Madonna says Harvey Weinstein was ‘untouchable’ before sexual assault allegations
Singer says she was offered sex for success during her career
Madonna has described disgraced former film producer Harvey Weinstein as “untouchable”.
The producer, who has been accused of sexual assault by over 50 women, worked with the singer on her 1991 documentary Truth or Dare, released under his former entertainment company Miramax.
“Harvey Weinstein was untouchable,” the singer told The Guardian.
“His reputation was universal – everybody knew he was, you know, the guy that he was. I’m not into name-calling, but it was like: ‘Oh, that’s Harvey, that’s what he does.’ It just became accepted.”
The 60-year-old, whose album Madame X was released on Friday, continued, describing the culture surrounding Weinstein at the time of working with him as “scary”.
Madonna's best songs, according to Independent staff
Show all 9
Madonna's best songs, according to Independent staff
1/9 "Don't Tell Me" (2000)
While the Stetson she appeared in for the Music era of 2000 is just one of many hats worn by Madonna, the message of its best single, “Don’t Tell Me”, is one she has practiced her entire career. I was fairly independent as a child and my colleagues would likely agree I’m even more stubborn and wilful as an adult – Madonna’s defiant lyrics on this track could certainly have had something to do with that. The twangy guitar loop of this electronic-country-pop number provides one of the most recognisable intros in music, as she instructs the listener: “Tell the leaves not to turn/ but don’t ever tell me I’ll learn, no, no/ Take the black off a crow/ but don’t tell me I have to go.” “Like a Prayer”, “Vogue” and “Material Girl” might be more iconic among Madonna fans, but for this one, “Don’t Tell Me” eponymises who she is as an artist, and as a person. (Roisin O'Connor)
Rex
2/9 "Into the Groove" (1984)
Although "Into the Groove" isn’t technical musical feat like some of Madonna’s later dance work, such as the electro masterpiece "Ray of Light", or pretty much anything on the Confessions album, it encompasses Madonna’s less filtered earlier work, complete with a signature spoken introduction. All of Madonna’s spoken introductions prelude her best work, as if to serve as a siren to dash to the dancefloor before the bassline kicks in. "Into the Groove" is the literal finest example of this: when her vocals pop up over a drum and synth intro (“And you can dance/For inspiration/ Come on”) I will always want to hit that floor. (Chloe Hubbard)
3/9 "Papa Don’t Preach" (1986)
Hunting around my parents’ house when I was 10, I found my mum’s Immaculate Collection VHS, the pastel blue box signalling something exciting. Slotting it into the machine, I waited for a song to finish and a fade to black.
More than just a story of a young pregnant woman having to break the news to her protective father, “Papa Don’t Preach” is a coming-of-age story. It felt relevant to me even at that age, contrasting with the numerous songs I’d heard telling men’s stories. The impossible-not-to-dance-to beat, the catchy lyrics and that feeling of a song capturing the female experience have stayed with me ever since.
And it’s not just me. Put this track on at a wedding and the dance floor will be alight in moments with women shouting the lyrics, dancing like Madonna – feeling empowered. If that doesn't qualify as an iconic song, I don’t know what does. (Harriet Hall)
REUTERS
4/9 "Like a Virgin" (1984)
From the minute the unmistakable beat of “Like a Virgin” begins to play, you can’t help but start rocking your head from side to side and tapping your feet in sync with the music in true 1980s fashion. Not only is the song undeniably catchy, but it also epitomises several aspects of Madonna’s identity, namely her openness with sexuality and erotica. Some of Madonna’s most iconic moments have come from her performances of the track, such as at the MTV Video Music Awards in 1984 when she appeared on stage wearing a white wedding dress. It’s playful, upbeat and impossible to resist dancing to. What’s not to love? (Sabrina Barr)
REX/Shutterstock
5/9 "Like a Prayer" (1989)
Is “Like a Prayer” the favourite Madonna song of every lapsed Catholic out there? Maybe it’s over speculation, but there’s some primal part of my Catholic childhood that can’t help but claw to the surface on each listen of the 1989 pop classic. Madonna made no secret of the fact her work was heavily influenced by her own upbringing surrounded by Italian Catholicism and, as she told Rolling Stone in 1989: “Once you’re a Catholic, you’re always a Catholic - in terms of your feelings of guilt and remorse and whether you’ve sinned or not”.
But with “Like a Prayer”, there’s a sense of freedom: an intimate, personal rewriting of religion that breaks the taboos of intermixing sex and religion. Add to that, the radical nature of the track’s video making a sincere statement about racism and police brutality - a message often buried by the hysteria surrounding the Vatican’s own condemnation of it. (Clarisse Loughrey)
Getty
6/9 "Vogue" (1990)
To strike a pose is to “Vogue”. So much more than a glitzy disco track, Madonna’s “Vogue” cements its rank as a pop culture phenomenon thanks to the flamboyant New York City subcultures it celebrates. The dance itself originates in 1980s drag culture and Madonna’s eponymous track is an homage to the sexual freedom and flagrant theatrics that the routine evokes to this day. With its liberal roots and non-binary rhetoric (“it makes no difference if you’re black or white, if you’re a boy or a girl”), “Vogue” is the ultimate empowerment anthem, fuelled by grandeur, old-school glamour, and an insatiable appetite for fun. It’s a corker. (Olivia Petter)
ITV/REX/Shutterstock
7/9 "Beautiful Stranger" (1999)
Madonna’s enjoyably psychedelic “Beautiful Stranger” was the perfect selection as main soundtrack single for Austin Powers sequel The Spy Who Shagged Me. Co-written by William Orbit, the man behind Blur’s “Coffee and TV” as well as All Saints belter “Pure Shores”, the song draws instrumentally from unexpected places (The Beatles, The Doors) with its drum-free guitar-backed opening verse setting the stage for that roaring chorus: “You’re everywhere I go! And everybody knows!” It’s a flawless slice of late-1990s pop that’s as good as anything Madonna’s ever recorded. Groovy, baby. (Jacob Stolworthy)
Gareth Cattermole/Getty Images
8/9 "La Isla Bonita" (1986)
On the very rare (two) occasions I’ve done karaoke, it says something that the song I’ve picked both times was "La Isla Bonita". I’m a sucker for melody – and especially one that’s uptempo yet loaded with a melancholic yearning to be on a mysterious tropical island.
From the opening Cuban drums, followed by castanets, it’s the winning blend of Latin rhythms and Spanish guitar with 1980s synths, and the sweetness of Madonna’s cooing vocals, that makes “La Isla Bonita” stand out – and it was the first Spanish-tinged track that Madonna released. It’s so distinctive that it’s impossible to imagine this on Michael Jackson’s Bad album, for which the track was initially written. Romantic, evocative and always alluring. (Elisa Bray)
9/9 "Material Girl" (1984)
While some may criticise “Material Girl” for being shallow, it is in fact a feminist anthem. Sure, prioritising money and shiny things over personality may not be the best approach when looking for a partner, but there’s nothing wrong with appreciating fashion and the finer things in life – it doesn’t mean you’re frivolous, vain or superficial, as Madonna points out. Because the thing is, some boys may kiss you and some boys may hug you (consensually, one would hope), but if they don’t give you proper credit, you really should just walk away. (Rachel Hosie)
Rex
1/9 "Don't Tell Me" (2000)
While the Stetson she appeared in for the Music era of 2000 is just one of many hats worn by Madonna, the message of its best single, “Don’t Tell Me”, is one she has practiced her entire career. I was fairly independent as a child and my colleagues would likely agree I’m even more stubborn and wilful as an adult – Madonna’s defiant lyrics on this track could certainly have had something to do with that. The twangy guitar loop of this electronic-country-pop number provides one of the most recognisable intros in music, as she instructs the listener: “Tell the leaves not to turn/ but don’t ever tell me I’ll learn, no, no/ Take the black off a crow/ but don’t tell me I have to go.” “Like a Prayer”, “Vogue” and “Material Girl” might be more iconic among Madonna fans, but for this one, “Don’t Tell Me” eponymises who she is as an artist, and as a person. (Roisin O'Connor)
Rex
2/9 "Into the Groove" (1984)
Although "Into the Groove" isn’t technical musical feat like some of Madonna’s later dance work, such as the electro masterpiece "Ray of Light", or pretty much anything on the Confessions album, it encompasses Madonna’s less filtered earlier work, complete with a signature spoken introduction. All of Madonna’s spoken introductions prelude her best work, as if to serve as a siren to dash to the dancefloor before the bassline kicks in. "Into the Groove" is the literal finest example of this: when her vocals pop up over a drum and synth intro (“And you can dance/For inspiration/ Come on”) I will always want to hit that floor. (Chloe Hubbard)
3/9 "Papa Don’t Preach" (1986)
Hunting around my parents’ house when I was 10, I found my mum’s Immaculate Collection VHS, the pastel blue box signalling something exciting. Slotting it into the machine, I waited for a song to finish and a fade to black.
More than just a story of a young pregnant woman having to break the news to her protective father, “Papa Don’t Preach” is a coming-of-age story. It felt relevant to me even at that age, contrasting with the numerous songs I’d heard telling men’s stories. The impossible-not-to-dance-to beat, the catchy lyrics and that feeling of a song capturing the female experience have stayed with me ever since.
And it’s not just me. Put this track on at a wedding and the dance floor will be alight in moments with women shouting the lyrics, dancing like Madonna – feeling empowered. If that doesn't qualify as an iconic song, I don’t know what does. (Harriet Hall)
REUTERS
4/9 "Like a Virgin" (1984)
From the minute the unmistakable beat of “Like a Virgin” begins to play, you can’t help but start rocking your head from side to side and tapping your feet in sync with the music in true 1980s fashion. Not only is the song undeniably catchy, but it also epitomises several aspects of Madonna’s identity, namely her openness with sexuality and erotica. Some of Madonna’s most iconic moments have come from her performances of the track, such as at the MTV Video Music Awards in 1984 when she appeared on stage wearing a white wedding dress. It’s playful, upbeat and impossible to resist dancing to. What’s not to love? (Sabrina Barr)
REX/Shutterstock
5/9 "Like a Prayer" (1989)
Is “Like a Prayer” the favourite Madonna song of every lapsed Catholic out there? Maybe it’s over speculation, but there’s some primal part of my Catholic childhood that can’t help but claw to the surface on each listen of the 1989 pop classic. Madonna made no secret of the fact her work was heavily influenced by her own upbringing surrounded by Italian Catholicism and, as she told Rolling Stone in 1989: “Once you’re a Catholic, you’re always a Catholic - in terms of your feelings of guilt and remorse and whether you’ve sinned or not”.
But with “Like a Prayer”, there’s a sense of freedom: an intimate, personal rewriting of religion that breaks the taboos of intermixing sex and religion. Add to that, the radical nature of the track’s video making a sincere statement about racism and police brutality - a message often buried by the hysteria surrounding the Vatican’s own condemnation of it. (Clarisse Loughrey)
Getty
6/9 "Vogue" (1990)
To strike a pose is to “Vogue”. So much more than a glitzy disco track, Madonna’s “Vogue” cements its rank as a pop culture phenomenon thanks to the flamboyant New York City subcultures it celebrates. The dance itself originates in 1980s drag culture and Madonna’s eponymous track is an homage to the sexual freedom and flagrant theatrics that the routine evokes to this day. With its liberal roots and non-binary rhetoric (“it makes no difference if you’re black or white, if you’re a boy or a girl”), “Vogue” is the ultimate empowerment anthem, fuelled by grandeur, old-school glamour, and an insatiable appetite for fun. It’s a corker. (Olivia Petter)
ITV/REX/Shutterstock
7/9 "Beautiful Stranger" (1999)
Madonna’s enjoyably psychedelic “Beautiful Stranger” was the perfect selection as main soundtrack single for Austin Powers sequel The Spy Who Shagged Me. Co-written by William Orbit, the man behind Blur’s “Coffee and TV” as well as All Saints belter “Pure Shores”, the song draws instrumentally from unexpected places (The Beatles, The Doors) with its drum-free guitar-backed opening verse setting the stage for that roaring chorus: “You’re everywhere I go! And everybody knows!” It’s a flawless slice of late-1990s pop that’s as good as anything Madonna’s ever recorded. Groovy, baby. (Jacob Stolworthy)
Gareth Cattermole/Getty Images
8/9 "La Isla Bonita" (1986)
On the very rare (two) occasions I’ve done karaoke, it says something that the song I’ve picked both times was "La Isla Bonita". I’m a sucker for melody – and especially one that’s uptempo yet loaded with a melancholic yearning to be on a mysterious tropical island.
From the opening Cuban drums, followed by castanets, it’s the winning blend of Latin rhythms and Spanish guitar with 1980s synths, and the sweetness of Madonna’s cooing vocals, that makes “La Isla Bonita” stand out – and it was the first Spanish-tinged track that Madonna released. It’s so distinctive that it’s impossible to imagine this on Michael Jackson’s Bad album, for which the track was initially written. Romantic, evocative and always alluring. (Elisa Bray)
9/9 "Material Girl" (1984)
While some may criticise “Material Girl” for being shallow, it is in fact a feminist anthem. Sure, prioritising money and shiny things over personality may not be the best approach when looking for a partner, but there’s nothing wrong with appreciating fashion and the finer things in life – it doesn’t mean you’re frivolous, vain or superficial, as Madonna points out. Because the thing is, some boys may kiss you and some boys may hug you (consensually, one would hope), but if they don’t give you proper credit, you really should just walk away. (Rachel Hosie)
Rex
“Because if people do things enough, no matter how heinous and awful and unacceptable it is, people accept it,” she added. “And that certainly exists in the music industry, too.”
The singer recently discussed her working relationship with Weinstein, revealing the 67-year-old “crossed lines and boundaries and was incredibly sexually flirtatious” while filming her documentary.
In an interview with The New York Times last week, Madonna spoke of Weinstein's advances, revealing that she was “aware that he did the same with a lot of other women” she knew but no one confronted him on his behaviour because of his power in the industry.
“We were all, ‘Harvey gets to do that because he’s got so much power and he’s so successful and his movies do so well and everybody wants to work with him, so you have to put up with it’. So that was it,” she added.
In her interview with The Guardian, the singer also spoke of the sexual misconduct she’s faced during her career in the music industry.
“I can’t tell you how many men said: ‘OK, well, if you give me a blow job’, or: ‘OK, if you sleep with me’,” she said.
“Sex is the trade, you know? I feel like maybe there isn’t a movement so much because we’re already used to expressing ourselves in a way, or fighting for things, although I do wish there were more women in the music business that were more political and more outspoken about all things in life, not just … the inequality of the sexes.”
Last month, Weinstein reached a tentative multi-million dollar settlement with women who accused him of sexual assault.
According to the New York Times, the former film mogul’s lawyers agreed a proposed £34m ($44m) settlement with his accusers, as well as the creditors of his former studio The Weinstein Company (TWC) and the New York attorney general.
The settlement does not exempt Weinstein from the criminal proceedings brought against him for sexual assault, for which he will go on trial in September.
In October 2017, a New York Times investigation revealed dozens of women had accused the Oscar-winning producer of sexual assault, with the alleged incidents taking place across two decades.
The revelation sent a shock wave through the entertainment industry, with several other women levying claims of assault against Weinstein.
Actors Ashley Judd, Angelina Jolie, and Gwyneth Paltrow are just some of the women who have come out with allegations of sexual misconduct against the former producer.
The news also inspired the launch of the Time’s Up, spearheaded by numerous prominent individuals in Hollywood and other businesses, and shed light on the #MeToo movement which was created in 2006 by activist Tarana Burke.
Weinstein denies all allegations of non-consensual sex.
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