5 NEW GALLERIES ADDED

1984 : “Desperately Seeking Susan” Set By Andy Schwartz (20 Photos)
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2006 : “Harper’s Bazaar” Photoshoot By Solve Sundsbo (27 Photos)

harpers

1984 : “Like A Virgin” Photoshoot By Steven Meisel (30 Photos)
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1983 : Eric Watson Photoshoot (21 Photos)
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2007 : “Vanity Fair” Photoshoot By Annie Leibovitz (20 Photos)
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NATIONAL PORTRAIT GALLERY IN WASHINGTON RUNS EXHIBITION “AMERICAN COOL”

article-2593207-1CB5EB6800000578-244_470x672Years after they first made their mark Steve McQueen, Frank Sinatra, Madonna and Blondie are all still hip enough to have earned a place in the top 100 coolest Americans.

What do we mean when we say someone is cool? Cool carries a social charge of rebellious self-expression, charisma, edge and mystery.

Cool is an original American sensibility and remains a global obsession. In the early 1940s, legendary jazz saxophonist Lester Young brought this central African American concept into the modern vernacular. Cool became a password in bohemian life connoting a balanced state of mind, a dynamic mode of performance, and a certain stylish stoicism. A cool person has a situation under control, and with a signature style. Cool has been embodied in jazz musicians such as Miles Davis and Billie Holiday, in actors such as Robert Mitchum, Faye Dunaway, and Johnny Depp, and in singers such as Elvis Presley, Patti Smith, and Jay-Z. “American Cool” is a photography and cultural studies exhibition featuring portraits of such iconic figures, each of whom has contributed an original artistic vision to American culture symbolic of a particular historical moment. They emerged from a variety of fields: art, music, film, sports, comedy, literature, and political activism. “American Cool” is the zeitgeist taking embodied form.

“American Cool” is captured by a roll call of fine-art photographers from Henri Cartier-Bresson to Annie Leibovitz, from Richard Avedon to Herman Leonard to Diane Arbus.

This exhibition is accompanied by an illustrated catalogue with essays by Joel Dinerstein, the James H. Clark Endowed Chair in American Civilization and Director of the New Orleans Center for the Gulf South at Tulane University, and Frank H. Goodyear III, co-director of the Bowdoin College Museum of Art and former curator of photographs at the National Portrait Gallery.

MADONNA ON BUZZFEED NEXT APRIL 14th

photoMadonna To Host Live Art For Freedom Curation On BuzzFeed

Freedom Fighters! Make sure to join Madonna on BuzzFeed on April 14th (exact time to be announced later on) for a live Art For Freedom curation!

After starting ArtForFreedom.com in September 2013, Madonna is now asking for you to share your artistic expression of Freedom with her and the BuzzFeed community.

For more info and to submit your entry, please visit the devoted BuzzFeed page before April 14.

Also, Madonna created a list of some of the freedom fighters who have guided her along the way with their actions and art, so go ahead and check it out now!

 

Attention BuzzFeed:

After traveling around the world and witnessing an overwhelming amount of discrimination, intolerance, and bigotry — I felt I needed to make a statement.

I started ArtForFreedom.com in September 2013 to give artists everywhere a platform to define what freedom means to them and to allow them to express their right for freedom of expression.

Now I am asking you — the BuzzFeed community — to share with me and others your artistic expression of freedom. This can be in the form of photography, video, dance, poetry, etc. I will be going through those entries directly on April 14 at 6 p.m. and giving you my input and encouragement to let your voice be heard LOUDLY.

An artist has the responsibility to not only reflect society, but to shape it.

If you need any inspiration, I made you a BuzzFeed-worthy list of some of the many freedom fighters who have guided me along the way with their actions as well as their art.

Are you with me? Then submit below and I will see you on April 14.

— Madonna

24 YEARS OF “VOGUE”

Happy 24 years to one of Madonna’s biggest international hits, topping the charts in over 30 countries  and the  world’s best-selling single of 1990 with over six million copies.
This is VOGUE

THE ICON OF POSTMODERNITY

Madonna has become one of the most successful and notorious female singers the world has ever seen.
The Times spoke in these terms in 1991:

Madonna has just clinched a deal making her the highest-paid performer in the history of the Pop industry only confirms what we already knew, which is that she is now the biggest star on the planet.
Even the rather staid Sunday Telegraph recognized her as the ‘female Icon of the age…’

Madonna-and-Dolce-and-Gabbana-1

She will do anything, say anything, wear anything, mock anything, degrade anything to draw attention to herself and make a buck. She is the quintessential symbol of the age; self indulgent, sacrilegious, shameless, hollow.

The aspect of Madonna that strikes one most is her use of image.

She is the self-sufficient postmodern phenomenon … A masterpiece of controlled illusion.
Madonna lives out the cliché that the medium is the message. Because of her success and because of her hard work, she has total control over her shows. She writes the songs, produces the music, choreographing and dancing herself, designs the stage sets and even does her own make up and costume design. She is obsessively controlling of all aspects of her show. And not just her shows, but all the things she does. Her films, her public appearances, even her private life – all reflect a calculated image.

There is another important aspect to Madonna’s use of image and that is the constant change. She is always changing her image, whether it is from the good girl gone bad to the virgin in white; from Marilyn Monroe to the 1920s gangster moll, from androgynous, cold robot to naked sex symbol; from glamour queen to cosmic spirit and finally to doting mother. Her ability to change images every couple of years has fascinated the world, and has been vital to her success.

She is always evolving. She never stands still. Every two years she comes up with a new look, a new way of presenting herself, a new attitude, a new act, and a new design. And every time it is successful. There is this constant genesis.
And of course this again reflects our culture. We are always looking for the new, always moving from one image to the next, swapping one artificial world for another, changing to meet the pragmatic needs of the moment or discarding the old when it becomes boring, demanding or problematic.

Madonna’s use of image is complicated in a further way, because whilst she lives in her images, she refuses to fully identify with them. She says:

I do everything with a wink.
This playfulness comes through in all that she does – the self-parody in her films and the double entendres in her lyrics, the different levels of meaning and ironies that she uses again and again
.
Whenever people accuse her of something she responds:
Well you don’t understand, it’s all ironic … don’t take it too seriously.
Defending her stage performance she once said:
I do not endorse a way of life, but describe one.
On the other hand, however, she wants us to believe that the image is real – she says “What you see is what you get, I’m not hiding anything”. So she makes the video ‘In Bed With Madonna’, a reveal-all documentary. The attitude is: ‘Let the camera roll, I don’t have anything to hide.’

The loss of her mother is significant in her world. She has said:

When my mother died, all of a sudden I was going to become the best student, get the best grades; I was going to become the best singer, the best dancer, the most famous singer in the world. Everybody was going to love me.
I’m a very tormented person. I have a lot of demons I am wrestling with, but I want to be happy.
It’s very moving when you look at this woman in all her decadence, in all her success and find beneath it all such a lost, sad and lonely person. That really reflects our culture. We see people lost in the images. Stridently, aggressively, demandingly using and abusing, pushing and shoving yet underneath … they are lost.

Madonna is the most visible example of what is called Post-Modernism.

IN THE HISTORY : “PEOPLE” MAGAZINE

On March 11, 1985, Madonna appears on the cover of People magazine.

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Groi!” The word comes out of Madonna’s cherry lips like an expletive. Rock’s latest “It” girl is seated on a couch with her frosty tresses pinned up, and she is peering intently through staid herringbone glasses. She could pass for a typing-pool pro except for her decidedly unsecretarial attire: black mesh stockings, peekaboo skirt and skimpy top festooned with enough crucifixes to supply a convent. “Yecch! Groi!” she exclaims as if she’d discovered something fetid in her refrigerator. In fact she is screening the glamorous results of a photo session in Hawaii for a forthcoming pinup calendar. “Groi!” she barks as another shot flashes on the screen.

“Groi?”

Madonna has coined the term for “Get rid of it.” The photographer showing the slides relaxes when at last she coos’ “Great! I love that!” in reaction to a picture of her splayed across a black sand beach wearing little more than an alluring expression. Life is pretty telegraphic for Madonna: Things are either great or groi. And nowadays, with a growing legion of wide-eyed fans turning on to her pouty sex-kitten put-on, life is mostly great. Whatever her musical talents, Madonna is a runaway fashion rack, has exhibited the most agile midriff since Salome and could become the Monroe of the ’80s. Her triple platinum Like a Virgin was the top LP in the U.S.A. for three weeks, having toppled Boss Springsteen, and the title song spent seven weeks as No. 1 before yielding the spot. Now Madonna’s Material Girl single is No. 18 and climbing, along with a cut called Crazy for You from the sound track of Vision Quest, a movie in which she makes a cameo appearance. MTV? It almost looks like the Madonna Show, with all the airtime her flashy, trashy videos are getting. All told, Madonna music is selling at an astonishing rate of 75,000 vinyl discs a day.

And there’s more. She’s got a feature film opening in March, a seven-week tour scheduled, a fashion line in the works and she has inspired two new popographies. But reaction to the 26-year-old flaxen flamethrower is varied, intense and personal.

Madonna’s critics have dismissed her as a bagatelle, like Blondie’s Debbie Harry. Her voice has been likened to “Minnie Mouse on helium.” Record label executives pray she is this year’s Thriller. Fashion photographer Francesco Scavullo has called her “baby Dietrich.” Hollywood would settle for a Mansfield, if not a Monroe. Madonna’s closest professional counterpart is chameleon David Bowie, who has shrewdly used pop stardom rather than being used by it. “I’m here. I’m there. I love to work. My brain is always in overdrive,” Madonna says. “I guess you’d say I’m a hyperactive adult.”

The legend she bears on her custom-crafted belt buckle is “Boy Toy.” That calling card, added to what sounds like the ultimate stage name, conjures up the image of another disco dolly sashaying her way to short-lived fame. The Virgin album jacket, showing her in lace, looking like a prom queen in heat, adds to that impression. “I’ve been called a tramp, a harlot, a slut and the kind of girl that always ends up in the backseat of a car,” she says. “If people can’t get past that superficial level of what I’m about, fine.”

There is a mastermind behind the image making, and it turns out to be none other than Madonna Louise Veronica Ciccone of Pontiac, Mich. Though not a trained musician, she composes much of her own material, conceives her own videos and is very much involved in the business of being Madonna. That she inspires ire in many is a token of success that almost delights her. “I’m tough, ambitious and I know exactly what I want,” she says. “If that makes me a bitch, okay.” One associate described her as “a great white shark in goldfish clothing,” and another observes, “If you cross Madonna once, you might as well have never existed as far as she is concerned.” And woe to the showbiz spider who mistakes her for Little Miss Muffet. “She will suffer fools when it is in her interest,” says a friend, “but never gladly.”

Madonna has also incurred the wrath of feminists because of her vampish displays and unenlightened flesh mongering. “I wanna say to Gloria and the gang, ‘Hey, lighten up. Get a sense of humor.’ ” One sullen critic took her to task on behalf of the economically downtrodden because of the crass sentiments of Material Girl (“The boy with the cold hard cash/Is always Mr. Right”). “Look at my video that goes with the song,” she says. “The guy who gets me in the end is the sensitive guy with no money.”

What Madonna gets is pretty much whatever she wants. “I have always been able to get my way with charm,” she admits. “I have always been resourceful, whether it was convincing my father to let me stay out late or getting out of paying a cab fare in New York when I didn’t have any money.” She is the third child (of eight) and oldest daughter of an Italian Catholic family that lived in racially mixed, working-class Pontiac. Her crucifix collection is a reaction to her strict Catholic upbringing. Her father worked as a design engineer for Chrysler, and she was named Madonna after her mother. “Ours was a strict, old-fashioned family. When I was tiny, my grandmother used to beg me not to go with men, to love Jesus and be a good girl. I grew up with two images of a woman: the virgin and the whore. It was a little scary.”

Madonna’s mother died of breast cancer when her daughter was just 5. Little Nonni, as she was known then, was further devastated by her father’s remarriage three years later to a woman with whom Madonna has never made peace. “From that time on I felt like Cinderella with a wicked stepmother. I couldn’t wait to escape.” Meantime she reveled in her individuality. “We had to wear uniforms to [parochial] school, so I would put bright panty bloomers underneath and hang upside down on the monkey bars at recess,” she says with impish glee.

When she was 10, her family moved to Rochester, Mich., where Madonna joined the Camp Fire Girls and limited herself to schoolgirl pranks. Childhood pal Carol Belanger recalls peeking through convent windows with Madonna “to see the nuns without their habits. We found out then they had hair.” By high school Madonna had discovered Motown, become a cheerleader and begun startling her friends with her outspokenness.

“Sometimes I’d literally put my hand over her mouth to shut her up,” says Belanger, remembering the time the pair drove to a nearby lake in Madonna’s red Mustang. A group of bikers began dropping firecrackers on them, and “Madonna yelled up and told them to knock it off. The next thing I knew, one of the biker girls came down and started hitting her in the mouth. We finally got away, but Madonna had a black eye and bruised cheek.”

In her junior year she began ballet classes with Christopher Flynn, now 54 and a University of Michigan dance professor. Abandoning cheerleading, she cut off her brown shoulder-length hair, “pierced her ears, got into nuts and berries, stopped shaving her armpits and legs,” says her high school chum Mary Conley Belote. “She was kind of far-out.” Flynn remembers her as “one of the best students I’ve ever had, a very worldly sort of woman even as a child. We would go to gay bars, and she and I would go out and dance our asses off. People would clear away and let her go.”

Deciding that a ballet career was her ticket to the top, Madonna spent three semesters at the University of Michigan and then headed for New York. She arrived in 1978 with a satchelful of tights and toe shoes, $35 in cash and a giant baby doll under her arm to keep her company. Her footwork earned her a work-study spot with the Alvin Ailey Dance Company. But frustrated by her inability to leap into the limelight, she began exploring other possibilities. She starred in a minor underground film, playing a vengeful weirdo who dominates three sex slaves. Through theatrical contacts she met the impresarios behind European disco singer Patrick (Born to Be Alive) Hernandez. “They liked me and took me to Paris to make me the next Edith Piaf,” she says scornfully. “They made me meet these awful French boys and I would throw tantrums. They would just laugh and give me money to keep me happy.” After six months she returned to New York and eventually moved into a Lower East Side building with her friend, illustrator Martin Burgoyne, now 22. Madonna left when their adjacent apartments were ransacked by neighborhood kids, and fled to Abbie Hoffman’s old 13th Street digs. Burgoyne rejoined her 48 hours later when his apartment was further vandalized by toughs with chicken droppings and blood.

By 1982, at the age of 24, Madonna had enough street savvy to start her on the pop-tart trail. She bounced around the SoHo art rock/New Wave scene until she had a demo of her own music and had “charmed” Danceteria deejay Mark Kamins into playing her stuff. Next stop Sire records, whose president, Seymour Stein, was in the hospital at the time recovering from an attack of endocarditis. “I got this call from my assistant about a Madonna tape that Mark brought,” he says. “I arranged for her to meet me at the hospital; then I shaved and had someone bring me a bathrobe from home. When she walked into the room, she filled it with her exuberance and determination. It hit me right away. I could tell she had the drive to match her talent.”

Her first album, Madonna, was released in July 1983 and did a slow burn through the dance-club circuit until it eventually crawled onto radio play lists and yielded two hits, Borderline and Lucky Star. The slow ignition of that debut effort allowed Madonna the luxury of plotting further career tactics, and her first task was hiring a no-nonsense personal manager. Her approach was simple. She asked herself who the biggest act in the world was at the time? Michael Jackson. Who was his manager? Freddy DeMann. DeMann has since lost Jackson as a client but was intrigued when a brash blonde he’d never seen showed up in his office in the summer of 1983. “She had that special magic that very few stars have,” he remembers.

With new management Madonna went after Nile Rodgers, who crafted David Bowie’s best-seller Let’s Dance, to produce her second album. Then after cutting Virgin last spring, she turned her energies to film. She landed a plum role as the title character in Desperately Seeking Susan, directed by Susan (Smithereens) Seidelman and co-starring coquettish Rosanna Arquette. “At first it was hard to get producers to take me seriously because I was a rock star,” she complains. “I guess they thought I would throw fits or do blow [cocaine] on the set or something. I think they were shocked when I showed up every morning like clockwork.” Seidelman concurs: “She is an incredibly disciplined person. During the [nine-week] shoot we’d often get home at 11 or 12 at night and have to be back on the set by 6 or 7 the next morning. Half the time the driver would pick Madonna up at her health club. She’d get up at 4:30 in the morning to work out first.”

Madonna says part of the allure of playing Susan was her identification with the character. “She’s this really crazy, lively, wild girl who kind of wreaks havoc in everyone’s life. I can relate to that. She drifts in and out of guys’ lives and they fall in love with her and she says ‘later’ and stuff like that. The difference is she was kind of a drifter and I am very focused.”

The difference in romantic affairs is subtle. Already Madonna has left a long register of boyfriends in her jet stream. Her longest romance has been a stormy two-year live-in relationship with New York deejay “Jellybean” Benitez. Lately, though, she’s been seen with actor Sean Penn, currently perking at the box office in The Falcon & the Snowman. The pair met when Penn showed up on the set of her Material Girl video, and since then friendship has blossomed into courtship. “I don’t feel swept off my feet,” she says, “but he is somebody whose work I have admired for a long time. He’s wild, though. He’ll probably die young. We have so much in common—we were born one day apart—and have such similar temperaments. I feel like he is my brother or something. In fact when I squint my eyes, he almost looks like my father when he was young.” Besides sharing shoptalk, Penn recently took Madonna to the Westwood, Calif. cemetery to visit Marilyn Monroe’s grave. “Joe DiMaggio’s rose was there,” she says breathlessly. “He really loved her.”

Madonna is currently in California rehearsing for her concert tour. “She’ll be playing small venues [3,000-5,000 seaters],” explains DeMann. “I want fans to be able to see Madonna sweat.” That means more nomadic living. “Right now I am living out of a suitcase in a hotel room,” she says. “It’s a little bit disconcerting.”

Madonna thus far has avoided conspicuous consumption. No mansion, yacht or impressive stock portfolio is hers yet. “I did buy a TV set and a 10-speed bike,” she says. “I always said I wanted to be famous. I never said I wanted to be rich.” DeMann reports that when he informed her of the gigantic royalty check she would be getting from her record company, all she said was, “Great! Now I don’t have to take the subway anymore.” But she’s hardly unmindful of her cachet among Hollywood power brokers. In a cute display of upmanship, she recently dropped William Morris as her agents. “I’m making a list and checking it twice,” she says, shopping for new representation. Then she laughingly finishes the rhyme, “Gonna find out who’s naughty and nice.”

One irritation is her vanishing privacy. The weird phone calls from “nut cases” have started. “When I was in Japan, somebody called up and said my father had died, just to get me on the phone,” she says shaking her head. “People get these psychotic fixations on you. It’s scary. Strangers feel like they know you because you are a public figure. I’ve had guys I’ve never seen before come up to me on the street and try to kiss me.” To reduce the hassles of fame, she has engaged a bodyguard, rides first-class in airplanes and no longer hangs out in dance clubs. Yet she refuses to dress incognito—or even a little less like a Christmas tree. “The attention can be very tiresome,” she says. “But it can also be a rush when some kids in the balcony shout out your name.”

To keep her ample figure in shape, she does daily aerobic drills and she swims. Her intellectual palate is as eclectic as her taste in snacks, which runs to Tab, sugarless gum and cheese-flavored popcorn. She is currently savoring the works of poet Charles Bukowski, Czech novelist Milan Kundera and the latest lurid Marilyn biography, but she’ll just as quickly pick up a movie magazine, French Vogue or the steamy tabloid Weekly World News. “Hey, I’m a sponge,” she says smacking her bubble gum. “I soaked up everything in my life and this is how it manifested itself.”

Fans aren’t complaining. Less saintly than her name, less sinful than her reputation, the Boy Toy bad girl has become the sponge a great many people would most like to squeeze. “Her playful devil-may-care attitude is mixed with sex appeal and a rebelliousness that give her a lot of credibility in the youth market,” concludes Sire president Seymour Stein. The creator of the Boy Toy puts it more simply. “Bruce Springsteen was born to run,” she says. “I was born to flirt.”

BURNING UP : 1983 – 2014

Released with “Physical Attraction” on the B side, the song was given mixed reviews from contemporary critics and authors, who noted the song’s darker, urgent composition while praising its dance beats.

The accompanying music video of the song portrayed Madonna in the classic submissive female positions, while writhing in passion on an empty road, for her lover who appeared to come from her behind on a car. The video ended showing Madonna driving the car instead, thereby concluding that she was always in charge. Many authors noted that the “Burning Up” music video was a beginning of Madonna’s depiction of her taking control of a destabilized male sexuality.

Musically “Burning Up” has a starker arrangement brought about by bass, single guitar and drum machine. The guitar riffs in the songs were not characteristics of Madonna’s later records. The tom-tom drum beats used in the song were reminiscent to the records of singer Phil Collins. It also incorporated electric guitars and the most state-of-the-art synthesizers of that time. The chorus is a repetition of the same three lines of the lyrics, while the bridge consists of a series of double entendres in regards to the lyrics of the song which describes what she is prepared to do for her lover and that she is individualistic and shameless.

100 YEARS OF “VANITY FAIR” : FROM GARBO TO MADONNA

Condé Nast’s Vanity Fair was founded in 1913 with the goal of recording “truthfully and entertainingly the progress of American life.” Since then, the title has featured the highest-quality journalism, photography, and commentary on all aspects of culture.

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To ring in Vanity Fair’s big anniversary, editor Graydon Carter introduces the magazine’s big new book—Vanity Fair 100 Years: From the Jazz Age to Our Age (Abrams), available in bookstores nationwide. At 456 pages, and an impressive 8.2 pounds, the book provides a decade-by-decade panorama of modern society and culture—from Garbo to Madonna, Coolidge to Obama, Jitterbug to Twitter—as seen by the magazine over the past century.

Since its first incarnation (1913–1936), under the leadership of editor Frank Crowninshield, through its reawakening (1983–present day), V.F., as Carter writes in the introduction of the book, has always covered life and letters, finance and crime, stage and screen, music and art, design and fashion, and politics and world affairs with its signature style and stance. Along the way it’s had Robert Benchley, Robert E. Sherwood, Dorothy Parker, Bryan Burrough, Dominick Dunne, and Christopher Hitchens filling its pages and photographers, from Edward Steichen to Annie Leibovitz, tagging along to take the pictures. The anniversary volume displays visual and literary highlights that are the best of the magazine’s best, making it a must-have now and for 100 years to come.

With its exhaustive sweep, visual impact, and time-capsule format, Vanity Fair 100 Years is the book everyone will want in 2013.

MADONNA VISITS J/P HAITIAN RELIEF ORGANIZATION IN HAITI

J/P Haitian Relief Organization, along with founder and CEO, Sean Penn, welcomed Madonna and her son, Rocco, to the J/P HRO-managed Petionville Camp in Port-au-Prince, Haiti earlier this week where she witnessed firsthand J/P HRO’s progress in the Haiti reconstruction effort. During their visit, Madonna toured the J/P HRO camp, where there are now less than 2,000 residents in the once tent-city of 60,000 internally displaced citizens, and met with senior program managers, visited its medical facilities, community center and engineering projects and spent time at a J/P affiliated school to connect with students. She also took a tour of the site of the national palace, which J/P HRO cleared last year, and then visited the slums of Cite Soleil.

Through Instagram, Madonna engaged fans in her experience in Haiti, posting photos of the country’s inspiring children and various locales such as the beach of Ile-a-Vache, an island off the southwestern peninsula of Haiti. She encouraged fans to support J/P HRO programs which provide health care, education, construction and the safe return to permanent housing for displaced earthquake survivors residing in the Petionville Camp. This week, Penn launched his own Instagram to raise awareness of J/P’s continuing efforts in Haiti: http://www.instagram.com/seanpenn.

“The progress that has been made in Haiti is extraordinary, but it’s clear there is so much more to be done,” said Madonna. “I’m very inspired by J/P HRO’s dedication and long-term commitment to the families and children of Haiti. What Sean and his organization have done is truly remarkable. They are paving the way to a brighter future for thousands of people. It’s vital that the world stays on course with the reconstruction of Haiti.”

“I was very proud to introduce Madonna and her son to the work we are doing in Haiti,” said Sean Penn. “It is my hope that more people will visit Haiti and see for themselves the beauty, spirit and potential of this great country.”

Madonna’s Ray of Light Foundation is expected to join forces with J/P HRO on their continuing support for the citizens of Haiti. Details will be announced at a later date.

Below are highlights of J/P HRO’s key achievements:

CAMP AND RELOCATIONS MANAGEMENT

– Since Feb. 1, 2013, and through an $8.75 million grant from the Government of Haiti and The World Bank, J/P HRO has implemented a relocation process to transition the remaining people living in the Petionville and Cite Maxo displacement camps. Of the 60,000 people who lived in the Petionville Camp, today, less than 2,000 people remain.
– By the end of 2013, J/P HRO will have achieved a significant milestone in the successful relocation of all remaining camp families.
– In 2013 and in collaboration with the J/P HRO Medical Program, 4,000 camp residents were vaccinated against cholera which has greatly contributed to the prevention of a widespread outbreak of cholera in the camp and neighboring communities.

MEDICAL

– In 2013, the all-Haitian medical staff, working out of two clinics, will have seen and treated more than 108,000 people-approximately 9,000 patients per month.
– On average, each month J/P HRO’s medical staff vaccinates nearly 600 children against life-threatening diseases and delivers 38 healthy babies, sustaining a 0 percent maternal mortality rate.
Every month, the J/P HRO Women’s Clinic provides health services to an average of 650 pregnant women.

COMMUNITY DEVELOPMENT

Education:
– 120 school teachers from 22 participating schools in the Delmas 32 neighborhood receive training on innovative teaching practices, which positively impacts more than 6,000 students who are currently enrolled in school attending school.
Livelihoods:
– Nearly 2,000 individuals have been trained on business management.
Community:
– More than 250 community members participate in activities held at the J/P HRO Community Center each week, where 36 community members volunteer their time.
– 200 young women have been enrolled in an intensive training program which included 450 hours of vocational training for each participant, easing access for them into non-traditional roles in the workplace.

ENGINEERING AND CONSTRUCTION

– The Engineering and Construction Department continues to transform Port-au-Prince neighborhoods through the demolition and clearing of more than 2,500 damaged home sites and 350 technical demolitions of severely damaged structures located throughout Port-Au-Prince, including the National Palace. More than 500,000m3 of rubble has been from city streets and neighborhoods-equal to over 1.3 million tons.
– In 2013, a structural retrofit project provided housing to 280 additional families.

INSTAGRAM PHOTOS FROM HAITI

– Photo of Sean in Haiti: http://instagram.com/p/hJczUqSRlG/
– Photo of Haitian school by Madonna: http://instagram.com/p/hJrXhDGEV-/
– Photo of tent by Madonna: http://instagram.com/p/hJd1qMGERZ/
– Photo of Haitian child by Sean: http://instagram.com/p/hMlF3WSRpK/
– Photo of Ile-a-Vache by Madonna: http://instagram.com/p/hMRy8CmEd-/

ABOUT J/P HAITIAN RELIEF ORGANIZATION

J/P Haitian Relief Organization is dedicated to saving lives and bringing sustainable programs to the Haitian people quickly and effectively. Following the tragic earthquake of 2010, J/P HRO began working immediately to make a meaningful and lasting impact in Haiti. The goal of J/P HRO is to support the residents of the camps we manage and surrounding areas transition from life left homeless by the earthquake to durable, sustainable, and prosperous communities. J/P HRO has implemented its mission through four integrated programs: Medical, Camp & Relocations Management, Engineering & Construction, and Community Development. We work with the support of and in collaboration with local and national government leaders, community based organizations, other international NGOs, UN agencies, donors and-most importantly-the community members themselves. More information can be found at http://www.jphro.org. You can follow J/P HRO on Twitter at http://www.Twitter.com/JPHRO, add J/P HRO to your Google+ circles at http://bit.ly/jphroplus, and find J/P HRO on Facebook at http://www.Facebook.com/JPHRO.

Source : Madonna.com

MADONNA AND SEAN PENN FOR J/P HAITIAN RELIEF ORGANIZATION

The mission at J/P Haitian Relief Organization (J/P HRO) is simple: To save lives and bring sustainable programs to the Haitian people quickly and effectively. Following the tragic earthquake of 2010, J/P HRO began working immediately to make meaningful and lasting impact in Haiti. Today, J/P HRO programs focus on supporting the residents of the camps we manage and the surrounding areas transition from life left homeless by the earthquake to durable, sustainable and prosperous communities. Early on, J/P HRO became camp manager of Pétionville Camp, serving up to 60,000 internally displaced persons. Our staff, which is nearly 350-strong and 95 percent Haitian, is working every day to provide education, health and community development, and economic opportunities. Taking a geographically focused and integrated approach to community regeneration, J/P HRO programs empower the residents of Delmas 32 to revitalize their neighborhood. Together, we aim to demonstrate that something fundamentally different can come from a slum in the center of one of the world’s poorest cities: sustainable and prosperous communities. We work with the support and in collaboration with local and national government leaders, community based organizations, other international NGO’s, UN agencies, donors and-most importantly-the community members themselves.

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Sean Penn is the Founder, Chief Executive Officer and Chairman of the Board of J/P Haitian Relief Organization. Two-time Academy Award® winner Sean Penn has become an American film icon in a career spanning nearly three decades. Penn’s humanitarian work has found him in New Orleans in the immediate aftermath of Hurricane Katrina and more recently in earthquake-ravaged Haiti. In January 2010, Penn founded the J/P Haitian Relief Organization, which focuses on medical aid, protection, and re-location. His organization is currently serving as UN IOM designated Camp Management for one of the largest IDP camps in Port-au-Prince and established the first emergency re-location in the country. For his efforts in Haiti, Penn was named Ambassador at Large to the nation of Haiti on January 14th, 2012, he received the Commander’s Award for Service (US Army 82nd Airborne Division), 82nd Airborne Award for Meritorious Service, the Operation Unified Response JTF Haiti Certificate from Lieutenant General, US Army Commander P.K. Keen, along with the 1st Recon 73rd Division Coin of Excellence, 2nd Brigade Combat Team Coin of Excellence, Commendation of Excellence United States Southern Command, and Award of Excellence by the Deputy Commander US Southern Command. Earlier this year, Penn was honored with the “Children’s and Families Global Development Fund Humanitarian Award” presented by the Ambassador of the Republic of Haiti, Raymond A. Joseph and his wife, Lola Poisson-Joseph. Additionally, in July 2010 Penn was knighted by Haitian President Rene Preval in a ceremony in Port-Au-Prince.

“LIKE A PRAYER” ON “SONGS FOR PHILIPPINES” BENEFIT ALBUM

“Songs for the Philippines” Launched Globally On iTunes To Benefit The Philippines Disaster Relief Efforts

Proceeds from all-star album will be donated to Philippine Red Cross

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The global music community has come together for the worldwide release today of a new compilation that features the biggest names in music to raise money for those affected by supertyphoon Haiyan in The Philippines. “Songs for the Philippines,” a unique collection of 39 chart-topping hits and classic tracks, is now available worldwide on iTunes (iTunes.com/Philippines).

The artists, record companies and music publishers who are collaborating on this project together with iTunes have all agreed to donate proceeds from “Songs For The Philippines” to the relief efforts of the Philippine Red Cross. “Songs For The Philippines” is available now globally through iTunes.

Check out “Songs For The Philippines” as an iTunes Radio “First Play” in the US with streaming proceeds also going to the relief efforts of the Philippines Red Cross.

The “Songs For The Philippines” track listing is as follows:

The Beatles – “Across The Universe”
Bob Dylan – “Shelter From The Storm”
Michael Buble – “Have I Told You Lately That I Love You”
U2 – “In A Little While”
Bruno Mars – “Count On Me”
Beyonce – “I Was Here”
Eminem – “Stan” (Live from BBC Radio 1)
Cher – “Sirens”
Adele – “Make You Feel My Love”
Katy Perry – “Unconditionally” (Johnson Somerset Remix)
One Direction – “Best Song Ever”
Fun. – “Carry On”
Lady Gaga – “Born This Way” (The Country Road version)
Justin Timberlake – “Mirrors”
Justin Bieber – “I Would”
Alicia Keys – “New Day”
Imagine Dragons – “30 Lives”
Madonna – “Like A Prayer
P!nk – “Sober”
Kylie Minogue – “I Believe In You”
Enrique Iglesias – “Hero”
Red Hot Chili Peppers – “Factory Of Faith”
Linkin Park – “Roads Untraveled”
Kings Of Leon – “Use Somebody”
Muse – “Explorers”
Lorde – “The Love Club”
Josh Groban – “Brave”
Kelly Clarkson – “Stronger”
Paolo Nutini – “Simple Things”
Ellie Goulding – “I Know You Care”
James Blunt – “Carry You Home”
Pitbull feat. Christina Aguilera – “Feel This Moment”
Earth, Wind & Fire – “Sign On”
Apl.de.Ap – “Going Out” feat Damian Leroy
Sara Bareilles – “Brave”
Jessica Sanchez – “Lead Me Home”
Lily Allen – “Smile”
The Fray – “Love Don’t Die”
The Beatles – “Let It Be”
All proceeds from “Songs For The Philippines” will be directed to the Philippine Red Cross.http://www.redcross.org.ph/

Follow “Songs For The Philippines” on Facebook.com/SongsForPH
Keep the chain going on Twitter and Facebook #GiftsongsforPH.
Go to http://www.songsforphilippines.com for more details

Source : NewsWire