Following its success implementing facilities for a recent live Taylor Swift concert, Gearhouse Broadcast has been selected by York Studios in Melbourne to provide live music and OB production facilities for Madonna’s Rebel Heart tour concert at Sydney’s Qudos Bank Arena.
Gearhouse Broadcast’s sales director Manny Papas explained, “Stuart Gosling at York Studios in Melbourne contacted us after he saw what we’d produced for Taylor Swift and wanted the same high level of production.”
With facilities similar to the Taylor Swift event, the Rebel Heart tour production consisted of a mix of six Sony PMW-F55 large sensor cameras. Which were used for close up and stage shots while six broadcast cameras with box lenses were installed for longer coverage. Continue reading “Gearhouse Keeps Rebel Heart Pumping for Madonna”
Deeper and Deeper – Extra flamenco guitar
(that didn’t make the final cut)
Madonna fans know Vincent Paterson as the choreographer who worked on her “Express Yourself” video, her Marie Antoinette “Vogue” extravaganza for MTV, her Oscars performance of “Sooner or Later (I Always Get My Man)” and also as the man who directed and choreographed one of her greatest projects, the Blond Ambition World Tour.
More recently, he was the subject of the outstanding documentary The Man Behind the Throne, which detailed in particular his work with both Madonna and Michael Jackson.
In truth, his career encompasses many things outside of the King and Queen of Pop.
Now, Paterson is preparing an autobiography, and he is appearing one night only in a talkback called Dance Films Presents: An Evening with Vincent Paterson (get your tickets now!), during which he will speak about six or so of his most famous pieces—and give all the dish on what made them work. He will also detail what it was like collaborating with the household names who executed his fancy footwork.
What follows is an abbreviated version of my talk with Vincent; I wanted to hold some stuff back until after his appearance so I wouldn’t give too much of it away. After all, he knows a lot of the details behind some of pop’s greatest moments … because he made them happen …
Boy Culture: You’re one of the most famous choreographers in the world—who were your own inspirations?
Vincent Paterson: I started so late—I didn’t start dancing till 24. I was an actor and a stage director. When I moved to Los Angeles and decided I wanted to play in this arena as a dancer, the people who inspired me were Michael Peters—I wound up assisting him—and Lester Wilson, Michael’s mentor. Bill and Jacqui Landrum inspired me in a whole different way. They kind of created this dance form that’s really popular now called “contemporary.”
BC: Is it easier or maybe more challenging to work with people who are already gifted dancers?
VP: It’s always easier—it’s both. When somebody is comfortable with their body and moves really well and is fearless, it helps. Whitney Houston was very uncomfortable moving, and I had to do a couple of commercials with her and get her moving. She was very responsive, she was just nervous. And Donna Summer [pictured; image via McDonald/Selznick Associates] was the same thing. And the Beatles—I worked with Paul and Ringo and George, and none of them were really comfortable. I was there to make them comfortable, not that they were dancing, just to give their bodies some grace.
Continue reading “Dance Like Everybody’s Watching: An Interview With Choreographer Vincent Paterson”
As a pop star, Madonna is the undisputed queen. Her recent albums Rebel Heart and MDNA may have sold poorly, but she’s still the highest-grossing solo touring artist of all time. As an actor, however, most critics agree that Madonna has got some way to go before she makes it into the royal family. Or even, some would say, the servants’ quarters.
It’s not for want of trying. Back in 1979, four years before the release of her self-titled debut album, Madonna starred in barebones indie drama A Certain Sacrifice. She played a Lower East Side resident living with three “love slaves” (one male, one female, one transgender). Capitalising on her first flush of fame, the film-makers rushed it out in 1985, but it’s safe to say that it wasn’t exactly acclaimed as a lost classic.
Nonetheless, for years Madonna maintained an acting career alongside her musical one. Some of of her films performed decently at the box office and – shock horror – even got good reviews, like the 1985 comedy Desperately Seeking Susan. More frequently however, her efforts were widely ridiculed. Besides voicing a character in 2006’s family cartoon Arthur and the Invisibles and appearing opposite Lady Gaga on a Saturday Night Live skit, Madonna has laid her acting career to rest after enduring a weapons-grade trashing for her turn as a snooty socialite in then husband Guy Ritchie’s 2002 romance Swept Away. Continue reading “Is Madonna’s acting really that bad? A career retrospective lets you be the judge”
The legend of Madonna goes like this: She became a big star with “Like a Virgin,” a superstar with True Blue, a firebrand with Like a Prayer and the banned video for “Justify My Love,” and finally a Herculean sorceress of untouchable power on her 1990 Blonde Ambition Tour. That’s when her wildest cone bras came into play, not to mention a delirious masturbation act (set to a sinister new version of “Like a Virgin”) and a whole lot of vogueing. It was the rare moment when a pop star was both the biggest and boldest celebrity on the planet.
Thankfully director Alek Keshishian chronicled this commanding moment in Madonna’s career, the essential juncture when she graduated from pop hero to mythological wonder. In Keshishian’s 1991 movie Truth or Dare, which wowed critics and became the highest-grossing documentary ever released up to that time, he granted viewers backstage access to her vivacious stage spectacle, complete with thundering performances of “Express Yourself,” “Holiday,” and “Live to Tell.” Perhaps more importantly, he seemed to answer the essential fan question: Is Madonna really as rad as the wannabes wanted her to be? The answer — proven by her naughty repartee with her gay dancers, snark aimed at then-beau Warren Beatty, some infamous Evian bottle fellatio, an altercation with Toronto authorities, and even some snide remarks about contemporaries like Belinda Carlisle — was a resounding (and slightly fearful) yes.
It’s been 25 years since Keshishian’s film became a Bible for the most devout of Madonna disciples. The Metrograph theater in Manhattan will run seven straight nights of Truth or Dare screenings beginning August 26, when Keshishian will take part in a Q&A hosted by guest moderator Chelsea Handler. Continue reading “A Q&A with Alek Keshishian, Director of Groundbreaking Madonna Documentary Truth or Dare”
MADONNA SHED THE GIRL NEXT DOOR’S DENIM JACKETS FOR SILK SATIN DRESSES AND A HUSKY CHAINSMOKER’S VOICE. AND SHE NEVER LOOKED BACK
When Breathless Mahoney first appears on-screen in Dick Tracy, you almost get the sense that Billy Wilder affixed Madonna with a cheap blonde wig to accentuate her “sleazy phoniness.” After all, it’s how Wilder styled Barbara Stanwyck in Double Indemnity, to give his noir femme fatale an air of honeysuckle-drenched murder. When Stanwyck was cast as Phyllis Dietrichson, she initially balked at playing someone so wicked after years of portraying heroines. It wasn’t until director Wilder asked her, “Well, are you a mouse or an actress?” that she agreed to star in a role that would leave a permanent mark on Hollywood. Stanwyck’s DNA is all over Madonna’s turn as Breathless, and in honor of the star’s 58th birthday (August 16), we’re returning to the look that declared her pop music’s femme fatale.
Much like Stanwyck transformed herself into the iciest blonde to never grace a Hitchcock film, one of Madonna’s greatest makeovers occurred in 1990’s Dick Tracy. She’d previously been in the spotlight in 1985 and 1987 with the Virgin tour and the Who’s That Girl world tour, but the albums she toured with showcased Madonna in her Downtown New York guise. She was fun, flirty, wore a shit-ton of costume jewelry, and all she wanted to do was dress you up in her love or cause a commotion. She was two years away from her controversial Erotica album in 1990, and she was still the girl next door — albeit more of a Mary Jane than a Gwen Stacy.
Madonna’s turn as Breathless Mahoney almost didn’t happen, but not for her own efforts. At the time, she was in a relationship with Warren Beatty and insisted on having the role, but she hadn’t exactly proven herself as a bankable actress after successive flops Shanghai Surprise and Who’s That Girl. But she was determined to make herself into a movie star. While Beatty earned $9 million for his role as Dick, Madonna worked for scale and earned only $1,440 a week. In turn, she also promoted the film herself by performing “Now I’m Following You” on her 1990 Blond Ambition tour. Madonna was determined to make Dick Tracy a hit and, consequently, her role as Breathless a star turn.
Madonna’s penchant for bawdy humor and double entendres was borne out of her Dick Tracy transformation. Her previous songs were straight to the point with regards to sex, like 1983’s “Physical Attraction”: “You say you want to stay the night / But you’ll leave me tomorrow, I don’t care / All of your moves are right / We can take it anywhere / This physical attraction.” But by 1990, she had more of a theatrical approach to sex. Before she brought her Dick Tracy look-alike on stage, she introduced him with, “You know, a lot of people, they say I have a lot of balls. But you know what? They’re wrong. ’Cause what I have … is a Dick.” It’s the kind of lyric that would fly in a noir, where rapid wordplay is foreplay. It’s why her collaboration with Stephen Sondheim on the soundtrack album I’m Breathless is what truly made Breathless come alive.
On songs like “More” and “What Can You Lose,” Madonna shed the girl next door’s denim jackets for silk satin dresses and a deep, husky chainsmoker’s voice. She even smoked cigarettes while recording to get that of-the-era voice like Stanwyck.
Dick Tracy would go on to win several Academy Awards. Appearing with Michael Jackson as her date and dressed like a sultry mix of Phyllis Dietrichson and Harlow Jean, Madonna performed “Sooner or Later” and snagged the Best Original Song award for it. From that moment, she was a woman transformed. The poster for the Blond Ambition tour was a classic boudoir photo, showing a nearly naked Madonna curled up on a bed, her back facing the camera, with a come-hither glance over her shoulder. Gone were the earthy, free-love vibes of “Express Yourself” and “Like a Prayer.” She was now a woman who would kill to get her man — and then kill him when she was finished with him. “Give me that gun,” Madonna snaps at her lover on “He’s a Man,” the opening track to I’m Breathless. She’s been firing it at pop music ever since.
10. Beautiful Stranger (1999)
She made it through the wilderness, somehow she made it through… and 32 years after her very first hit Holiday, Madonna still gets everybody talking.
There’s plenty to say about her performances, her fashion sense, her pushing of boundaries and buttons when it comes to sex and ageing and religion and art, but to do any of that, Madonna has needed one thing – her massive collection of hits.
Outselling seven of Madonna’s chart-toppers is this William Orbit-produced slice of kitsch perfection, from the movie Austin Powers: The Spy Who Shagged Me.
Possibly the greatest Number 1 that never was for Madge, Beautiful Stranger had strong first-week sales of over 135,000 copies, but could not compete with S Club 7’s debut – Bring It All Back beat her to it, and denied Beautiful Stranger a place in chart history.
CHART FACT: This was the ninth time Madonna had seen a single stall at Number 2 – she’s had 12 runners-up in total.
MADGE FACT: Madonna has only performed this song on tour once, during the Drowned World Tour in 2001
9. Frozen (1998)
Now that’s what you call a comeback. After a few years off having her first baby Lourdes and making Evita – which won her a Golden Globe – Madonna returned with a new attitude and an album full of trance bangers and trippy beats.
Lead single Frozen was the perfect introduction and kicked off her work with William Orbit, who’d go on to collaborate with her on two further albums.
CHART FACT: Frozen was Madonna’s first Number 1 in eight years – she hadn’t enjoyed a chart-topper since Vogue in 1990.
MADGE FACT: Madonna didn’t really go brunette in the video for Frozen; it was a wig. The video was filmed in bright sunshine in the Californian desert, with the 1998 equivalent of about a million Instagram filters over the top to make it look colder.
8. True Blue (1986)
In many ways, Madonna’s most overlooked Number 1, True Blue came right bang in the middle of the star’s ‘imperial phase’. Written for and about her then-husband Sean Penn, True Blue is very much the unloved stepchild of Madonna’s back catalogue. She never performs it on tour and seems a little bit embarrassed by it.
It didn’t put off anybody buying it, though. While it was Number 1 for just a week, True Blue has outsold some of her more famous Number 1s, including poor old Vogue, which just misses the Top 10.
CHART FACT: True Blue was knocked off Number 1 by EastEnders’ star Nick Berry’s anthem Every Loser Wins. I guess he was proven right that week at least.
7. Like A Prayer (1989)
Madonna’s show-stopper and an instant classic, Like A Prayer was the centre of huge controversy upon release – all in a day’s work for Madge, really. A video featuring burning crosses and a violent murder was always going to grab some attention, and thanks to a well-known soft drinks firm pulling the plug on an advertising campaign featuring the song, its notoriety took it all the way to Number 1.
Also, Madonna hair fans, this was the first time she had led a new album campaign as a brunette. She’d do it only once more, on American Life in 2003.
CHART FACT: Like A Prayer spent three weeks at Number 1 before being toppled by the Bangles’ Eternal Flame.
MADGE FACT: The saint who Madonna snogs in the church is widely, and mistakenly, believed to be based on Jesus. That’s not true. He’s actually supposed to be St. Martin de Porres, the patron saint of those seeking interracial harmony, which makes perfect sense when you watch the video.
6. Hung Up (2005)
When you start to count up Madonna’s comebacks and reinventions, you run out of fingers pretty quickly. Following what you might call a lukewarm reception to previous album American Life, Madonna decided it was time to crank up the disco beats and fill dance floors up and down the country, which she did with Hung Up, the lead from Confessions On A Dance Floor.
Featuring a mega-famous sample of Abba’s Gimme Gimme Gimme, Hung Up gave Madonna her biggest global hit in years, showed there was plenty of time for us all to get fit enough to buy a leotard and, more importantly, put Madge back at Number 1 where she belonged.
CHART FACT: Hung Up was Madonna’s first Number 1 to spend more than a week at the top since Vogue in 1990.
MADGE FACT: Madonna had a nasty fall from her horse not long before the video was shot and broke her arm and some ribs. She said when she was dancing her arm felt like it was “flapping like a chicken wing”. Hung Up’s video had a kind of sequel, with the Sorry video picking up where Hung Up left off. Madonna hadn’t done this since 1995, when You’ll See carried on the story of the Take A Bow
5. Papa Don’t Preach (1986)
Madonna’s first Number 1 from her classic True Blue album was one of her first major brushes with controversy. Papa Don’t Preach, which told the story of a pregnant teenage girl, angered both anti-abortion and pro-choice campaigners, but political wrangling aside, it was a brilliant pop song.
Madonna’s second Number 1, it ruled the Official Singles Chart for three weeks of summer 1986.
CHART FACT: Papa Don’t Preach ended Wham’s reign at the top with Edge Of Heaven. It was eventually dispatched by Chris de Burgh’s romantic slow-dance classic The Lady In Red.
MADGE FACT: Madonna resurrected her famous ‘Italians Do It Better’ T-shirt on her 2004 Re-Invention Tour, sometimes switching out the nationality depending on where she was.
4. Holiday (1984, 1985, 1990)
The tune where it all began, which was so popular, she released it three times. Landing at Number 6 in winter 1984 and scoring Madonna her first Top 10, the song went on to bigger success the following year. Released in summer, which makes much more sense when you think about it – it’s about taking some time off, after all – Holiday zoomed to Number 2.
Madge obviously thought she might as well have another crack at Number 1 with Holiday, and so in 1991 released it again – as Madonna’s greatest hits mania was in full swing with the release of The Immaculate Collection. This time, it reached Number 5, but three entries in the Top 10 for the same song isn’t bad at all, really.
CHART FACT: So who kept Holiday off the top? Well, it was the lady herself! One week in 1985, Holiday sat at Number 2 right behind Into The Groove at the top of the Official Singles Chart.
MADGE FACT: In the rarely seen official video for Holiday – that we imagine Madonna would probably rather pretend never happened – Madge’s brother Christopher can be seen dancing on the left. They’d later have a huge falling out when Christopher wrote a tell-all book, but she’s confirmed they’re speaking again now.
3. Crazy For You (1985, 1991)
Madonna’s most successful ballad is officially this track that never actually appeared on any of her studio albums. Taken from the frankly dodgy movie Vision Quest – which would later be renamed Crazy For You for reasons we’re sure aren’t that hard to work out – Crazy For You saw Madge slow things down in the middle of the Madonna mania of the mid-eighties and reach Number 2.
Crazy For You was another of her old tunes that got a chance to chart again, coming out again in 1991 and, remarkably, hitting Number 2 once more.
CHART FACT: On its first run, Crazy For You was kept off Number 1 by Sister Sledge’s Frankie. On its return to Number 2 in 1991, it was kept at bay by two records.
The Simpsons’ Do The Bartman (!) held it off first of all, then a rerelease of The Clash’s Should I Stay Or Should I Go leapfrogged over her to take the top spot.
MADGE FACT: Gambler was featured in Vision Quest too.
2. Like A Virgin (1984)
This is the one where everything changed for Madonna and she began to resemble the unstoppable force that would dominate pop in the Eighties. The Nile Rodgers-produced track didn’t just kick off the campaign for Madonna’s second album of the same name, Like A Virgin was also the first of an incredible run of 36 consecutive Top 10 entries. No star has bettered that yet.
Also incredible is that Madonna’s second biggest selling single wasn’t even a Number 1 – a question commonly incorrectly guessed in pub quizzes – it reached Number 3.
CHART FACT: Like A Virgin was the 18th bestselling single of 1984.
MADGE FACT: Nile Rodgers, who produced the Like A Virgin album, has said that he was hoping to work with Madonna throughout her career, but his girlfriend didn’t get on with actor Sean Penn, who ended up being the first Mr Madonna.
1. Into The Groove (1985)
It’s only right that the song that should rule them all is Her Madgesty’s very first Number 1, the song that started off a run of 13 Number 1 singles, more than any other female artist in British chart history.
Soundtracking Madonna’s big-screen debut in Desperately Seeking Susan, Into The Groove was a huge hit over summer 1985. Despite not having a proper video and thanks in part to not being available on Madonna’s Like A Virgin album – until a reissue solved that problem later on – Into The Groove stormed to the top of the Official Singles Chart and refused to budge for a month.
While Into The Groove may not hold the same affection for many as Holiday or Crazy For You still do, it still pretty much sums up Madonna’s whole ethos. “Only when I’m dancing can I feel this free,” she sings, barely pausing for breath, and she hasn’t stopped busting a move since.
An anthem fit for a queen, Into The Groove takes the throne – it’s her biggest selling song, and you can’t argue with that.
SALES: 877,500. Yep, that’s right, it’s not a million-seller. Madonna is one of the most successful acts of all time to still not nab a million-selling single.
CHART FACTS: Into The Groove is tied with Vogue and 4 Minutes for her longest stint at Number 1 – four weeks. It knocked Eurythmics’ There Must Be An Angel (Playing With My Heart) off the top. It was eventually toppled by UB40 and Chrissie Hynde with their cover of I Got You Babe.
Into The Groove also managed to keep Madonna herself off Number 1 – the rerelease of Holiday sat right behind it from 11–17 August 1985. Coincidentally, that was the week of Madonna’s 27th birthday.
MADGE FACT: Into The Groove would later feature in a jeans commercial, with a guest appearance from Missy Elliott and with refreshed lyrics. Missy would later team up with Madonna, Britney and Christina on that MTV VMAs performance in 2003.
Other notable entries
Madonna’s 1990 Number 1 Vogue just misses a Top 10 placing, landing at Number 11 with over 530,000 sales.
Her most recent chart-topper 4 Minutes FT Justin Timberlake is just behind it at 12, with 507,000 copies sold.
Material Girl, a Number 3 hit in 1985 thanks to one of her most iconic videos, has to settle for 16th, with over 385,000 sales.
Justify My Love, which was pretty saucy back in the day, and launched Madonna’s first greatest hits album The Immaculate Collection, comes in 23rd with 275,500 sales. The Immaculate Collection is one of the biggest-selling albums of all time.
Fan-favourite Gambler, which Madonna doesn’t seem to be that fond of and can be very hard to track down, finishes 25th, with a sales tally of 270,000. Its sandwiched between two of Madonna’s hugely overlooked hits Dress You Up and Angel, which both reached Number 5 despite having no video! The power of Madonna in 1985 – if you’d have been able to bottle it, you’d have ruled the world.
Madonna’s collaboration with Britney Spears, Me Against The Music, scrapes into the Top 40 at Number 39, but if you’re a Madonna purist and want to know which Madge solo effort Me Against The Music has pushed into 41st place? Well, it’s bad news for Erotica. That lands just outside.
Madonna’s biggest selling single not to go Top 10? That honour belongs to Lucky Star – a Number 14 hit in 1984 and finishing 42nd on her countdown.
Photographer Richard Corman looks back on meeting and shooting the charismatic East Village club kid as she was poised for stratospheric stardom.
In June 1983, Madonna was an ambitious 24-year-old getting some heat on the club charts. When photographer Richard Corman met the young singer, she served him bubblegum and espresso on a silver tray at her beyond-bohemian walkup on East Fourth Street between A and B. It was, as he puts it, “literally right before she stepped out and ran into the stratosphere.” The month after they took some casual casting Polaroids, she released her debut album, Madonna, which produced three top-ten hits (“Holiday”, “Lucky Star”, “Borderline”).
One year later, she was writhing around a wedding cake in her career-making MTV VMA performance of ‘Like A Virgin.’ But when Corman took these gorgeous, stripped-down SX-70 Polaroids, she was still DJ Jellybean Benitez’s girlfriend, the good dancer from Funhouse and Danceteria, and a hustler who paid the rent by waitressing and posing nude for art students. As she wrote of that time, “I felt like a warrior plunging my way through the crowds to survive.”
Richard Corman was well-connected in the early 80s. He had assisted Avedon, and his mother Cis was a casting director who worked on films like Raging Bull and The Deer Hunter. When Corman photographed Madonna, he was also taking pictures of Keith Haring in Soho and Jean-Michel Basquiat at his Great Jones Street studio. But nothing prepared him for the young woman who looked to him like she “was going to rule the world.” After 30 years of languishing in a warehouse, the 66 polaroids will finally get their due this fall as a book and an exhibition. Corman shares the story with i-D. Continue reading “66 long-lost polaroids of Madonna in ’83 show a mega star on the verge”
This Month’s Madonna-Thon: Music, Movies (Yes!) and Happy Birthday!
“DO SOMETHING else! Do my eyebrows!”
That was our girl Madonna to one of her many helpers, in one of her many tender, lovely moments, via Alek Keshishian’s 1991 documentary, “Truth or Dare.”
MADONNA was approaching the pinnacle of her career with the release of “Truth or Dare” which had followed her successful pairing with Warren Beatty in his candy-colored “Dick Tracy” and would coincide with her dazzling performance of Stephen Sondheim’s “Sooner or Later” from Beatty’s film — one of Madonna’s most assured live performances before her industry peers. She is famously, fearfully nervous at such events. (The song would win an Oscar.) Continue reading “LIZ SMITH: Madonna-Thon”
It’s here. The secret project between LOVE and Mert Alas titled LOVE 16.5. The special edition collectors issue ‘LOVE by Mert Alas’ supported by Marc Jacobs launches on 19th September during London Fashion Week.
Without any hair, make up or styling, cover star Madonna, shot by Mert Alas, is seen sucking her thumb in bed, wearing a hooded sweatshirt by Palace. ‘Madonna 2:00AM by Mert Alas’ is a 10-page reportage that the photographer shot of Madonnna in the early hours at his Hampstead home.
Our Editor-in-Chief Katie Grand says: “In early 2016, the media was obsessing over the discord in Madonna’s relationship with her son Rocco. I was struck by how mean the press were about a woman simply going to work and wanting her son to be a part of it. I spoke to Mert about the possibility of doing a shoot with her, as he, Madonna and Rocco are all friends. I wasn’t sure it would ever happen, to be honest, but Mert said, ‘Let me ask M and Rocco.’ Much to my surprise, the morning after Madonna’s reconciliation with Rocco, nine stunning images of Madonna arrived via WhatsApp. They had been taken at 2am at Mert’s house in Hampstead where he and Madonna often hang out and have casual dinners.”
Madonna tells Murray Healy in the accompanying interview with LOVE 16.5 how “acceptance by the establishment equals death” and says: “I don’t consider myself a pop act, I consider myself an artist. And it’s an artist’s responsibility to be revolutionary in our work. It’s our responsibility, our duty and our privilege.”
On the burden of fame, she says: “I was already famous before social media, so for me fame isn’t the burden. Fame is the manifestation or the by-product of my work, and that was two decades before social media. Now to me the burden is people are more focused on fame than actually doing the work or being an artist. Now it’s easy to become famous. What isn’t easy is to develop and grow as an artist without being distracted or consumed with fame.”
Madonna also tells LOVE 16.5: “I like Instagram because it’s like keeping a diary and every day I get to share different aspects of my personality, my life, and what inspires me, what infuriates me, or what causes I want to fight for. It allows me to be mysterious, ironic, provocative or proud. I get to use it as a platform to bring attention to people or issues that I think are important. It allows me to be the curator of my life.”
Source : TheLoveMagazine.co.uk
An extra special issue of “Love”, 16.5 featuring Madonna, Rocco and a cast of boys seen within a 70 page portfolio ‘Angels of Concrete’ all photographed by Mert Alas. This very special edition, supported by Marc Jacobs will be on sale during London Fashion Week. Issue 16 starring Margot Robbie and Cara Delevingne is available world wide.
An “intimate” upcoming documentary about Madonna’s romance with a New York musician before the Material Girl was a megastar will include deeply personal letters and recordings made by the singer in bed, Page Six has learned.
The film, which follows Madonna’s relationship with fellow singer Dan Gilroy, will include private tapes of “bedroom talk” that Madge made while in the sack with Gilroy, we’re told, as well as love letters that she wrote him.
Gilroy — who fronted the one-hit-wonder pop group the Breakfast Club, and dated Madonna for around 18 months beginning in 1979 — has turned over hours of video and stacks of letters and photos to director Guy Guido for the project. The documentary “Emmy and the Breakfast Club” — which includes “re-enactments” as well as interviews — focuses on the period from 1979 to 1982, immediately before Madonna became famous, while she was living in an abandoned synagogue in Corona, Queens, with Dan and his brother, Ed Gilroy.
The in-the-works flick is set to reveal everything from “sweet little love notes that she would leave for Dan” to “very poetic love letters expressing her feelings for him and the struggles of their relationship,” the director said.
A 20-minute recording the couple made in bed, Guido told us, captures the pair “having fun with each other and bedroom talk, and also getting into a little philosophical life discussion.” He added that it’s “silly, romantic bantering.”
The decision to release such personal material without Madonna’s consent wasn’t taken lightly.
“There are some intimate things, but at this point they’re ready to share. Especially Dan — he’s been holding this in a very long time,” Guido told Page Six. The director also said that while young Madonna’s relationship with Gilroy is the “meat” of the movie, it also explores her ferocious ambition and drive to make it in the music business.
Guido said he hopes to be finished working on the film by January 2017, and that a major distributor will release it.
Source : PageSix