• Living for Love : Madonna, Maureen McDonald, Thomas Wesley Pentz, Toby Gad, Ariel Rechtshaid, Uzoechi Emenike
  • Devil Pray : Madonna, Tim Bergling, Rami Yacoub, Savan Kotecha, Carl Falk, Madonna
  • Ghosttown : Madonna, Jason Evigan, Madonna, Evan Bogart, Sean Douglas
  • Unapologetic Bitch : Madonna, McDonald, Pentz, Gad, Rechtshaid
  • Illuminati : Madonna, Gad, Mike Dean, Larry Griffin Jr, McDonald
  • Bitch I’m Madonna : Madonna, McDonald, Pentz, Gad, Rechtshaid, Onika Maraj
  • Hold Tight : Madonna, McDonald, Pentz, Gad, Rechtshaid, Emenike
  • Joan of Arc : Madonna, McDonald, Gad, Griffin
  • Iconic : Madonna, McDonald, Gad, Griffin, Michael Tucker, Dacoury Natche, Chancelor Bennet
  • HeartBreakCity : Madonna, Bergling, Arash Pournouri, Tobias Jimson, Paloma Stoecker
  • Body Shop : Madonna, McDonald, Gad, Griffin, Tucker, Natche
  • Holy Water : Madonna, Martin Kierszenbaum, Natalia Kills, Dean
  • Inside Out : Madonna, Evigan, Dean
  • Wash All Over Me : Madonna, Bergling, Pournouri, Magnus Lidehäll, Dean
  • Best Night : Madonna, McDonald, Gad, Pentz, Rechtshaid
  • Veni Vidi Vici : Madonna, McDonald, Gad, Pentz, Rechtshaid, Nasir Jones
  • S.E.X : Madonna, McDonald, Gad, Griffin, Dean
  • Messiah : Madonna, Bergling, Lidehäll, Pournouri
  • Rebel Heart : Madonna, Bergling, Lidehäll, Pournouri

Maureen McDonald = MoZella
Thomas Wesley Pentz = Diplo
Uzoechi Emenike = MNEK
Tim Bergling = Avicii
Larry Griffin Jr. = S1
Onika Maraj = Nicki Minaj
Michael Tucker = Blood Diamonds
Dacoury Natche = DJ Dahi
Chancelor Bennet = Chance the Rapper
Nasir Jones = Nas



At the iHeartRadio Music Awards, the two superstars teamed up to thrilling effect

Last night, Madonna acted out one of her best-known recent tricks: Enlisting a younger performer to grant her music some extra currency. In a televised performance of her new single “Ghosttown,” the performer was supported by Taylor Swift on guitar. It was the most memorable moment from the iHeartRadio Music Awards (whatever those may be) and of Madonna’s recent promotional campaign for her new album. Though the star is often criticized for her work with younger artists, her performance with Swift was, in fact, the very best sort of collaboration.

Madonna’s past few years have seen her, probably more often than is flattering, team up with stars of more recent vintage; her 2012 Super Bowl halftime show was ceded in large part to flavor-of-the-minute band LMFAO and bird-flipping scene-stealer M.I.A., while her appearance on Miley Cyrus’s MTV Unplugged taping felt undercooked. And some of Madonna’s earnest attempts to explore what’s hip out there, from her EDM-inflected 2012 album MDNA to her asking Miley Cyrus to introduce her at the Grammys as “our b—,” have seemed embarrassingly out-of-touch. Continue reading “MADONNA AND TAYLOR SWIFT’S JOINT PERFORMANCE WAS THE BEST SORT OF COLLABORATION”


dd18df3e33fc70621d97633b1de53bca28ce805bA little over 30 years ago, on the crumbling pavements of the East Village in New York City, four women teamed up to shoot a script by a rookie screenwriter.

Their movie, Desperately Seeking Susan, was both a New Wave Feminine Mystique and an urban fantasia featuring New York as a graffiti-tagged Emerald City. In it, a suburban homemaker named Roberta (Rosanna Arquette) becomes obsessed with — and mistaken for — a Lower Manhattan con artist named Susan (Madonna). The two women casually try on each other’s identities — not to mention each other’s clothes.

The film’s making coincided with the making of Madonna, whose song “Into the Groove” is used in the movie. During production, the singer went from being mistaken for Cyndi Lauper to requiring security when her second album, Like a Virgin, dropped.

Mostly shot under the radar, Susan was a low-budget, low-expectations affair that captured the downtown Zeitgeist. It grossed more than five times its $5 million budget and proved that women could make a movie that everyone loved. In 1984, I was on the set and interviewed the producers, the director, and stars Arquette and Madonna. Last week, in anticipation of the anniversary of the film’s release on March 29, 2015, I again spoke with everyone but Madonna (who’s busy with her new tour) about the movie and their memories of two young women out to take a much grittier Manhattan.

Susan’s beginnings: “Only women and gay men liked it.”
Screenwriter Leora Barish was influenced by Jacques Rivette’s 1974 film, Celine and Julie Go Boating, itself inspired by Alice in Wonderland. In Barish’s original 1979 script, Susan was a free-spirited world traveler. In 1981, Sarah Pillsbury, a former UCLA film-school student who won a 1980 Oscar for the live-action short Board and Care, and Midge Sanford, a schoolteacher and script reader, formed a production company. Desperately Seeking Susan was their first project.

Leora Barish (screenwriter): I liked the way [the Rivette fim] plays with reality in an offhanded, barely perceptible way. [In Susan] the two women from different realms are curious about each other. … Each is drawn to look beyond her own world and experience the world of the other.


Midge Sanford (producer): This screenplay totally stood out. There was a bidding war, but once we got the option, there was little studio interest. Our list of most-wanted directors included Hal Ashby, Jonathan Demme, Walter Hill, and Louis Malle.

Sarah Pillsbury (producer): When we circulated the script, only women and gay men liked it. Barbara Boyle at Orion loved it. But at the time, there was no female executive who could greenlight a movie. The project went into turnaround, and we set it up at Warner Bros.

Sanford: After two years at Warners, another turnaround. We went back to Barbara Boyle at Orion. She told us that [Orion executive] Mike Medavoy’s stepdaughter told him he should make it. That news kept us going for months.



click the image for the HD video


In a night that belonged to Taylor Swift, she hit her highest note at Sunday’s iHeartRadio Awards alongside new BFF Madonna. Swift made a surprise appearance to provide guitar accompaniment for Madonna’s performance of “Ghosttown,” the new single from Rebel Heart and the awards show’s best performance.

The alluring, post-apocalyptic song could well shape up to be a hit for Madonna, and she and Swift shared the stage with the ease of kindred spirits. Later in the night, Madonna presented Swift with the song of the year award for “Shake It Off,” and Swift thanked “Madonna for being Madonna.”

Full article here


Taylor Swift is living her best life. Two months after she freaked out on Twitter over a compliment from Madonna, the “Style” singer had the distinct honor of sharing a stage with the Queen of Pop at the iHeartRadio Awards on Sunday, March 29.
Swift, 25, managed to contain her (totally justified!) fangirling long enough to accompany Her Madgesty on guitar for a rendition of “Ghost Town,” a song from Madonna’s 13th studio album, Rebel Heart.


The two started their performance sitting on adjacent stools, angled slightly so they were almost back-to-back. Midway through, the “Living for Love” hitmaker stood and walked toward the front of the stage, at one point dropping to her knees before getting back up again.

She was joined a short time later by Swift, who rocked out on guitar as Madonna belted out the emotional tune. At the end of the performance, they shared a hug before walking away together.

Madonna, 56, previously told Australia’s Today show that she liked Swift’s music. She echoed the sentiment a few weeks later at the 2015 Grammys, telling Access Hollywood, “She writes some damn catchy pop songs. Can’t get them out of my head.”

Source : UsWeekly

The “Blank Space” singer was beside herself when she caught wind of the kind remarks. “Stop! I will pass out,” she told Access Hollywood correspondent Shaun Robinson. “Oh my God! I’ve been so scared to meet her because it means so much to me.”


They are the kind of headlines that would make the average 56-year-old immediately consider putting down a deposit on the nearest retirement home.

Yes, that’s Madonna’s bum. No doubt she’s sending an, um, cheeky message to her detractors. (Photo by Jason Merritt/Getty Images)

“Is Madonna too old?” and “Is Madonna too sad at this point?” jostle alongside regular edicts as to how the pop queen is “washed up” and that her “career is over.”

“At a certain point, we all must face this one, single, tragic truth,” declared pop culture website Pajiba last year, “Madonna might be just kind of pathetic now.”

“Please retire in peace” pleaded Crushable, in one of the countless less than charitable assessments of Madonna Louise Ciccone that have dogged the latter phase of her 30-plus year career.

But as fashionable as it has become to mock the bottom-baring, stunt-pulling superstar, Madonna may just yet — once again — have the last laugh.Despite being criticised for charging steep prices for her upcoming tour, tickets to the pop icon’s concerts have shown no sign of fan fatigue, with seats to her December show in Paris selling out within five minutes of going on sale.Closer to home, Madonna’s latest album, Rebel Heart, debuted at the top of the Australian charts on its release earlier this month.

As Hardeep Phull recently noted in the New York Post, critics who carp about Madonna’s supposed struggle for relevancy overlook the fact that the woman who inspired a generation of copycats is not so easily cast aside.

“But in truth, young singers are still clamouring to work with the Material Girl — because in pop music, she’s still a god,” Phull wrote.Acknowledging the staying power of a musician who has outlasted a thousand imitators, Phull pointed out that while much younger acts battle to fill stadiums, Madonna will be playing to sold-out arenas across the globe later this year.

“Not only does pop music still want Madonna, it positively needs her,” Phull concluded.

In a sign that the haters’ open season on Madonna might be drawing to a close, The Atlantic’s Spencer Kornhaber also found some kind words for the music veteran in a recent review.“If her attempts to keep pushing boundaries don’t quite work out this time, if she hasn’t had a bona fide hit in eight years, that’s okay. She’ll keep working.”

Not too shabby for a has-been.


BBC2Madonna will talk to Jo Whiley about her new album, family life and that fall at The Brit Awards!
It is her first UK radio interview in a long time ahead of her tour in late summer.

The interview will be aired next Tuesday at 8pm local time.

source: allaboutmadonna


m&mMadonna opens her strong new album with “Living for Love,” a jubilant house jam about moving beyond a debilitating breakup. But love, of course, is only one of the things that pop’s most paradoxical superstar is living for these days.

On “Rebel Heart,” released Tuesday after a batch of unfinished songs leaked online in December, Madonna, 56, mingles feel-good dance tracks like “Living for Love” with bitter recriminations such as “Unapologetic Bitch,” in which she tells an ex, “When we did it, I’ll admit it, I wasn’t satisfied.” Elsewhere, declarations of her continued relevance (“Iconic,” “Bitch I’m Madonna”) sit next to “Joan of Arc,” a delicate ballad about feeling the sting of criticism.

And then there’s the willfully provocative “S.E.X.,” which sets a list of bedroom tools (“Twisted rope, handcuffs, blindfold, string of pearls”) against a throbbing slow-grind beat.

With songwriting and production input from hitmakers that include Kanye West, Diplo and Avicii, “Rebel Heart” – Madonna’s follow-up to 2012’s rave-y “MDNA” — is also one of the singer’s most stylistically varied efforts, moving from cheerful reggae to slinky disco and rough-edged hip-hop. It gathers sonic strands she helped weave into the pop mainstream.

Madonna spoke about the album Monday night by phone from her home in New York, where she’d just sat down to a late dinner. “I hope you don’t mind that I’m eating,” she said. “It’s potato soup with corn. So good.”

As we’re talking, “Rebel Heart” is due to come out in about two hours. Does releasing an album feel like the end of the race or just the beginning?

Oh my God, that’s the beginning. Well, you know what? It’s not the beginning. The beginning was the beginning. It’s the middle.

Continue reading “LA TIMES : Q&A WITH MADONNA”