CMoody
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Posts posted by CMoody
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Google News Search Madonna...it's headlining all over...... and of course the reader comments are disgusting.
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I love the entire show (granted I won't see it in person until next month) but I have obsessively watched a trillion clips on YouTube since the start of the tour, and LAV has by far been my fave part of the show, so adding LS (one of, if not my favorite, track on MDNA) was HEAVEN for me. I know some fans, and general fans, may not be thrilled with it, as they prefer the original, poppy rendition they are accustomed to, but this is what she does best, performance art. She really lets go and feels out this bit of the show, and she has become progressively more and more free with it (gyrating and climbing atop the piano, etc)...point being, I hope she embraces this part of her performance artistry and taps into far more in the future. After the Live Nation contract is up and she is (most likely) going to scale down how she performs, I foresee her doing small, intimate type gigs (a la Olympia, but actual full shows) where she aims to please herself and her biggest fans by self-indulging in more passionate renditions of new and old songs and completely forgets about pleasing any part of the masses. Just a lil hoping.
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OMG...loving the new LS tweak...i do miss the instrumental from the first performance though, it was really heartbreaing and beautiful. Still, the addition of LS has been a genuis move...you can tell she is so into it and it is a huge gift to us megafans who actually care to hear it.
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I paid nearly $3,000 for my 5th row seats in Denver (just off the tip of the catwalk triangle).....I am praying for a GT win when Madonna.com runs the contest the week prior, that or beg Guy on Twitter I am from Miami, but the brokers want $4k per SEAT for the exact same seats that I found for the Denver show...so, off to Denver we go! Seeing M is always a religious experience for me, and I always annoy those around me for I do not sit down, I do not stop worshipping the entire time...I warn people beforehand....this is MADONNA people...no Streisand, there is no time for sitting! Still, people get upset and ask me to "put my arms down" or "please sit or stop jumping"...if Madonna only knew the hassle I get when trying to worship! Therefore, my crazy ass belongs int he Triangel where worshipping is promoted and encouraged.
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PR darlings....PR. Imagine the headlines....M is no fool.
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I Hope is real!
It looks like her face is about to drop off in this pic...and is that really Gaga...why is she so bloated?
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Do you think Lady Gaga has the balls to go on stage with Madonna in front of thousands of Madonna fans risking the support of her own little monsters? If she is THAT deluded to think she is better than the queen maybe, but i would be surprise if she compromises her own fanbase turning them off by doing this.
And of course Madonna doesn't need that at all, just like she didn't need to mashup BTW with Express Yourself but she did and we eventually got used to it. But she has absolutely nothing to gain. This is her EGO speaking out loud for sure.
Okay, this is too easy...but yes, Gaga certainly has the BALLS...but does she have the courage is the better question
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is that what she really says though? isnt it "just you wait"?
That is what I heard...."just you wait"...
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this is one of the best Madonna concert reviews I've ever read! from Boston Phoenix
[live review] Madonna bludgeons the Garden to a bloody pulp
Published Sep 11 2012, 04:45 PM by Daniel Brockman
“Oh my god.”
As these lines, the opening exhortation from “Girl Gone Wild,” the opening track from MADONNA'S new long-player, MDNA, reverberated around the cavernous environs of the TD Garden, and a large digital crucifix adorned the Jumbotron onstage, and cloak-covered minions toiled onstage amidst the swinging of an enormous thurible with frankincense bellowing out, most in attendance probably thought they knew what they were in for: some light blasphemy, a circus-smorgasbord of dancing, and a smattering of hits from the Material Girl’s three-decades-deep catalogue.
And they would be kind of right, but mostly wrong. And I could even pinpoint the moment we all realized how wrong we were, easy-peasy-lemon-squeezy: it was when Madonna herself emerged to begin the opening lines of “GGW,” decked out in all-black everything, holding aloft a massive machine gun pointed at the air. As the song bled into her little-heard 2009 jam “Revolver,” and then into MDNA curiosity “Gang Bang” -- well, let’s just say Madonna took the capacity crowd into a dark place that few were expecting minutes earlier from this queen of '80s pop music.
Before I delve into the nasty details, though, let’s back up and get some perspective on what we’re talking about here: this is Madonna, who is, yes, a pop music artist with more Number 1 hits than Elvis. But she is also an artist who, for most of her career, or at least since she has had complete control of her aesthetic and output, has strived to confront and provocate not only a society that has misunderstood her, but an audience that has attempted to reign in her most outre impulses, wanting nothing but poppoppop. Madonna’s career, especially in the past 10 years, has been a matter of giving the world the pop they crave, but with an aftertaste of shock and awe, of upping the ante of shock as she grows angrier and angrier.
Because, let’s face it, Madonna is one of the angriest pop stars ever. With good reason, too, since she is probably the most hated beloved pop star, with her every move eviscerated by a public that still pays attention to her while doing so. Every album may hit the upper reaches of the charts, but not without a chorus of shouts regarding her irrelevancy; and then there’s her continued attempts at a film career, now as a director with the 2012 release of the much-revilved W.E.; and perhaps just the general apathy of the public to a hardened bitch continuing to reign supreme decade after decade, when so many probably wish she would just stop with the effort and do the rounds like other stars her age, trotting out the hits in a retrospective nostalgia-fest that acquiesces to the acknowledgement that she is embodied by her '80s heyday.
To which Madonna’s metaphorical retort last Tuesday was KAPOW as she BLAMMO’d her ski-mask-covered henchmen in a sick Theater of Cruelty display that was both shocking and captivating. She played out a series of scenarios that all revolved around her as a gun-wielding moll obliterating assailants, with the Jumbotron displaying blood spatterings in a grotesque jolt that couldn’t help but turn ugly the rave party that the faithful had turned out to see. It reminded me of a production I once saw of Titus Andronicus, with a stark white backdrop rendered bloody with the pulp of murder by the end. It really was kind of a waking nightmare, as she kept us captive through her darkest violent fantasies, which when you get down to it has been her thing since she put out her Sex book in 1992 and forced the public’s face into the dark netherworld of her most twisted imaginings.
And it got darker: a brief respite in the form of “Papa Don’t Preach” was cruelly interrupted when Madge was accosted by a crew of facially-obscured miscreants who were decked out in what could either be described as the tattered uniform of a band of serial killers or terror cell members; she had a black bag put over her head and she was hog-tied to a pair of long poles and carried to centerstage, where she serenaded us in this captive state to the dulcet tones of 2006 megahit “Hung Up.” It was ironic I suppose, but also an awful juxtaposition, with “awful” in the truest sense of the word. It reminded me of the terrifying tune from Public Image Ltd.’s 1979 Metal Box album,
a shattered account by a soon-to-be-murdered woman as she focuses regrettably on the pop song blaring on the radio of the car her attackers threw her in as they drove her to a secluded woods that would be the place of her demise.Like “Poptones,” Madge knows that taking a pop song, whether it’s “Hung Up” or “Papa Don’t Preach” or “Girl Gone Wild” and transferring it from the usual setting into one of terror and shock imbues the song with dark pangs that didn’t seem there before. The way that she pleads “Don’t stop loving me, daddy,” sounds so much sadder; “time goes by, so slowly” is so much truer with a bag on your head and a gun to your head. In the wrong hands, music can be torture, if even through association. As a filmmaker in a post-Tarantino world, Madonna knows this, and this whole escapade seemed far more cinematic in terms of the re-framing of her pop aesthetic than any of her previous tours.
Ms. Ciccone eventually loosened her grip on us by the one-third mark, after a rambunctious runthrough of “I Don’t Give A” assured us that she indeed D.G.A.F., except that she definitely G.A.F. about her meticulous control of her own spectacle. After the jolt of the opening portion, everything seemed more alive, if only in its display of her own effort. When “Open Your Heart” had the airwaves awash with its soothing melody in 1986, it seemed like a lightweight pettifour in Madonna’s oeuvre; but tonight, lines like “I’ve had to work much harder than this for something I want, don’t try and resist me” felt so sincere, and so ominous.
The centerpiece of this show, after the Grand Guignol of the opening’s shock, was the towering softstep of “Vogue,” followed by an intimate runthrough of her 1984 breakthrough hit “Like A Virgin.” For the former, Ciccone emerged with pulled-back hair, black straight pants and a white work shirt; for this number she didn’t so much dance as oversee her dancers with exacting precision, nimbly strutting and jigging around her coterie with assured command. It was a certain kind of full circle for this former dancer who walked away from the craft to try her luck in NYC’s post-punk world, famously telling her final instructor, the legendary Pearl Lang “I think I’m going to be a rock star.” Lang may have finally approved of Ciccone’s poise this evening, or maybe not -- again, Madonna’s whole career has revolved around avoiding situations where she needs that kind of approval or acceptance. Which explains why she has always had a lyrical preoccupation with dancing solo, and also why her confrontational moments seem less aimed at anyone present and more at herself and her own expectations of herself.
“Like A Virgin,” then, was the moment of frailty after the juggernaut of assurance that was “Vogue”; alone and half-naked on the catwalk with only a lone piano as accompaniment, Madonna took the bounce-y sass of the original arrangement and stripped it bare until it quietly screamed its message of a longing for things to be what they once were. “Your love thawed out what was getting cold,” she intoned, pawing at the floor in a combination of agony and ecstasy that was a strangely internal performance to be taking place in an enormous hockey arena. The hushed low-key nature of the song in some ways showed that this show wasn’t for the masses, but for Madonna and her alone, her need to exorcise her inner debates even if it meant laying prostrate for all to see. Even as we all left the building a half-hour later, ebullient with the endorphin rush of the one-two punch of “Like A Prayer,” resplendent with a full choir backing its heartfelt power, and the electro-whump of “Celebration,” it was the moments of fragile honesty that remained in memory.
I read this this morning.....it's one of the growing few reviews that actually GET the show and Madonna as an artist.
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This thread is hilarious!
In all seriousness, the name Madonna is going to sell tickets. I just hope future tours are not affected by the constant complaint of lack of hits (she is never going to be an nostalgia act, so people need to get over it..though if she did ever do a straight-on GH show, it would be the biggest thing ever) or her tardiness (which she is hardly tardy, they just need to keep the crown amused with a proper opening act...not random DJs at various shows....people get pissed sitting for two + hours just waiting...)....
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Perhaps if GB does indeed become the 4th and final single, we will see that. Doubful, but one can dream
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I still think Love Spent is going to show up at some point....it obviously will not receive the same crown reaction, but for the die hards like us, it's gonna be magic! I am one fan that could care less if Holiday ever makes it back onto another setlist.....
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Hopefully the MDNA debacle will teach M and the gang (Guy O) one major fact....US radio is not the market to try and appeal to anymore. They will not play her again....it's done. I really hope she just says FUCK IT for the next album and does something completely inspired and edgy without a single care or thought towards singles and radio play...it's not going to happen regardless of how "radio-friendly" the track is.....haven't we learned this by now? Die Another Day was the last single the radio cared to play and that was 10 years ago now. Had she stormed out of the gate w an insane GB video, I truly believe MDNA would have had a far better response in all markets. It would show her as cutting edge, daring and exciting. Instead, we got GMAYL, M posing as a cheerleader...every non-fan and casual fan that I know have all voluntarily slagged off that horrid song.....lesson learned. But, for some reason, I have a feeling Guy O will convince her to release yet another hit-targeted album....I blame him for the extreme greed...come on M, do what YOU want...and if that's more albums like HC and MDNA...then so be it, but just don't expect a ton of commercial and critical success from it.
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I saw him with my own eyes three seats in front of me, sitting with Ingrid, at the Sticky and Sweet show in Miami. So, whatever the relationship, he was in her circle around that time.
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The problem is that she stopped behaving like Madonna years ago when she started to become too cautious and interested in the opinions of her detractors and critics. She was at the cutting edge of her game around the album release of 'Music' and since then something has faded. I wish her and her team would stop playing it so safe by releasing the singles they believe to be the most radio-friendly. She should just say 'fuck it' and release a controversial song like Gang Bang with a kick-ass video - people prefer the brazen Madonna, not the Madonna who has compromised herself more and more over time.
Also, she has lost touch a bit...whether that's just age or not is debatable...I mean, as much as I love GMAYL it was an awful choice for a lead single. MDNA is a fantastic album but it's not daring or provocative enough...it's like she has dipped her toe in the waters of controversy but she doesn't want to go the whole mile...it just isn't cohesive enough to work as a concept album.
I agree yet disagree with your point of view. I feel that everything changed after American Life, which was 10x more edgy and daring that Music. The critical and commercial failure of that brilliant album sent her running back to her leotards and DJ producers to create a "safe" yet artistically superb Confessions on a Dance Floor. The Madonna of 2008-2012 seems more interested in securing her brand rather than continuing to progress and evolve as an artist (I blame Guy O). I love MDNA, far more than I liked Hard Candy, but I do hope that the commercial disappointment of MDNA will allow her to see that US radio is not going to play her singles, regardless of what flavor of the moment rap/pop girls she employs in the background, and that she should just focus on doing the work she enjoys, for when inspired, she's always on top form (Gang Bang).
We lost our "fuck you" Madonna when she pulled the original American Life video, but she's still back to extent with the fact that she's flashing her ass and tits during a haunting rendition of Like a Virgin. She is still daring to the fact that she could so very easily rest on her royal laurels and tour the planet as a greatest hits nostalgia act. She would probably bank even more than she does already....but instead, she bedrock's her shows with new material and reinvents the classics she chooses to pepper in along the way. She knows the extreme ageism she receives for stripping on stage and flashing the audience....it infuriates people, especially other woman of her age group. Once more she is pushing the limits, forcing people to face what they accept as the norm for female age and sexuality. That is the Madonna we know and love....she truly has NO FEAR and is risking her legend to piss off the establishment...but lest we forget that her glorious past is built on an endless stream of controversies, boundary breaking, daring, social restriction breaking acts. She was crucified for the Sex book 20 years ago, but that project is now looked back on as revolutionary, ballsy, artistically, daring. To this day no other mainstream artist has ever taken such an extreme risk. Like the Sex book, time will show that history will look back on her 50+ years of pushing misogynistic, ageist limits of female sexuality beyond what has ever been seen or accepted before.
To simply play it safe and rest in the security of her brand and good name, she is defying the expectations of the public and continuing to do things as she sees fit. As a fan, I just hope that she realizes she is no longer relevant to the youth market and it is time to do what she pleases musically. Since albums no longer sell as they once did, for everyone, why not create a rock opera of sorts and then play it out on stage for the tour.....that's where the money is anyway. Imagine an album full of Gang Bang-type tracks, not just in rage and style, but in the non-conformity of its structure....that would be brilliant and would certainly get people talking far more than another embarrassing attempt at competing with Gaga and Katy Perry. That way, if people know the theatrics will be based on the music of her leftfield music project, they will know what to expect for a set list. They will witness Madonna's latest visual masterpiece of a show, not a traditional rock/pop concert, which she has never truly provided anyhow. S&S was probably her most pop-friendly concert...whereas MDNA returns to the extreme theatrics, and thank god for it. So, ballsy, fuck you Madonna is still there, she just needs to take the full reigns again and stop worrying about making $....get Guy O out of her ear and let her do her thing to it's full potential.
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Another intelligent article from a journalist who actually gets it:
Madonna rolls into Dublin next week to play the Aviva Stadium as part of her "controversial" MDNA world tour. She may have lost her power to truly shock a long time ago but what annoys Madonna haters the most is the fact that, at the age of 53, she keeps on keeping on, says Alan Corr.
She's only two months into her MDNA world tour but already Madonna has cried live on stage, flashed the audience in Turkey, flashed the audience in Rome, made some silly statements about drug use, flashed the audience in Paris, and incurred the wrath of French far right leader Marine Le Pen by showing pictures of her face plastered with swastikas as part of the stage show.
Maybe it's all in a bid to make up for the lack of decent songs on her new album, but Madonna was at in again in Hyde Park the other night - dropping her drawers during a rendition of Human Nature. So the original of the species is back doing her utmost to annoy as many prudes and killjoys as possible and good for her. It's all good dirty fun to some people; tiresome attention seeking to others. However, as has been the case for far too long, some arbiters of bad taste have decreed that Madonna should no longer be allowed to (even try) playing shock tactics any more.
It's true that the last truly shocking thing she did was release the album MDNA but right now, Madonna haters are out in force. They hate the fact that she's made a cool $50 million in the first two months of her current tour and they've always hated the fact that she's an aggressively ambitious woman who has spent her career smashing barriers, glass ceilings, and taboos.
But what really gets them hating till it hurts is the fact that, at 53, Madonna plainly doesn't care what they think and has no intention of stopping. They may find her more boring than actually shocking but boy are they still mad and it's their very ire that seems to keep her going.
Madonna bashers seem to consider her an embarrassment to womankind and pop music in the same way that some feminists and music snobs were conflicted by her blatant careerism and sexual aggression when she first arrived thirty years ago.
Surely by now, they reason, she should bow to young pretenders like Lady Gaga and Nicki Minaj and drift off into proper old age performing torch songs at supper clubs. Some of Madonna's best moments are, indeed, torch songs (This Used to be My Playground, Live to Tell et al) and on the current tour, she's performing Like a Virgin as a mournful piano-and-violin ballad of lost innocence, an acknowledgement that perhaps the glory days are, indeed, over.
That won't placate the Madonna bashers. She keeps on keeping on, gyrating, dancing, running and singing all at the same time. There should be a bylaw against it! Madonna should not be allowed cavort in a built-up area. At any time of the day.
Forget the fact that Britney still can't kick-start her wayward career and that Gaga can't seem to leave the house without checking what Madonna's had for breakfast, this woman must be stopped!
The Daily Mail, no fan of Madonna (or any woman who doesn't meet their high moral standards), was also at it again yesterday. It ran a negative news report on her Hyde Park show while, in the same edition, running a mostly positive review of the same gig. The Mail said that "hundreds of fans" walked out of the concert, many complained about the poor sound quality, Madonna's bald cheek in not playing a greatest hits show, and the fact that the 10.30pm curfew rather took away from the visuals on the night.
All fair points but the paper also mentioned "public relations disasters" in Madonna's long career. Well those "public relations disasters" are in fact the very career flashpoints that have helped make Madonna the most successful female pop star of all time. That, and thirty year's worth of pretty great pop songs.
There was also this quote from a fan's Twitter account which once again depressingly reminds us that ageism will always rear its ugly head when it comes to female pop stars and actors of a certain age: "When Madonna has concerts in her 50s where she strips herself on stage, you know her career is as dead as myspace."
It's perfectly fine to gaze with fond bemusement at The Rolling Stones doing their priapic peacock thing (well, Mick anyway) or smile as the parchment-faced Steve Tyler (64) coos over another babe young enough to be his granddaughter. It's also fine for Anthony Kiedis (nearly 50) and co to play their old hits like they're still strung-out teenagers but when it comes to Madonna, all you're likely to hear is "put it away love!"
Twenty years ago in an interview (with Jonathan Ross no less) Madonna had these fine words to say: "I think that not only do we suffer from sexism and racism, we also suffer from ageism, that once you reach a certain age you're not allowed be adventurous, you're not allowed to be sexual and I think that's rather hideous. People say, oh I hope she's not still doing that in ten years. Who cares? What if I am? Is there a rule? Are you supposed to just die when you're 40? "
After performing a two-hour set in Hyde Park this week featuring many costume changes, much dancing and much theatrics, the soon to be 54-year-old Madonna ended the night with a speech about the dangers of discrimination and prejudice.
Let's hope the Madonna bashers are listening in Dublin next week.
Alan Corr
Madonna Endorses 'Black Muslim' Obama At DC concert
in ARCHIVE - Madonna
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Agreed....but they will more than likely ignore it and move along like always.