The Queen of Pop has spoken
Madonna has joined the chorus of celebs celebrating the Supreme Court’s rulings on DOMA and Prop 8.
“What a way to start my day!!,” Madge said in a statement to E! News. “I’m wearing a smile from ear to ear. There is a G-D! Justice is served. Hallelujah!!”
Not like it needs any explanation, but Madonna has been one of the biggest gay icons since she was practically still in the womb.
“I wouldn’t have a career if it weren’t for the gay community,” she once said during an appearance on The Ellen DeGeneres Show.
In June 2011, Madonna urged her fans to back same-sex marriage in New York. “New Yorkers your voices must be heard,” she posted on her website. “Tell your state Congressmen to support same sex marriage bill. All you need is love.”
Same-sex marriage became legal in the Empire State about a week later with the passage of the Marriage Equality Act.
Most recently, Madonna presented the Vito Russo Award to openly gay CNN journalist Anderson Cooper at the GLAAD Media Awards in March in NYC. Never one to be conventional, she dressed as a Boy Scout to protest the Boy Scouts of America’s ban on gay scouts and scout leaders.
Madonna certainly isn’t Hollywood’s only heterosexual supporter of same-sex marriage. Kristen Bell, Ben Affleck, Demi Lovato, Lena Dunham, Seth Meyers and Alyssa Milano are just some of the straight celebs who took to Twitter this morning to toast the Supreme Court rulings.
Source : E!
You’d think that, after working with Madonna for 15 years, Arianne Phillips would have seen it all. But Phillips, the stylist and costume designer behind a decade and a half of Madonna videos and performances, as well as films like Walk the Line and W.E., says that the pop star’s 2012 MDNA world tour was like nothing she had ever experienced. “There were an epic amount, a tsunami, of costumes,” Phillips told Style.com of the show’s wardrobe, which included an updated iteration of Madonna’s iconic cone bra by Jean Paul Gaultier. “And we aren’t talking tennis shoes and sneakers—it’s costume and fashion.” Prior to the premiere of Madonna: The MDNA Tour, a documentary that airs on Epix tonight at 8 p.m., Phillips, who’s currently in London working on a new film, talked to Style.com about the MDNA costumes, Madonna’s collaboration with Jean Paul Gaultier, and what it takes to put on an unforgettable show.
—Katharine K. Zarrella
Where do you begin when designing costumes for Madonna?
Well, it always starts with the music, of course, and usually Madonna crafts a set list that’s part of a narrative. It’s a story with a beginning, middle, and end. This show was really about transformation. Each act had a different theme and costume had a purpose. This tour with her was definitely the biggest undertaking I have been a part of—on the technical side and on the conceptual side. It’s one thing to just design a costume for Madonna herself, but if you think about it, we had 23 dancers, five band members, and two background singers. And everyone requires multiple costume changes.
How do the costumes help express the show’s narrative?
We think of it as characters, and [Madonna] is playing a part. That character requires development and visuals in addition to the songs she’s singing. In the beginning of the show, she comes out dressed like a queen in a crown with a machine gun. She takes that off to reveal this super-vixen character that we kind of debuted in the “Girl Gone Wild” video. The next act is all about expression and having a message, and it opens up with “Express Yourself.” She’s wearing this homage to a forties majorette. The third act is “Vogue,” and it’s all about identity and gender-bending—iconic Madonna. She’s trying to figure out who she is again. And in the end, it’s a celebration, and she transforms into this powerful Joan of Arc character. Everyone is wearing mesh T-shirts, and it’s just like a really fun party. The tour gave her an opportunity to take classic songs like “Papa Don’t Preach” and give them a new twist. She has been performing these same songs forever, but she’s the queen of reinvention, and she creates an entertaining concept for the shows that keeps it interesting and relevant. The costumes have to underscore that, and they have to provoke and entertain.
How many costume changes did Madonna do throughout the course of the show?
The costumes are part of the choreography, so we have a lot of quick changes, and people are literally changing clothes under the stage. Madonna changes full costumes about four times. But then, for instance, for the “Vogue” act, she comes out in the Gaultier corset and then she disrobes. So by the end of the act, when she sings “Like a Virgin,” she is in a corset and a bra, and she has done different songs in different deconstructions of the outfit. So her costumes change for almost every song.
Were there any wardrobe malfunctions?
Everything goes wrong daily. Shoes break, bras break, but that’s what keeps a live show interesting. When the adrenaline of the audience kicks in, there’s almost like a langue between the audience and the performers. And that’s when seams pop off and crystals fly.
You’ve worked with Madonna for 15 years. Did you feel any pressure to top yourself with this tour?
This is not like anything I have ever done before, or like she has ever done before. The great thing about working with Madonna for 15 years is that every project is a new and different challenge. She has to raise the bar to keep herself interested. The great thing about her is that she is not nostalgic; she is not looking to redo something she has done in the past. But it takes us 12 weeks in preparation and rehearsals before we open the show, and I was still tweaking things into the first five or six shows, partly because I used materials that are not traditional for performing onstage.
What kinds of materials?
For instance, all that metal mesh and the crystals that she wears in the final act—that was physically heavy. That costume weighs around 15 pounds, so she had to do all of that rigorous choreography with extra weight. Most people would never do that or be able to take it, but she wanted to wear the real thing because she liked the way it looked. And she took a beating while she was dancing and sweating in it, but it looked beautiful.
You mentioned that Madonna is not nostalgic, but she did have one nostalgic moment on this tour with the Gaultier cone corset. Why did you decide to bring that back?
At this point, Madonna has created her own language with fashion and music. There is a kind of DNA of Madonna in terms of what we love about her. I have been working with her for a long time, and one of my favorite things that I have ever done with her is the collaboration with Jean Paul Gaultier. He is so lovely to work with, and their friendship predates me. It seemed like a no-brainer. That whole piece is about gender-bending, and you know, both Gaultier and Madonna are provocateurs. Gaultier is such an important person in our fashion history and culture, and the things he and Madonna have deserve to live on as part of her visual legacy.
In addition to Gaultier, you worked with Jeremy Scott and used some pieces from Alexander Wang. How did you decide what designers to feature in the tour?
Alexander didn’t make anything specially for us; we just responded to some of his pieces. Jeremy is a longtime collaborator of ours. What Madonna loves about him so much is his connection to his audience. His collection is so connected to street and club culture, and we always have a place for him on tours. He is our go-to innovator. He did custom shoes for us, and he did these amazing, Indian-inspired tracksuits for the dancers for “I’m a Sinner.” Then we used J Brand jeans; Agent Provocateur made some amazing bras; and we used a lot of independent New York designers. Michael Schmitt, who we’ve worked with forever—he does tour stuff for everyone from Rihanna to Cher—collaborated with us on the Joan of Arc costumes for the last act. He specializes in metal mesh. He is actually famous for doing Tina Turner’s metal mesh costumes back in the eighties. I designed tons of stuff, and Prada and Miu Miu made most of Madonna’s shoes—they’ve been making shoes for Madonna’s shows for a long time. She also wore her own Truth or Dare shoes.
Are you two always on the same page when it comes to the costumes, or do you butt heads?
I mean, she is the director, and she is constantly evolving her ideas, which makes it more interesting for me. But of course we butt heads. It’s a process. She has me there for an opinion—I’m not there just to say yes. It would be boring if we agreed all the time. Sometimes she pushes me or I push her, and there are certainly times when I compromise my ideas. She is the boss. It’s her show and no one knows it better than her. But in the end, we agree. Trust me.
What kind of research do you do for a tour like this?
We look at the past, the present, and the future, and everything informs our ideas. It’s no-holds-barred. It would be ridiculous not to look at her past. We are paying homage with a wink and a nod in the whole gender-bending act with the Gaultier corset. Everything is fair game, really.
Is shock factor something you think about when you’re designing the costumes?
The beauty about working with Madonna is that she isn’t thinking about what people are thinking about when they see the show; she is thinking about what is true and authentic to the idea. She has proven time and time again that she is a provocateur, and what is shocking to you might not be to her. To invest in shock—no. That’s not part of our language.
Source : Style
Madonna: The MDNA Tour
TV-14 2013 | Concert EPIX Originals
Premieres Saturday, June 22nd
You can call her the Queen of Pop or you can call her the Material Girl, but there’s no moniker quite so evocative as simply: Madonna. The seven-time Grammy Award winner returns to the stage in an epic world tour billed as “a journey from darkness to light.” And whether you’re in it for Madonna’s trademark blend of controversial themes and killer dance moves, or simply some delicious pop hooks, you won’t be disappointed.
The Material Girl can still get into the groove.
Since her self-titled first album dropped in 1983, Madonna has sold more than 300 million records worldwide and embarked on 10 concert tours, including last year’s The MDNA Tour.
Today at 8 p.m., cable’s Epix network will premiere the film “Madonna: The MDNA Tour,” which showcases footage from New York, Miami and some of the other 88 tour stops.
“Three decades is a long time to have a job,” Madonna told the audience at the movie’s New York premiere Tuesday night. But the exhaustive — and exhausting — film proves she’s still going strong.
At 54, Madonna keeps pace with her youngest peers in the two-hour spectacle; even hardened non-fans will marvel as she performs strenuous choreography alongside the show’s 27 nubile, youthful dancers.
The documentary (or is it one long music video?) showcases her knack for religious iconography, politically-tinged lyrics and sexual wattage.
Here are our picks for the film’s top five moments.
1. “Gang Bang”
Set in a seedy motel room, Madonna exacts revenge on ex-lovers using a stash of guns. With each shot, disturbingly realistic “blood” splashes across a video screen towering behind her. It’s a bit much in the wake of the Sandy Hook school shootings last December, but the ultra violent message is loud and clear: guys, don’t piss off Madonna.
2. “Express Yourself”
Wearing a majorette uniform, Madonna swings a verbal slap at her pop nemesis, Lady Gaga, whose 2011 gay rights anthem, “Born This Way,” is suspiciously similar to this 1989 hit. Madonna samples Gaga’s lyrics in lock step with her own song’s backing track, while video behind her depicts Pac Man-esque “little monsters” (as Gaga fans are called) gobbling up conical bras, blond ponytails and other props Gaga seemingly procured from the Material Girl.
A Madonna concert wouldn’t be the same without her iconic 1990 club hit. Her body moves to the music and as she strikes many a pose in a gender-bending black-and-white fashion show with couture by Jean Paul Gaultier (who designed many of the tour’s 1,500 costumes). Ladies with an attitude, indeed.
4. “Like A Virgin”
Madonna spins a melancholy take on her perky 1984 hit. Wearing butt-baring lingerie and fishnets, she drapes herself atop an upright piano, flashes her barely-covered private parts and tells the crowd, “If you’re gonna look up the crack of my a–, you might as well give me a tip.” The audience litters the stage with cash, which was later donated to Hurricane Sandy relief efforts. A down-tempo version of her “MDNA” album track “Love Spent” — a snipe at ex-husband Guy Ritchie — follows with a dancer excruciatingly tightening a corset around her waist.
5. “Nobody Knows Me”
Projected on stage as a musical interlude, this controversial video that includes swastikas and other Nazi imagery steals the show with a message about intolerance. Lyrics like “It’s no good when you’re misunderstood” send viewers a jolt when melded with portraits of gay teens — including Rutgers University student Tyler Clementi — who have committed suicide.
by ERIC HEGEDUS
Finally we can see the official trailer for the #secretproject by Steven Klein
“IN MY book, if you don’t leave a pound of flesh on the stage floor, you haven’t done your job properly!”
That was Madonna at the chaotic premiere of the film version of her record-breaking “MDNA” tour last year. After the film, Madonna took questions from the audience — made up of die-hard, totally hysterical fans. She was charming. It has not always been so. Madonna can be icily monosyllabic or just plain bored with whoever is interviewing her, and doesn’t bother to hide it. But at the “MDNA” event, she was the Madonna I know, personally — smart, funny, appealing. She was even dressed in my idea of glamour: a black tuxedo, a white silk shirt, a black top hat, just like Marlene Dietrich in “Morocco” In fact, Madonna said her choice of outfit was inspired by the Paris Theater, where the premiere was held. “In 1948, Dietrich cut the ribbon when this theater opened. So I pulled out my Marlene drag for this night.”
Now, not that the night, sponsored by The Cinema Society, Dolce and Gabbana and Epix, was without hitches. There was madness in front of the Paris. It was raining and unbearably muggy. People were desperate to get inside. Some of those waiting on the VIP line were annoyed when Madonna’s fans were allowed in first. “Why are they getting in?” asked one woman whose coif was collapsing. “Maybe because they are the ones who made her a star,” came the reply.
But even after the VIPs were seated, there was a loooong wait for Madonna. Like, an hour. The theater was almost as muggy as it was outside. Finally, Madonna and her entourage arrived. This included all her dancers from the tour, and her son Rocco, who also appeared onstage with his legendary mom. However, as Madonna remarked later, with a laugh: “He doesn’t look like he did then. He’s grown three inches, he’s almost six feet tall and frankly, he kind of frightens me.”
As for the film, if you thought the concert itself was intense, seeing and hearing it up close, pitches it to a new level. Madonna does some amazing — and genuinely brave — stuff here. A lot of it is not for the faint of heart. But, if you’re going to accept the moniker of “The Queen,” you’ve got to own it, and Madonna owns every bit of it! And even at a film premiere she knows how to put on a show. As the credits rolled, the lights went up and a full marching band with drums and cymbals appeared in both aisles. It was impressive, funny and ear-shattering. (It was also a way to keep everybody from leaving until Madonna took the stage.)
The party afterward was at Harlow, and the late hour had no effect on Madonna’s energy — she danced until 2:30 a.m.! Among the throng watching were John Travolta, Andy Cohen, ageless Debi Mazar, Adam Lambert, CNN’s Alina Cho, ballet’s handsome Roberto Bolle, Lee Daniels, Rachel Roy, the Cinema Society’s Andrew Saffir (holding up surprisingly well amid the chaos) and Kelly Osbourne.
Best exchange of the night came when “Boy Culture” writer and Madonna historian Matthew Rettenmund approached Kelly O. for a photo. (She was chatting with Cosmo’s sexy Sergio Kletnoy.) Rettenmund said, “I’m on your side in the stuff between you and Lady Gaga.” Kelly replied rather tartly, “There are no sides. I just think it’s disgusting to use gay people for making money!” This left Rettenmund momentarily speechless, but a friend standing behind him chirped up, “Well, it’s better than using them for firewood, honey.”
Miss Osbourne seemed not to be amused.
Source : ChicagoTribune