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About Jamesy

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  1. For the DVD release - they changed the frame rate (as well as re-editing with different camera angles). It was that usual trick to try and make video look more like film. Not a huge fan of that. The official Emmy Awards promo VHS is worth having - you get a great quality version of the show without this "effect".
  2. Making of MTV 10 in decent quality - found this on an old VHS tape yesterday...
  3. I like their 90s work! :-) I think the 80s work of Pat & Madonna is the best tho. Just my personal opinion! (BTW - I count IB as 80s - the Pat Leonard stuff on that album was recorded in 1989) Incidentally I found this reccently on an old VHS tape of mine - Pat in 1989 talking about writing with Madonna. He's playing "He's a Man" and then "Hanky Panky" on piano, in the background of the clip
  4. I actually have no desire whatsoever for Madonna to work with Pat Leonard on new songs. She worked with him and it was the best music of her career IMO - and that's that. I don't need a 2017 version of it. What excites me about Pat being on Instagram now and referencing Madonna SO much (all the bloody time!) is that it makes me think we MAY end up getting something really amazing from the archives from him. That's my focus. The work he did with Madonna in the 80s is enough for me. I want more and more and more and more of THAT! He played a bit of LTT in one of his posts. I'd love him to play "The Look of Love" on piano for us.
  5. Rare out-take from the Herb Ritts / LAP sessions.
  6. From my film of the screen on the final night of the RHT - here's TAKE A BOW in full! (YouTube Muted the audio - so here it is from Facebook)
  7. Exactly how I feel @jazzyjan I actually got teary eyed and nostalgic reading these NY Times articles tonight that I found! Like a Prayer - that whole onslaught in March 1989 - it was just something else. Here's a great piece from the Chicago Tribune published on the same day as that NY Times interview: Madonna, Seriously Her New Album Asserts The Power Of `Prayer` March 19, 1989|By Iain Blair. http://articles.chicagotribune.com/1989-03-19/entertainment/8903280152_1_breathless-mahoney-material-girl-prayer
  8. She did a good job for Katy Perry with her new song. First decent Katy Perry song, possibly ever. And thank god Shakira never did "Move Your Body" - does she have hits these days? Sia's own version is class.
  9. Another interview I never read until tonight... From the NY Times March 19th 1989 - Madonna explains the LIKE A PRAYER video! I can tell you - none of this got picked up by any of the UK press at the time. Never read a word of this before... ------------------------------------------------------------------------- '' 'Like a Prayer,' said Madonna, ''is the song of a passionate young girl so in love with God that it is almost as though He were the male figure in her life. From around 8 to 12 years old, I had the same feelings. I really wanted to be a nun.'' What follows is a description in Madonna's own words of what happens in the video: ''A girl on the street witnesses an assault on a young woman. Afraid to get involved because she might get hurt, she is frozen in fear. A black man walking down the street also sees the incident and decides to help the woman. But just then, the police arrive and arrest him. As they take him away, she looks up and sees one of the gang members who assaulted the girl. He gives her a look that says she'll be dead if she tells. ''The girl runs, not knowing where to go until she sees a church. She goes in and sees a saint in a cage who looks very much like the black man on the street, and says a prayer to help her make the right decision. He seems to be crying, but she is not sure. ''She lies down on a pew and falls into a dream in which she begins to tumble in space with no one to break her fall. Suddenly she is caught by a woman who represents earth and emotional strength and who tosses her back up and tells her to do the right thing. Still dreaming, she returns to the saint, and her religious and erotic feelings begin to stir. The saint becomes a man. She picks up a knife and cuts her hands. That's the guilt in Catholicism that if you do something that feels good you will be punished. ''As the choir sings, she reaches an orgasmic crescendo of sexual fulfillment intertwined with her love of God. She knows that nothing's going to happen to her if she does what she believes is right. She wakes up, goes to the jail, tells the police the man is innocent, and he is freed. Then everybody takes a bow as if to say we all play a part in this little scenario.'' http://www.nytimes.com/1989/03/19/arts/madonna-re-creates-herself-again.html
  10. I love finding things like this... Madonna did not do one single TV or radio interview or appearance when her "True Blue" album was released in the Summer of 1986. Not that I've ever heard of - anywhere in the world! But she did do a few print interviews - here's one from the New York Times newspaper: MADONNA GOES HEAVY ON HEART By STEPHEN HOLDEN Published: June 29, 1986 ''I like challenge and controversy - I like to tick people off,'' Madonna boasted, tossing her head and flashing a mischievous half-smile. The 27-year-old pop star was sipping a diet cola in a conference room at the New York offices of Warner Bros. Records. She appeared almost demure in a pink-and-blue flowered dress and a very short haircut inspired by the late-50's gamine look of Jean Seberg, Audrey Hepburn and Leslie Caron. Gone along with most of her hair was the heavy makeup and jewelry that made last year's Madonna resemble a contemporary street version of Marilyn Monroe in ''Gentlemen Prefer Blondes.'' ''After awhile I got sick of wearing tons of jewelry - I wanted to clean myself off,'' Madonna said flatly. ''I see my new look as very innocent and feminine and unadorned. It makes me feel good. Growing up, I admired the kind of beautiful glamorous woman - from Brigitte Bardot to Grace Kelly - who doesn't seem to be around much anymore. I think it's time for that kind of glamour to come back.'' If Madonna's new upscale look represents a dramatic swing away from the provocative sex symbol who wore lingerie as outerwear and crucifixes like diamonds, it does not signal an end to her courting of controversy. ''Papa Don't Preach,'' the second single from her third album, ''True Blue'' (Sire 25442; LP, cassette, compact disk), is bound to rile some parents of teen-age girls. The protagonist of the song, which was written by Brian Elliot, is a pregnant adolescent who begs her father to bless her decision to keep the baby and marry her boyfriend. Madonna sings it in a passionate, bratty sob that makes the plea immediate and believable. The song has also been turned into a compelling slice-of-life music video. Filmed on location in a working-class neighborhood of Staten Island, with Danny Aiello playing the father, it features a virtuoso performance by a waifish, saucer-eyed Madonna, who looks all of 15 as she quivers anxiously, awaiting her father's response. Like Michael Jackson's ''Billie Jean,'' the song and its video have an iconographic resonance that could push Madonna's career to an even higher plateau than the household-word status she attained last year with her 6 1/2-million-selling second album, ''Like a Virgin.'' '' 'Papa Don't Preach' is a message song that everyone is going to take the wrong way,'' Madonna proudly predicted. ''Immediately they're going to say I am advising every young girl to go out and get pregnant. When I first heard the song, I thought it was silly. But then I thought, wait a minute, this song is really about a girl who is making a decision in her life. She has a very close relationship with her father and wants to maintain that closeness. To me it's a celebration of life. It says, 'I love you, father, and I love this man and this child that is growing inside me.' Of course, who knows how it will end? But at least it starts off positive.'' ''Papa Don't Preach,'' for which Madonna contributed a couple of minor lyrical revisions, is the only song on the album that Madonna didn't have a strong hand in writing. The song was sent to her by Michael Ostin, the same Warner Bros. executive who discovered ''Like a Virgin.'' Most of the album's eight other songs Madonna co-wrote with Patrick Leonard, the musical director for her 1985 tour, or with her sometime songwriting partner, Stephen Bray. The three also co-produced the LP. While ''True Blue'' lacks the gleaming ultra-sleek aural surfaces of ''Like a Virgin,'' both its songs and Madonna's singing show a lot more heart. ''Live to Tell,'' written for the soundtrack of ''At Close Range,'' the movie starring her husband, Sean Penn, was released in advance of the album and recently spent a week perched at No. 1 on the pop charts. It proves that vocally Madonna isn't limited to catchy novelties and disco tunes - she can carry off a weightier ballad. The rest of the album consists of highly commercial dance-pop whose lyrics convey an upbeat message along with casual autobiographical references. ''True Blue'' takes its title from a favorite expression of Sean Penn, and is a tribute, according to Madonna, ''to my husband's very pure vision of love.'' Musically, it also pays homage to Motown and to 60's ''girl-group'' hits like ''Chapel of Love'' that are the direct antecedents of Madonna's sound. The happy, Latin-flavored ''La Isla Bonita'' is Madonna's celebration of what she called ''the beauty and mystery of Latin American people.'' The itchy dance tune, ''Jimmy Jimmy'' commemorates her youthful fascination with James Dean. ''I used to fantasize that we grew up in the same neighborhood and that he moved away and became a big star,'' she admitted. ''White Heat'' is dedicated to another mythic rebel, James Cagney, whose voice opens the track in a snatch of dialogue from the movie of the same name. ''Where's the Party?'' Madonna explained, ''is my ultimate reminder to myself that I want to enjoy life and not let the press get to me, because every once in a while it does.'' ''Open Your Heart'' is about ''wanting to change somebody.'' And the album's final cut, ''Love Makes the World Go Round,'' preaches a cheerfully simplistic humanitarianism: ''Don't judge a man 'til you've been standin' in his shoes/ You know that we're all so quick to look away/ 'Cause it's the easy thing to do/ Make love not war.'' Obviously, Madonna is still much more significant as a pop culture symbol than as a songwriter or a singer. But the songs on ''True Blue'' are shrewdly crafted teen-age and pre-teen-age ditties that reveal Madonna's unfailing commercial instincts. And her singing, which has been harshly criticized as a thin imitation of the 60's girl-group sound, has strengthened. ''I grew up loving innocent child voices like Diana Ross, while she was with the Supremes, and Stevie Wonder, when he was young, and I practically swooned when I heard Frankie Lymon's records,'' she said. ''I don't know why, but I was always instinctively drawn to those voices. I don't think I sing like a woman. I sing like a girl, and it's a quality I never want to lose.'' But even more than a girlish voice, the quality that defines Madonna Louise Veronica Ciccone is an instinct for rebellion that she traces to her parochial school girlhood in Pontiac, Mich. ''When you go to Catholic school, you have to wear uniforms, and everything is decided for you,'' she recalled. ''Since you have no choice but to wear your uniform, you go out of your way to do things that are different in order to stand out. All that rebellion carried over when I moved to New York eight years ago to become a dancer. At dance classes, all the ballerinas had their hair back in a bun, and so I chopped my hair off and ripped my leotard down the front and put little tiny safety pins all the way up just to provoke my teacher. After all, where is it written that in order to be a better dancer you have to wear a black leotard and pink tights and have your hair in a bun? Going out dancing with my girlfriends in New York clubs, we would dress for provocation. What I was wearing at the time I was signed to a record contract became my look. ''What kids see in me is another rebel kid who says what she wants and does what she wants and has a joy in life,'' Madonna went on. ''The girls that dressed like me all got the joke - it was their parents who didn't. You didn't see those girls going off and doing awful things because they bought my records. What I've learned from all the controversy is that you can't expect everyone to get your sense of humor. But I've also learned that people eventually do catch on to what they didn't get at first. It's a nice surprise in the end when they, go, 'Hey, well, you know. . .I like that.' '' A disciplined, immensely self-confident woman who doesn't eat meat, rarely touches liquor and rigorously trains her body every day, Madonna is a woman in charge of her life and career. She appeared to be uncowed by the voyeurism of a celebrity press that has dredged up vintage nude photos of her and made her recent marriage to Mr. Penn a running battle with the paparazzi. Madonna's title role of a freewheeling bohemian vagabond in the Susan Seidelman film ''Desperately Seeking Susan,'' along with her music-videos, has established her as a natural screen presence, and a larger movie career seems inevitable. In her next film, ''Shanghai Surprise,'' she plays a staid young missionary from Massachusetts who falls in love with a petty swindler, played by Mr. Penn. The film, which is set in pre-Revolutionary China, was shot in Hong Kong and is scheduled to be released this fall. ''I always thought of myself as a star, though I never in my wildest dreams expected to become this big,'' Madonna said bluntly. ''But I knew I was born to it. I don't know why. I think people are named names for certain reasons, and I feel that I was given a special name for a reason. In a way, maybe I wanted to live up to my name.'' http://www.nytimes.com/1986/06/29/arts/madonna-goes-heavy-on-heart.html
  11. That was good. They had a lot of interesting footage from all over the years. Love seeing that!
  12. I'd kill for the Florence show. I hope that one day Madonna re-discovers her 1987 work (maybe in the way she seems to be doing about 1990 and Blond Ambition?) and realises the world needs reminding of its brilliance. Raids her archvies. Gives us some stuff etc...
  13. That was indeed class - but... Always bugs me when I find factual errors in stuff about the past like this. A major section of this docu story is about "Without You I'm Nothing" - the movie. And how Sandra filmed that in 1990 whilst Madonna was on the BA tour - and that by this stage they had fallen out over Ingrid. That Sandra even re-wrote her movie to include a Madonna impersonator (who is interviewed in this piece!). The timelines are just way wrong here. "Without You I'm Nothing" was filmed in 1989 - came to theaters in 1990. Madonna and Sandra's friendship was not on the rocks in either of these years. Madonna spoke on MTV in 1990 about how much she liked Sandra's movie - and of course Sandra appears in ToD and was at many public appearances with Madonna in 1990 and 1991. The Ingrid thing was later - so the stuff about Sandra's movie involving her feud with Madonna isn't right. Oh well!
  14. Wow. Thanks. Never seen the 1987 MTV Year in Rock before. Someone tell me MTV USA in the 1980s was not the most unbelievable team of TV professionals ever - and they are lying. I'm forever in awe of anything I ever see from MTV USA about Madonna. I wonder wonder wonder what they are doing with their archives. For me - their archives are possibly more valuable than Madonna's. Just last week I dug out my tape of MTV OSAOTR 2003 - and there's this most amazing segment in it by Kurt Loder about 20 years of MTV & Madonna - and it's fucking mind blowingly beautiful. Like everything they ever did. MTV. EDIT: