Geena Davis was not aware she was making screen history as baseball standout Dottie Hinson in 1992’s A League of Their Own with co-stars Tom Hanks, Madonna, Lori Petty and Rosie O’Donnell.
When Hanks, as the gruff manager of the fictional team from the first professional all-women baseball league, called out to one of his despondent players, “There’s no crying in baseball,” it didn’t strike Davis as an immortal moment.
“We knew it was hella funny,” Davis, now 61, recalls. “But I didn’t know that was going to be a classic. That line is a signature, right up there with ‘Hasta la vista, baby.’"
League has earned its place as one of America’s best sports comedies, selected for preservation in the National Film Registry by the Library of Congress in 2012.
As the film celebrates its 25th anniversary on July 1 (with a new special edition Blu-ray out now), Davis recounts her memories from the League set.
Her audition was simple: Director Penny Marshall insisted League actors truly play ball. Davis’ audition consisted of demonstrating her baseball prowess in Marshall's backyard.
“(Marshall) wanted to make sure I could throw a ball, so that happened,” says Davis. “I threw the ball to her, competently got it to her, she caught it and said, ‘Okay.’ That was the whole audition.”
Without an athletic upbringing, Davis trained intensively to flesh out her game and ultimately impressed the real baseball coaches onset.
“When the coaches would say, ‘You have real untapped athletic ability’ it was like, ‘Oh my God, I am coordinated.’ It just took me (until I was) 36 to find that out.” (She would go on to compete at the U.S. Olympic Trials in archery in 1999, two years after taking up the sport.)
Davis excelled at batting and that stare. “I wanted people to say ‘Uh-oh’ when I came to bat.”
Pitches were hard, balls were soft: Special precautions were required for close-up batting shots. Sponge-filled balls were used — not for the batters, but the crew.
“You’re actually hitting in the direction of the camera crew,” says Davis. “For close-ups, those balls were squishy. They looked like real baseballs, but they were all spongy inside so we wouldn’t clock anyone.”
Davis did the on-camera split: As catcher, Hinson pulls an acrobatic split when catching a foul ball, which Davis performed.
“Penny asked if I could do a split. I said to put it later in the shooting schedule to give me time to work up to it. It’s hard to learn that quickly. But I did," says Davis.
She soaked in a hot tub to loosen up before the scene and nailed the split.
“The thing I did not do was get up from it. My character does a Chuck Berry split and then hops right back up,” says Davis. “There was no popping up happening. I was stuck there and had to be helped up.”
Madonna was a question mark: Davis admits she wasn’t sure what it would be like to work with Madonna, then in her prime.
“She was Madonna. We wondered if we were going to be able to talk to her. Was she going to have an entourage? Were they going to put up walls around her where she stands?” Davis recalls.
Ultimately, Madonna was a team player who trained hard and insisted on sliding head-first into bases. “That was painful. But she was so game. She was a trooper,’ says Davis.
Sophie Burdge condemns ageism in pop culture and our generation's obsession with beauty.
The film industry has been wracked with controversy in recent years, with accusations of discrimination flying left, right and centre. From the #oscarssowhite trend of 2016 to Patricia Arquette calling out Hollywood’s wage disparity in her Oscar acceptance speech in 2015, we are all finally starting to wake up to the fact that the seemingly perfect and polished celebrity world is just as infiltrated with prejudice as every other aspect of society. Despite our societal tendency to position our celebrity idols under a microscope, it is only in recent years that issues such as ageism have really been highlighted in the media.
The very nature of celebrity is rooted in admiration, all too often aesthetic admiration. When we watch a film or listen to music, we often don’t recognise the complexity of the people involved, instead reducing them to a simplistic idea of straightforward beauty. Ageing complicates this admiration. We are used to categorising celebrities as someone to emulate, but when the first grey hairs and laughter lines appear, suddenly they become a bit less god-like, and all too human for our liking.
Both Hollywood and the music industry are guilty of perpetrating these ideas. Madonna is a prime example of a woman who can seemingly do nothing right these days. Her onstage kiss with Drake is an obvious illustration of the double standards she faces. While other factors are naturally at play when considering the incident—principally Drake’s lack of consent—the point remains that a lot of the visceral disgust voiced on Twitter and other social media platforms was related to the age gap between Madonna and Drake. While in theory we reject the convention which teaches us to be appalled by a relationship between an older woman and younger man, the legacy of such a heavy cultural influence is hard to shake.
Madonna resolutely refuses to relinquish her sex appeal, and rightly so. She was among the first to embrace her own sexuality at a time when few female artists did, and as a result has become a feminist icon. Rather than retreating to ballads and black dresses like many singers of her age, she continues to joyfully prance around in bodysuits and leotards, throwing her legs above her head in a way which many in their twenties would envy. Yet her performances are often figured as grotesque, a laughing stock, or a warning to those also considered ‘over the hill’.
In 2015, Madonna went so far as to accuse BBC Radio 1 of ageism for their refusal to add her new single to their playlist. The response from the station was that they were trying to lower the average age of listeners, and that most Madonna fans were in their thirties and forties. A fair response perhaps, yet even on Radio 2, a station aimed at over 35s, Madonna’s single was only begrudgingly added to the C playlist, meaning that its airtime was minimal. Paradoxically, it was pointed out that Radio 1 often play songs by older artists, listing David Guetta (49) and Paul McCartney (74) as examples. For starters, it is significant that both of these artists are male, but also that the only Paul McCartney song that has been featured on the Radio 1 playlist in decades is ‘FourFiveSeconds,’ a collaboration with Kanye West and Rihanna—two much younger artists.
The backlash to Madonna’s complaint reflects the all too conventional negative attitude towards assertive women. While undeniably a problem for all women, particularly in the workplace, the stereotype of subservience affects older women to an even greater extent. Being a ‘Girl Boss’ is becoming trendier and trendier, as young women are encouraged to go after the careers and lifestyles that they deserve. However, the aspirational image of the ‘have it all’ career woman is notably restricted to the young and glamorous. While the idea of a young and stylish business woman demanding the raise she deserves fills most of us with ‘you go girl’-esque admiration, a woman in her fifties doing the same thing would likely provoke discomfort in many. While Jennifer Lawrence was applauded for her open letter criticising wage disparity in Hollywood, Madonna’s claim that her poor chart performance was the result of discrimination was treated as the whining of an old woman who can’t let go.
It is perhaps this differing standard applied to men and women which is the most disturbing aspect of ageism in our society. In a recent interview on Radio 2 promoting their new film ‘Going in Style,’ Michael Caine and Morgan Freeman both expressed their happiness at the number of roles they are still receiving in their seventies and eighties respectively. They proclaimed it as a sign that ageism in Hollywood is really not such an issue, with Caine even exclaiming triumphantly: “I’m not sitting round watching Coronation Street!” While I’m glad that Freeman and Caine are continuing to have their talents recognised and appreciated well past conventional retirement age, what the industry really needs is respected artists such as them to acknowledge and call out disparities. Their blindness to the fact that they are the exception, rather than the rule, not only excuses, but perpetrates harmful views.
Meryl Streep is one of the few high profile individuals in the film industry who does actively call out the ageism and sexism that she experiences. Although some may be sceptical of Streep’s claims of discrimination, due to her continuing relevance in Hollywood, she is vocal about how much harder she has had to fight for these opportunities since turning forty. In 2011, she confessed to Vogue Magazine that upon exiting her thirties she was only offered three roles–all witches–astutely noting that “once women passed childbearing age they could only be seen as grotesque on some level”. But unlike Freeman and Caine, who refuse to acknowledge the issues present in their industry, Streep is actively trying to solve the problem. She is helping to fund a screenwriting lab for women over forty, in the hope that diversifying representation behind the camera will propagate a similar growth onscreen.
While it is of course true that male actors will often face a decline in opportunities as they age, perhaps restricted to roles such as ‘senile old man’ or similar, it is undeniable that female actors suffer this fate to a much greater degree. The collective decision taken by film industry professionals, and even viewers themselves, that a woman is no longer at her peak attractiveness, epitomises the very objectification which the majority of us so vocally condemn. The recent Women’s Marches across the world demonstrate that feminism is a very prescient issue, and one being taken seriously, so why is that as a society, we still enable and encourage ageist attitudes towards women in popular culture? The fact is that films with female leads over forty don’t make as much money at the box office. Of course there are notable exceptions such as The Best Exotic Marigold Hotel, but movies fronted by lesser known older actors often fall flat. Although our tastes are obviously moulded to a degree by the film industry itself, the influence goes both ways, and so by supporting films featuring older actors, we can help to foster a culture in which ageing is not something to be dreaded in our own lives, or disgusted by in others’ lives.
It is the idea of the female actor being intended for titillation which perpetrates this problem. Of course we are all guilty of objectifying our favourite celebrities to a certain degree, but this sense of ownership goes much further than teenage girls wondering what it would be like to kiss Zayn Malik. There is a cultural expectation that a female celebrity owes her followers something, her sex appeal translating into a currency of success. While male celebrities become ‘legends’ and ‘icons’ as their conventional attraction wanes, women struggle to make a similar transition. Their value is irrevocably tied to their appearance, and once their appearance ceases to be pleasing to their audience, the unspoken contract between performer and viewer is infringed.
And it’s not as if this objectification is even purely sexual. The attitudes of straight women towards their favourite female celebrities can often be just as harmful, particularly in the Instagram age, in which we can follow and fawn over their every move. The rise of social media has fostered trends such as the ever present ‘#goals’ hashtag, an idea which has always existed, but has only recently been explicitly named. It’s more than just petty jealousy. In fact, it’s taking active pleasure in the beauty, glamour, or success of someone you admire. But when your favourite female celebrity becomes a bit less #goals and a bit more grizzled, then why bother watching them anymore?
After all, whatever the content of a movie, the primary goal is ultimately escapism. For many viewers, this manifests itself in an appreciation of the seemingly perfect lives of its stars, as we perversely revel in the levels of glamour and beauty which our own lives can never hope to attain. Such admiration in itself is not necessarily harmful—society has always orientated itself by its idols. However, it does propagate the idea that ‘perfection’ and hence, happiness, is only attainable between the ages of twenty and forty.
As a society we still consider women, especially beautiful women, to be flat and one-sided, with little more to offer than being aesthetically pleasing. Whether consciously or subconsciously, we all have an inherent discomfort with women who are perceived as ‘unattractive’, a bias which we must do our best to fight. Perhaps the unpopularity of older female celebrities simply reflects our own fears of ageing—the idea that if we don’t see it reflected in the media then we can pretend it will never happen to us—but this attitude in itself is deeply harmful. The infiltration of ageist attitudes in popular culture reflects a wider obsession with beauty, and a concerning cultural shift towards superficiality. Prejudice in the film and music industries makes a significant contribution to this, filtering down to us, and infiuencing our own ideas of beauty and happiness. Perhaps the first step to developing more healthy attitudes towards our own appearances is to appreciate the performances of older people in the film and music industries.
Gravity-defying dance duo Honji Wang and Sébastien Ramirez speak to Eve Jackson about choreographing for Madonna, reflecting society in their work and fusing their backgrounds of German, Korean, French and Spanish on stage.
Wang & Ramirez choreographed several performances of Madonna's Rebel Heart Tour. They talk about the collaboration from the 6'13 mark on in below video.
'A League Of Their Own' starring Madonna, Tom Hanks, Rosie O'Donnell - turns 25! And here's a few things you might not have known about the classic film.
In my introduction to Slant's list of the 100 Best Albums of the 1990s, I described nostalgia for the decade as “an idealized vision of a time when Bill Clinton was the fresh, young Democrat on the block, beepers were the hottest new tech items, and every major record label and Top 40 radio station was scrambling to discover the next big alternative to run-of-the-mill pop.” I went on to lament: “It's human nature to look back on things with irrational fondness and nostalgia, overlooking the bad and romanticizing the good. But while the '90s had its fair share of 'crap,' it's hard to deny that the 'good' was exceptionally good.” So good, in fact, that we decided to dust off our lovingly curated list of over 400 albums to compile individual Top 10s for each year of the '90s. Many of these titles are already widely—and rightfully—celebrated, but these lists also give us the opportunity to honor some typically overlooked gems. Sal Cinquemani
10. The Pharcyde, Bizarre Ride II the Pharcyde
9. Prince and the New Power Generation, Love Symbol
8. Beastie Boys, Check Your Head
7. Annie Lennox, Diva
6. Tori Amos, Little Earthquakes
5. Tom Waits, Bone Machine
4. Pavement, Slanted and Enchanted
3. Dr. Dre, The Chronic
2. Madonna, Erotica
1. R.E.M., Automatic for the People
No Madonna album was ever met with a louder backlash or was more rampantly misrepresented than this dark masterpiece, so you know it was doing something right. Released on the tail end of AIDS hysteria, Erotica is far from the opus to guiltless sexual fulfillment it—and its even more ridiculed accompanying tome Sex—was made out to be. Though there's no doubt it espouses taking joy in physical pleasure (“Let me remind you in case you don't already know/Dining out can happen down below”), no album seems more empathetically haunted by the act's countless side effects (i.e. Bad Girl, Thief of Hearts, a purposefully monotonous house cover of Peggy Lee's Fever). Underneath Madonna's bondage getup and Shep Pettibone's oversized drum tracks beats a truly pained heart. Henderson
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.
How did these polaroids come about?
These are images that I shot in 1983. What makes them so charming and special to me is actually the connection to my mother. She had introduced me to Madonna in the spring of '83, when she was casting a movie called The Last Temptation of Christ, with Martin Scorsese. They auditioned Madonna for the Virgin Mary. As it turned out, Madonna never got the part, but she and I met each other at the time when I was working at Avedon Studios. I was looking constantly for interesting people to photograph. I had never met anyone really like her. She was original.
The Polaroid shoot came a bit later, when my mother was developing a niche musical called Cindy Rella. Madonna was actually at her brother's apartment, and I needed to send [casting] pictures to Warner Bros ASAP. We didn't do anything digitally or on an iPhone back then, we had Polaroids. So I shot about 66 Polaroids. We put together a book with a script for a treatment, and the casting. Michael Jackson or Prince would play the prince, Aretha Franklin was going to play the wicked stepmother. As it turned out, the movie never got made and the script and the 66 Polaroids were, I thought, lost for 30 years. Recently when I was going through my warehouse, cleaning it out from the farthest corner, my mouth was wide open to find that these images were just sitting there. In perfect condition.
If we did these pictures today there would be 30 people standing in that apartment. But it was just me and her, it was so simple. She was so accessible, funny, and sexy. She was so cool and had such charisma. So we started with the few pictures where she was cleaning the house as Cinderella, and then she's getting ready for the ball. She went out and I think she took two hours to find that dress at some vintage store. At the time, she was kind of a local phenom.
I'm not necessarily a Madonna fan, but I'm certainly a fan of her determination, her spirit, and her energy. The pictures today feel a lot more relevant than they did back then. She was always relevant, of course. Just the way she was dressed, her hair, her makeup. Everything about her style and her swag was just 21st century. Between the denim and the red lips, and the cat eyes, the dark roots. Everything about her was now.
So she styled herself and did her own hair and makeup?
Totally. She was always in control. She knew exactly the way she wanted it to look. That evening, she met me and my mother and father up at this place on the Upper West Side where every New York City actor hung out. She walked in and she just stopped traffic. Nobody looked like her! She was a visionary in life, and she was certainly 100% original.
And your mom, Cis Corman, was a casting director?
Yes, she was a casting director and she later became a producer at Barbra Streisand's company. The thing that makes this really special for me is that she's suffering terribly with Alzheimer's now. She's 90. This is really an homage to her. None of this would have happened without our collaboration.
When did you start taking pictures?
I started taking pictures shortly after I was with Avedon in '83. I never studied it, I was prepared to go into graduate school for psychology. I took a year off and photography kind of fell into my lap, just because I needed a break. Then I fell in love with it, and took a shot with it and decided that this is where my heart was. The experience at Avedon certainly changed my life.
What was it like working with Avedon?
Life-altering in the best way. You were around someone who was just incredibly passionate, smart, and his entire life revolves around his work. He was brilliant, he was generous, selfish, but I spent a lot of time traveling with him. One of the projects I worked closely with him on was In The American West. So I spent two summers with him traveling out there. It was just kind of mind-altering. We talked about photography and art.
How do you think Avedon's work has influenced your own?
The most important thing about Dick's work was the eyes of his subjects, and the ability to see behind their eyes. He allowed them to tell their own stories. For me, the pictures that mean the most are the ones where I see something behind people's eyes. Where they're allowed to tell their own story.
So what's Madonna's story from these images?
"I will be on top of the world. I will rule the world. Nothing will stop me, and I will go through anybody to get to where I'm going." That was absolutely the language. It was so real and so natural. Nothing seemed pretentious. When I first met her and went to her apartment, she had to show me up the stairs because it was a building that was full of thugs. They protected her. She said, "Richard, you can't come into the building until you tell me you're here so I can tell the guys downstairs." She was the pied piper of the neighborhood. People would come to her apartment to have pizza, go to the roof to sing and dance. She embraced it, and the city was really rough back then.
Richard Corman's '66 Polaroids' will be out this fall from NJG, accompanied by an exhibition.
On the occasion of the release of The Pop Game, the new musical show he produces, Timbaland reveals behind the scenes the creation of three songs of stars on which he worked.
That said launching a new show, called promotion and interviews. The opportunity for the successful producer Timbaland to say more about the back of the decor of the profession of producer. He reveals my behind-the-scenes recording of some of the famous songs he has worked on.
4 Minutes from Madonna
The atmosphere warmed up when Madonna partnered with Timbaland and Pharrell Williams … literally. Indeed, the queen of pop hates air conditioning and usually raises the temperature during her concerts or when recording her studio albums. She is very afraid of losing her voice because of the cold. “It was really hot,” Timbaland recalls, pointing out that it was the star’s only requirement. Madonna has her feet on the ground. ” Before concluding:” It’s incredibly honest most of the time – “It’s okay, no! “- She goes straight to the goal but remains very pleasant in the work and very concentrated. ” A recipe that seems to pay.
On Instagram she posted a Gucci bracelet with the word 'Loved', while commenting "Coming to a theatre near you".
Guy Ritchie and Madonna have put their recent custody battle over Rocco behind and the two are so close again that they've even hit the movies together!
According to an insider, Ritchie, 48, recently invited the 58-year-old singer to a private New York City screening of his new movie King Arthur: Legend Of The Sword.
"It's amazing, but for all his problems with her over the years he'll always respect her opinion as an artist and a trendsetter," the source explained to Radar.
"He's never gotten out of the habit of showing her one of his movies before anyone else and getting her opinion of it."
As Radar reported, the two locked horns over their 16-year-old son Rocco's decision to go live with the director in London rather than stay in New York City with his mom, leading to a spate of bitter custody disputes in court.
However, when it comes to art, Ritchie still respects, and even seeks out, what Madonna has to say.
"She always tells the truth and in this case, it was crucial for him to get an unbiased opinion — he's hoping to spawn a franchise from this film," said the insider.
"He's trying to tap into a bigger family audience with this one than with anything else he's done, including the Sherlock movies."
The famed producer behind Madonna's Vogue says he's getting the short end of the stick -- to the tune of half a million bucks -- because the record label's out for payback.
Shep Pettibone, producer extraordinaire -- who's worked with Madge, Janet Jackson, Paula Abdul and a ton of other artists -- says WB Music Corp owes him a ton of back royalties for the 1990 mega hit.
It appears everything was fine up until 2012 ... when Shep and WB were sued for allegedly jacking Vogue from someone else. In his lawsuit, Shep says they both came out victorious in that case, but the label spent a ton on lawyers -- more than $700k, according to docs.
The mega producer says WB's been withholding royalties since then to cover that massive legal bill. Translation: we forked out the dough to defend your song ... now you owe us.
Shep ain't buyin' that theory though, and says his contract with the label doesn't give them the right to hold back his Vogue dollars.
He believes he's been screwed out of as much as $500k, and wants a judge to force WB Music to hand over the loot.
It shouldn't come as a surprise that Coca-Cola is loving the beef between Madonna and Pepsi. They responded on Twitter to Madonna's support for Coca-Cola by offering accessories to the Queen of Pop, eagerly attaching their marketing hashtags.
Many other media loved the new beef between Madonna and Pepsi. Here's a small selection:
Pepsi has come under fire for their new commercial, which features Kendall Jenner solving some kind of protest march by handing a Pepsi to one of the police officers. Many are protesting that the soda giant just wants to capitalize on the current political situation.
Madonna also posted the video with a comment, expressing her disappointment.
Obviously, we all know the story between Madonna and Pepsi commercials. In another social media update, Madonna took a jab at Pepsi with a picture dating from 1999 showing her holding a can of Coca-Cola instead.
More from People.com:
In January 1989, the singer inked a $5 million endorsement deal with Pepsi that led the company to release a two-minute television ad and featured her singing and dancing.
The fairly innocuous ad reached an estimated 250 million viewers in over 40 countries, but was subsequently revoked in April 1989 after it generated controversy when Madonna premiered the full-length music video for Like a Prayer on MTV the following day. The video's imagery, which included burning crosses, stigmata and the seduction of a saint, drew the ire of religious groups and customers, who assumed it was part of the Pepsi ad.
At the time, the Vatican condemned the video and religious groups threatened to ban the commercial and boycott Pepsi products. Not only did Pepsi eventually pull the commercial but the company also canceled Madonna's sponsorship contract.
In her "Live For Now Moments Anthem" commercial, the model and Keeping Up with the Kardashians reality star leaves her photo shoot behind to join a march before handing a police officer a can of Pepsi, causing her fellow protesters to erupt in cheers as he takes a drink.
Many detractors accused Pepsi of blatantly appropriating the spirit and imagery of the anti-Donald Trump resistance, Black Lives Matter and other movements in order to sell their product.
In response to the backfire, Pepsi defended the ad in a statement: "This is a global ad that reflects people from different walks of life coming together in a spirit of harmony, and we think that's an important message to convey."
Pharrell Williams turned 44 years old yesterday. Among the many people congratulating him with his birthday was Madonna's manager Guy Oseary who cheeckily said Pharrell should hit the studio again with "the blonde".
Most likely, Oseary didn't mean much with the tweet, since work on Madonna's next album hasn't even started yet. But you never know if Madonna and Pharrell might work again in the future.
Pharrell co-wrote and produced part of the Hard Candy album. He also had a recording session with Madonna for Rebel Heart but none of his demo tracks (Back That Up, Take A Day, Take It Back,...) ended up on the album.
She's always been a Rebel Heart. Madonna has been stirring up controversy since she burst onto the pop music scene in 1982 with the release of her debut single, "Everybody." From her shocking statements to her provocative performances, Us Weekly Video rounded up the Queen of Pop's wildest moments, which you can relive below!
In 1984, at the inaugural MTV Video Music Awards, Madonna, now 58, took bridal style to a whole new level when she donned a lingerie-inspired wedding dress for a racy performance of "Like a Virgin," the iconic single from her second studio LP of the same name.
Years later, Her Madgesty's eyebrow-raising routine still had people talking. "I figured if I was going to present myself as a virgin to anyone, it should be you," she quipped to Johnny Carson during a 1987 appearance on The Late Show.
Madonna continued — and still continues more than three decades into her career! — to electrify audiences. As fans will recall, she caused a media firestorm when she kissed her pop descendants Britney Spears and Christina Aguilera at the 2003 VMAs. And, more recently, in 2015, she headlined her massively successful Rebel Heart Tour.
But the Grammy winner isn't known just for her intoxicating stage presence. She's also famous for speaking her mind and sometimes sharing TMI. In 2012, she shaded Lady Gaga — who has been accused of copying the "Express Yourself" singer on multiple occasions — by calling her music "reductive." And in 2015, during a rousing game of "Never Have I Ever" with Justin Bieber on The Ellen DeGeneres Show, she candidly revealed that she has indeed had sex with more than two people on the same day.