Source : Madonna ScrapBook
KARACHI: Queen of Pop Madonna’s school in Karachi has opened its gates to students.
The 56-year-old “Material Girl” singer took to Twitter to announce that the Dream Model Street School has so far admitted 1,200 kids.
Madonna tweeted: “The revolution of love continues in Pakistan! The Dream School is finally finished. 1200 kids attending. Knowledge…”
The Revolution of Love continues in Pakistan! The Dream School is finally finished. 1200 kids attending?? knowledge… http://t.co/c5GezOMdgP
Madonna announced last year that she was raising money to expand a school located in the outskirts of Karachi.
The pop star also shared a photograph of girls studying in the classroom equipped with laptops.
“Girls learning at the Dream School,” she captioned the picture.
Source : TimesOfIndia
“Shana Tova! #rebelheart #livingforlove”
He’s worked with everyone from Madonna (on the song “What it Feels like for a girl”), Björk, Britney Spears, to Alanis Morissette, to name a few.
Without a doubt, UK songwriter, multi-instrumentalist, and producer Guy Sigsworth is one of the most accomplished and well-respected people working in the music industry today.
When asked by website Radar Online what it feels like to collaborate with Madonna, here’s what he’s got to say…
Radar Online: How did you approach working with someone the stature of Madonna when you collaborated on What It Feels Like for a Girl?
Guy Sigsworth: That song was quite an unusual situation.
I sent Madonna a backing track, which already had the spoken word bit in and then she wrote a vocal to it.At the start of our meeting together she sang me her guide vocal, which I thought was great. There was just one thing, in that it worked perfectly against the chorus but it was a little odd against the verse.Madonna said she wanted the music adjusted to better fit her melody so I moved a bar to bring it in line with the verse and she said she thought was too simple.
She wanted to use the sounds that were already there so there was no question of overdubbing things so what I did was to create the arrangement by basically just chopping up and re-positioning sounds that were already in the mix in different positions around her vocal to create the verse.
That was a wonderful challenge because I stuck with what I’d brought on the demo, obviously Spike (*co-producer Mark ‘Spike’ Stent) made sure it sounded even better but we never went into opening up a load of new synths or samplers to find new sounds.
It was just ‘where do we place the sounds we have to make the verse work?’ It was a problem but in a way it was brilliant in the way she imposed a restriction on it that made us be more creative.
The British singer-songwriter has been in the studio with the US icon to work on a track for her forthcoming new album, which is due out in 2015.
“I almost get quite scared talking about it,” MNEK told Digital Spy at the MOBO Awards launch.
“It’s happened, obviously.I did meet Madonna and I did work with her.It was great and amazing.The song sounds wicked – I’m really proud of it. Diplo’s dope, Madonna’s dope, her people are great and that side of things is working out great.”
MNEK is nominated for Best Newcomer at the MOBO Awards 2014.
“We go Hard or we go Home,” the Queen of Pop informs her subjects.
Madonna has another star-who-might-be-working-on-the-new-album to her high-wattage Instagram feed, as Nicki Minaj popped up on Monday night (Sept. 22) to blow a kiss, and maybe swirl some more collaboration rumors.
“We go Hard or we go Home we Gon Do this all night long! #werk” Madonna captioned the photo, while Minaj posted the photo to her own Instagram a few hours earlier. “My trip to New York isn’t the same unless I bump into the Queen. #BitchItsMadonna,” she wrote, suggesting that the photo was the result of a chance encounter… however, “Bitch, I’m Madonna” is the name of a rumored new track produced by Diplo, so maybe Minaj was in town to record a guest verse?
Madonna and Minaj, of course, collaborated on her 2012 single “Give Me All Your Luvin,’” and performed the song together at the Super Bowl halftime show that year. Minaj was the guest artist on the song who did NOT give the middle finger to hundreds of millions of viewers at the Super Bowl (that’d be M.I.A.).
Madonna’s follow-up to MDNA is due out in 2015, and there are already over a dozen rumored collaborators on the as-yet-untitled project.
“NICKI MINAJ : My trip to New York isn’t the same unless I bump into the Queen. #BitchItsMadonna 😜” MADONNA : We go Hard or we go Home we Gon Do this all night long! #werk
Goin to werk #bitchimmadonna
The list of collaborators for Madonna’s next album continues to grow.
The diva posted an Instagram photo on Saturday (Sept. 20) of DJ Dahi and Blood Diamonds working behind a computer, with the caption, “Nothing can stop the Sex Boyzzzzzz!”
DJ Dahi is the producer behind Drake’s “Worst Behavior,” and has worked with other artists like Kendrick Lamar and Lily Allen. Pop act Blood Diamonds (aka Mike Diamond) is a frequent collaborator with Grimes.
Madonna has also been working with super-producer Diplo, who has turned up in multiple photos on her Instagram account. In his Billboard magazine cover feature, Diplo said that he’s had multiple studio sessions with Madonna that have resulted in at least three “amazing, smashes.”
The diva’s next as-yet untitled album will be released in 2015 on Interscope Records. Her last release, 2012’s MDNA, debuted at No. 1 on the Billboard 200 chart.
Based on a glance at Madonna’s Instagram feed, the set may also feature collaborations with Toby Gad, MoZella, S1, Ariel Rechtshaid, Avicii, Natalia Kills and Martin Kierszenbaum.
The Beastie Boys, Madonna and Joe Strummer were not only the musical rebels of their time, but dear friends of photographer Josh Cheuse, as well.
In shooting these and many other famous faces, “my approach was to be kind to people, be real and just be honest,” Cheuse says. “I got good stuff because these people became my friends and family, and I respected them and they kind of got that. It wasn’t a paparazzi thing.”
Music fans with a penchant for candid moments can catch a glimpse of Cheuse’s more than 30 years of shooting artists in his new Grooving Years exhibit, opening Friday at New York’s Morrison Hotel Gallery and running through Oct. 11. The show includes rarely displayed and never-before-seen photographs of famed performers ranging from Oasis and Run-DMC to Lady Gaga and MGMT.
Cheuse’s photographic style comes from “perseverance, talent and luck,” as gallery owner Peter Blachley puts it. The native New Yorker began his photography career when he was just 16 and used his high school’s pay phone so he could call The Clash at Electric Ladyland Studios and ask to photograph them.
Having grown up just a few blocks away from the Beastie Boys’ Mike D, Cheuse struck up a friendship with him as a teen and watched as the band transitioned from its rock origins into a hip-hop group — fondly remembering the time they crashed on the floor of Rick Rubin’s mom’s house the night before a video shoot and she made them tuna sandwiches.
He also connected with other artists and bands at nightclubs throughout the city such as the now-shuttered Danceteria, where he shot and watched Madonna as she performed some of her earliest material.
“She was just the girl we used to dance with and hang out and smoke with,” Cheuse says. “She was just kind of like a friend from the club, always very sweet. She said she was going to (become) the biggest female singer of all time — and she did.”
So what is it about musicians that has entranced him all these years? For one, “it’s fun to photograph people that look cool and dress well,” Cheuse says. “Part of how they look expresses where they’re coming from. It’s interesting, and it creates good shapes and shadows.”
Simply put, “it’s something worth capturing.”
Source : USAToday
She peers into the camera as if she’s about to wink, already aware that she’ll soon be one of the most famous pop stars in the world.
An early portrait of Madonna on the cusp of fame in 1982, it’s also a testament to photographer Deborah Feingold’s finely tuned sense of her subjects and the qualities that make them special.
That picture is one of several iconic images that make up Feingold’s new book, “Music,” her first-ever anthology, with an introduction by music journalist Anthony DeCurtis
Q. Your photos of Madonna took on a life of their own.
A. I have no explanation for that. It was a 20-minute shoot in my apartment that was so tiny that all my furniture folded up against the wall, including the bed, table, and chairs. I was all set up. I had one assistant. She came with Liz Rosenberg, who remained her publicist. Her makeup was ready to go. I had a bowl of lollipops, Tootsie Rolls, and bubble gum. I probably didn’t get paid or have a budget; hence a bowl of lollipops and bubble gum. Everything was very simple. I shot four rolls of film, and for every frame she changed it up. It was like a dance, and I was a good follower. I had the skill, but she led. Twenty minutes later, she knew we had finished, and she left. She was a working girl, I was there to work, and that’s what you see.
PLAYBOY: You directed some of Madonna’s most stylish videos, such as “Vogue” and “Bad Girl,” the latter depicting the singer as a film noir femme fatale who gets strangled with panty hose. Why do you think that Madonna never translated to the big screen?
FINCHER: Madonna is very crafty. She’s street-smart. The video directors who did the best work with her—romantic, amazing stuff like what Jean-Baptiste Mondino did—were the ones she allowed to take risks and the ones who made videos she would throw herself into. I made commercials to make money, but I did music videos as a kind of film school. I learned that the way to be with Madonna was to follow her impetus, because the artist in a music video is not only the star but also the studio. I could say to Madonna, “I need you to do it again. I need you to stop blinking. I need you to get your fucking chin down. And I need you to be better.” Whether it was Madonna, Brad Pitt or Ben Affleck, I’m well aware that the work got financed because of them. But they needed to know I had to get them off their mark, get them to a place where it might get warm, because there might be friction.