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About peter

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  1. So sad to hear Koko is gone. What a beautiful, loving, sweet, and intelligent creature. Thanks for posting, @Jazzy Jan. As I was entering the thread, I started to think, “Isn’t Koko the one who met Robin Williams?” So charming how she fancied him! (But then who couldn’t fall for Robin? RIP, Robin, too.) 😥
  2. I still buy CDs, especially Madonna. But I don’t listen to the CDs very much. I have an iPod, and I either rip the CD to .mp3, or else, if I buy it from Amazon, sometimes I automatically receive a digital download. So I listen to music on my iPod mostly. I do not stream on any service. I will preview music by listening to album tracks on YouTube. I’ve got a very small vinyl collection — Madonna only. Most recent one I bought was RH, of course. The most recent CDs I bought that were not Madonna were Goldfrapp and U2. I still haven’t even listened to the U2 album. My computer (personal computer, not work computer) was still running Windows XP and dated back to 2004 finally gave up the ghost last month. That was the one I used for running my iTunes (to connect to the iPod), so I’m a little “frozen” right now. I’ll need to get that sorted before Madonna’s next album, which I’ll buy in multiple formats, as usual.
  3. Did he flip off the millions-strong audience for the World Cup?
  4. You might be more correct than me! Here’s what I found (and I think “walking on hills” may have been a language-barrier issue — it was probably supposed to be “heels” — and my memory conflated both) ... I don’t know the source — I just copied and pasted from some other forum. (The original source is probably one of those fan-operated news sites.) The image was not displaying on the forum where I found this. (By the way — I don’t belong to any other forums! I just found this in Google search results by looking for key words related to this.) But that would mean your recollection is correct — there were storyboard sketches. Oddly, I don’t remember seeing those. All I remembered was the erroneous word!! 😆 <quote> The plot was there, the storyboard was there but the video was never shot.Rumors about a video for the song "How High"('Confessions on a Dancefloor') were running around way before the "Confessions Tour" was on the road. Now it's time to put some truth to these stories.Madonna had 3 potential directors in mind for this project, among them previous tour videos director, Dago Gonzalez and Choreographer Jamie King ('Sorry'). Location was chosen and the sketches for the video were made. The concept, which was divided to 3 parts, presented Madonna getting ready for a show, walking on what seems to be a runway, surrounded by camera flashes.Here's a brief description of the video by its storyboard:The video starts with words like 'Fame, 'Fortune', 'Star' etc. running in glitter letters over a black screen. The next shot is Madonna walking on hills; in the frame you only see her legs walking and the camera follows them till it stops and shooting her from the back. In the next part, she sits down in front of a mirror with 4 hands attacking her for make up and hair, while she starts singing "It's funny�". She gets up from her chair, pushes their hands and starts walking in a corridor which leads her to the stage.Throughout the whole video you see cuttings from tabloids and press showing Paparazzi images, gossip headlines and some tragic events like Princess Diana's car accident.Due to probably lack of time, this idea was in the end changed and they re-edited the 'Sorry' video for the remix, which made it to the show.We sure hope she uses this idea in the future!Article published by Pan on 2007-03-22 </quote>
  5. That was the original plan, supposedly, but then she ran out of time and wasn’t able to film it, apparently. (Someone once described the concept of Madonna climbing in heels...? Maybe. If I’m recalling correctly.) Maybe you already knew that, though? Jusy mentioning it in case someone else reading hadn’t ever read that rumor.
  6. peter

    New Album Means New Tour

    No lies detected! Every time, it has been confection perfection!
  7. peter

    Troye Sivan

    tend to agree, tbh. the make-up is especially odd in a couple set-ups. Haha! Well, thanks for making me feel like my intepretation is valid, even when I’m clearly wrong. In some ways, it illustrates Madonna’s quote from around 2000 ... how she is sometimes reluctant to share the specific inspiration for a song. I think her example was that, if she rights a beautiful love song because of a fly, she doesn’t want people to be thinking of the fly when they hear the song. (I think this was the same interview where she shared that the germ for the chorus of “Music” came from a Sting concert — and the way the vibe of the audience changed when he started playing old classics...) But I digress.
  8. peter

    Troye Sivan

    I enjoy “Bloom,” but I see it more as a metaphor for becoming more and more one’s own self in a nurturing relationship... “opening up” in an emotional sense? Sharing intimate parts of your inner life with someone to whom you feel close and with whom you feel safe. I also appreciated the “Vogue” visual references in the new video. Glad Madonna gives him such confidence!
  9. And yes, I, too, think the CT performance of “Hung Up” is epic and definitive and has not been topped yet ... it will be difficult to do. So it might be in her best interest to give it a rest for a little while so that it will be all the more welcome when it returns. I didn’t care much for the S&ST version (if I had to vote one song off the list, that would be it b/c the arrangement wasn’t that strong) ... the MDNAT version definitely wasn’t meant to be a crowd-pleaser, although I think it made sense in context. I came around to it eventually — that version does “plod” for sure (good description @Kurt420) but the lyrical theme is tormenting and torturous — and I’m surprised to find myself moved by the “ad lib” in the MDNAT version of “you’ll be sorry / please forgive me” ... the performance really draws out the spiritual struggle going on (the whole section deals with the end of a relationship paralleled with a metaphorical loss of faith, and then intertwines the two and each exacerbates the other). It’s almost more about not being able to get God on the phone than Guy Ritchie — and the “hell” she is experiencing because of that. I don’t know ... maybe I’m overanalyzing. It certainly isn’t as satisfying as the CT version, but I can appreciate it. All while looking forward to an encore of the full-on ABBA-tastic version. And yes, any COADF tracks are welcome to be re-visited in my view. I love the whole album. Maybe one day she’ll still make that interlude film for “How High?”
  10. ? It was the Rebel Heart Tour. It should have come as no surprise to anyone that RH would comprise a significant portion of the setlist. And there was plenty from RH which was not performed (at all or sporadically — e.g., Ghosttown and Joan of Arc). I was going to post more about setlist choices, but I think it is challenging to discuss. Madonna chooses not just on whim (although clearly that happens sometimes) but in terms of theme and mood. I know we talk a lot about telling a story and advancing the narrative, and about a journey from darkness to light ... but there’s also practical considerations, like stage and costume restrictions, and needing to have a “breather” between heavily choreographed numbers. So there are a lot of factors. Also, remember that Madonna was visiting some areas of the world with RHT for the first time, or returning after a too-long absence in Australia’s case, particularly. That also should have (and likely did) impact the choices.
  11. Love this — and love how this was the culmination of all the album promo tour performances of the single — the EMAs extended the coda at the end (“Go ahead, Sweden!”), the Canal+ adding the male go-go dancers (re-used from the DTM performance), then the Grammys escalating it again toward ... the DWT experience. Was the perfect climax to the show, and I remember the last image being the red car from the WIFL4aG video wrapping around the pole — and the lighting rig creating that illusion with red lights flashing and sliding down to the stage ... there are several moments I love in this — her turning-by-degrees in formation with Donna-Niki after “Hey, Mr. DJ” — the little hip jut she does after descending the staircase for the final full chorus ... OH and all the sparkly confetti! Yes ... love it so much. ALSO ... I have to say I wish there was a studio version of this on the maxi CD single back in the day. It is essentially a mash-up of the beats from an unreleased Vission remix (right?) with more Mirwais and probably Stuart Price working in the Kraftwerk sample ... plus an extended coda. It’s like a 12” mix of “Music.” And I remember really wanting to hear the album version when they released the maxi single and having to wait one more week for the two-track CD single with the album version. It was agony back in the day when you still had to wait to hear it on the radio...
  12. peter

    New Album Means New Tour

    I took the time to type up what is in the liner notes as credits. Believe or do not — *I* personally am not telling you anything. Merely relaying. And there was someone else credited for the Sweet Machine art or concept or something — as a separate credit — but he was still listed as creative director, so he had some hand in it. Perhaps there is a reason why Madonna moved on to use Munro and Klein for other backdrop films which included new footage of herself (JML for MDNAT, Get Stupid for S&ST, Future Lovers for CT, Iconic for RHT...) ... Perhaps Dago’s agency is busy and can handle the other backdrops but not the interludes with new M footage.
  13. peter

    New Album Means New Tour

    According to the RHT liner notes, Dago Gonzales and Veneno Inc. (his production company, I believe?) were responsible for the backdrop videos for the following: Deeper & Deeper, Heartbreak City, Dress You Up, and La Isla Bonita. I’ll see if I can find more for S&ST and MDNAT. I’m fairly sure it is similar level of participation. Nothing quite on the level of DWT Paradise or RIT Orbital Remix of Bedtime Story. EDIT: For S&ST, he did *a lot* — here’s the list: Sweet Machine Intro, Beat Goes On, Vogue, Into the Groove, Borderline, She’s Not Me, Music, Devil Wouldn’t Recognize You, Spanish Lesson, Miles Away, La Isla Bonita, Doli Doli, You Must Love Me, Like a Prayer, Ray of Light, and Give It 2 Me. He is listed as “creative director” — there were a lot of other people involved — artists, animators, photographers. For MDNAT: Turn Up the Radio, Open Your Heart, Sagara Jo, the Erotic Candy Shop, I’m Addicted, Human Nature, and Masterpiece were handled by Veneno Inc., with Dago Gonzales as creative director. Again, lots of others credited as directors, DPs, editors, and motion graphics, etc.
  14. peter

    New Album Means New Tour

    Yes, please! I was just saying in your other thread about Laprise + M that perhaps she’ll partner with him next time (alternating tours, like JPG). By the way, does he say they were making grilled cheese in her kitchen after her birthday party? Yum and love it! I am still curious as to what happened with the backdrop video shot with Tom Munro. I know a couple little “blink and you miss it” moments made it into the final cut, but it’s so bizarre. Hardly worth the time and expense to shoot it for that. Maybe one day we’ll get the full story. I know Dago Gonzales has done more with her, but they are fewer and less prominent. (Think background projections during live performances instead of interludes.) But I’d have to look it up to be certain. Illuminati is one of those rarest of interludes where the dancers really stole the attention from the video screens. Those sway poles had a really daring “wow” factor for many people I talked to who attended.
  15. @acko Thanks, ackito, for the translation! I don’t understand French, but I appreciate your attempt to give us ignorant folks* a sense of his admiration for M. I get the sense that, like JPG, she might not want to overuse some talented collaborators (and, from a pragmatic angle, she probably balks at the price tag for every tour — with JPG, it seems to work out to every other tour, and perhaps Laprise might be tapped again for the next outing). *Makes me think of: “For those of you who have been mercifully spared the rigors of intelligence, that’s French for ‘I am the Empress’ ...” Hadn’t listened to that in such a long time, and re-visited it last week. “Quelle bonne idée!”