movements. They still use a lot of the backdrop overlays, but it is much easier to see what she is doing on stage behind them. They have also slightly toned down some of the more questionable visual oddities. They're still present but they aren't as jarring and flow much better.  The big one is that they made it look much clearer. It isn't difficult to see what's going on as it was in the Showtime edit. They've corrected some of the visual imperfections and made the whole thing look much smoother.  

Christopher hasn't watched MDNA Tour I guess. Her most theatrically brilliant since Blond Ambition  

Attitude Magazine
September 15, 2017
 
OPINION
‘SHE MIGHT HAVE THE OCCASIONAL HICCUP, BUT MADONNA IS STILL THE QUEEN OF LIVE SHOWS’
http://attitude.co.uk/she-might-have-the-occasional-hiccup-but-madonna-is-still-the-queen-of-live-shows/
 
Madonna's recent performances fly in the face of her brother's accusation of "disappointing" live shows, writes Simon Button.
 
With last album Rebel Heart shifting just a million copies worldwide on its release in 2015, the pop charts may no longer be Madonna’s domain.
 
That figure amounts to half the musically-inferior MDNA‘s international sales three years earlier, a quarter of Hard Candy‘s, a tenth of Confessions On A Dancefloor‘s and a poor shadow of career-high True Blue‘s almighty 25 million haul. Given the fact ‘Living For Love’ only reached number 26 in the UK and the brilliant ‘Ghosttown’ (arguably her finest single since ‘4 Minutes’ with her best video since the original uncensored ‘American Life’) stalled at an embarrassing number 117 and you might wonder if Madge is pulling her bleached-blonde hair out in frustration.
 
I doubt she is. The queen may have lost her chart crown to the likes of Beyonce, Katy, Taylor, and, at least until the artistically questionable Joanne curveball, Lady Gaga but she remains a touring force to be reckoned with. Her Rebel Heart Tour saw her crowned the top-grossing female live performer in Billboard magazine’s history, bringing in nearly $170 million across 82 shows in 55 cities to put her total ticket sales at a staggering $1.31 billion. It’s no wonder she boasts when seemingly hoisting a spiral staircase into the air with just one finger at the end of Heartbreak City: “No one fucks with the queen.â€
 
Her brother Christopher Ciccone doesn’t agree. He’s been vocal recently about Madonna’s live shows, saying: “Her performance lost its theatricality to me and lost its connection to the audience. That was disappointing.†Having art-directed the legendary Blond Ambition tour in 1990 and fully directed the masterful Girlie Show in 1993, Madge’s younger sibling added of her subsequent shows: “It’s difficult to watch them because I know what she’s capable of. It’s all screens and projections and Kabbalah and all this other stuff that the audience doesn’t really connect to.â€
 
Really? So why do they keep coming back for more, Chris? She’s done five tours since the curtain went down on the Girlie Show and as ticket prices have gone up so has the sheer quality of each performance. Madonna has perfected the format she pioneered with her Who’s That Girl tour in 1987: Four segments, four themes, at least four costume changes, showcasing new albums and re-interpreting old songs often in radical ways. And she’s embraced state-of-the-art stagecraft, using increasingly sophisticated video technology to bridge the gap between each section while she pauses for breath.
 
Chris hasn’t been involved in any of the post-Girlie Show tours and he sparked a feud with his big sister with his tell-all book nine years ago. He reckons the rift has healed, but his criticism of her live shows smacks of attention-seeking – something Madonna herself has been the mistress of since she stated in the intro to her Virgin Tour video that she first went to New York with a big dream. “I wanted to make people happy,†she declared. “I wanted to be famous. I wanted everybody to love me. I wanted to be a star. I worked really hard and my dream came true.â€
 
She’s been working bloody hard ever since. She’s a trailblazer who, as the Blu-ray and DVD release of the Rebel Heart Tour proves, may have many imitators (Kylie, with her blatant rip-off of the Madge formula, springs to mind although she pays homage to the Queen very well in her live shows) but is still the best in the business.
 
It’s a work of theatrical genius, beginning with the self-proclaimed “medieval warrior bitch goddess†in armour, armed with attitude, and ending with an exuberant Holiday encore. There’s so much awesome stuff in between: a ‘Holy Water/Vogue’ mash-up as a crucifix pole dance, the slinky ‘Body Shop’, a matador-themed ‘Living For Love’ (and yes, the cape comes off without a hitch), the ‘Rebel Heart’ title track done as a rousing singalong, an ‘Unapologetic Bitch’ montage featuring guest bitches like Amy Schumer, Gwendoline Christie and Graham Norton.
 
There’s a lot of new material, which could irk those stuck-in-the-past fans who moan about Madge not doing enough from the back catalogue – although everyone knows by now the mother of re-invention always draws heavily on whatever new album she’s promoting. But what’s so joyful about this latest worldwide schlepp is just how much of the old stuff she revisits. Not since 2004’s Re-Invention Tour has a Madonna show celebrated so much of her own legacy. True Blue, Deeper And Deeper, Like A Virgin and Material Girl are all part of the setlist, as is a Flamenco-style Dress You Up/Into The Groove medley that oozes goofy high spirits. Miss Ciccone doesn’t seem to have had this much fun on stage since, well, ever.
 
There’s a smoke-and-mirrors element to a lot of the staging, with our hostess appearing to do more full-on footwork than she actually does. Her dancers do most of the heavy lifting during the bigger routines, with Madonna executing a few steps here and a few slut drops there. But have you tried doing one slut drop, let alone several in succession? Madonna, who turns 60 next August, is still in fantastic shape and still going strong long after any other athlete would have retired.
 
The disc also includes a 15-minute excerpt of the Tears Of A Clown fan club show in Melbourne which, even in truncated form, is as much a car crash as the two hours of the Rebel Heart Tour are a triumph. The black-and-white filter can’t mask how bloody awful she looks in a demented clown outfit and while the stripped-down versions of ‘Borderline’ and ‘Don’t Tell Me’ are quite wonderful, the stabs at stand-up comedy are an embarrassment. Madonna’s been saying stand-up is where she sees her professional future, but someone really should have a word.
 
But as long as the Material Girl has the material, the stamina and the inspiration to stage eye-popping spectacles like the Rebel Heart extravaganza Christopher Ciccone should just butt out. Bitch, she’s Madonna. Don’t ever tell her to stop.
 
The Rebel Heart Tour is out now on Blu-ray, DVD, CD and digital download.
 
Words: Simon Button