With the wrap of her Rebel Heart tour, Madonna owns the No. 1 slot on the weekly tally of top-grossing Hot Tours (see list, below), based on $62.4 million in sales from the final two legs of her four-continent jaunt. 

A swing through seven Asian markets in February and a final trek in Australia and New Zealand rounded out the world tour that kicked off last fall in North America.

Her highest-grossing venue during the Asian leg was a two-night stand in the Tokyo metropolitan area at the Saitama Super Arena on Feb. 13 & 14. With $9.6 million in ticket sales, the arena also ranked as the highest grossing venue throughout the entire six-month trek. 

The tour finale, a two-show stint at Sydney’s Allphones Arena on March 19 & 20, generated $6 million in revenue, the top sales among the venues during the final leg Down Under.

Final overall box office counts for the Rebel Heart tour totaled $169,804,336 from 1,045,479 sold tickets at 82 sold out performances worldwide.

HOT TOURS – MARCH 29, 2016
Ranked by Gross. Compiled from Boxscores reported March 22-28

Rank ACT
Total Gross
Show Date Range
Show Venue/City (Shows/Sellouts)
Total Attendance (Capacity)

Feb. 4-March 20
Taipei Arena, Taipei, Taiwan (2/2)
Impact Arena, Bangkok (2/2)
Saitama Super Arena, Saitama, Japan (2/2)
AsiaWorld-Arena, Hong Kong (2/2)
Studio City Event Center, Macau (2/2)
SM Mall of Asia Arena, Manila (2/2)
National Stadium, Singapore (1/1)
Vector Arena, Auckland, New Zealand (2/2)
Rod Laver Arena, Melbourne (2/2)
Brisbane Entertainment Center, Brisbane, Australia (2/2)
Allphones Arena, Sydney (2/2)
225,687 (225,687)

Source : Billboard


click the image for the full gallery

In April of 1983, well known photographer Richard Corman had the pleasure of photographing Madonna at her NYC apartment. 33 years later he has rediscovered some of the missing Polaroids from his shoot and is going to exhibit them at the end of 2016. We were lucky enough to spend the afternoon with Richard as he tested out one potential way to showcase some of his photos, by using a rarely seen 20×24 Polaroid camera to take pictures of his original Polaroid prints.


  Last week, when 17-year-old model Josephine Georgiou joined Madonna on stage in Brisbane, the pop star pulled down the girl’s top, apparently not realising she was bra-less beneath – and immediately apologised. Despite Georgiou later describing this as the best moment of her life (and Madonna flying the girl and her mother back, as VIPs, to her Sydney show), showbiz reporters and columnists leapt on it, speculating that the 57-year-old star is in the throes of some humiliating emotional breakdown and should probably step down and take stock. 

Further evidence of Madonna’s fragile mental state is as follows: in Melbourne, she kept fans waiting for hours before performing an entirely free secret gig. On the same night, she sipped a cosmopolitan – her first alcoholic drink in six months – in front of a delighted audience (I’m not speculating – my close friend was there and described a wonderful atmosphere throughout). This is truly the stuff of Bedlam and a suitable case for lobotomy.
The trigger for this madness, they say, is a custody battle with ex-husband Guy Ritchie, over where their 15-year-old son Rocco should live. There are no accusations that Madonna is a bad parent, only a stricter one, but the ongoing family woes have clearly hit her hard. She’s spoken of her pain at some of the concerts, posted emotional tributes on Instagram, even dedicated songs to Rocco in his absence.
It would be easier to swallow the relentless criticism of Madonna if it weren’t so shamelessly drenched in sexism, ageism and the barely-veiled belief that a 57 year-old woman has no business performing at all. Question Madonna’s artistic choices, performances and music all you want (this tour has been hailed by fans and reviewers as a major return to form), but if your criticism comes sandwiched between phrases like “withered old hag”, “act your age” and “time to give up” – as they typically did – then they are rendered null and void by any right-thinking person. She’s seen to be inflicting her big mouth and aged body on millions of people when she should be content to settle into a backward-looking retirement of polonecks and comfy shoes.

 As with almost everything Madonna does, the press and public reaction is as culturally insightful as the art itself. Double standards are rife. When Kanye tweets millions about his back passage and porn stash, he’s having “a moment”. When Madonna talks about her family onstage, she’s mid breakdown and should be sent to pasture.
There’s also a rather grotesque glee seeping through the pursed lips of cultural commentators. We love to see prominent women in strife. 

When a female star is beset by ill-health, bereavement, addiction or family trauma, then all is right with the world. If home life is suffering seemingly as a consequence of a woman’s career focus, then all the better. But a mother pushing 60, selling out arenas and clearly getting laid, who seems broadly happy with her life? Inconvenient. Critics would like a humbler and weaker Madonna, one with less energy and more decorum. They’re more comfortable with a tragic heroine in the grips of a media-manufactured nervous breakdown than with a near-pensioner striving ahead with zero fucks given for a bigoted, misogynistic view of appropriateness.
Critics are more comfortable with a tragic heroine in the grips of a media-manufactured nervous breakdown than with a near-pensioner striving ahead with zero fucks given for a misogynistic view of appropriateness
The media’s problem with Madonna, though, is that she’s not tragic and never has been. And she’s intentionally polarising, never a people-pleaser. Madonna isn’t meant to impress the likes of Piers Morgan (who called Madonna a dirty old woman, just a week after he told Kim Kardashian to put some clothes on – while simultaneously approving her “great body”, of course). Truly, there is no popstar in history so demonstrably uninterested in the approbation of straight white men who despite their inherent privilege, manage to command less power and cultural significance than she. “Madonna’s irrelevant in 2016,” said one commenter last week, which is, of course, why she’s dominated celebrity news pages for months, her every action forensically picked over with sharpened tweezers. Whatever she contributes through music and performance, Madonna will always be relevant in a world so frequently aghast merely at her continued existence.
I can barely remember a time in my life when people haven’t wanted Madonna to shut up and behave. And during almost four decades in the business, she’s never looked even close to obeying orders. 

We were overdue a moment of patriarchal mouth-frothing over Madonna, and here she is, back in “Sex book mode”, as skittish as when she snogged an African-American Jesus and enraged Pepsi, as unshakeable as when she shed that sabotaging cape and climbed back onstage to nail the rest of her BRITs routine in significant pain. She is as defiant as when, a fortnight after the terrorist attacks on The Bataclan, when other major artists like U2 and Foo Fighters had understandably cancelled their French concerts in fear, she stood before a screaming audience in Paris, dressed as a Harlem flappergirl, strumming “La Marseillaise” on her crotch. 

Then, as now, she is powering through, poking fun at the haters, joyfully pushing buttons with a jackhammer.
Do Madonna fans think she needs to be less tardy about show start times? This one does. A seasoned pro should know better. Do we universally agree that it’s a good idea to project images of Rocco on stage, while his mother tearfully sings torch songs? I wish she hadn’t done it, not least because it fuelled irresponsible headlines that may jeopardise her case in court. But I accept that her sometimes questionable decisions are just what happens when someone is so steeped in the principle of “the show must go on”, even during the hardest of times globally and personally. It’s what defines Madonna as a person, and what still, for me, makes her an artist without peer.

Source : ThePool



Early one morning the sun was shining and she was lying in bed, wondering why he had her cash and if her hair was still red. An idea for a song bubbled, and she wasn’t sure if this one should be about heartbreak, revenge or the old get-into-the-groove thing. And then – light bulb! – why not multitask it? That was her therapy, after all. Failure? Not an option. Resistance to her will? Futile. The husband who was no longer there? Well, it was nice sometimes to imagine his head popping like a melon. Till death and all that. Now – where did she put her phone?

Yup, MDNA is our lady’s divorce album. Seven out of 16 songs address her split directly, and that’s low-balling if you think the chick with “fake tits and a nasty mood” in “Some Girls” could be the lingerie model who became Guy Ritchie’s new baby mama. Revealing herself has always been part of her art, and this is hardly her first album that’s dark, messy and conflicted. But MDNA stands as Madonna’s most explicit work. Only who would have expected her to be this explicit with her… feelings?

How explicit? “Wake up, ex-wife/This is your life.” “I tried to be your wife/Diminished myself, I swallowed my light.” “Lawyers/Suck it up/Didn’t have a prenup.” “Every man that walks through that door will be compared to you for evermore.” She’s been personal, but never this detailed before. In part, it’s an old punk-rock impulse: Show the world no one can hurt you more than you hurt yourself. Except she has cross-wired exposure and pain, which gives this set of confessions their discomforting immediacy.

As the beats swirl, Madonna pursues release, vows to rise above and wishes things had turned out differently. She also sings about new love (fits like a glove), and asks for someone to lick the frosting off her cake on “B-Day Song.” The music chases the latest articulations of club-land ecstasy, but often returns to the blend of synth-driven electro and Sixties-pop classicism she’s staked out since Like a Prayer. Back after a 12-year layoff is William Orbit, who handles the most pained tracks (including “Gang Bang,” which bitch-slaps Ritchie’s shoot-’em-up aesthetic with a nod to Kill Bill). New in town is Martin Solveig, the French producer behind the cheerleader fantasy of “Give Me All Your Luvin'” who is forced to curb his love of Prince, in service of sounding like William Orbit. Handling the big dance-floor tracks are Italian duo Benny and Alle Benassi, who put the empty boom of the club into songs like “Girl Gone Wild.”

Hooks emerge quickly; there’s lots of naughtiness for the DJ to bring back, and the music has depth that rewards repeated listening. The first impression is a desperation most people will mistake for Madonna’s old impulse for commercial connection. That’s never far away, but this is something far more personal. There’s something remarkable about Madonna’s decision to share her suffering the way she once shared her pleasure. Her music has always been about liberation from oppression, but for the first time the oppression is internal: loss and sadness. Stars – they really are just like us.

Source : Billboard

Madonna Extends Record as Highest-Grossing Solo Touring Artist: $1.31 Billion Earned

  Her recently completed Rebel Heart Tour earned $170 million & sold more than 1 million tickets.
With the wrap of Madonna’s Rebel Heart Tour on March 20 in Sydney, the pop superstar solidifies her status as the highest-grossing solo touring artist in Billboard Boxscore history. Based on Billboard’s Boxscore archives that stretch back to 1990, her overall concert grosses reached $1.31 billion with the tour’s final show.

The Rebel Heart trek grossed $169.8 million from 1,045,479 tickets sold at 82 performances. The tour launched on Sept. 9, 2015, in Montreal, spanned over seven months and visited four continents. It hit 20 arenas in the U.S. and Canada through the end of October. A European run through 16 cities in 11 countries followed in November and December, and a second North American stint began in January. Seven Asian cities were on tap in February, and the tour’s final leg wrapped Down Under with a four-city sweep through Australia and New Zealand.

The Rebel Heart Tour’s top-grossing venue was the Saitama Super Arena in the Tokyo market with $9.6 million earned at sold out shows on Feb. 13 and 14. Top box office counts among the North American markets came at New York City’s Madison Square Garden with $5.2 million in sales on Sept. 16 and 17.

The diva first earned the top solo touring distinction in 2009 after the conclusion of her Sticky & Sweet tour. With the closing of that year-long run she became the highest-grossing solo artist and held that title until Bruce Springsteen surpassed her during his successful Wrecking Ball and High Hopes tours from 2012 through 2014. With the Rebel Heart Tour, however, she takes back the title.
Overall, Madonna ranks third on all-time top-grossing Billboard Boxscore list, with just The Rolling Stones ($1.84 billion) and U2 ($1.67 billion) ahead of her. Madonna is also one of only six artists — and the only woman — who have topped the $1 billion mark in overall concert grosses since 1990.

Top Grossing Billboard Boxscore Touring Acts*

The Rolling Stones — $1.84 billion
U2 — $1.67 billion
Madonna — $1.31 billion
Bruce Springsteen — $1.25 billion
Elton John — $1.05 billion
Bon Jovi — $1.03 billion
* through March 23, 2016

Madonna’s first tour reported to Billboard Boxscore was the Blond Ambition World Tour in 1990. She first joined the billion-dollar club in 2012 with the wrap of her MDNA Tour that brought her overall ticket sales total to $1.14 billion.

Also, Madonna has been the highest-grossing female touring artist for the past 12 years. She staked that claim in 2004 with the wrap of her Re-Invention World Tour and has remained the top solo female concert headliner ever since.

Source : Billboard


EDIT-FINAL-HARD-CANDY-1-_525X3651_525X365.pngMadonna’s personal trainer is opening up about how she looks that fit at age 57. And, according to Craig Smith, who has worked with the Material Girl for two years, she doesn’t work out as much as you’d think.

Madonna currently works out for at least 30 minutes, six days a week, Smith tells Daily Mail Australia. “I vary the workouts every single day,” he says. “She does a combination of circuit training, interval training, and resistance training. Dance is obviously a huge part of that.” Those workouts include barre training, yoga, martial arts, and boxing, and Smith says they cover everything from core strength to flexibility.

Madonna also uses light weights of 2.5 to 5 pounds for her barre training, with 20 to 30 reps each.

According to Smith, a “typical” daily workout for his client includes a dance-based warm-up to get her heart rate up. Then, she shifts to upper body work, like 20 reps of push-ups, planking for up to 80 seconds, and core work. She’ll finish by focusing on her thighs and legs with some isolated core training, stretching, and meditation.

Madonna’s workouts seem surprisingly doable, and they are, says Jim Pivarnik, Ph.D., a professor of kinesiology at Michigan State University. Pivarnik tells SELF that Madonna’s tactic of mixing it up is “outstanding,” adding “the more you can mix it up, the more you can prevent overuse injuries.” However, Pivarnik points out that Madonna is still using most of her muscles on any given workout, she’s just emphasizing different muscle groups on one day over another.

Mixing is up is also great for keeping yourself from getting bored of your workout. But you want to still target some of the same muscle groups, he says, because that’s how you work them enough to really make an impact. “Your body doesn’t know the difference, whether you’re punching a bag or using a weight machine.” Doug Sklar, a certified personal trainer and founder of New York City-based fitness training studio PhilanthroFIT, tells SELF, “Some variety is important, but repetition is essential to allow your body to adapt to the training and then make progress.

In order to strike a balance—mentally and physically—Pivarnik recommends aiming for five days of cardio with two days of resistance training (on cardio days or “off” days).

Want to mix it up, but can’t reach Madonna-like levels of variety? Sklar suggests doing a different workout at least once a week to strike a good balance between condition-building repetition and mental fatigue. And, if you need more variety than that, he suggests doing small daily variations, like running a different route, doing your workout in a different order, or trying out a new dance class.

As for the light weights Madonna uses (which are typical in barre workouts), Pivarnik says they’re good for creating lean muscles without bulking you up. However, feel free to grab a heavier set, too. Lifting heavy (and moving between sets quickly) can count as cardio, too. A good rule of thumb, per Sklar: If you can’t perform eight reps, the weight is too heavy. If you can perform more than 12 reps, the weight is too light.

While Madonna can get her workout done in just 30 minutes, Pivarnik points out that she also gets an additional cardio workout from her onstage performances. “You’ve got to consider the whole day,” he says. Plus, Madge’s trainer himself admits that “80 percent” of her fitness is attributable to her regimented diet. (And that’s not even mentioning what must be rockstar genes.) So, it’s good to keep in mind that while adopting Madonna’s workout routine might make you more toned, it probably won’t make you actually look like Madonna.

Source :


sydney (36).jpgMadonna isn’t an alcoholic, isn’t “having a meltdown” and isn’t converting to Islam, yet.

This is just some of what her 14,000 Sydney fans learnt on Saturday night when the diva kicked off the last shows of her Rebel Heart world tour at Allphones Arena.

I don’t drink. So f— you… you’re not going to shut my s— down. You’re just jealous because I’m not an alcoholic,” she said during one on her many talk breaks, pointedly addressing reports of her erratic behaviour, which has plagued the shows during recent months.

After throwing a bouquet of flowers into a front row scrum she then made a comment about marriage which raised eyebrows as a group of men fought over the blooms.

I can’t marry four people. I’ve not converted to Islam yet.

She also referenced the ongoing custody battle between her ex-husband Guy Ritchie for her young, estranged son, Rocco.

I don’t want to be accused of having a meltdown,” she said sarcastically. “Heaven forbid a mother should miss her son. It’s a crime. It’s a goddamn sin. I’m glad you have a sense of humour, because if I didn’t have one I couldn’t survive.

Sydney waited 23 years, two hours and seven minutes for Madonna to take the stage.

She arrived shortly after 10pm, two hours after the scheduled start time, not that the fans cared as this show had it all.

Her superior vocals, Oprah like sermons and Baz Luhrmann-inspired showmanship demonstrated why Madge is still the queen of pop and pop culture.

The latter was highlighted by a cameo from a Game of Thrones star.

Brienne of Tarth, aka Gwendoline Christie, was called up on stage and gifted a rhinestone encrusted banana flask during a set list that comprised fresh tracks from her latest album Rebel Heart and “trips down memory lane”.

The classics were where her raw talent shone.

A heartfelt rendition of her 1984 cover of Love Don’t Live Here Anymore was close to pitch perfect while other golden oldies such as Like A Virgin, Material Girl, Dress You Up and La Isla Bonita were remixed allowing her to show off her timeless assets – her well maintained voice and tightly choreographed dance moves.

The 57-year-old performed solidly for close to three hours with more energy than the young #fitspo social media stars of today.

Source : TheSydneyMorningHerald



2eb1c276453504ea8423586b85daebb9Madonna was on time and on-point for her first Sydney concert in 23 long years — but she still found time in her expertly-choreographed 2.5 hour show to address the controversies that have plagued her Australian tour.

If you’d believe the bad press, Madonna’s been a drunken, unstable trainwreck on this tour. In truth, the only issue we can really hold against her is her less-than-stellar timekeeping — which reached its zenith at her first Brisbane show, kicking off hours after the advertised start time.

Her first of two AllPhones Arena Sydney shows began a mere 15 minutes past the promised 10pm start — no doubt Madge was hurried along by the fact that the evening was being filmed for the inevitable tour DVD.

It was an eclectic setlist, mixing an ample selection of songs from her latest album, the mammoth hotchpotch Rebel Heart, with golden oldies largely taken from her earliest years.

Like A Virgin, Burning Up, Like A Prayer, Deeper and Deeper and Music were all present and accounted for. No such luck for Ray Of Light, Frozen Hung Up or Express Yourself — and world-conquering hits like Into The Groove and Vogue were offered up only in blink-and-you’ll-miss-it-form.

But thats’s what you get with Madonna. She’s never one to take the obvious crowd-pleasing route — and yet her spectacular show couldn’t be more of a crowd-pleaser.

While the tightly choreographed concert went off without a hitch, all eyes were on Madonna during the more off-the-cuff moments, when she took the opportunity to reference the fuss she’s caused during her last week-and-a-half in Australia.

Bending one of her female dancers over her knee, Madonna joked: “How old are you? 15 or 16?”

“14,” came the reply.

“Good. I’m doin’ good with minors these days,” said Madonna, before she and the rest of her dancers delivered a few spanks.

The quip, of course, was in reference to just the latest controversy to befall Madonna’s tour, after she invited a female audience member up on stage an proceeded to pull down her top. Problematic enough, and made even moreso when it was revealed the girl in question was underage (she’s gone on record describing it as the incident as the “best moment of her life,” so make of that what you will).

“Here’s the thing: I don’t even drink. But because I’ve been accused of being an alcoholic so many times, I’m gonna start drinking. So f**k you!” she announced during another unscripted moment.

“I just get myself into trouble when I say things! I should just learn to be quiet like my dad taught me.”

Later in the show, she made reference to her ongoing custody battle over 15-year-old son Rocco, who is living in London with his father Guy Ritchie.

“I don’t wannna be accused of having a meltdown… God forbid a mother should miss her son,” she said.

“I’m glad you all have a sense of humour, because if I didn’t have one I wouldn’t survive.”

Outside of these pointed references to the controversies that have chased her in Australia, Madonna’s was an expertly polished, spectacular production: an at-times overwhelming display.

Pole-dancing nuns! A flapper speakeasy! The Last Supper reimagined as a pansexual orgy! It was all there — and, just when we thought we couldn’t get any more, the very tall and thoroughly up-for-it Game of Thrones star Gwendoline Christie, who was the night’s Unapologetic Bitch, took to the stage to dirty dance with the Queen of Pop.
Madonna has one last show left of her Rebel Heart tour. Like tonight’s show, it’s being filmed for a future DVD release, so expect her to bring the goods (and start on time). She’s been vocal these past few days about wanting Kylie Minogue to join her on stage — whether or not that will happen remains to be seen. One thing’s for sure: She’s going to go out with a bang.


Source :


The teenage girl whose breast was flashed to the world when Madonna pulled down her top at her concert in Brisbane says it was the best moment of her life.
Gold Coast barista and aspiring model Josephine Georgiou, 17, has defended Madonna for exposing her breast when she was invited on to the stage during Thursday night’s concert at the Brisbane Entertainment Centre.

She mocked suggestions that she may sue the singer.

Seriously, why would I sue Madonna for the best moment of my life?,” she told The Courier Mail.
It was the best night.
“She was calling me a Victoria’s Secret model the whole time I was on stage, which is so flattering.”

A video of Madonna yanking at the teenager’s top to expose her breast has gone viral and made news around the globe.

Georgiou said she was wearing her mother’s corset and it was too big, which meant she was adjusting it on stage while Madonna was talking to the crowd.

She added she was not offended by the incident.

Only I get to decide if I’m humiliated or not, why would people assume I am humiliated by my own breast, nipple or body?,” Georgiou said.

It’s hilarious to me how much of a big deal it is to everyone, people just need to understand I was on stage in front of Madonna, I was looking her in the eyes and most people would just melt into a pool on stage, so it was only because I was standing in front of her that I looked so surprised.