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No more long ass capes and super tall high heels...put on some flats and let's dance! "Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
https://youtu.be/CVwv9LZMah0 | |
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"Joan Of Ark"---one of the strongest tracks on the album | |
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Really love this one; she'd better include it on tour. "Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
https://youtu.be/CVwv9LZMah0 | |
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I can see her grabbing her guitar and playing an acoustic version of this song on tour.It's definitely gonna be in the setlist (I just know it) | |
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you guys are smokin' crack
if you can't see the difference between 09-15 Madonna and 84-90 Madonna then I got nothing else to say and of course then there's the American Life album, which was basically a folk album with electronics...
but yeah, keep preaching your gospel: Madonna has NEVER been a pop-dance/rock artist
BS [Edited 2/26/15 4:58am]  | |
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Spot on from THE GUARDIAN: . http://www.theguardian.com/commentisfree/2015/feb/26/madonna-superhuman-abuse-brit-awards-fall Madonna is superhuman. She has to be to survive the ugly abuse.Madonna was at the Brits, performing her totally boss I Will Survive-style single Living for Love, when it happened. “Took me to heaven, let me fall down … lifted me up and watched me stumble.” So she prophesied it, and so it came to pass. It wasn’t a trip or a tumble. It wasn’t funny; it was terrifying and so brutal that the audience fell silent. It was the kind of accident that breaks necks, damages brains and haunts Cirque du Soleil performers’ nightmares. The Armani cape Madonna was wearing as she approached the podium was tied too tight and didn’t fall undone when her dancers pulled it. She was yanked back by the neck and flew through the air over three steps, landed hard at the base of the podium and for a split second didn’t move. Watching at home, my heart stopped. Is that all it takes to kill a queen? Milanese outerwear? The hateful hashtags #shefellover, #Fallenmadonna, immediately began toxifying Twitter: “I get it, Madonna. My grandma is exactly the same.” “I hope grandma’s ok. A broken hip at her age could be a death sentence.” But as Madonna also sang last night, “I picked up my crown, put it back on my head. I can forgive, but I will never forget.” After a fall like that, anyone else would roll around screaming in agony then look for someone to blame. She drew on a higher power: herself. Showing her famous mental and physical strength, she got to her feet, picked up the choreography and tune, un-lip-synced and note perfect – as the isolated vocals from her performance at the Grammys show – and finished triumphantly. That is the Madonna I’ve loved for ever, starting with the flamenco moves of La Isla Bonita. They say you’re not supposed to believe the hype. But with some people, the mythos is real. She has mystique, the rare bulletproof real-deal charisma. She has never been defined by men and has always advocated for other women, pointing out in her upcoming Rolling Stone cover interview that “people like to pit women against each other”. But it’s not just about individualistic survival ability, sisterliness or externals like Vogue style or Desperately Seeking Susan attitude. Madonna is not worthy of respect simply for surviving, having sass or cannily working out how to play every capitalist angle. She has a brilliant and indeed record-breaking talent in her discipline, which is music. She’s been making great albums including Like A Prayer, Ray of Light and Confessions on a Dancefloor throughout her career, and the latest,Rebel Heart, is up there with them; she is “in the game again”, as The Telegraph says. But how many times does Madonna have to prove that she’s a worthy player? How many times does she have to break records by selling more, touring more lucratively, flexing harder than everyone else on the planet? Her many colleagues have paid tribute to her exceptional skills as a producer, songwriter, lyricist; but whenever Madonna successfully works with a male producer it is he who is given the credit. Where her abilities are not ignored, imputed to men or praised in passing as though they have now faded, they are actively mocked. I loved her film WE, comparing it favourably with the risible King’s Speech, where the women were two doting wives with barely a line between them and Wallis Simpson was a depraved shrew. I saw WE with a historian friend who was astounded by its accuracy and detail; I loved the women characters, the aesthetic, the mournful realism behind the romance. It’s a feminist film, psychologically acute. But she was brutally mocked in the reviews. And that laughter is growing louder and crueller and uglier, as the Twitter response to her fall illustrated. Madonna’s longevity was first admired and is now actively sabotaged by editorials which never fail to mention her age, as though it is something to be ashamed of. I am shocked by the uninflected scorn, the derision and foul-mouthed trashing she is dealt, and how much of it is grossly visceral: hatred of her flesh, physicality, sexual confidence, athleticism, ambition, her preference for Latin spunkbots, her alternating bossiness and vulnerability and romanticism and eroticism and playfulness, her performance ability and hunger. All the things which were once admired about her are now used to bash her and make her appear laughable or monstrous or desperate. Madonna is no stranger to misogyny. She is a rape survivor and a domestic assault survivor. How much worse is this going to get? Madonna is only 56. She is in the prime of her life, she has power, talent, experience and wisdom, in addition to her natural intelligence and rigour. She is about to release her 13th album – one of her best yet. The things she is ordered to do – age gracefully, put it away, retire, crawl away and die – have behind them a desire to shame, permanently destroy and negate this woman who dares to be vocal and visible, physical and political. In order to withstand this, one would have to be superhuman. Luckily, Madonna is. But why should anyone have to swallow the world’s unstinting hatred when she wants to be remembered for her brilliant artistry?
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That's a great article, and extremely well said. I don't love everything she's doing at the moment, but she certainly should have the right to do it. '
"That's when stars collide. When there's space for what u want, and ur heart is open wide." | |
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Thanks for posting that GoldStandard.That was a good article. I'm 48 and when I saw Madonna's legs at the Grammy's I was like "get it bitch"!!!! I want those legs now and I'm a almost a decade younger than this chic  "A Man Can't Ride Your Back Unless It's Bent" MLK 4/3/68 | |
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I'm more shocked that the Guardian author cited the... reductive qualities of Living For Love in comparison to I Will Survive. | |
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With you there! I get a bit of stick from friends and family for being a Madonna fan (god knows why though) and I usually try and just laugh it off, for their sake not mine...rise above it and all that. But last night some very close family and friends instantly started making snide comments about her fall on my Facebook. And for the first time I though f*ck it, I'm not laughing at their unoriginal BS anymore, I'm calling them on it. Last night was a serious fall and a show of superb professionalism from Madge, not something to be mocked. www.filmsfilmsfilms.co.uk - The internet's best movie site! | |
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SLANT MAGAZINE: ALBUM REVIEW Madonna Rebel Heart
Perhaps more so than that of any other pop artist, living or dead, Madonna's career can be handily split into distinct eras, and further subdivided into periods or phases: her commercial peak in the '80s, her provocateur years in the early '90s, her electronic renaissance in the late '90s and early aughts, and so on. It's the evolution, or so-called reinventions, that these shifts represent that many wholly credit, erroneously, for the singer's unprecedented longevity. But when the final history is written on one Madonna Louise Ciccone, with the benefit of distance and hindsight, it's likely her career will be viewed in just two halves: the pair of decades leading up to and including 2003's American Life, a 20-year big bang of ubiquitous, propulsive forward momentum that culminated in the deconstruction and rejection of the material world that created the biggest female pop star of all time; and the years that followed, which have found the queen uncertain about how to maintain her throne, often looking back rather than toward the future. Case in point: Of her 13th studio album's myriad pleasures are its numerous reminders of Madonnas past, from the '90s-house throwback of lead single "Living for Love" to samples and lyrical nods to "Vogue," "Justify My Love," and Truth or Dare. Madonna's fans are as varied as her countless visual and sonic diversions have been over the years, and there's a little something for everyone here, including those pining for a return to the lush, spiritual introspection of Ray of Light (specifically, on the exquisite "Wash All Over Me" and the regal "Messiah"). Madonna has always been ironically self-referential, repeating formulas and quoting past hits, but in recent years those winks and nods have seemed more like tics, the side effect of an artist who's simply said and done it all, and whose effective banishment from an increasingly ageist radio industry has led her to believe she needs to remind us that, bitch, she's Madonna. There are moments throughout Rebel Heart where Madonna carves out new, exhilarating territory for both herself and mainstream pop at large. "Devil Pray," perhaps her best song in 15 years, reimagines the Animals as a folktronica band with witch-house tendencies, her ruminations on salvation and the existential pitfalls of sniffing glue riding an unexpected low-end groove. Armed with an Arp bass synth, some barking alarms, and copious amounts of Auto-Tune, co-producer Kanye West (who's also name-checked in the lyrics) gives "Illuminati" the Yeezus treatment, lending Madge's treatise on the age of enlightenment a portentous industrial edge; her rapped verses about the titular secret society are clean and tight enough to make you forget about "American Life." Though less inventive, other songs, too, find Madonna exploring new sounds or revisiting them in novel ways, like the Eastern-flavored "Body Shop," a reminder of how agile both her vocals and lyrics can be; as extended metaphors for sex organs go, the track is the clever, more sophisticated cousin to 2008's crass "Candy Shop." Espousing the power of art in a practical sense as a vehicle for change and a symbol of freedom, "Graffiti Heart" is what Artpop aspired to be. Drawing on Madonna's connection to pre-fame friends Jean-Michel Basquiat and Keith Haring in order to authenticate the kind of inspirational anthem that only an artist who emerged from the rubble of Warhol and AIDS could, its personalized missive is far more effective than the more general platitudes of, say, "4 Minutes": "Whattya got? Show me your Basquiat/He didn't keep it all to himself/Even with Keith, out on the street he died/Fighting so you can do it as well." Rarely have stars as big as Madonna made themselves so accessible to both the media and public, and she's often spoken of the challenges of sussing out the starfuckers from those worthy of her company. But she's never addressed the subject as frankly as she does in "HeartBreakCity," a piano ballad that builds to a inconsolable frenzy of chanted background vocals, martial drums, and, perhaps not coincidentally, a sample of "They Don't Care About Us" by Michael Jackson, an icon who, unlike Madonna, succumbed to the traps of fame. Her survival is, no doubt, partly credited to the hardened exterior she's erected over the years, transforming from the soft, vulnerable vixen of Bedtime Stories into the pop-music equivalent of Joan Crawford. Finally, "Inside Out," which juxtaposes her sensual invitations and supple vocals with an industrial soundscape of ominous, sinuous bass and crackling hip-hop loops, gives us a glimpse of the unabashed romantic hidden beneath the maschinenmensch. She might as well be serenading herself when she begs, "Cynical smile, time to take off your mask." It's these moments that render the album's fumbles all the more frustrating. Like its predecessor, 2012's MDNA, Rebel Heart is all over the map, not just musically, but lyrically and vocally. Madonna has always been a versatile artist, but also a surprisingly coherent one, adept at threading seemingly disparate styles together using lyrical themes or sonic continuity, and thus setting an incredibly high standard for both herself and pop music as a whole. She was wise to largely abandon Avicii's chintzy (yet admittedly infectious) synth hooks in favor of more forward-minded production from the likes of DJ Dahi and Blood Diamonds, but the album would have benefited from more of those up-and-comers and less of established names like the overrated Diplo. With so many producers with disparate modes at the helm, Rebel Heart feels overworked, the duality of its title muddied by the inclusion of garish party jams like the infuriatingly catchy but lyrically cringe-inducing "Bitch I'm Madonna" and sex songs like "Holy Water," ostensibly lumped under the "rebel" banner using only the broadest of interpretations. The latter track is a welcome bit of percolating electronica, and she deserves props for effortlessly deploying the word "genuflect" in a pop song, but Madonna's Catholic baiting feels like a reflex at this point. Despite her well-documented reputation, you could count her sexually provocative songs on one hand up to this point, so the fact that she nearly doubles that number here in one fell swoop suggests she's either consciously taking the piss out of her Dita Parlo persona or making some kind of comment about women of a certain age unapologetically flexing their libidos. Which would be all well and good if the lyrics rose above Janet-grade ("Oh my God, you're so hot, pull my hair, let me get on top," she sings on the lazily titled romp "S.E.X."). The sheer number of songs on the album (19, not counting six more on the "super-deluxe" edition) practically guarantees these missteps; an apparent lack of internal editing would suggest a lack of vision. From "Hold Tight" to "Borrowed Time," however, there's a timely recurring theme of love triumphing even during the end times. A decade of disco-Madonna makes it easy to forget that she's a skilled balladeer, and the post-apocalyptic "Ghosttown," about the last two lovers on Earth, takes a generic, contemporary-pop template (think "Halo") and stamps it with her singular style a la 1994's Babyface-penned "Take a Bow." Rebel Heart is too long, too unnecessarily fussed over, to join the ranks of Like a Prayer, Erotica, and Ray of Light, but tucked inside this lumbering mass of songs are 10 to 12 tracks that would, under any other circumstances, make for Madonna's best album in at least a decade. | |
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Great review (though I read "copious amounts of auto tune" and my heart dropped!) from someone that clearly has a really solid understanding of her career and back catalogue. Bit early though....album isn't out for a couple of weeks yet... www.filmsfilmsfilms.co.uk - The internet's best movie site! | |
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I wish I had that kind of patience! I couldn't wait...I had to hear these songs NOW! | |
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Madonna appeared on The Jonathan Ross Show today...here's a summary of what she said during the interview....
Jonathan introduced Ghosttown as the new single from Rebel Heart. | |
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Madonna's excellent new single "Ghosttown"
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^^ does anyone else think that "Ghosttown" sounds like a movie theme song? Or a song that could be used in the TV show 'The Walking Dead'? It has that big,cinematic sound...the type of song you would hear during the end credits of a dramatic motion picture.Who agrees? | |
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I visualized more of an apocalyptic sci-fi western sort of film. "Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
https://youtu.be/CVwv9LZMah0 | |
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I was thinking of something like the 'Twilight' movies | |
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"Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
https://youtu.be/CVwv9LZMah0 | |
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TIME OUT - | |
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'Rebel Heart' review: Madonna's latest is intensely personalNew York Daily News (Jim Farber)
Imagine a world where Madonna hates being photographed, where she considers quitting her career and admits to suffering haunting demands that she “act like the other girls.” It’s the same world where pigs fly and figure skaters crowd the deepest recesses of hell. Yet, somehow, that’s the world occupying significant parts of Madonna’s revelatory new album, “Rebel Heart.” More credibly than any previous work, Madonna’s latest pulls back the curtain on her life, letting us see her hurt and yearning. It also finds her licking her wounds over a breakup with a far less powerful boy toy — presumably the decades-her-junior dancer Brahim Zaibat, who she saw for three years, ending in 2013. Maddy has said that she chose the album’s title to express two sides of her character: the defiant warrior and the aching lover. While a decent portion of harder, bitchier odes do turn up, the album as a whole presents the softest, most sincere portrait of the star we’ve ever had. In the process, “Rebel Heart” coheres, offering a swift rebuke to whoever prematurely dribbled out its tracks in a dizzying variety of leaks.
Along the way, the long, 19-song album offers its share of groaners, missteps and songs more indebted to trendy production than solid craft. But its best moments boast some of the most finely structured pop melodies of Madonna’s 32-year career. The slam-dunk opener, “Living for Love,” stands with her great gospel-soul songs of the past: “Like a Prayer” and “Express Yourself.” Of the ballads, “Ghosttown” rates with her best: “Live to Tell” and “Crazy for You.” The way the producers recorded Madonna both bolsters the melodies and lends her depth. They’ve honeyed her voice: Madonna hasn’t sounded this rich since the sumptuous “Evita” soundtrack. In “Ghosttown,” her deep tone has some of the autumnal ache of Karen Carpenter. All this isn’t to say Madonna doesn’t chirp, sneer and bray in places. In “Holy Water,” she’s in late-period Joan Crawford mode, putting down all comers with an unseemly pride. Then, in “Bitch I’m Madonna,” she nicks a slogan from someone far beneath her, referencing Ms. Spears’ old “It’s Britney, Bitch” line. Madonna’s harder side finds a focus in “Unapologetic Bitch,” where she plays a spurned sugar mama. She revels in banishing an entitled young stud back to his impoverished past, a mirror, most likely, of the breakup with Zaibat.
The same scenario reels through two other songs: “HeartBreakCity” and “Living for Love,” though in the latter, the loss becomes a spur to celebrate a love that may yet come. The music in “Living for Love” implicitly references the past, but in other passages Madonna invokes it directly. The lyrics to “Veni Vidi Vici” offer a virtual career retrospective. The title track brings an even broader life assessment — looking back at her attempts to fit in as a youth, as well as her years of acting out with provocative gestures for their own sake. Never before has Madonna copped to the latter motivation in a song. In the end, she accepts the consequences, and embraces the bravery, of her character fully enough to create her own answer to “My Way.” The beauty of the song’s melody helps ease its self-involvement. As a lyricist, Madonna has always had trouble making her personal songs universal. On the other hand, her persona has such cultural resonance at this point, it has become part of all pop fans. Her name is a metaphor for strength and endurance. That makes her potent enough to admit where she’s weak in “Joan Of Arc.” Here, she says that each critique drives her to private tears. In “Wash All Over Me,” she ponders either running from, or accepting the end of, her career. It’s hard to imagine Madonna expressing things like this before, let alone making them ring true. That’s “Rebel Heart’s” peak feature: It presents a 56-year-old woman who, in the best possible sense, sounds her age.
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a little tidbit:
Madonna wanted Jay Z to be the guest rapper on "Iconic" but Jay Z gave Chance The Rapper the opportunity instead.. | |
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Tour is being announced on Monday apparently: www.filmsfilmsfilms.co.uk - The internet's best movie site! | |
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you think she'll do Australia this time? She really owes them a tour. | |
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Really dig this take-off on Medieval iconography...
[Edited 2/27/15 10:59am] "Music gives a soul to the universe, wings to the mind, flight to the imagination and life to everything." --Plato
https://youtu.be/CVwv9LZMah0 | |
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Madonna on the Jonathan Ross Show yesterday
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. She owes them a few times over!! . I'd love to see her pull a real coup, like scheduling shows in China. . Will she really tour again after this one? "I would say that Prince's top thirty percent is great. Of that thirty percent, I'll bet the public has heard twenty percent of it." - Susan Rogers, "Hunting for Prince's Vault", BBC, 2015 | |
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Of course, I went to the Tokyo CT shows thinking they might be her last concerts...how wrong I was!