tomasjohn

Has Promised here are all the clips the auction house would send me 

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Wow guys she is really going huge for her 66th: apparently she rented one of the two ancient greek Popmei theatres for the birthday party!!! There is a 500 guests list. Opulence apart, wich is something I don't honestly like when it arrives at these levels (if true), Pompei is really a unique experience, believe me: I've been there four times already and I hope to be back the sooner possible: you are immersed in the early roman imperial age. It's breathtaking, she is gonna love it 

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Lol ya'll bought the ugly celebration merch and that ugly rio poster and bought that beyond ugly finally enough aldo creation for hundreds of dollars TWICE! not to mention those pointless album sleeves. They know they can feed the fans shit because ya'll keep buying shit! Just don't be surprised if when the reissues finally do come they'll be an Aldo design. And how many of you bought the silver True Blue vinyl? 

Amen. 
Why would any sane person put any time, effort or money into a proper reissue campaign when you have these colored vinyls with the same artwork, the same master, the same everything over and over again. And evidently enough people buy this shit. 
The re-issues are not happening any time soon nor ever. My two cents. If the rumors are true, she will be directing the biopic next year and then spend 1-2 years editing and promoting it. As if the reissues would take priority. Next new release will most likely be The Celebration Tour either as a streaming movie or vinyl/spotify release. Judging from previous tours, this will also take at least one year from now. So that could be her next project after the summer vacation. 
All the collectors who are actively gaslighting and deflecting those who are waiting for these alleged reissues, be happy. They are not coming. 
I have already given up any hope last year, so I personally am neither shocked nor pissed. To quote Trump, “it is what it is”. 

If you're interested in knowing what the music video for 'Express Yourself' would have been like with the album version, here it is:
EXPRESS YOURSELF (FULL ALBUM VERSION)

This is the hidden content, please Sign In or Sign Up And if you're curious about how the intro would have been if the Remix Edit had included the spoken intro, here it is:
EXPRESS YOURSELF (REMIX EDIT WITH VOCAL INTRO)

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Hey RHINO. Look at this amazing cover for "Oh, Father" single: 

from: https://madonnafanmadecovers.blogspot.com/search/label/Oh Father

Keep It Together was successful enough, US #8 and #1 dance. It would've done even better with an official video and should've been the fourth single following Cherish in November 89 in all regions. Perfect lead into Vogue too.

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Actually, the commercial release of Dress You Up in Canada did include the remix/edit - untitled. I own a copy and can confirm.

This is not true. Reggie Lucas completed his project. He was the only experienced produced there, not her, not Jellybean. She was the one feeling her voice hadn't been heard (fair point) and that's why she brought some songs to Jellybean. But he simply remixed and tweaked some parts, he only produced "Holiday" - an easy job considering the original writers have a band a they simply performed it entirely, Jellybean just directed the whole thing. Then he went around claiming credit for the success of that album, while it was Lucas the one who had made the work mainly.
Jellybean was a DJ, not a producer. He won the narrative and convinced everyone he was the man, but it wasn't the case.
Reggie Lucas was always super professional and never really entered any public war, but he talked about it with Rolling Stone and The Atlantic in 2013 within their pieces about the 30th anniversary of the debut album:
Rolling Stone:
https://archive.is/20240502005311/https://www.rollingstone.com/feature/how-madonna-became-madonna-an-oral-history-94288/
When Warner Brothers called me about working with Madonna, I was the big score. It seems ridiculous in retrospect, but I was an established professional and she was a nobody. I met with her at a tiny little apartment she had in the Lower East Side. I thought she was vivacious and sexy and interesting, and had a lot of energy.
“Borderline” has a stylistic similarity to “Never Knew Love Like This Before” [the 1980 Grammy-winning Stephanie Mills song that Lucas co-wrote and co-produced], particularly in the front, with Dean Gant’s electric piano introduction.
This was the first record I ever used a drum machine instead of a drummer. And the bass on “Borderline” is an ARP 2600 synthesizer, but the great Anthony Jackson – who did that intro on the O’Jays’ “For the Love of Money” – is playing along on an electric bass guitar, and they’re playing so tight you can’t tell the difference.
The Atlantic:
https://archive.is/20240206021619/https://www.theatlantic.com/entertainment/archive/2013/07/the-vicious-competition-for-credit-over-launching-madonnas-career/277974/
“Just for the record, one tires in a lifetime of hearing someone taking credit for something that you’ve done.”
Many people think other famous producers launched Madonna’s career. What are your feelings about that?
I’ve refrained over the years in addressing aspects of Madonna’s career because I’m not a person who likes negative discussions. But what I will say is that in Madonna’s ascent to fame and fortune, there’s been a pretty vicious competition for credit in being involved. In other words, someone will say, “I launched Madonna.” If I talk to a lot of people today, I will say I was Madonna’s first producer. I produced six of the eight tracks on her first record. I would say nine times out of 10, their response will be, “Oh yeah, I thought Jellybean did that.” But Jellybean didn't do that. Jellybean was a remixer, and we didn’t have time to remix records. It wasn’t something that I was interested in doing. Somewhere in this process of publicists and personal relationships, somehow he came out as the guy.
I was a traditionalist and probably a little naive at the time, but I started out working for Billy Paul. Billy and his wife Blanche were like parents to me. They took me under their wing. I was a little kid. They took me on the road. They looked after me. They supported me. I joined Miles Davis’s band. Miles introduced me to the world of big-time jazz success. I played at the greatest halls in the world and stayed at the finest hotels. Miles was like a surrogate father to the guys in the band. You got credit for the work you did. You were a member of Miles’s band. When I worked for Roberta Flack, Stephanie Mills, and Phyllis Hyman, we made the records and people would say, “Oh, you produced that record.” You produced one good record for Stephanie Mills and take her from selling no records to selling gold records; they would call you back and treat you better.
So this Madonna record was my first and worst introduction to the notion that you wouldn’t have a linear continuation with someone who you’ve had success with. It totally blindsided me. I understand it a little bit better now, but not really. Just for the record, one tires in a lifetime of hearing someone taking credit for something that you've done. Jellybean produced “Holiday” and he remixed a couple of tracks, but remixing tracks for radio isn’t the same thing as producing one of the major breakout pop stars of the 1980s. Now there’s Wikipedia and you'll always find these distortions in Wikipedia. My kids find this stuff and they fix it for me. [laughs] I don’t think there’s really ever been someone to clear this up. Madonna certainly hasn't helped at all. I think if it were left up to Madonna, she wouldn't talk about anybody.
The bottom line is that, I think, the kind way that Madonna has always tried to refer to me is that I was just an R&B producer. There are two things that I dislike about that. First thing is, that it treats being an R&B producer as pejorative, as if it were something less than being a pop or rock producer. Second thing is, that I didn’t make an R&B record for her. I made a crossover pop record of the highest order. So the notion that she similarly dismissed me because I was just an R&B producer is offensive on multiple levels to me.
It’s hurtful because I didn’t understand it. I did the same thing I always did. I came in and worked my ass off to support the artist and cast them in a good light. Everybody but her reciprocated by saying they liked the record, and let's make another one. Between her and Jellybean, they try to pretend the records I did weren’t any good. It’s almost like I was fired or something. I wasn't fired. I finished the record, I put it out, and they took it and put it out and sold a bunch of records. And everybody else ran around trying to take credit for it because it was so big that they couldn’t help themselves.
----
Sorry for the long texts but I think it's about time that Madonna fans acknowledge Reggie Lucas over Jellybean.

She was referring to the musical.  But Madonna was already schooled on Evita long before the role.  Her press agent didn't have to do that.  After all, she practically begged for that role, before even knowing the full direction of the film version.

I saw an interview where she mentioned "Frozen" as the perfect transition from her previous album (BS) and the new sound in ROL album. I think it was a smart choice.

"Who's That Girl" 
1. Who's That Girl
2. Who's That Girl (Extended Version)
3. Who's That Girl (Dub Version)

Who’s That Girl - June 21st
Album Version Extended Dub

I didn't see it here, sorry if it's already been posted
Rosanna Arquette shares this priceless Polaroid from when she visited the "Material Girl" set 
 

There’s a loneliness and vulnerability in The Look Of Love that is utterly haunting and something rarely on display in Madonna songs. The fact that was the third and most forgotten single of the campaign, and indeed the 80’s, further compounds what I said above. A further rejection and humiliation that just makes the song feel even more lonely and abandoned, which has always been kind of poetic to me. It has always been the perfect link to the Like A Prayer album in its serious and melancholy tone. How she was ultimately to feel about Sean. A foretelling if you will. It also waves goodbye to that first pop incarnation of her 80’s persona before she focuses on her new incarnation of Madonna the artist. Never more white blonde on its single sleeve than ever before, right before she goes back to her dark roots.  It’s top ten Madonna for me hands down I absolutely never tire of it and the live arrangement on the WTG tour is one of my all time favourites of hers. 

Up Down Suite is Shep, that remix is Murk Boys
 
I haven't found a digital source for Back To The Dub 1, only the 2

Hilarious as well to me Murray has her own IMDb page as an actor
 
https://www.imdb.com/name/nm2907637/?ref_=tt_mv_desc
 
 
I still hope she’s alive 

i dont know which part is my favourite:
- the MADONNA title in yellow with little stars inside
- the nazi woman randomly chilling by the car
- the literal bum with the "maitre nageur" sign
- the man pretending to be a 1920's kid
 
besides that she looked BEAUTIFUL

Per Wikipedia the single was released May 19, 1999.  I liked the song then and now.  Holds up just as well/is as fresh.   One of my favorite non studio album singles of hers.   Supposedly the song was about Andrew Byrd but I recall in a Rosie interview she said it was about someone trying to find love from a different generation or something like that.
 
It’s definitely though one of her songs I have the fondest memories of.  I was still pretty young in high school then.  The internet was around but I never really used it.  It was a total surprise seeing this video premiere out of the blue I think on VH1 back then.  I loved Austin Powers as well.  I still recall seeing the movie the weekend it came out with my then best friend.  The Larry King interview that year was my last remembrance of her before this.  I saw she went blonde again.  Sometimes I wonder if the social media age kills suspense like that?
 
 
Yeah she sort of cemented her status as a goddess to me with the video.  Mike Myers was a lucky guy 😁
 
 
 
 

It's simply cheaper to manufacture that way.
Ingrid Chavez was credited after she sued Kravitz. Basically Lenny Kravitz did her dirty and when the song exploded everyone around her (including Prince) told her she had to do something about it, since it was her song and that agreement wasn't right.
From Wikipedia:
Upon the song's release, Chavez filed a lawsuit against them, claiming the only words Kravitz wrote were "justify my love", while Madonna changed one line. It was also reported that she only received a US$500 advance after Kravitz pressured her to sign an agreement surrendering credit and three-quarters of royalties. He admitted that Chavez had written part of the lyrics, but both had agreed not to credit her for personal and professional reasons, and accused her of trying to "make like she did the whole thing" upon the single's success. She responded by stating that the reason was because he was afraid his wife would think they were having an affair. They eventually reached an out-of-court settlement whereby she received 12.5% percent of royalties and her name on the next pressings.
Madonna didn't know, she was presented the song by Kravitz.
This was quite awful for Ingrid Chavez. She was going to launch her own music career (helped by Prince) with that style (spoken words over beats) but of course after "Justify My Love", Madonna was seen as the first one doing that - and exploring that avenue even more on the "Erotica" album - so Ingrid didn't even have a chance even if it was her thing originally.
More on that.

well POG had its final week on the charts wayyyy back in Jan '99 and NRM made its debut in....May '99
the maxi was released in March (limited vinyl) and peaked in May (thanks to the CD version btw)
the CD single got released in May same for the maxi
and it got airplay but back in March (on top40 mainstream) and peaked in April but the WR geniuses decided to wait until May to release the CD single and maxi
so yeah they took forever and didn't really push it much

I had never seen this

He's a Portuguese fan. We used to talk here on forum thru DM's and then added one another on Face. He confessed me that he found by chance a valid e-mail from M's team and suggested M should cover Imagine. So she did. Such a shame, but when he told me that he was full of pride in having done that. I just stop here.
@TOpher, as usual, you love to underestimate me. Such a shame on u.