Madonna Extreme

Who's That Girl  is a 1987 film  written by Andrew Smith and  Ken Finkleman , and directed by  James Foley . It stars  Madonna  and  Griffin Dunne , and depicts the story of a street-smart girl who is falsely accused of murdering her boyfriend and is sent to jail. After getting released, she meets a man, who is supposed to make sure she gets on her bus back to Philadelphia, and convinces him to help her catch those responsible for her confinement. While searching for the embezzler, they fall in love with each other. After the failure of her 1986 film  Shanghai Surprise , Madonna decided to sign another comedy film titled  Slammer , which was later renamed to  Who's That Girl . However, she had to convince both Warner Bros. and the producers of the film that she was ready for the project. Madonna enlisted her friend James Foley to direct the film. Shooting began in New York in October 1986, and continued until March 1987. Production was halted during December due to sn

This stunningly beautiful ballad was a break from the controversy surrounding the  Erotica  album. It was released worldwide in the  summer of 1993  as fifth single. Daniel Abraham remixed the song and the more accessible Radio Remix became the main version on radio and the single releases. Though it got a lot of airplay it only went to #14 in the US and #7 in the UK. It charted better in Canada (#1), Japan (#2) and Australia (#5). Video A beautiful song deserves a stunning video, and that's what Rain got.  Mark Romanek  filmed everything in black & white, then had it coloured manually in blue, a technique used in the early movie industry. The video shows the making of a video by a group of Japanese technicians, led by  Ryuichi Sakamoto . Madonna, wearing a short black wig (!), walks around on the set and sings Rain, standing next to glass walls that drip with (fake) rain. The video got two well-deserved awards at the 1993 MTV VMA: 'Best Art Direction' and '

In 1979 Madonna was eating out of New York dustbins. Five years later she ruled the world. 27 January 1984. Madonna is due to give her second ever British performance. Last night, she appeared on Top Of The Pops, miming along to Holiday, her debut UK single, currently languishing in the lower reaches of the Top 40. This afternoon, she’s at The Hacienda, the Manchester club that will later be immortalized by acid house. Her performance is part of a live segment on Channel 4’s cult music programme The Tube. Clad in belly-revealing tank top and with punked-up hair, Madonna writhes through the song with suitable gusto. Behind her are two male dancers wearing Lycra. In the audience is New Order’s Peter Hook, who, like many, watches the performance with a mixture of shock and bafflement. Not only is serious music show The Tube an incongruous place to showcase a brassy New York wannabe — the programme’s other selling points tonight include an interview with straight-faced music criti

It’s All About The “Music” With her new album, “Music,” slated for release Sept. 19 and its title-song single and video launching this week, artist/executive Madonna prepares for her latest assault on the global marketplace, as well as the imminent birth of her second child. In a conversation with HITS’ own material boy, Marc “Jackson” Pollack, the pop queen discusses her new album, video clip, single, the “butt energy in video” and how she balances recording and running her Maverick Records label. How much input did you have in the concept, animation and locations of the “Music” video? The concept was mine in terms of doing a takeoff on the whole [range of] stereotypes that are portrayed in R&B and rap videos. We were just having fun with role reversals, essentially, because you never see girls doing what guys do in videos. You go out and you ride with your friends, with your road dawgs, and it’s just a night out on the town – and this song, in particu