Madonna Extreme

She made it through the wilderness, all right. And she’s remained at the center of global pop culture ever since. The mother of reinvention talks about her art, her husbands and her early years as “an ego-driven nutcase.” It doesn’t really matter whether you buy the transformation of the world’s onetime reigning sex kitten — okay, lioness — into a New Age Mother Theresa determined to bring a ray of light into your spiritually parched life. It doesn’t matter at all. Because she believes it ardently for all of us. Madonna Louise Veronica Ciccone Ritchie simply has more conviction than you do. Much more. She practically reeks of it. It’s in the way she enters a room, in the way she exits, in the rather regal pronouncements that pepper her conversation, and most of all, it’s in her seeming immunity to criticism — something she’s had a surfeit of since she and her husband of two years, director Guy Ritchie, released their movie Swept Away last fall. Madonna, clad in black pants,

Smash Hits:  So what have you been up to lately? Madonna:  I’ve just finished working on the movie A League Of Their Own, which I’m very excited about. I’ve also been working on material for my next record but that probably won’t be released for a couple of months. Smash Hits:  Are you planning any amazing tours and perhaps finally popping down to Australia along the way [hint hint]? Madonna:  Yes, absolutely. But right now I want to concentrate more on film. I’ve always wanted to become an actress – so I want to concentrate on film, the theatre and also dance. Smash Hits:  Is it true that you always regarded your singing career as a fluke? Madonna:  Yes, it’s true. When I came to New York City I never came with the intention of making it as a singer. The success from that took me by surprise. So I went off in that direction, but now I feel because I’ve had a certain amount of success I can go back and delve more into my original interests, in particular, film. Smash Hi

The May 2009 issue of  Vogue  features a look at the work of photographer Steven Meisel. Madonna has worked with him many times since their first photoshoot together in 1983. Here are some excerpts from the article available online at  www.style.com/vogue/2009_May_Steven_Meisel Even Madonna agrees that there is, indeed, 'a great sense of mystery' about Meisel - so much so that after all these years she feels she still doesn't really know him very well. 'I know that I love him,' she says. 'You get sucked into his aura. He knows things.'  She learned this from one of their first collaborations, which was for the cover of Like a Virgin. 'Before I worked with Steven,' says Madonna, 'I just showed up in the clothes I was wearing, stood in front of the lights, and got my picture taken.  With Steven, a team of people descended on me, started to undress me. Someone grabbed my hair, another grabbed my face, another started

Madonna - 1983 by Richard Corman & Vanity Fair Magazine [Italy] (13 April 2016)  Madonna Rediscovered with Richard Corman : Adorama Exclusive watch:  THE STORY BEHIND “THE CORMAN’S MISSING POLAROIDS” THE MISSING POLAROIDS had kept Richard Corman awake at night for years. He had misplaced or, worse, thrown away dozens of shots he took of Madonna in april 1983, when she was a fiercely ambitious 24 years old unknown with blood-red-lips, a painted-on-mole and an armful of black rubber bangles. The shoots was the nascent superstar in as many months.  They had been introduced by his mother, the fames casting agent Cis Corman; Madonna had auditioned to play the Virgin Mary in Martin Scorsese’s The last temptation of Christ. She didn’t get the role, but my mother said, “this girl is going to be something big”. recalls Corman , 61, Cis suggested that her son, who was assisting Richard Avedon, snap some images.  After a first shoot in and around Madonna’s East Vi

What I Know Now We asked some of America’s biggest celebrities to tell us about the moments that defined who they are today. Their memories kick off our anniversary issue: “The pivotal moment for me over the past 30 years was realizing I had a bigger responsibility than I was originally aware of and that I’d been thinking small picture. It was a gradual process of awakening that began seven years ago. My life couldn’t have been more perfect—in the way it is in that 1 percent way when everything is surface. I was pregnant. I’d finished making a film [Evita]. I’d won a Golden Globe. And I was recording Ray of Light. But despite all the success and fame, I still felt like something was missing. I didn’t know what I wanted to do with my life. I didn’t know if I wanted to get married. I didn’t know where I wanted to live. I thought I knew a lot, but in reality I didn’t know anything. I was used to being self-indulgent. But when you’re about to have a kid, you realize you have to t

With  Fever , Madonna explored new grounds in her art and, along with French photographer / director Stéphane Sednaoui, delivered us a futuristic ode to sensuality. Dita was gone, but a new - and equally - mysterious character came into life. Like a deity from a distant galaxy, she appeared in many different forms, from a silver sphinx to a pink-haired seductress, from a Hindu goddess to a flower-woman. Sednaoui’s special effects - a first in M’s video repertoire, at the time - created the perfect atmosphere to the sizzling aesthetic. Like everything else from the  Erotica  period, this was avant-garde at the highest level - and this is why the majority couldn’t get it. Amazingly, this was considered the one of M’s least favourite videos, even by the fans... I was 15 when I watched it for the first time and was totally blown away. Even today, I watch it with the same sense of wonderment and intrigue. The red-tongue scene is one of the best video openers ever. What a lovely way to