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About tycole6

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  • Birthday 06/25/1992

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    St Louis
  • Favorite Madonna Song
    Like A Prayer

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  1. I'm glad him and Lola are still friends too. He is really special and someone whose future will only get brighter and brighter.
  2. 1) Rescue Me 2) Rain 3) Angel 4) Bad Girl 5) HUNG UP IN IT'S ORIGINAL GLORY
  3. Camila Cabello

    I'm really loving Camila lately and I hope Havana's success directs her to stay true to her roots. I'd love for her to do a full Spanish album. We need more Latin Divas in the world.
  4. Your top 5 favorite Madonna movies?

    1) A League of Their Own (the all around best film Madonna has appeared in and really a classic in the feminist films) 2) Desperately Seeking Susan (Madonna in all her Madonna glory) 3) Evita (the most committed she's been in a film and it pays off) 4) Dangerous Game (really brave film work) 5) Dick Tracy (only the Madonna parts because I don't actually love the film as a whole all that much)
  5. Express Yourself from the tours ranked

    BAT - duh MDNA - so fun and reminded people why the original is the best TGS - perfect RIT - i love the military spin but wish the image didn't always fit the song imo
  6. Like A Prayer from the tours ranked

    BAT - the choreo and performance is so perfect (even the vocals aren't always) SS - the remix is incredible and feels like a natural progression MDNA - simple and anthemic. a perfect tribute to how iconic the song is RH - eh RIT - not a good fit for the song
  7. Like A Virgin from the tours ranked

  8. 6 Sides of Madonna That Explain Her Genius Photos from left by Mark Downey Lucid Images/Corbis via Getty, Ebet Roberts/Redferns, Frank Micelotta/Getty, S. Granitz/WireImage, Samir Hussein/Redferns via Getty THE PITCH by Peter Robinson Contributor AN HOUR AGO Share on Facebook Share on Twitter Openshare drawer In celebration of Madonna’s birthday (August 16), we’ve deemed it Madonna Day on Pitchfork. We’ve reviewed four of her classic albums—her 1983 debut, 1989’s Like a Prayer, 1994’s Bedtime Stories, and 1998’s Ray of Light—and now we move onto the ties that bind her career. If you were to see someone tweet the phrase “Madonna is everything,” you might attribute it to a very 2017 type of online hyperbole. And yes, Madonna is everything in that sense, but from a pop perspective Madonna also feels like everything because in a career spanning four decades she has attacked, absorbed, and conquered pop music from every possible angle. When Madonna’s referenced as the Queen of Reinvention, it tends to suggest the linear series of career moves, from album to album, sonic era to sonic era, hairstyle to hairstyle. In reality, her layered approach to pop domination has frequently seemed to consist of multiple Madonnas existing at the same time. Here are six of her best, key to understanding her work. ADVERTISING Madonna, The Controversialist Many of Madonna’s supposedly controversial songs (like ‘80s hit “Papa Don’t Preach,” with its subtext of abortion) are now more clearly identified as feminist statements or expressions of self, but that’s not to say Madonna has never deliberately courted outright controversy. It’s easy to mock the quaint ’80s reaction to the lyrics of “Like A Virgin,” but it’s also fair to say that if a mainstream 2017 pop act—Ariana Grande, for instance—released the video Madonna made for “Like A Prayer,” all hell would still break loose. That video tackled religion, race, and sex, with scenes depicting murder, burning crosses, and Madonna with stigmata-esque wounds. It led to predictable complaints from the American Family Association, a denouncement by the Vatican, and a $5 million Pepsi ad campaign being benched. It would have been disingenuous of Madonna to feign surprise at the reaction. And she didn’t. Her response? “Art should be controversial, and that's all there is to it.” Madonna upped the ante on her next formal album, 1992’s Erotica, and its accompanying artifacts, including the boundary-breaking “Justify My Love” video and a coffee table book called Sex, whose main shock value these days involves the inclusion of Vanilla Ice. Fast-forward to 2017, after decades of refusing to be silenced: Live on CNN from the Women’s March on Washington, Madonna delivered a passionate speech about change, sacrifice, rebellion, the tyranny of Trump, and the power of love. There was more, of course: “To our detractors that insist this march will never add up to anything: fuck you. Fuck. You.” Not great news for CNN’s switchboard but a fair point, well made. Madonna, The Club Queen When Madonna descended on New York in 1978, she’d just dropped out of a University of Michigan dance scholarship and was hell-bent on making it as a professional dancer. So, spoiler alert, she’s not averse to tripping the light fantastic, as her 1983 debut proved out the gate. Her discography is full of floorfillers, and she holds the record for the most No. 1 singles on Billboard’s Dance/Club Songs Chart, even if some of those chart-topping tracks—like the various mixes of the poignant gender-role assessment “What It Feels Like For A Girl”—make for a somewhat complex shimmy. Peppered throughout Madonna’s career are more direct hints at what it might be like to actually—imagine this!—go dancing with Madonna. She likes to boogie woogie, this much we know from “Music.” On the 2000 album track “Impressive Instant,” Madonna reveals that her skills extend to both rhumba and samba (though bear in mind this was also the song where she declared, “I like to singy singy singy like a bird on a wingy wingy wingy,” so there’s that). Most significantly, Madonna’s belief in the dance floor as a sacred space is described in “Vogue” with words some will find as inspiring in 2017 as listeners almost three decades ago did: “When all else fails and you long to be something better than you are today, I know a place where you can get away—it's called a dance floor.” Released a few years earlier, True Blue album cut “Where’s The Party” was ostensibly a song about going out and losing control after a week at work. Madonna wistfully recalls that as a child she “couldn’t wait to get older,” before acknowledging that getting older hasn’t been everything she’d hoped, then looking ahead to the future: “Don't want to grow old too fast, don’t want to let the system get me down.” Like some of the best pop songs, it’s about living in the moment, even if the importance of doing so only makes sense in the context of what came before, and what will come in the future. Which leads us to… Madonna, The Clockwatcher Madonna looked closer to home on another time-shifting track, “This Used to Be My Playground” from A League of Their Own, with further songs like “Oh Father” and “Live To Tell” also looking back on Madonna’s upbringing with themes of defiance, resolve, and closure. A more literal timepiece motif emerged during the 2000s, when the lead singles from two successive Madonna albums each began with the sound of a clock ticking. In the first, 2005’s Abba-sampling behemoth “Hung Up,” the ticking clock was inspired by producer Stuart Price’s earlier remix of Gwen Stefani’s “What You Waiting For,” and was followed by Madonna’s observation that “time goes by so slowly for those who wait, those who run seem to have all the fun.” By 2008, it was Timbaland administering the ticks on “4 Minutes,” rather improbably Madonna’s second most-streamed song on Spotify. That song’s lyrics (“We only got four minutes to save the world… grab a boy, then grab a girl”) suggested procreation-based speed dating, but Madonna later explained that they hinged on “living on borrowed time essentially, and people are becoming much more aware of the environment and how we're destroying the planet.” Madonna may have overestimated the urgency but, well, that clock’s still ticking. Madonna, The Moviegoer The are various words we might use to describe Madonna’s film career, one of the more generous being “lengthy.” Since the ’80s, Madonna’s screen credits have prompted a series of musical contributions whose quality has frequently, often mercifully, failed to correlate with that of the actual movie. Were one to assemble those alongside songs contributed to films in which Madonna didn’t even appear, you’d have one of the modern pop era’s most surreal career retrospectives. It would include glossy pop jam “Who’s That Girl,” wistful ballad-banger “I’ll Remember” (from a dreadful Joe Pesci-Brendan Fraser vehicle), the William Orbit-produced, Austin Powers-soundtracking “Beautiful Stranger,” a peculiar cover of “American Pie” featuring Rupert Everett, the slightly mind-boggling “Hanky Panky" (and the rest of her *Dick Tracy* companion LP), futuristic Bond theme “Die Another Day,” and (on a technicality) “Into the Groove.” By law, that compilation would also need to include Madonna’s take on “Don’t Cry For Me Argentina,” but not the version she sang in Evita. Instead we’d have the castanet-strewn, 100 percent spectacular, seven-minute remix, for which Madonna recorded brand new vocals and a second chorus entirely in Spanish. Sadly, some may say criminally, this definitive version of “Don’t Cry For Me Argentina” is unavailable on streaming services, but it does live on via YouTube. Madonna, The Pensive Chanteuse Treat with deep suspicion anybody who links lyrical substance to low tempo. That said, while Madonna has definitely explored the extremes of human emotion via dance floor smashes, some of her most profound thoughts have arrived within her most elegant songs. On her wildly underrated American Life album, “Nothing Fails” boasts a tempo that barely reaches the status of mid, but for a truly downbeat masterpiece, try Ray Of Light’s “Drowned World/Substitute For Love,” a prelude to a reflective and immersive album whose sonic departure made it the riskiest move in a career built on the avoidance of safe decisions. It’s there that we found Madonna, who’d previously sung plenty about being a daughter, singing for the first time about being a parent (via sparse lullaby “Little Star”) while also, on mesmerizing album closer “Mer Girl,” reflecting on the death of her own mother. Madonna, The Hopeful Romantic Madonna undoubtedly defined the role of sex in modern pop, but just as prominently—in songs as diverse as “Take A Bow,” “Get Together,” and “Borderline”—are themes of romance, heartbreak, and optimism. “The thing is,” Madonna told Rolling Stone regarding 2015’s “Living For Love,” “lots of people write about being in love and being happy or they write about having a broken heart and being inconsolable. But nobody writes about having a broken heart and being hopeful and triumphant afterwards. I didn't want to share the sentiment of being a victim. This scenario devastated me, but it just made me stronger.” The survival spirit of “Living for Love“ came to life in an unexpected way. One of the song’s first performances took place at the 2015 Brit Awards, where, at a key moment, a dancer tugged Madonna’s cloak. The garment should have billowed away to reveal Madonna’s full performance outfit, but the clasp jammed. Madonna was abruptly yanked off the stage platform but was back on her feet within seconds, singing lines like, “Lifted me up, and watched me stumble… after the heartache, I’m gonna carry on.” She finished the song, conjuring a live TV victory where others would have conceded defeat. The aftermath was Madonna in excelsis: She didn’t block the performance’s upload to the Brits’ YouTube channel. She didn’t hide the imperfection or pretend it had not happened. In fact, within a week, the full performance was on her official VEVO channel, where it remains. Elsewhere on Rebel Heart, Madonna sings, “I’m only human”—which is true, of course. Madonna definitely is a human being—she just happens to be one whose remarkable longevity and multifaceted creativity justify her reputation as the Queen of Pop.
  9. Yeah there are some very weird, on the verge of shocking, inclusions. I get the inclusion of GGW - it's a fun bop that is tailor made for the club. Dear Jessie though? Maybe because I've never been into this song but if they want to include the Like A Prayer album then go with Oh Father. That is one of her best songs and videos that almost no one knows about. It would be interesting to have a fan list of our own composed of her most underrated singles.
  10. From “Bad Girl” To “Ghosttown,” Madonna’s 10 Most Underrated Singles FLASHBACK: MADONNA'S 'LIVING FOR LOVE' Madonna's 'Living For Love' deserved to be a much bigger hit than it was. MORE >> The Queen of Pop turns 59 today (August 16). It seems impossible that the evergreen diva is nearing 60, but age is but a number when you’re as #unapologetic and young at heart as Madonna. To celebrate the hitmaker’s birthday, I’ve whipped up a list of her most underrated singles. The focus isn’t entirely on chart position (although that is a major factor), but also fan recognition and impact. As such, most of the tracks are from albums released after 2000 when the hits started to dry up. Of course, this is completely subjective. There is possibly an overabundance of singles from American Life, but I would strongly argue that it is Madonna’s most underrated album. Other songs that could have easily made this list include “Human Nature” (it’s already widely recognized as a ’90s classic), “Love Don’t Live Here Anymore,” “Jump” and “Miles Away.” Dive into some of the pop icon’s less recognized singles below. 10. “Hollywood” (2003) Push the button! “Hollywood” holds the dubious distinction of being Madonna’s first single to miss the Billboard Hot 100, but I’ve always loved this deeply cynical banger. 9. “Ghosttown” (2015) The best song on Rebel Heart. This gorgeous ballad would have been a number one hit for anyone else, but radio has turned its back on the Queen of Pop. 8. “Get Together” (2006) “Hung Up” and “Sorry” were such big hits that “Get Together” felt like something of an afterthought when it was rolled out as the third single from Confessions On A Dancefloor. Which is a shame because it’s a perfect electro-pop anthem. 7. “Girl Gone Wild” (2012) MDNA is possibly Madonna’s worst album, but “Girl Gone Wild” is a bone-rattling, balls-to-the-wall club anthem. The only thing that stopped this from slaying is ageism. 6. “Bedtime Story” (1995) Bjork penned this mind-melting floorfiller for Madonna, inspiring her to go further outside the box than ever before. “Bedtime Story” peaked at number 42 on the Hot 100 and is beloved by anyone old enough to have heard it in a club, but it still doesn’t get as much credit as it deserves. 5. “Nothing Really Matters” (1999) It’s hard to talk about highlights on an album as perfect as Ray Of Light, but “Nothing Really Matters” blends the LP’s new-age vibe with Madonna’s pop aesthetic better than most and should have been a much bigger hit. 4. “Love Profusion” (2003) One of the classiest pop songs from the ’00s. From the video to the remixes, everything about “Love Profusion” was spot on. Unfortunately, no one realized it at the time and the song failed to chart. 3. “Dear Jessie” (1989) “Dear Jessie” was only released as a single in a couple of international markets, which is ridiculous in and of itself. Madonna’s demented detour into Disney-pop is one of the standouts on Like A Prayer and one of her most slept-on singles. 2. “Bad Girl” (1993) Madonna was in full rebel mode by the time “Bad Girl” was released as the third single from Erotica. It only peaked at number 36, but (thematically, at least) deserved to be recognized as one of her signature songs. 1. “Nothing Fails” (2003) Acoustic guitar, a gospel choir and some of the Queen of Pop’s most introspective and meaningful lyrics. “Nothing Fails” stands out as one of Madonna’s best songs of all time, but crashed and burned when released as the third single from American Life. Revisit it below. What have we missed? Let us know below, or by hitting us up on Facebook and Twitter!
  11. 12 Reasons This Is Madonna's Best Performance Ever: 'Express Yourself,' VMAs 1989 Queen of Pop, then 31, earns title as she does Roger Rabbit, publicly vogues for first time in mesmerizing take on classic feminist anthem By Justin Ravitz 2 hours ago There's a case to be made that there's no such thing as Peak Madonna. Over the past three decades, the Queen of Pop has ascended so many summits, pulled off so many comebacks and, yes, reinvented herself so many times that it feels impossible to distill her essence into one defining moment. And yet. Back in September 1989, Madonna opened the MTV Video Music Awards at the Universal Amphitheater in L.A. – Arsenio Hall hosted, newbies Paula Abdul and Guns N' Roses both had banner years and somehow Neil Young's "This Note's For You" won Video of the Year – with "Express Yourself." In six minutes, Madonna, then 31, divorced from love-of-her-life Sean Penn and riding the commercial and critical success of her revelatory fourth album, Like a Prayer, spelled out to audiences that night why she was (and always will be) one of the most electrifying, charismatic pop stars and live performers of all time. RELATED Strike a Pose: Madonna's 20 Greatest Videos Madonna's music videos defined the MTV era 
and changed pop culture forever. Here are the stories behind the 20 greatest 1. The killer opening sample is so meta.Before self-referential everything and throwbacks became ubiquitous pop tropes, here, in the crackling open moments, we hear a somewhat-obscure bridge ("Dance and sing/Get up and do your thing") from Madonna's very first single, 1982's "Everybody," which she sang at downtown Manhattan clubs like Danceteria, spliced into the bass line. It's not simply a clever, tight bit of sampling: It's also a signal that our queen, then just five years into her superstardom, is already aware of the musical legacy she's building. This is muscular, established 1989 Madonna, but her beauty mark, those winks and kick-intensive choreography also signal that this is the I-want-to-rule-the-world ingenue of "Lucky Star" – and the even bolder, openly defiant, postmodern empress yet to fully reveal herself. 2. Her chair work is top-notch. Before Janet Jackson ("Miss You Much") and Britney Spears ("Stronger") but definitely after any number of participants in a Bob Fosse joint, our heroine first showed her mastery of chair-ography in 1986's "Open Your Heart" video, playing a tables-turning peep-show stripper. Even in silhouette, those preening, contorting shadows could only be hers. That's iconic. 3. And her stair work is even better. Never, ever, never underestimate the power of magical light-up stairs (an evolution of the sidewalk in Michael Jackson's "Billie Jean" video) to set the mood. No modern entertainer has descended (and, later, ascended) steps with as much precision or joie de vivre. Just ask the cheering crowd in the Universal Amphitheater what they think. 4. She's got the best wing-women in the biz. Who are these two other ladies? Glad you asked. Niki Harris (to Madonna's left) and Donna De Lory (to her right) were Madonna's principal, fan-beloved backup singers on her albums in the late Eighties and Nineties. Harris recorded the gospel solo in "Like a Prayer," and both provide gorgeous, timeless harmonies on "Express Yourself," "Vogue," "Rain" and other hits, helping to define her vocal style during this era. They also accompanied her on numerous tours as her spirited, bantering ladies-in-waiting. 5. It's a sneak peek at a world-conquering tour. Most famously, Niki and Donna were Madge's sidekicks on the Blonde Ambition Tour, which would kick off about a half a year after this VMAs turn and documented in 1991's True or Dare. This theatrical, girl-powered, slyly subversive VMAs performance sets the template for that historic trek, featured on Rolling Stone's 50 Greatest Concerts of the Last 50 Years list. In fact, the concert opened with a more expansive and elaborate version of the "Express Yourself" routine (adding Gaultier cone bras, shirtless hot men, more visual elements from David Fincher's Fritz Lang–inspired video and lots of humping .) 6. Her vocals aren't perfect, but they're the real deal. Madonna shrewdly never marketed herself as a singer with Whitney Houston–level pipes. But the woman who would, in the next decade, breathe life into songs written or co-written by Stephen Sondheim (I'm Breathless), Babyface (Bedtime Stories), Andrew Lloyd Webber (Evita) and a wide swathe of proto-EDM producers (including Ray of Light's William Orbit) brings fervent, soulful conviction and attitude to her strongest vocals. She may have a backing track here, but Madonna is assuredly not lip-syncing, aerobic routine or not. (The following year, in another classic but less off-the-cuff VMAs performance, she'd lip-sync "Vogue" entirely as Marie Antoinette.) 7. That song, though. Nearly 30 years on, beyond being simply a perfect, gotta-dance pop creation, "Express Yourself" remains one of Madonna's most trenchant feminist anthems. We're talking top three. It advances the theme of female sexual empowerment laid out in "Like a Virgin," which extolls a skillful lover who makes her feel "shiny and new" and "so good inside." In the brassy, clubby "Express Yourself," she instructs romantically challenged girlfriends to demand respect and communication as well as transcendent orgasms from their men: "Make you feel like a queen on a throne/Make him love you 'til you can't calm down." 8. Can we talk about her hair? We're going to talk about her hair. Of all the Madonna cuts and hues we'd seen up to this point and the ones we had yet to see, this one – shaggy, tousled beachy blonde with dark Italian-girl roots showing – might be our favorite. Because the more she sweats and messes it up, the sexier it looks. 9. Actually, the whole look is really special. One more thing about the hair: It perfectly sets off the androgynous baggy suit, with trademark underwear-as-outerwear peaking beneath, and Jacko-esque black penny loafers (with white socks). And while Madonna's most famous accessory will always be the crucifix, the dangling gentlewoman's monocle – another reference to her Lady Factory Boss character from the video – sure is fun. 10. Madonna does the Roger Rabbit and the Running Man. Seriously. Around 3:08, after a masterful over-the-shoulder blazer-recovery move, the girls segue into their first extended dance break, in which Madonna murders the Roger Rabbit and the Running Man like the trained, intuitive dancer she is. Just look at her face: Has she ever looked freer or happier? This is a star. 11. There's a must-see microphone-cleavage move – and first-time voguing. There's another dance break (we love dance breaks!) around 4:10. After placing their microphones for safekeeping in a very novel (and sexy) place, there's a slo-mo crotch grab. Wait, are they voguing? Alert: We're pretty sure is the first time we're seeing Madonna vogue in public. ("Vogue" the single would drop in March 1990.) Stay cool. 12. The sign-off is way better than a mic-drop. Not content with thunderous applause, she kicks that poor chair clear off the platform. Again, really outstanding chair work. Then, after a high-five, a panting, satisfied Madge and her girls exit stage left. She has one word: "Yeah." Our thoughts exactly. The Eighties are over, the Nineties are here, and Madonna ain't going nowhere.
  12. Pitchfork is always about backhanded compliments and sliding in disses, even in positive reviews. Also, if, as the title suggests, they are so bent on reviewing "classic" Madonna albums for her birthday then why even choose Bedtime Stories since it is such a non-event in their opinion. Seems contradictory.
  13. One of my faves. I remember being a third grader when this song came out and it was everywhere. It is the first Madonna song I remember (I remember a few Ray of Light videos on MTV but was not aware of them really) and the first Madonna album I got as a kid.
  14. BEST vs. WORST Tour Outfit

    I think we can all agree that the Rave outfit from S&S is her worst by far.