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Rebel Heart Reviews


markm

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You make a point, but you're not entirely correct. I for one don't have a desire to "shove it" into anyone's face. I simply want this amazing album to have a score that it deserves! This is justified by a simple fact: I am a fan!! I want other people to know that this album is fantastic, because it is! I don't want people to think it's crap, because it's not! How else can I explain this to you, I don't know.

P.S. no offense but I also wanted to point out that your first paragraph sounds like it was written by a little monster.

I had to click on View to see your comment because i have blocked you and i remember why when i see this. You're completly obsessed and caught up in these online wars. It's annoying.

There's nothing you can say to somebody who does not like Madonna and this album to make him change his or her mind. You'll only make an ass of yourself if you comment saying "You sound like a monster" and make Madonna fans look like retards. Don't you think this stupid hysteria some Madonna fans spread online is EXACTLY the same as Little Monsters ? It turns people off the artist, nobody wants to be associated with people like this, it makes Madonna look cheap, being a cheap artist for cheap people.

No matter what you say people will review and judge this album, don't give them fuel to hate her more.

I only give credit to publications i trust to be unbiased and certainly not online blogs by know-it-all clueless snobs.

You can't force people to like something they don't like for good or bad reasons. It's their loss if they don't.

If you feel like you NEED this album and Madonna to be successful then i'm sorry to say this has nothing to do with being a fan but with fullfiling an emptiness in your OWN life.

Enjoy the album, it will find its listeners now or later. Madonna is a polarizing figure, people will hate her and her work no matter what but in time things change. It's really hard for people to listen to the music and forget the larger than life celebrity she is. Music blogs love underdogs, obscure bands they feel like they are the only ones to know because they live vicariously through them since they are doing what they want to do and dare not. TRUST me i work in these publications :) The more you comemnt hysterically the more they'll laugh at "Madonna and her crazy fans" and make them don't want to be associated with her, they'll only feel they are even more right to trash her. Tell them it's their right and their loss, maybe one day they'll change their minds when they'll mature enough to look beyond their prejudices (that's a comment a colleague received after trashing lana del rey, it crushed him)

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No, I'm not obsessed with any wars. I just said that your paragraph sounds like it was written by a little monster. Reason is, they usually say stuff like that to attack Madonna fans. Perhaps I should block YOU now since instead of apologizing for insulting us, you continue doing it more. "Twisted way of loving her album", "emptiness in your own life". Bye Felicia!

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You make a point, but you're not entirely correct. I for one don't have a desire to "shove it" into anyone's face. I simply want this amazing album to have a score that it deserves! This is justified by a simple fact: I am a fan!! I want other people to know that this album is fantastic, because it is! I don't want people to think it's crap, because it's not! How else can I explain this to you, I don't know.

P.S. no offense but I also wanted to point out that your first paragraph sounds like it was written by a little monster.

Madonna will never get the score she deserves on Metacritic until they allow ALL legit reviews and ONLY legit reviews. Not reviews of some useless blogger anyone could give two fucks about while not including USA Today. I bet if you compile all LEGIT MDNA reviews and figured it's REAL score, it would be better than what it's current score is.

Seriously, how can anyone take it seriously? Is their "system" not well known?

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Madonna will never get the score she deserves on Metacritic until they allow ALL legit reviews and ONLY legit reviews. Not reviews of some useless blogger anyone could give two fucks about while not including USA Today. I bet if you compile all LEGIT MDNA reviews and figured it's REAL score, it would be better than what it's current score is.

Seriously, how can anyone take it seriously? Is their "system" not well known?

I'm new to this whole review/score thing. But in all honesty, my meltdowns or anyone else's on here over these reviews shouldn't be taken seriously either. This is what these forums are for: for fans to get all crazy for their fave! What's so wrong about that! I just don't need nobody preaching at me here. This Roland came in, judged and insulted us. That's all.
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I'm new to this whole review/score thing. But in all honesty, my meltdowns or anyone else's on here over these reviews shouldn't be taken seriously either. This is what these forums are for: for fans to get all crazy for their fave! What's so wrong about that! I just don't need nobody preaching at me here. This Roland came in, judged and insulted us. That's all.

If i wanted to insult you believe me it would not have sounded like this.

But let's leave it at that. There's a miscommunication between us, since i'm not fluent in stupidity i'm having a hard time understanding you (THAT was an insult).

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I still don't understand how wanting Madonna to succeed critically/commercially is a reflection of "emptiness“ in our life.

Most fans care about charts, reviews, news articles etc and talk about their frustrations. This is what forums are for.

American Life is my third favorite album of her regardless of its critical/commercial performance.

However, I was PISSED because the album didn't deserve the bashing and we don't want to see the same thing happening to Rebel Heart again.

Yeah right our love for her is so twisted! :newspaper:

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Omg I have the same love for American Life. Thankfully wasn't aware of criticism against it when it came out, but would've been equally pissed about that as well! :dead:

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I still don't understand how wanting Madonna to succeed critically/commercially is a reflection of "emptiness“ in our life.

Most fans care about charts, reviews, news articles etc and talk about their frustrations. This is what forums are for.

American Life is my third favorite album of her regardless of its critical/commercial performance.

However, I was PISSED because the album didn't deserve the bashing and we don't want to see the same thing happening to Rebel Heart again.

Yeah right our love for her is so twisted! :newspaper:

I agree. But to be also fair, if we talk about "critics" and "reviews" they have never been fair to Madonna, I don't expect them to be fair now.

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If i wanted to insult you believe me it would not have sounded like this.

But let's leave it at that. There's a miscommunication between us, since i'm not fluent in stupidity i'm having a hard time understanding you (THAT was an insult).

So you must be wise then. You are such an inspiration! Thank you! Also, please visit the "does Madonna sing light-weight pop" thread. They may need your wisdom there as well! All the best! Nice chatting with you :inlove: ♡

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I agree. But to be also fair, if we talk about "critics" and "reviews" they have never been fair to Madonna, I don't expect them to be fair now.

That's true but it's not like anyone here is literally crying in their bathroom over a negative review.

Some fans are going in on the reviewer's twitter and it's a hot mess :popcorn2: The meltdown there is a little bit too much but I'm living for drama so...... :popcorn2:

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You're right about that. And personally, I could care less about Peter Tabakis' opinion. But whatever rating he gives Rebel Heart, will count into the Metacritic.

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Guest CzarnaWisnia

What's being fair? You're a critic, you like it or you don't, you explain why. I don't see the big deal. Sure it's nice when an artist you like has good reviews because it helps the artist's reputation and sales, etc., but what does it matter really, on a personal level anyway?

I don't know many music critics who know much about music (and so they have to invent ridiculous expressions, like four to the floor or butter don't melt vocals or whatever, to describe sonic matters because they have no musical knowledge whatsoever), which is a shame because it's soooo interesting to read actual musical criticism and analysis. Music critics are some kind of authority on music, but today the number of music critics who know so little about music is so high that this authority is greatly undermined, in my opinion at least, and the consensus that we so desperately seek for Madonna from them is a waste of time.

It comes in part from a lack of requirements placed upon popular music critics. Pop music includes or references many social dimensions, economical, political, etc., and the actual music often ends up the last on the checklist.

How do we make sense of popular music? How do we describe and assess the effects it has upon us? A familiar response to the question of how to evaluate popular music is to deny the possibility of systematic judgement, to allow a straightforward agnosticism: 'know what I like'. There is an obvious attractiveness to such a reply. It sanctions a kind of populist democracy, and it denies the possibility of intervention in the administration of music. It suggests, too, that the meaning of music is essentially indeterminate and that any attempt to regulate consumption, particularly in the form of censorship, is bound to be misplaced and misguided. But hiding in such apparently desirable political conclusions is a worrying philistinism. In denying the possibility of judgement, the implication is that the music has no meaning or significance of any kind. It is not worth judging.

This piece works from two central, linked assumptions. The first is that popular music has considerable potential social importance, as a site for political statement and social expression, and as part of the way people are able to articulate their sense of identity. Equally important, though, is the assumption that we need to be able to discriminate between examples of popular music, to be able to distinguish the good from the bad. The two assumptions combine the practices of evaluation and understanding. Judgments about quality are tied to accounts of how the music works. The problems posed, therefore, is how such judgements and understandings are to be reached and what discourse is appropriate to them.

(...)

Madonna does not lack for fame. She must be one of the most analysed stars of the current era. But there is a singular feature of this attention. It is devoted almost exclusively to her image and appearance. Her videos merit far more attention than her recordings. This tends to be true of both critics and defenders. Melody Maker's explanation of her success ran like this: "The secret, of course, isn't in the music. . . . Madonna is the most popular female singer of all time and she is pure image, all things to all people: dumb blonde and slick businesswoman, girl's role model and boy's toy, virgin and whore" (MM, 17/11/90). And this dismissive review was supposed to address the compilation of her hit records, TheImmaculate Collection. Even advocates like Paglia (1992) devote the bulk of their enthusiasm to her videos.

Madonna's image is, of course, a crucial feature of her work. It would be impossible to make sense of her music without the accompanying image-making. But equally, the image-making means nothing without the music. To argue over her feminism purely by addressing, say, the 'Material Girl' video is to provide a very partial account (e.g. Kaplan, 1987, pp. 117-27).

Much of Madonna's success derives from her music. The question is what we are to make of it. One of the few people to attempt such an analysis is Susan McClary (1991). McClary is a critical musicologist; she, like Middleton, rejects the confines of their discipline's traditions. This allows her to hear in Madonna a struggle over meaning which links directly to the concerns of feminism. Taking the song 'Live to Tell', she argues that Madonna rejects the convents structures, where the norm is to allow the song to return to its original key. Thus McClary (1991, p. 160) hears 'Live to Tell' as a kind of musico-gender struggle:

This extraordinary song finally is not about unambiguous triumph: triumph would be easy to simulate, since this is what tonal pieces conventionally do. Yet given the premises of this song, triumphant closure would be impossible to believe. Moreover, it would merely reproduce the structure of oppression that informs narrative convention. Rather it is about staying in motion for the sake of survival, resisting closure wherever it lies in wait.

In short, the song contains and expresses an attempt to articulate and realize a particular identity through music.

from John Street, "Musicologists, Sociologists and Madonna", 1993.

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I think we should relax guys, MDNA was reviewed by 34 media outlets, and we only have 6 reviews counted for Rebel Heart so far. Even if this guy from prettymuchamazing gives it a bad review, we still have the chance to get more positive ones, which of course will increase the final score. Let's hope for the best to come yet.

:)

Edited by frozenlight
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Critics are usually people who can't do the shit themselves. Have these reviewers ever produced a record that sold as many copies as Madonna's least selling record? Fuck... they have not. I love Rebel Heart. I am a fan and I strongly approve of her work on this record. Screw the critics and the charts. M is the queen.

Edited by sul8323
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I actually enjoy SEX, Holy Water etc. Obviously it's not like they pretend to be revolutionary just songs to have fun. Critics should chill a bit yo. :newspaper:

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Metacritic rated some of the C+ reviews fom PMA from the range of 25/100 to 50/100. thats what he gave it. he's sick in the head. this album is beautiful. he clearly wants to troll us.

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