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About material_boy

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  1. I have 1,013 tracks in iTunes.
  2. YES Wow, you read my mind. I thought when I saw this "No, it's a bit too..." but couldn't place it. This is it. Too Cher. Mind you, I love Cher. I'd love see Cher rock this look. But it's not M.
  3. I'd love for her to move someplace and immerse herself in new experiences before the next album.
  4. "CFY" knocked "WATW" out of the top spot and nabbed her a Grammy nod for Best Female Vocal Performance, which is so delicious since "they didn't think she could sing." Eat it, haters.
  5. I'd watch a doc on the technical aspects of the tour -- the stage design, the costumes, the choreography, etc. -- rather a doc of M's life during this era. I've always wanted to see more of the technical parts of the process, and this would have been the best tour to do it. A doc about M's life during this time would just be about her fucking and then breaking up with a dancer and the problems behind the scenes that caused. It would be so Kardashian. No thanks. The real "lost doc" of her career is Drowned World -- first tour in eight years, first tour with kids, a critical darling for the first time in her career, at one of her greatest peaks commercially. Madonna 1998-2001 is the greatest comeback in music history. And being almost exactly a decade after "TOD" and with her greatest hits album just around the corner, it would have been a perfect bookend to the second decade of her career.
  6. Eh, it's fine. I once had a friend argue with me that "CAC" was a Paula Abdul song. M has so many hits people can't even keep them straight. I hope the response to "WTG" on tour inspires her to out one or two more of her forgotten oldies on her next tour.
  7. "This Used to be my Playground" and "I'll Remember" are the only shocks to me -- both should have been nominated. They were great fits for their movies, great songs in their own right, and have stood up to the test of time very well. But as you say, the competition for this category was so big in the 90s. That really killed her. I think you're a year off here -- "Masterpiece" and"W.E." were released in 2011, making them eligible for the 2012 award, which went to "A Man or a Muppet" from the Muppet movie. ("Skyfall" was released in 2012 and won the 2013 award.) The competition for the 2012 award -- which, again, I'm pretty sure is the year "Masterpiece" would have been eligible -- was so weak. Only the Muppets and "Rio" got nominations. M really got fucked by "Masterpiece"'s disqualification. It was hers to lose. The competition for this category is so weak these past decade that I wouldn't be surprised if the category is eliminated in the future. The Academy has changed the rules for it several times in the past decade because the competition is just weak year after year, and critics are starting to say that the Oscars should just end the award. Such a shame, too -- original songs used to be such a big deal.
  8. I love this movie! "A League of their Own" and "Desperately Seeking Susan" always made me think that M should have pursued more supporting roles as an actress. Other than "Evita" -- which basically one big music video -- she struggled in leading roles. Her body language is awkward, her lines are forced -- she just comes across as if she's too aware of herself on camera. But all her supporting role turns are fire. She seems so natural in them -- making Geena Davis and Tom Hanks do all the real work to carry the movie, she strolls on camera and steals scene after scene: Smoking a cigarette and making jokes about Rosie / Doris's fat ass, trying to sneak a peek of Tom Hanks / Jimmy's dick while he's peeing (and then timing him!), the swing dance, the confessional ... Same goes for "DSS." Patricia Arquette does the work to advance the plot, but M strolls on camera and steals every scene -- the bathroom dryer, the cheese curls, dancing in the club ... Even "Dick Tracy." Beatty and Pacino are two of the greatest actors of all time, but M still manages to steal her scenes from them. This scene is just iconic. Film critics would be singing her praises if she turned out a few more supporting role spots like these. They're pure gold. I think she was slated to do a larger movie ("Chicago," maybe?) that failed to get off the ground. Whatever the case, she did say during the RHT Chicago stop that she loved the city because she had a great time making "a baseball movie" there.
  9. I'd have much preferred a full embrace of trip hop than the ambient / house sound of Bjork / "Bedtime Story." I find much of Bjork's work to be a snooze, really. (Don't kill me. I know M fans love her.)
  10. Michael Jackson -- "In the Closet" is an OK song, but it's a major step down from his 80s work and I'd hate to have M associated with anything that could in any be interpreted as anti-gay, so I'm not upset that this duet never happened. But I am shocked that they never managed to get together on anything before his death. Every time I listen to those crap duets with MJ wannabe Justin Timberlake, all I can think is "God this would have been so much better if she'd just done it with MJ." Prince -- I know it happened once, but it's not enough. I want more. They're greatest artists of their generation. I want to hear what they'd have done together in the 90s and the 00s and the 10s. Portishead -- I'd fucking die. Trip hop is the best music trend of the 90s and M / Massive Attack's "I Want You" is maybe my favorite song of all time. I wish she'd jumped more into this genre. And Portishead is just the best. Scissor Sisters -- Not sure that I'd want to hear this now, but Scissor Sisters' dance-y glam rock / new wave music was exactly what I wanted from M in 2012. "Magic Hour" is probably my favorite album released that year. Frank Ocean - Right now, I'd love for M to dip her toes back into R&B with an introspective album full of slow grooves, and Ocean's alt-R&B sound is hypnotic. I can listen to it for hours on end. I'd give anything for him to produce her next album. YESSSS I never think of movie collabs because M's music if my first love, but Almodovar would have been a great director for her when she was pursuing acting.
  11. Boy Toy wasn't a publishing company, though. Webo was her earliest publishing company that she controlled, so far as I know, and I don't believe it was founded until after the first album. I simply have no idea who published her songs for the first album, or who controls the rights to the songs she didn't write.
  12. I recall the media reports for this at the time too (I think Entertainment Weekly broke the story if I'm remembering right), but that's not how licensing actually works. An artist doesn't just say "Yes this is OK" and that's that. There are multiple stakeholders who need to sign off. Chances are that EW and others wrote these "full catalogue rights" stories because entertainment reporters don't understand or care about copyright law. Or maybe, because Fox / "Glee" was asking for the rights to so many songs (they did like seven or eight songs that episode), the record and publishing companies sat down with M and made sure she was on board with such a large contact being signed. Or maybe she has a clause in contracts that requires her to be consulted whenever lyrics are changed (as in the "Borderline" / "Open Your Heart" mash-up and in the "Vogue" rap) or images of her are reproduced (as in the "Express Yourself" performance, which is lifted heavily from the BA performance and in "Vogue," where the character of Sue does an almost shot-for-shot remake of the video).
  13. This is part of what makes the freakouts in this thread such nonsense. The way movies are produced today put much more power in the hands of directors than screenwriters. No one has any idea what this movie will look like until a director signs on. This idea that I've seen floating up on M forums the past year or two that "American Life" was "only" a failure in the U.S. is blatantly rewriting her career history. "Music" sold 12 million copies outside the United States. "American Life" sold four million. That's a 75 percent drop in non-U.S. sales from one album to the next. The backlash was overwhelming. The threats to her family were so serious that she censored herself for the first time in her career. I don't know who's saying what about her. I don't know that I've ever read or commented on any of the billions of "so-and-so said such-and-such" threads that come up about her here or on other forums. It just seems so unimportant. I come here to talk about the woman and her work, not random celebrity gossip. @jazzyjan I love you and I always love your comments. You're one of my favorite posters on this board. But "character assassination" just seems like such conspiracy theory thinking. I don't think there's any grand Hollywood scheme to make M look bad. I read the screenplay when it topped the Black List last year. I thought it was good. It's not entirely accurate, but most of the liberties they took with her history are for pretty obvious storytelling reasons. The most obvious to me was having Jellybean be a composite character of the real life Jellybean, Kamins and maybe Bray. It inflates Jellybean's role in her early career, but it's a much easier story to follow than introducing three different male leads, explaining their backgrounds, exploring their relationships with M, and getting each of their early M collabs resolved in a two-hour film. But as I said above, Hollywood gives enormous creative control to directors. Directors rework dialogue, scenes, and sometimes entire plots during production. We really have no idea what this could be like until a director signs on. No actually, they can't Madonna's created several companies back in the 80s and early 90s which are the sole owner of her copyrighted work Money or not, if she doesn't want her work featured on this project she can definitely veto it See Webogirl, BoyToy Inc etc etc Not even Warner can use her work without her explicit consent That's why the market hasn't been flooded with cheap Madonna collections ever since her last WB release in April 2010 Actually, they probably can. Movie and television licensing is managed separately from other uses of copyrighted music, and is governed by an entirely different section of copyright law. First, it's important to note that there are two licenses for every song -- a songwriting license handled by a publishing company and a recording license handled by the record company. Securing the former license would allow for a song to be covered by another singer and used in the movie, and securing the latter license would allow for an actual M recording to be used. And, believe it or not, it is much easier to secure an M recording license (or a license for any hit song by any artist) than it is to secure the publishing license. Recording licenses are shockingly easy to obtain because media conglomeration over the past three decades has left the United States (which basically sets copyright law for the world) with just three major labels: Universal, Sony and Warner. Movie and television licensing is an enormously important revenue stream for these companies, as the internet has devastated most of the rest of the music industry. Recording licensing is therefore highly streamlined to maximize profit -- basically every proposal over $X for Y song is approved by an accountant, and a contract is signed by an attorney. That's it. License granted. Publishing companies never saw that same sort of conglomeration, though. There are hundreds (maybe thousands) of publishing companies in the U.S. today. And because there are so many publishing companies, hit songs highly decentralized. So, if a publishing company holds the rights to, say, Queen's "Bohemian Rhapsody" and 1000 shit songs from bands no one's heard of, then the publishing company is going fight movie and television studios tooth and nail to extract every last penny they can before allowing the use of "Bohemian Rhapsody" in a movie or TV episode because it's the one song that makes them money. It is the often-ignored world of publishing that allowed Michael Jackson to take control of the Beatles catalogue in the 80s -- Jackson basically took all his "Thriller" money and bought the publishing company that licensed Beatles music. He probably made $1 billion off that $50 million investment. The ability to handle recording licenses is a core part of any recording contract and, since this movie is about M's early career -- AKA using music she would have recorded at a time when she had absolutely zero leverage to negotiate for herself to have a say in that licensing -- it's unlikely M has any say in Warner's licensing of her recording material for a project like this. The question is what publishing house (or publishing houses) she used in early-80s, and who owns those publishing houses today.
  14. DO YOU REMEMBER 2003?!?!?!?