It seems that there is some big problem at Interscope to solve. 50 Cent announced first single from his upcoming album is titled Girls Go Wild. Interscope already revealed the release date (December 31th) and the artwork. But now 50 Cent is apparently mad about Madonna’s track called Girls Gone Wild and does not want to release his leading single as of now.

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New album for sale already has a date in March 2012

CeDe.ch The site has already reserved the space for the sale of the new Madonna album on the page, and details: According to the website, the launch will be on March 9, 2012 on the European continent! This means that online sales will be available three days before the official release.

The launch is expected in the first quarter of 2012, most likely on March 12 in Europe, a day after the U.S. and the following week the rest of the world.




Touch it, Feel it, Play it at the Namm Show. Experience the vibe at The Super Bowl Game, half time show.
This has been an artistic process of Phillip Jarrell and Monte Pittman searching for the Magic Bullet of guitars. Monte plays such a wide range of styles in the course of any one performance that he needs many guitars to do the job. Using the best of the best, combined with the many years of experience both artist brought to the quest, we have this amazing instrument hell bent on rockin’ the world. The turbo combination of Seymour Duncan pick ups, is a product of both artist as well as Monte working together with MJ at the Seymour Duncan Custom shop to achieve a new type of DimeBucker never made before. Add a middle position STk-S7 Vintage Hot Stack, with custom wiring using a Super 5 way switch. The possible sounds are truly amazing. Up to now all the MPS models Monte has been playing are prototype models. The first sighting of the actual MPS will be at The Namm Show 2012, Jarrell Booth 4198. First performance debut will be the Super Bowl Game half time show, as Monte brings the world to their feet with Madonna live at Super Bowl 2012.

Visit Jarrell Guitars for more info.


“Nightline” anchor Cynthia McFadden has an upcoming exclusive interview with Madonna, which will air on “Good Morning America,” “Nightline” and “20/20” in the coming weeks.

But now is your chance to ask the iconic queen of Pop anything you want to know. We want you, the viewers, to ask the Material Girl questions. Fill out the form below to tell us your question and “Nightline” anchor Cynthia McFadden could put it directly to Madonna. Some will be selected for a special online feature.

send your question here



Movieline caught up with Ritchie to discuss how the Sherlock sequel came together, the benefits of the aforementioned “powerful friends,” his recent comments about his marriage to Madonna, and when that long-awaited RocknRolla sequel will happen.

By a coincidence of timing, Madonna’s film W.E. is coming out around the same time as Sherlock Holmes 2; you recently described your marriage to Madonna as a soap opera, but do you think the filmmaking impulse in any way influenced her during your time together?
I don’t know, she’s always been interested in film. Actually, I sort of encouraged her to be interested in film and she used quite a lot of my crew on her film. I haven’t seen her film and I haven’t read her script so it’s hard for me to comment, but I wish her the best with it. And I think most people’s marriages are like soap operas so I don’t know if I’m unique in that sense, to a degree, but I suppose it was exceptionally operatic. [Smiles] But then as I say I suppose everyone’s is at some point or another.

For the full interview visit movieline


I saw W.E. on Friday and it is beyond fabulous. As we all know, different rules apply to Madonna than for other ‘celebrities’, so I don’t know what the Not of This World expectation was this time around. As a director, Madonna has a unique vision and style. W.E. is a feminine piece of cinema written, directed and produced by a woman who single handedly changed feminism, Madonna Louise Ciccone. So bow for that alone.

I was skeptical about the double tiered story but Madonna cleverly weaves that beautifully with visually stunning camera work, cinematography and keeping a great pace. I didn’t prefer one story over the other for they are one. For example, in one scene Wally is eavesdropping on a conversation Wallis is having. Great lines within. Wallis (Andrea Wiseborough) is delicious to watch with all her impish mannerisms and I really fell in love with Wally (Abbie Cornish), a vision of loveliness. I was drawn into each love story thoroughly, including the one between Wally and Wallis. And Evengi (Oscar Isaac) is not tough look at, I can assure you.

I was fascinated with connecting the dots with all the Madonna’s we have known for the last 28 years. For a moment in the film while Wally is going through Wallis’ items at Sotheby’s auction house, I imagined that would be like us fans, years from now, seeing Madonna’s items in a museum. Like Filth and Wisdom, it’s interesting to me that Madonna creates characters that are a slice of the Madonna pie. I think all fans will have a good time uncovering and discovering of which era certain scenes echo.

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On the surface, the Duchess of Cambridge and Madonna don’t seem like sartorial bedfellows, but could Kate be inspiring Madonna to turn over a new leaf?

One is the pop royalty who made her name pushing the boundaries of fashion and decency, the other is, well, let’s just say the word ‘royalty’ is where the comparisons start and end.
At least that’s what we thought, but it seems that deep down, Madonna and the Duchess of Cambridge share a strand of style DNA. Not that we’re likely to be seeing Kate hitting the dance floor in a pair of satin hot-pants and fishnets any time soon as the 53 year old mother of four did at a recent function.

The sartorial appreciation society is – as far as we know – all one-way traffic at present:
“I like her choices. She’s elegant and still knows how to have some fun. I’m a fan of her style.” Madonna gushed about the Duchess in a recent interview to promote her film about her other royal fascination, Wallis Simpson.

So far, so politically correct and headline grabbing. But in truth, besides her occasional wild nights recapturing her youth, Madonna does appear to have turned over a more demure leaf where her wardrobe is concerned.
For her numerous photo calls and turns on the red carpet, promoting her directorial debut W.E, her world famous cleavage has been kept firmly under wraps, as, even more surprisingly, have her knees. Instead of flashing the flesh, Madonna has been positively channeling the Duchess in a succession of understated but shapely longline pencil skirts and dresses, tights and court shoes.

For her big Venice Film festival premiere, it perhaps wouldn’t be an exaggeration to say Madonna’s embellished Vionnet dress was the closest she could find to the show-stopping Jenny Packham gown Kate wore to the ARK fundraiser earlier this year.
Of course, Madonna added a rock ‘n’ roll twist, accessorising hers with a pair of flashy diamanté sunglasses, proving that while she may be a “fan”, the overall look was 100 per cent her own.
Although we can’t see Madonna trading her love of expensive designer labels in exchange for Kate’s beloved British high street, the ladylike look most definitely befits her and could yet claim a place in her greatest fashion hits.
After the kinky catholic phase, the Marilyn Monroe moment, and the English country gent homage, perhaps in 20 years from now, we’ll look back on this as Madonna’s ‘Duchess’ period.

Written by Belinda White for Telegraph.co.uk



One of the most famous magazine dedicated to the cinema has done the review for Madonna’s new movie.

The general consensus on Madonna’s W.E., perhaps before anyone even watched it, has been that it looks great, but that is has no substance, no soul. This is quite ironic coming from a culture so invested in containing femininity within the boundaries of beautiful objecthood that it would be Frankensteinian for its most legendary female star to produce spectacle out of something other than her own body. The truth is W.E. is a perfectly fine piece of oneiric cinema. It puts forth, in fact, a kind of filmic écriture feminine so unabashedly consumed by “the look” and its world of artifices that we’d have to recognize, if we were to be critically fair and put our own heterosexist anxieties aside, that W.E. makes a mockery out of “man’s cinema” (cinema tout court?).

W.E. is all about shameless visual pleasure, but not of the kind Laura Mulvey warned us back in the day, which would cut women’s bodies and serve the pretty little pieces up to the voyeuristic “male gaze.” W.E.’s is a kind of dynamic pleasure that allows for non-shameful identification with the feminine and a fantasy of becoming what we see. A cathartic embracing of the object that one is and the erotic power of the objects that one isn’t, W.E.’s is a world of impossibly rich reds, impeccably coiffed hairdos, mirrored dressers filled with luscious Chanel makeup, irresistibly polished Martini shakers, five-billion-thread count Pratesi bed sheets, and “Justify My Love”-like corridors with ridiculously couture women walking by in, yes, Wong Kar-wai-esque slow motion.

We know the story: Wally (Abbie Cornish, a mix of Katie Holmes obnoxious ennui and Katherine McPhee comeliness), a privileged young woman in New York City, becomes obsessed with the royal drama and romance between King Edward VIII (James D’Arcy) and Wallis Simpson (the amazing Andrea Riseborough), the American woman for whom he renounced the throne. Wally spends most of her time at Sotheby’s getting aroused by the objects on display that once belonged to Simpson (and will soon be auctioned), as a kind of replacement for, or escape from, her own sexless and abusive marriage. Wally’s ecstatic bonding with the gloves, jewels, and pillboxes on display, which serve as cues for flashbacks that take us to the dramatization of the royal love story itself, is only ever interrupted by the charming security guard with a hot foreign accent, Evgeni (an excellent Oscar Isaac). The two develop a sexual tension that can be, frankly, much more interesting than the historical drama that fuels the film. It’s with Evgeni that we wake up from the overdose of lush and luxury (we need a breather just as long as we get to come back) when he takes Wally to a borough other than Manhattan for the first time and serenades her with some classical music.

The scene recalls the first time James Franco sleeps over at Neve Campbell’s apartment and cooks for her in Robert Altman’s The Company. But even though the myth of true love is what drives Wally, Madonna never throws a saccharine bone to her main character, as any other film about a poor fashionista looking for love in the urban jungle would. Wally may be seduced by Manhattan’s promises of itself as a haven for capital and libidinal fulfillment, but she isn’t fooled by them. She inhabits the space between ideality and actuality, from where she quickly learns to refuse men as a means for completeness. Even the bearing of a child becomes a narrative that includes a man but isn’t contained by him. Instead of settling for the simple things in life that Brooklyn and a hot Russian guy who plays the piano and reads Rilke have to offer, she flies to Paris to read royal correspondence by the fireplace at a chateau wearing some breathtaking Balenciaga-looking number. Wallis Simpson’s impossible-to-gain-access box of letters is her own Cave of Forgotten Dreams.

W.E. does have its share of potential camp moments, as when the female doubles (wasn’t this what Desperately Seeking Susan was about?), Wally and Wallis, cross time and meet each other in the same space so one can offer the other existential advice (the face is the most important thing, but you make the most with what you got), or when someone delivers a line such as, “Do you think we can change our own destiny?” Yet Madonna handles this film like a masterful aesthetician. The absolutely enthralling soundtrack patches everything together along with the grainy handheld close-ups that tend to follow every establishing shot. This last strategy, which could have easily become a sort of visual tic or editing cop-out, becomes a consistent dream-like motif that helps make W.E. a multi-sensorial frisson.




The good news? Anna Wintour is gracing this week’s CBS Sunday Morning broadcast with her presence.

The even better news? We’ve got some highlights from her interview, so you don’t have to, you know, wake up early on a weekend or anything (heaven forbid!).

Accompanied by Hamish Bowles to promote the just-launched Vogue archives, Wintour opens up to Serena Altschul about some of her most memorable Vogue moments, Women’s Wear Daily reports.

One standout is her first-ever cover for the magazine, in 1988, which featured a model in jeans.

“To me, it just said, ‘This is something new. This is something different,'” Wintour says. “And I remember the printers called us up because they thought we’d made a mistake. Just wanting to check that that actually was the cover.”

The editor also faced similar doubts over her decision to devote covers to actresses rather than models, a practice that is now widely used.

“I remember getting quite a bit of criticism for my first Madonna cover,” she says.

“And you know, ‘She’ll never sell.’ And it was a little bit risky. And it was up something extraordinary, like 40 percent on newsstands. So that was an eye-opener to all of us.”

And though Wintour’s expressed regret over her decision to put the Spice Girls on the cover (hey, it was the ’90s), she says that sometimes you just have to go with your gut.

“Sometimes they’re successful and obviously sometimes they’re not,” she says. “But you have to, I think, remain true to what you believe in.”

Sound advice!



DrownedMadonna.com has more details and some clarification now that the album shoot is done.

It was a long shoot and hundreds of photos were taken. They will narrow down in next few weeks. Most of the pics were closeups / waist up with black background. It was a subdued set.

The hardest thing to discribe is her hair. Madonna’s hair pulled back in tight low ponytail. Her hair waved up on top to appear as though she has short hair. Someone could say almost True Blue updated with W.E. victory roll esque hair on top.
So, victory rollish wave on top. Hair off face. Someone would say, Rihannaesque, but absolutely more mature and not color. Sorta Harper’s Bazaar cover esque on top but sides and back pulled tight back.

Click here for more info.