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Camacho

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swings and roundabouts isn't it.

when kylie does a tour they herald her as the best too :clap:

We're not talking about some MINCING QUEEN who writes for BOYZ.

And never in their wildest dreams could TEAM POOR BRAVE KYLIE convince anyone with a statement like this:

And with regards to the set she "comes up with the basic idea and is involved from square one."

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I mean do broadsheets like The Telegraph or Observer even BOTHER to review a kylie "concert"?

well since you ask... yes they do indeed bother and have done for yonks. here's one example for you...

Kylie's Light Fantastic The Times (UK) August 1998

Kylie Minogue

Shepherds Bush Empire, London, W12

She may have spent most of the Nineties pursuing different musical directions with mixed results, but Kylie Minogue can still sell out three nights at a mid-sized London theatre with ease. Ten years into her pop career and at least seven since her teen pin-up heyday, the Australian starlet has proved less than convincing as a raunchy nymphet, moody indie siren and mature soul diva in recent years. But on Wednesday night, at her first London show for three years, she amalgamated all these fragmented identities into a single dazzling pop star persona.

Not that this 90-minute extravaganza was flawless entertainment. There were syrupy ballads and lumpen rockers galore, while the band indulged in rather too much superfluous instrumental bluster. But Kylie has finally arrived at that iconic level where it scarcely matters how good her music or her most recent album may be. She has become a brand name, part prototype Spice Girl and part cut-price Madonna. Having amassed a large enough repertoire for a solid variety show, and enough goodwill to ensure partisan full houses for years to come, she can afford to offer a winning combination of knowing self-parody and accessible pop glamour.

Having just turned 30, Kylie is not yet quite old enough to play the seasoned survivor and seen-it-all cabaret queen that she attempted to be for much of Wednesday's show. But her vocal limitations proved less apparent than they used to be and, like Madonna, she managed to mask her thin, often nondescript voice with musical diversity and brittle charisma. The brooding techno ballad Say Hey and the throaty flamenco serenade Take Me With You could almost have been borrowed from Maddy's recent songbook.

A giant, glittery letter K towered over the stage for most of the set. Half the time, it could equally have stood for kitsch as for Kylie, since the singer seemed to don a different garish outfit for each increasingly outlandish set- piece number. Flanked by two camp male dancers, the diminutive diva milked her status as a gay icon for all its worth with such obvious crowd-pleasers as Abba's Dancing Queen and her own retro disco pastiche Step Back In Time. Far more witty was a reworking of her debut chart-topping hit I Should Be So Lucky as a suave jazz serenade. This was not just an arch reclaiming of the singer's pop-puppet past but an assured, nuanced vocal performance too.

Kylie's tongue has never been so far in its cheek as it was on Wednesday, but she radiated an endearing warmth and good humour throughout. The show climaxed with her vintage hits Shocked and Better The Devil You Know, followed by a sultry encore reading of Confide In Me. These remain genuinely great pop songs by any standard, untainted by kitsch or irony. Having fled from her past for several years, Kylie Minogue seems finally to have accepted that there is no shame in being a pop star.

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Guest Topaz Scorpio
well since you ask... yes they do indeed bother and have done for yonks. here's one example for you...

Kylie's Light Fantastic The Times (UK) August 1998

Kylie Minogue

Shepherds Bush Empire, London, W12

Stop stirring shit up.

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well since you ask... yes they do indeed bother and have done for yonks. here's one example for you...

Kylie's Light Fantastic The Times (UK) August 1998

Kylie Minogue

Shepherds Bush Empire, London, W12

She may have spent most of the Nineties pursuing different musical directions with mixed results, but Kylie Minogue can still sell out three nights at a mid-sized London theatre with ease. Ten years into her pop career and at least seven since her teen pin-up heyday, the Australian starlet has proved less than convincing as a raunchy nymphet, moody indie siren and mature soul diva in recent years. But on Wednesday night, at her first London show for three years, she amalgamated all these fragmented identities into a single dazzling pop star persona.

Not that this 90-minute extravaganza was flawless entertainment. There were syrupy ballads and lumpen rockers galore, while the band indulged in rather too much superfluous instrumental bluster. But Kylie has finally arrived at that iconic level where it scarcely matters how good her music or her most recent album may be. She has become a brand name, part prototype Spice Girl and part cut-price Madonna. Having amassed a large enough repertoire for a solid variety show, and enough goodwill to ensure partisan full houses for years to come, she can afford to offer a winning combination of knowing self-parody and accessible pop glamour.

Having just turned 30, Kylie is not yet quite old enough to play the seasoned survivor and seen-it-all cabaret queen that she attempted to be for much of Wednesday's show. But her vocal limitations proved less apparent than they used to be and, like Madonna, she managed to mask her thin, often nondescript voice with musical diversity and brittle charisma. The brooding techno ballad Say Hey and the throaty flamenco serenade Take Me With You could almost have been borrowed from Maddy's recent songbook.

A giant, glittery letter K towered over the stage for most of the set. Half the time, it could equally have stood for kitsch as for Kylie, since the singer seemed to don a different garish outfit for each increasingly outlandish set- piece number. Flanked by two camp male dancers, the diminutive diva milked her status as a gay icon for all its worth with such obvious crowd-pleasers as Abba's Dancing Queen and her own retro disco pastiche Step Back In Time. Far more witty was a reworking of her debut chart-topping hit I Should Be So Lucky as a suave jazz serenade. This was not just an arch reclaiming of the singer's pop-puppet past but an assured, nuanced vocal performance too.

Kylie's tongue has never been so far in its cheek as it was on Wednesday, but she radiated an endearing warmth and good humour throughout. The show climaxed with her vintage hits Shocked and Better The Devil You Know, followed by a sultry encore reading of Confide In Me. These remain genuinely great pop songs by any standard, untainted by kitsch or irony. Having fled from her past for several years, Kylie Minogue seems finally to have accepted that there is no shame in being a pop star.

Funny how your CONVENIENTLY missed out the first part of the quote:

When POOR BRAVE KYLIE does one of her local tours, not only is she not declared the "best" at anything, but Madonna is invariably mentioned in nearly every review. Thankfully Madonna is compared to NO-ONE except herself (past tours) in hers.

:chuckle:

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Unison.ie

Mysterious girl

Thursday August 3rd 2006

She may have titled her latest tour Confessions, but Madonna's enduring popularity is down to the fact that we'll never really know her. YVONNE ROBERTS reports on this enigmatic chameleon

Her Madge-sty has done it again. Madonna, Queen of Pop for 22 years, in her worldwide Confessions tour, is receiving the best reviews of her career - albeit delivered in a tone of half embarrassment, as if grown-up reviewers can't quite believe that they are giving her such an unequivocal endorsement.

Of her first British performance at the Cardiff Millennium Centre last weekend, the critics raved, "Ultra-slick and fantastically fake", "pure and unadulterated escapism on a colossal scale", "a bravura multimedia stew" and "better than any other entertainer in her league".

The key, perhaps, is in the word "entertainer", and her chameleon-like ability to defy gravity, ageing and all the other ailments that beset the average (unpampered) 47-year-old. Madonna can thus emerge - after shedding, snake-like, yet another persona - ever more wrinkle-free and energetic.

In the 1980s, in videos for Holiday and Like a Virgin, we had the nicely rounded, heavily made-up, thrift-store Madonna, wearing the contents of several cutlery drawers and not a few crucifixes around her neck. Several years later came the conical bra, simulated masturbation on stage and muscles to which every female gym-freak unashamedly aspired.

In 1991, she stripped off her coat at the Cannes Film Festival to reveal a frighteningly lethal bra and corset: underwear as cocktail gear. Thus she confirmed her status as icon-in-the-making, not so much because of how she performed, or what she sang or wrote or said, but because of the many, many questions she provoked, both then and now.

Robbie Williams can also hold an audience in the palm of his hand, but has only two public personae: alcoholic stud boy-band member and recovering alcoholic stud solo act. No matter how talented, his presence provokes only a couple of queries. Will he find love? And can he stay dry?

But Madonna, with her great skill for marketing herself, plays a game of enigma variations. Attending a premiere in her underwear, is she old-fashioned cheesecake, a porn toy for men? Or is she revealing the power of the female to turn male lewdness against itself? Is she saying, "f**k me" or "f**k you"?

The contradictions and conundrums have continued into middle age. The canny girl who arrived from Michigan in New York with only $35 in her pocket, and who is now a sophisticated superstar, still has a juvenile desire to shock on stage. During her Cardiff performance, she suddenly yelled of Blair: "You can go to Texas and suck Bush's d**k!"

At the same time, in private, when not wrapped from head to toe in a towelling burqa on the beach, she dresses like an advert for the post-war Scottish tweed industry and rears her two children as if they were living in a time capsule in the 1950s. Able to take her pick of men, she marries Guy Ritchie, a man who displays not even a fraction of the maturity of the latest Big Brother reject. So, what's it all about Madge? It's the pick 'n' mix variety of her personal life and the questions that keep us hooked.

Perhaps, too, there's another bond between Madonna and her fans: her deification of excess. Tickets for the Confessions tour range from €117 to €219.

Madonna has issued a fact-sheet explaining why a little entertainment costs so much: glitterball, laser lights, 350 roadies, a crown of thorns (what else?), 22 dancers and video footage of famished Africans. (Madge has never been strong on irony. The thoughts of Quentin Bell come to mind about the billions of dollars that might be spent making the thin fatter, and are instead devoted to making the fat thinner.)

The price tag has also paid for 4,000 Swarovski crystals embedded in Madonna's belt. Is it really necessary? "Because you're worth it," the star seems to be telling her fans, exploiting the advertising theology that turns excess into a virtue.

For some, Madge is the woman who has it all. By which they mean, 47-year-old hands excepted, she is in a Groundhog Day of her own making - forever young. But how does she do it? An exhibitionist with a huge talent, she is prepared to sacrifice many of the pleasures of life for a punishing regime of denial: Madonna, the work in constant progress.

Can she keep going? Disco star, prophet of plastic pop, punk princess - what will Madonna do next? Or might she, like Cher and Tina Turner before her, icons in their own way, eventually find that the effort of holding back the clock to be worshipped by strangers no longer has appeal?

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well since you ask... yes they do indeed bother and have done for yonks. here's one example for you...

Kylie's Light Fantastic The Times (UK) August 1998

Kylie Minogue

Shepherds Bush Empire, London, W12

Not only is THE TIMES no longer a broadsheet...but I asked about REAL newspapers like The Observer and Telegraph.

Moreover, isn't that a review of the eight year old Intimate and Live "concert"? - quite possibly the cheapest and tackiest show Minogue has ever performed...the one in support of the album (heralded as her best) you know, the one that sold less than TEN THOUSAND copies on it's release in the UK leading to her being DROPPED from her record label?

THANKS for the memories.

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Why hasn't this repulsive mmmm troll been banned yet? What part of "STOP STIRRING SHIT UP" do you not grasp? You contribute absolutely nothing on this site besides your Kylie baiting. This is not a Kylie forum, go obsessively defend her and pick fights with Madonna fans at Saygay. Stop infesting my section with your shit and FUCK OFF. It's idiots like you that give Kylie fans a bad name.

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In all the years of KYLIE FAN BAITING (her demented fans being the scourge of the internet) there's nothing more disturbing than the ones that take their devotion to the talent-free diseased munchkin SERIOUSLY.

So much so that they would sit and search the internet looking for reviews because someone randomly said there weren't any. Like I actually GIVE A SHIT.

Now what I asked for, FANBOY, was reviews from THE OBSERVER and TELEGRAPH. Not THREE from The Guardian (because it has "observer" in the web address doesn't make it from that paper) and a SHARED "review" from the web-only entertainment section of The Telegraph.

Now HOP ALONG and find them.

PS. It's rumoured that kylie, as well as being unable to speak properly, dance properly or even conceive children properly....doesn't even know how to READ! Is this TRUE? After all, she even failed her HSC.

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