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Twee Indie Only Madonna reissues: 'Like A Virgin' en 'Ray Of Light'

2018 begint goed, want vanaf 12 januari kan je weer bij de onafhankelijke platenzaken terecht voor twee exclusieve Indie Only releases. Dit keer zullen twee albums van ‘queen of pop’ Madonna opnieuw worden uitgebracht.

Madonna’s tweede studioalbum ‘Like a Virgin‘ (1984), geproduceerd door Nile Rodgers, zal worden uitgebracht op transparant vinyl. Het album bevat onder andere Madonna’s eerste #1-hit in de VS ‘Like a Virgin’ en haar eerste #1-hit in de UK ‘Into The Groove’. Nu, 33 jaar later, zal dit album worden uitgebracht als prachtige clear vinyl-reissue.

Een wat recenter album van Madonna, ‘Ray of Light‘ (1998), zal opnieuw worden uitgebracht op blauw vinyl. Bij dit album was Madonna geïnspireerd door kabbala, een joodse geloofsstroming. Het album heeft dan ook dertien liedjes, het heilige getal in kabbala. De eerste single van het album was Frozen en haalde internationaal nummer 1 in de hitlijsten. Ook haar tweede single, de title track Ray of light, was een internationale nummer 1 hit.

  • Gepubliceerd in Buitenlands nieuws

Nile Rodgers talks Chic’s gay appeal and working with Madonna and Lady Gaga

He’s the awesome guitarist, Chic frontman and producer who has worked with everyone from Madonna to Daft Punk via Diana Ross and David Bowie – and Nile Rodgers is still going strong at age 63. He’s curating the FOLD Festival this June, with a line-up that includes Alison Moyet, Beck and, of course, Chic themselves. And, he teases Attitude, he may or may not be working on the new Gaga album…

So Nile, how does it feel to be hailed as a legend?
[Laughs] Very awkward and strange. But it’s better than being called a jerk, although I’ve been called that quite a bit too and it doesn’t bother me that much. When you’re in showbusiness you get that a lot, people going ‘Look at that jerk playing those disco chords’.

What can festival-goers expect from this year’s FOLD three-dayer?
I choose bands and musicians that I love and I see it as a sort of edification process. You get people saying ‘I’m just coming to see Alison Moyet or Chic or John Newman or whoever’, then they discover that so and so is really cool too and they’re going ‘I had no idea’. It opens your mind to all kinds of music.

Why do you feel Chic’s music is so big in the gay community?
Cos it’s fun, it feels good, it’s great to sing our choruses. It’s easy to go [sings] ‘We are family’ or ‘Aaah, freak out’ or ‘Everybody dance’. It’s not like you need the Rosetta Stone to translate it.

What’s the campest thing you’ve ever done, musically speaking?
By far that would be our first hit record where we went ‘Yowsah, yowsah, yowsah’. But it was intellectual and artistic in context because we were commenting on the times. In America it was the worst economic period since the Great Depression but disco was so hedonistic you’d think everyone was a multimillionaire. People were celebrating as if they had money.

Personally, I’d say working with Sheila B. Devotion was even camper…
But we didn’t think of it as campy. It was more like a math problem. Sheila was a big star in France but she was under the thumb of her record company and we were all about liberation. I mean, I’m an ex-Black Panther. It’s a whacky job being a musician because you love what you do but you really are a slave in a way. I understand why Prince wrote ‘Slave’ on his forehead. We knew we had a big mission with Sheila; she had a French accent, singing in English, so it was no easy task, man.

And what about Like A Virgin?
[Laughs] Your definition of camp is a wee bit different to mine. England is known for a plethora of campy songs that come out every year and I never try and make something that’s intentionally camp. My intention is to mix some sort of intellectualism with a certain degree of accessibility, what I call hooks, to make people listen to the secondary message.

It’s been yonks since you worked with Madonna on that album. Would you work with her again?
If she wanted to do it, sure. I love Madonna. I adore Madonna. She’s actually one of my favourite people.

How did you feel about the passing of David Bowie, who you worked with on the Let’s Dance album?
That really broke my heart and blew me away. The great thing about working with him and getting to know him is that he’s a real artist in that you can take away whatever you want to take away. He does his art and craft in such a way that my interpretation is just as valid as yours.

It’s interesting that you talk about him in the present tense…
When I finish working with an artist I always think of waiting for them to call me to do the next record. Music feels to me like it’s the living representation of the person.

What’s been your favourite ever collaboration?
I’d have to say Let’s Dance and for a number of reasons. I was thrilled to do the Diana Ross album; it’s the first record I made with a superstar. Then of course there’s Chic, my baby. Duran Duran. Madonna selling an insane amount of records. But those were all records where I was thought of as being in the mix. Only Bowie’s record was made with people saying ‘We hate this guy, he comes from disco and disco sucks’ so it was David and I against the world. We did it in just 17 days start to finish.

So if you did that in 17 days, what’s your excuse for not making a new Chic album?
Where do I start? My mother is incredibly ill and this past year has been the most taxing time of my life. Even when I was diagnosed with cancer five years ago I had a plan of how I was going to deal with it. I was preparing for death and I started doing a lot of concerts and writing a bunch of songs. Now I’m in remission and I had a whole plan laid out for the new album, but you can’t do that when you have to rely on other people. There are certain artists I want to appear on the record but I can only do it when they’re available.

Do you yearn for the old days of sex, drugs and Studio 54?
Yeah, of course, man. But I’m still having a great time. When I walk out on stage with Disclosure and the crowd goes nuts it’s amazing because when I was younger and I walked into the DJ booth at Studio 54 there wasn’t the same rousing applause. At that time DJs didn’t have the same status.

Who are you a fan of at the moment?
There’s so many people for so many different reasons. I absolutely adore The Weeknd. I flip out over Kendrick Lamar. I think Bruno Mars is naturally gifted. And of course, because I’m working with her, I think Lady Gaga is extraordinary. Every time I’m in her presence I say to myself ‘Wow, how does the world not know that you know how to do this?’ She’s incredible.

So is this you confirming you’re working on the new Gaga album?
Erm, I will never admit nor deny that!

@ladygaga @nilerodgers @thegrammys 2016 after @davidbowie tribute medley

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Nile Rodgers is curating the FOLD Festival 2016 from June 24th-26th and appearing with Chic alongside Labrinth, Beck, Alison Moyet and many more. Tickets are on sale now. For full details visit foldfestival.com.

  • Gepubliceerd in Buitenlands nieuws

Record Store Day 2016: David Bowie, Madonna, Mumford & Sons, Metallica will represent

This year’s Record Store Day will, unsurprisingly, find a way to pay tribute to David Bowie, but other exclusive releases for the April 16 retail event will range from Bob Dylan to Madonna to Muse.

Three Bowie releases will arrive – two limited picture discs (the 40th anniversary edition of “TCV15” and the German-only cover artwork of “The Man Who Sold the World”) as well as a 12-inch EP called “I Dig Everything,” which contains six Bowie songs recorded in 1966.

Dylan’s “Melancholy Mood,” which was previously only available in Japan, will make its debut, though songs including “Come Rain or Come Shine” and “That Old Black Magic” also appear on his upcoming album of standards, “Fallen Angels.”

Madonna fans will relish the release of “Like a Virgin an Other Hits,” a Japanese specialty from 1984, while the musical representatives of Record Store Day, Metallica, will issue “Liberté, Egalité, Fraternité, Metallica!” from a 2003 performance at the Bataclan in France. Proceeds will benefit charity.

Other familiar names consumers will see on April 16 are Andra Day (her 12-inch EP showcases a series of unreleased live performances of songs from “Cheers to the Fall”); The Flaming Lips (“Lightning Strikes the Postman,” an alternate mix of the “Clouds Taste Metallic” album featuring an original Wayne Coyne comic, and a limited edition eight-LP set); Johnny Cash (two full-length albums –“Best of the Johnny Cash Show” and “All Aboard the Blue Train”); Mumford & Sons (“There Will Be Time,” a previously only South African release with Baaba Maal); and Muse (limited-edition U.K. import picture disc with a paper drone insert).

  • Gepubliceerd in Buitenlands nieuws

Maripol: 'Did I discover Madonna? She discovered me!'

A new exhibition in Dundee celebrates the work of Maripol, a pioneering photographer and stylist. She talks about selfies, hanging out with Madonna and Cher in 1980s New York, and why she still loves Polaroids.

If you’ve never heard of Maripol, you will definitely have seen her work. The stylist, who also counts herself as a photographer, designer and film producer, was responsible for creating Madonna’s look during her bangle-tastic bridesmaid Like a Virgin era. She also influenced the style of Grace Jones, Debbie Harry and Cher, as well as being art director for the Italian fashion brand Fiorucci in the early 1980s.

Now, Dundee Contemporary Arts is showing the first major UK exhibition of her work, from a selection of the thousands of Polaroids that document her life to her fashion designs, including her rubber bracelets and jumpsuits. “It’s a very small-scale retrospective,” the 60-year-old says from her home in New York, where she moved from her native France in the 1970s. After moving downtown with her boyfriend, the photographer Edo Bertoglio (whom she had moved from Paris to be with), the pair found a run-down loft space and started to throw parties and photograph friends there. Maripol would style them with jewellery she had designed herself because she was unable to find anything she liked. These friends included Keith Haring, Jean-Michel Basquiat and, of course, Madonna, whom she met on a night out at Roxy – Madonna had admired her bra.

maripol madonna

It sounds blissful, a too-good-to-be-true time when a creative couple could have a studio in the centre of a city and hang out with art stars. How does it make her feel that New York and London, once the creative capitals of the world, are now too expensive for young artists? “I am so glad you’ve brought this up. It makes me mad. Kids today are being pushed further and further from the city – artists are being made to move out of areas they’ve regenerated.”

As someone who has influenced popular culture immensely, but without their own name becoming mainstream, it is clearly a topic close to her heart. So how does she feel now that underground ideas can turn mainstream in a matter of moments? She laughs. “Andy Warhol said that everyone will be famous for 15 minutes, but with social media, everyone is famous all of the time. Especially on Instagram!” Is she on it? “I resisted for many years,” she sighs, “but my son convinced me to go on it. Then he shouts at me for putting up too many pictures and says that’s for Facebook. But I am not going to let anyone dictate what my life is about.”

Maripol practically invented the selfie, using her Polaroid camera. “I would take Polaroid selfies to express myself: my sorrows, my joys, my sexiness, my love. I didn’t scan them for 30 years. No one ever saw them for that long.” Most recently, her Polaroids have been referenced on the cover of Taylor Swift’s 1989 album, released last year – although Swift used a modern photograph edited to look like a Polaroid. Polaroid film can be hard to find, and although Maripol has her own source, “the colours and the emulsions aren’t the same”.

Does she still take photographs as actively as ever? “In 2000, I did a series of portraits, maybe 160. They have never been shown. All black and white – I called in my address book. Debbie Harry came back, 20 years after the first time I shot her. People gathered in my studio, people who hadn’t seen each other for years. No hair, no makeup, there was just a pile of clothes in case someone needed something.”

She is probably best known for working with Madonna, and some say she discovered her. “She wouldn’t like that! Let’s put it like this: she discovered me,” she laughs. “She would come over when she was doing Desperately Seeking Susan and say she didn’t like the costumes. I would say: ‘You’re a singer! You have to look like you.’ I insisted she keep her jewellery, the crosses and stuff. That’s what she was projecting as an image at that moment.” They stopped working together after her Like A Virgin look.

After a brief bankruptcy spell, she started to work with Cher, who had come to her loft to buy some jewellery. She was the art director on the video for Cher’s 1995 hit, Walking In Memphis. So which discipline does she prefer – jewellery, styling or photography? “That’s such an existential question. I went back to jewellery a few years ago – I like doing things where my intellect meets my hand, something manual. But I love taking Polaroids and I like making films. I made one a few years ago called The Message about Keith Haring – I love going back and interviewing people.”

In the 1980s she produced Downtown 81, documenting the downtown scene, and particularly focusing on Basquiat. It was written by Warhol Factory member and founding editor of Interview magazine Glenn O’Brien, and, due to money issues, was only released in 2001. “It’s becoming a cult film, you know, so many kids want to know about the generations before them. When I was growing up in the 1970s, I wanted to know about the 1960s. The 1960s were important; they brought the TV into everyone’s homes. You had the first music videos, and all these amazing women: Cher, Tina Turner and Diana Ross.”

As someone who has inspired and shaped the creative identity of so many women over the past 30 years, how does she feel about today’s identikit pop stars? “Everything is homogenised,” she complains. “Neighbourhoods, music, styling. Everything is sterilised. That’s not what we had. We didn’t have fancy fashion houses, Chanel didn’t have Karl Lagerfeld, Gucci and Chanel were for rich old women on Madison Avenue. We did with what we had.”

  • Gepubliceerd in Buitenlands nieuws

Nile Rodgers: Madonna knows best

Nile Rodgers was convinced Material Girl was better than Like a Virgin, but Madonna had other ideas.

The American hitmaker has worked with music's biggest stars throughout his illustrious career, including Pharrell Williams, Daft Punk and Duran Duran.

However, it is only Madonna's advice that he always blindly listens to.

"Do as Madonna says," Nile stated to Q magazine as one of his golden rules for life. "When I did Like a Virgin, I thought Material Girl was the best song to lead with. Madonna was convinced it was Like a Virgin. But I was like, 'Material Girl's ten times better.'

"She taught me that it was about being a girl, losing your virginity, and how relevant a lyric like that would be. Sometimes there's an intellectual component to a record that can trump its primal component."

While Nile is a star in his own right thanks to his disco funk band Chic, his talents are often called upon by other music stars. Never one to say no, the 62-year-old loves sharing his pearls of wisdom with both budding and established artists.

"Help your fellow musicians. I believe in giving back as much help to musicians as possible. Recording with Daft Punk, we were in the same studio we did the first Chic single. They went, 'How did you make Chic records?' So I taught them the technique. We came up with Get Lucky, then Lose Yourself to Dance and Give Life Back to Music in minutes. All three songs were finished in one day," he smiled.

  • Gepubliceerd in Buitenlands nieuws

The 10 best things about Madonna's 'Like A Virgin'

It defies logic a little bit, but the biggest hit off of a diamond-selling album by one of the biggest pop stars of all-time has become underrated. On the crit-praise aggregator website AcclaimedMusic.net, "Like a Virgin" ranks as the No. 230 most-beloved song ever — a solid ranking, but a couple of hundred spots below "When Doves Cry" and "Billie Jean," the signature songs from two of Madge's megastar contemporaries, Prince and Michael Jackson. The song appeared on neither the NME's or Slate's recent respective Top 100 Songs of the '80s — despite the latter featuring five other Madonna songs in its top 50. Most incredulously, "Virgin" only ranked as Rolling Stone's 67th-best pop song of 1984 alone, falling behind relatively forgotten hits like Laura Branigan's "Self Control" and Rebbie Jackson's "Centipede."

Its declining reputation might lead one to believe that "Like a Virgin" is a poorly dated hit that was perhaps more historically significant than actually good — all of which couldn't be further from the truth about a song as immaculate as "Virgin." In honor of the 30th anniversary of the Like a Virgin album, we've written about the ten qualities that make "Virgin" as much of a jam today as it was three decades ago, a song many of us may have come to take for granted, but one still worth serious consideration in any list of the greatest pop songs of all-time.

With no particular rank:

1. The Moroder-esque synth bass.

It goes throughout the majority of "Virgin," anchoring the song's disco-funk groove. The three-note pattern is borrowed from the Four Tops' similarly enduring and chart-topping "I Can't Help Myself (Sugar Pie, Honey Bunch)," a subtle and brilliant lift that gives the song an instant familiarity that you might never even be cognizant of if it wasn't pointed out to you. And it has such a lurking, prowling insistence to it that of course they had to have a lion in the music video.

2. The surprisingly patient Nile Rodgers guitar hook.

Most of the Chic guitarist's famous riffs are noteworthy for how crowded they sound. Think about "Get Lucky" — is there a millisecond in that song where Rodgers' choppy strumming isn't leading the way? But in "Like a Virgin," he takes it supremely chill — when we first hear his guitar in its intro, it's just four sharp strums of the same chord, spaced out over two measures. Where the bass line propels the song forward, the guitar hook keeps it from getting too rushed, giving the song a relaxed strut befitting the steaminess of the lyrics.

3. The first chord change.

Takes nearly 20 seconds to arrive! The song just bops on its opening chord for the entirety of its intro and the first four measures of its verse, before taking an unexpected jump up and then settling back down. It's a very power-pop sort of chord change (which may help explain why Teenage Fanclub's cover of the song turned out so well) and the way Madonna's voice twists around it — at first matching the high note and then dropping down underneath it in time for the change back — is one of the song's sexiest qualities.

4. "Didn't know how lost I was until I found you."

Just a brilliantly symmetrical pop lyric, courtesy of the ever-underappreciated Billy Steinberg — who didn't write the song for Madonna or any other singer, but just based off his own experiences in romance, giving the song its intimate, personal feeling.

5. The wind-up into the chorus.

You don't just drop into a chorus as revelatory as that of "Like a Virgin," and Steinberg and co-writer Tom Kelly smartly build in an extended lead-in to raise excitement for it. They shift to a third chord, as Madonna teases the payoff with an extended "But you made me feel...," pausing, then repeating "Yeah, you made me feel..." thereby creating an almost-unbearable tension before the title phrase finally lands.

6. Making you wait for the second chorus for the "HEY!"

One of the most instantly unforgettable elements of "Virgin" is the ecstatic, falsetto'd "HEY!" that Madge releases after the title phrase in the chorus, the song's greatest moment of pure release. BUT: It doesn't give it to you the first time around. Once you're familiar with the song, you expect it immediately after the first chorus, but it doesn't actually show up until the second chorus, again building anticipation and delaying satisfaction, but proving well worth it once the rush of the long-awaited "HEY!" finally hits.

7. "You're so fine... and you're mine."

Another perfect lyrical nugget, encapsulating the awe inspired by a burgeoning new relationship in six simple words, and delivered with the perfect amount of wonder and glee by the Material Girl. Steinberg and Kelly liked it enough to be the only line in the verse to appear twice, and it's easy to see why.

8. The drum fills.

Chic drummer Tony Thompson doesn't get a ton of room to flex on "Like a Virgin," naturally, but he does get a couple lead-ins where he's able to add character to the song's drum part with some brief fills to introduce the next chorus. Small flourishes, but they keep the song from ever getting too monotonous, and help announce the arrival of the refrain with the authority it deserves.

9. "Can't you hear my heart beat... for the very first time?"

Madonna's breathless ad libs throughout the song's outro section keep "Virgin" enrapturing through to its final seconds, none more so than on this most sensual of phrasings. Surprisingly, the now-trademark ad libs weren't even Madonna's own, but were copied faithfully from the original Steinberg/Kelly demo, apparently much to the writers' amazement.

10. The title.

Great song titles ask a question that the ensuing song proceeds to answer. The phrase "Like a Virgin" could mean so many different things — things mysterious, exciting, even a little bit scary — that the title is basically daring you to unwrap the song to find out what it's all about. You have to listen to both the verses and chorus of "Virgin" to totally get to the bottom of it, but the payoff is there: A song that's sexy as hell while maintaining a core sweetness and never coming off the slightest bit exploitative. It's a rare thing to promise and a rarer thing to deliver, and it's the primary reason why "Like a Virgin" is still such an enjoyable listen 30 years after its release.

  • Gepubliceerd in Buitenlands nieuws

Like A Virgin is 30

Today - November 12 - is the 30 anniversary of the release of Madonna's second album, Like A Virgin. Thirty years - digest that for a moment. If you're shrugging and asking "What's to digest?", you're probably under 30 and have never known a world without Madonna - you don't know how different life was for young women before she became a lightning rod for debate on Western female sexuality, and changed the way women view sex, love and ambition.

If her only achievement had been to expand what was considered possible for women in pop music, she still would have been remarkable. Her influence is felt so far beyond pop, however, that she even inspired a strand of academia known as Madonna Studies, which examined her effect on sexuality and feminism. She's sold 300 million records - more than any other female singer - and may be the only pop star to have generated a new word, "wannabe" - coined in the '80s, when the aspirations of every teenage girl were summed up by the phrase "I wannabe Madonna". Though not a conventionally gifted singer, she's pushed through every barrier that stood between her and success, showing what can be accomplished by unyielding determination and a gift for being one step ahead of the zeitgeist. During her golden years - 1983 - 89, say - she was the zeitgeist.

Around 10 years ago, she was asked by an interviewer how she thought she was seen by the public. "I guess I'm known for being disciplined," she replied, but she could also have said "controlling", "independent" and "tough" - traits female singers weren't supposed to possess, at least not openly, when she started out. It's now routine for women musicians to call the shots in their careers - or to claim they do - but when Like a Virgin appeared, her insistence on making her own decisions was unique.

It was the album that made her commercially and culturally unstoppable. The cover photo of Madonna acting out the virgin/whore dichotomy by wearing a wedding dress and a belt that spelled out "Boy Toy" was only the start. The album's title track - which spent six weeks at the top of the American chart - went where no pop single had gone before, equating the experience of falling in love to being sexually untouched. No other female singer had ever shoehorned the subject virginity into a pop song so bluntly, or made it clear that no matter what you were - virgin or sexually experienced - it was absolutely fine.

One of the album's other massive hits, Material Girl, was about her being motivated by money rather than love (which greatly riled middle american parents, as did almost everything about her). The song was a typical mix of bluntness and coquettish sweetness - boys were okay, the song said, but the one she really wanted was "the boy with the cold hard cash."

From the start, she knew exactly what buttons to push to be the centre of outraged attention. While writing a new biography of her, Madonna: Ambition. Music. Style, I was struck by the rage she incited in the '80s: the religious right hated her for saying she found crucifixes sexy because there was a naked man on them; feminists were angered by the Boy Toy belt and others were concerned by her blithe habit of cultural appropriation.

She also lost an endorsement deal with Pepsi by dancing in front of burning crosses and kissing a black Jesus in the video for Like a Prayer. At times, her main occupation seemed to be breaking taboos - "If you want to be a whore, it's your fucking right to be so" was a typical edict, one of many that encouraged women to celebrate and control their sexuality.

Her own celebration of her unquenchable appetites peaked with the 1992 book Sex, which featured explicit photos of her and male and female partners. To her undoubted delight, many bookshops refused to stock it. "Is it degrading to women? Well, sure, and to men, too," said the New York Times. Naturally, that didn't stop it selling 1.5 million copies.

Thirty years later, she's not going gentle into that good night.

Madonna: Ambition, Music, Style is published by Carlton and out now.

  • Gepubliceerd in Nieuws

12 november in 1984: Madonna brengt Like A Virgin uit

Like A Virgin, het tweede album van Madonna, komt op 12 november 1984 uit. Van het album komen onder andere de singles ‘Material Girl’, ‘Like A Virgin’ en ‘Dress You Up’. Madonna breekt door haar debuutalbum, maar met Like A Virgin begint de grote Madonna-gekte.

Enorme hit met ‘Holiday’

Madonna brengt in 1983 haar debuutalbum Madonna uit. Met de single ‘Holiday’ scoort ze een enorme hit en komt ze op 7 in de Mega Top 50 te staan. Door het enorme succes van die single ligt de lat voor het tweede album hoog. Met deze plaat wil ze bewijzen dat ze geen eendagsvlieg is en meer dan één succesvolle plaat kan maken.
Producer Nile Rodgers

Madonna gaat samenwerken met producer Nile Rodgers, die bekend is van de band Chic. Zijn werk met die band is ook de voornaamste reden dat Madonna met hem wil werken, omdat ze een groot fan is van de seventies-sound van Chic. Ze werkt samen met een aantal songwriters, waaronder Stephen Bray, die ze al kende voor haar doorbraak.

Like A Prayer is groot succes

Het album komt op 12 november 1984 uit en wordt enorm goed ontvangen. Like A Virgin komt in een groot aantal landen, waaronder Nederland, bovenaan de albumcharts te staan en wordt alleen in de Verenigde Staten al meer dan tien miljoen keer verkocht. Maar liefst 5 singles van het album komen in de top 10 van de Mega Top 50 te staan, en ‘Into The Groove’ weet zelfs de eerste plek te halen.

Madonna-gekte breekt los

Met Like A Prayer breekt de Madonna-gekte los. Ze bewijst dat ze geen one-hit-wonder is en groeit langzaamaan uit tot de Queen of Pop. Ze geeft een aantal opvallende optredens, onder andere bij de MTV VMA in 1984, waar ze in een trouwjurk inclusief sluier bovenop een gigantische bruidstaart zit. Check de beelden daarvan hieronder.

  • Gepubliceerd in Buitenlands nieuws

The real story behind Madonna’s iconic ‘Like A Virgin’ performance at the 1984 VMAs

Ahead of MTV's first Music Video Awards, broadcast Sept. 14, 1984, the network was having difficulty booking top talent. Co-hosts Dan Aykroyd and Bette Midler were in their 30s, old for the MTV crowd, and ZZ Top had refused to play -- until the network pulled the band's videos and manager Bill Ham relented.

MTV did, however, secure a largely unknown singer whom MTV's Chip Rachlin recalls "was a bit difficult." Madonna wanted to sing a new song, "Like a Virgin," to a full-grown, white Bengal tiger. The big cat was nixed. Instead, she decided to emerge from a 17-foot tall wedding cake and sing the song in a white wedding dress, a bustier and a BOY TOY belt buckle -- a classic Madonna mixed message. But as she descended, one of her white stilettos slipped off. "So I thought, 'Well, I'll just pretend I meant to do this,' and I dove on the floor and I rolled around," she later said. "And, as I reached for the shoe, the dress went up. And the underpants were showing."

MTV viewers were treated to a full display of what Madonna was wearing under the dress.

"Was it perfect? No, but it worked," says her former manager Freddy DeMann. "I think we all know she had a few drinks, because she had to get up the nerve to crawl around like she did," says Les Garland, former executive vice president of programming at MTV. "She stole the show." But at the time, many industry people felt her performance was a disaster; her longtime publicist Liz Rosenberg says, "People came up to me and told me her career was over before it started." Huey Lewis recalls that his longtime agent Dan Weiner scoffed and said, "This gal, Madonna -- this is not going to happen."

Ratings for the show were good, which "allowed us to assert a certain pull in the music industry," Pittman says. Soon, music's biggest stars were vying to appear at the VMAs. The next year, the awards were hosted by Eddie Murphy, who was, in Garland's words, "the biggest star in the world." MTV -- thanks largely to Madonna -- had launched its first franchise.

Every year since 1984, someone else has tried to steal the show: Prince wearing assless pants in 1991, Fiona Apple making a fiery and profane acceptance speech in 1994, Britney Spears frolicking with a Burmese Python in 2001. The VMAs were enshrined as "the what-the-hell-is-gonna-happen-next? show," says Dave Sirulnick, who executive produced it for many years. "I can't tell you how many times we heard artists say, 'I want to have the special moment everybody remembers the next day, and three years later.'"

  • Gepubliceerd in Nieuws

Zingende non krijgt steun van Madonna

Ze lijken niet meteen samen te passen als je ze zo op foto bekijkt, Madonna en Cristina, de zingende Italiaanse non die de Italiaanse versie van The Voice won. En toch: Madonna sprak haar steun uit aan Cristina. Volgens de Queen of Pop zijn ze ‘Sisters for Life’.

Madonna zette een bewerkte foto op Twitter waarop zij en Cristina te zien zijn, met daarbij de hashtag ‘#touchfortheveryfirsttime’. In een eerdere tweet stelde Madonna Cristina al de volgende vraag: ‘Like a Virgin?’

Een vraag waar Cristina niet op hoeft te antwoorden: vlak voor het opnemen van haar debuutalbum, nam Cristina een gelofte van kuisheid.

Begin deze week bracht Cristina haar eerste single uit: een cover van ‘Like a Virgin’ van Madonna.

De passage van zuster Cristina in The Voice ging de hele wereld rond. Haar auditie, waarin ze ‘No One’ van Alicia Keys zong, werd in één week tijd dertig miljoen keer bekeken op Youtube. Daarmee werd het de snelste Youtube-hit ooit.

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