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Found 1,894 results

  1. Freaky Prince

    Achievement

    Collaboration of the year: Rain On Me Favorite EDM artist: Lady Gaga Favorite female artist (pop/rock): Lady Gaga Favorite music video: Rain On Me NOVEMBER 22 Vote: https://www.billboard.com/amasvote
  2. Artist of the Year Favorite Music Video: cardigan Favorite Pop/rock Female Artist Favorite Pop/rock Album: folklore Vote for Taylor here: https://www.billboard.com/amasvote
  3. Unapologetic Bitch

    Achievement

    Sooo Kylie is releasing line of Rose wine https://www.kylieminoguewines.com/
  4. Hey Little Monsters! Welcome to the Lady Gaga Section on Flop of the Pops! In this thread are links to highlights of this section! Basically this thread will act as a guide to this section! With over 350,000 Posts, this section is the perfect place to stay updated on Lady Gaga! From Flashback Threads to Section Games , Appreciation Threads & Discussions, there is never a dull moment in this section! If you would like to join the Official FOTP Little Monsters Tag List, ask me! I hope you enjoy your time in the Lady Gaga Section! Talk with other Little Monsters about anything and everything Gaga related in this thread! Share with other Little Monsters what Lady Gaga song you are currently listening to in this thread!  Share your favorite pictures and gifs of Lady Gaga with other Little Monsters in this thread! Discuss all info about Gaga's upcoming sixth studio album! ( Also sit down with us and pray that it doesn't flop ) Official FOTP Lady Gaga Emotes Fanmade FOTP Lady Gaga Emotes Official & Important Links Official Website | Official Store Facebook | Instagram | Twitter | FOTP Lady Gaga Twitter | Apple Music | Vevo | YouTube | Have a great time & enjoy <3
  5. Madonna In 1985, there was no star bigger than Madonna. The singer had become a phenomenon almost overnight and now her star was rising, Saturday Night Live were quick to snag the singer as a host. Madonna’s acting chops may still be under scrutiny, never likely to be fully accepted by either party of the discussion, her ability to entertain is under no debate whatsoever. The musical guest was Simple Minds and performed ‘Alive and Kicking’ and ‘Satisfy Yourself.’ Meanwhile, during the SNL skits, Madonna performed ‘Take On Me’, ‘La Bamba and Lionel Richie’s Three Times A Lady. https://faroutmagazine.co.uk/best-musical-guest-host-snl-saturday-night-live/
  6. Mirwais Ahmadzaï is trying to sum up his frequent collaborator Madonna. “You know bullfighting?” he begins ominously. “It works because the bull is so powerful that you have to weaken it.” Right. “Look, I’m not comparing Madonna to a bull,” he quickly adds, “but she was so powerful at that time.” For most of the 90s, Ahmadzaï meandered through different genres, from acoustic chamber pop to an unreleased jungle album. In 1999, having signed his independent label, Naive Records, to Sony in the UK, Ahmadzaï was looking for a US label to release Production, a sleek electronic opus that fused stuttering beats with acoustic guitar and Auto-Tuned vocals. Impressed by the way Madonna’s Maverick label had handled the Prodigy in America, Ahmadzaï asked his photographer friend Stéphane Sednaouï, who had directed Madonna’s Fever video, to send lead single Disco Science to her manager Guy Oseary. “He loved it and passed it on,” says Ahmadzaï. “When she heard it she said, ‘This is what I want to do’, so we tried it out.” Was he a fan of her work at that point? “I don’t know if you know the situationist movement,” he says, “but one of the things they said was break the link with the hero. I love Madonna but I wouldn’t say I was a fan. I didn’t have the fan attitude.”I like to be provocative … I was an artist before Madonna. This is one of the secrets of our relationship Their early sessions were complicated by a language barrier. “She always says that I couldn’t speak English,” he laughs, “but she speaks with an American accent and very quickly. She’s very impatient – everyone knows that.” After Music’s playful electro came the more left-field folktronica of American Life. It got off to a bad start with the lead single and title track, which featured Madonna rapping in toe-curling style about her yoga classes, coffee-drinking habits and private jet. “Yeah, we had a big debate about the rap,” he sighs. “We did another version where it’s more integrated into the mix. But I like to be provocative, which is why ultimately I didn’t fight her on it.” His voice softens, something it does a lot when discussing Madonna. “She just loves what she does. Even with Madame X, and working with [26-year-old Colombian singer] Maluma, people were like, ‘She shouldn’t do that.’ She just doesn’t care. If the reaction wasn’t good, it was OK.” By the time Madonna executed a storming comeback in 2005 with the Confessions on a Dance Floor album, Ahmadzaï was burnt out. “I was supposed to do a big part of Confessions, but I had to leave,” he says carefully. “I worked on two tracks, but we were meant to do about five or six.” He’s cagey about why he left. “To be honest with you, if it had been today I wouldn’t have. I had some issues to resolve.” Besides, he was never supposed to be an underground producer for hire: “I was an artist before Madonna. This is one of the secrets of our relationship. I’m an artist too, and she knows that.” Like all artists, Madonna included, Ahmadzaï enjoys contradiction. A self-confessed cult musician with a superstar on speed dial, he’s chosen a culture-destroying global pandemic to return to music. Not only that but he’s about to release a conversation-starting song and video, taken from an album featuring established names such as Richard Ashcroft and Kylie Minogue, as part of some sort of experimental protest. “I do not care about streaming or video views,” he says. “We are aiming for zero views if possible, or zero streams.” Right. “I want to change the way we release records. It’s just a drop in the ocean, but it’s good to provoke.” https://madonnaunderground.com/mirwais-on-producing-madonna-im-not-comparing-her-to-a-bull-but/
  7. Well thats entire rumor Apparently Kylie and M used same phrases about "Magic" and people assumed it means something since Kylie recently said she needs right song for Madonna collab And since both fanbases LOVE to reach the highest skies with hidden meanings and signs there you have it
  8. In a year of plague, turmoil, and hardship, Minogue returns with another musical hedonistic escape—just as the genre is experiencing a third wave. Thank God. It's a late-summer afternoon in London, where Kylie Minogue, one of the grande dames of pop, is philosophizing about disco music. It’s transformative, she explains, because if you’re in the right frame of mind, the music can carry you away on its signature bass lines and horn sections. “When you’re at a club and you’re surrounded by people, you can still just shut your eyes and feel like you’re the only person on the dance floor,” she tells me. “Or you can be the only person in a room and feel like you’re out, surrounded by all this energy.” I am talking to Minogue because in this tumultuous year, disco is experiencing a renaissance. Minogue is among several artists with new albums in 2020 that sound as if they’re echoes of the 1970s. Newly minted superstar Dua Lipa and pop chameleon Lady Gaga each put out chart-topping records this spring that served as bombastic revivals. Doja Cat cracked the Top 40 with her single “Say So,” an undeniable Chic callback. Jessie Ware’s latest is a steamy retro embrace, and even R&B’s King of the Underworld, the Weeknd, toyed with Technicolor production on his 2020 set, After Hours. But Minogue’s latest, which debuts November 6, is the most on the nose. Its title: DISCO. “In for a penny, in for a pound,” she says of the title. “Let’s just say what it is.” It makes sense that the genre is seeing a revival in this god-awful year. Disco—born on Valentine’s Day 1970 in New York City—was pure fantasy, a strobe-lit, sex-fueled response to the late-’60s uproar and civil unrest. The four-on-the-floor beats invited revelers into a new decade, one in which the dance floors never cleared and the parties never stopped. Incorporating salsa, pop, funk, and soul, it promised not just inclusion but liberation under the mirror ball. As long as you were down to hustle, pump, and duck, it was all groovy, baby. Now, at the dawn of another new decade, with enough crises and death to make the ’60s feel almost quaint, the prospect of beaming into an alternate existence—imagined or MDMA-induced—is irresistible. “It’s three minutes of escapism and euphoria,” Minogue says of disco. “People need that.” Minogue was two years old at the time of disco’s inception, but the Aussie was the foremost architect of its second coming. She scored her first hit in 1987 with a cover of “The Loco-Motion,”which topped the charts all over the world. Her self-titled debut LP arrived a year later and was effectively the birth of what people eventually called nu-disco. The resurgence burbled through-out the mainstream in the late 1990s and early aughts with releases from Jamiroquai (“Canned Heat”), Madonna (Confessions on a Dance Floor), and Daft Punk (“One More Time”). Even U2 wanted to flirt: “Lemon,” from the band’s 1993 record, Zooropa, is bathed in ’70s nostalgia. Minogue followed her debut with five albums in eight years, collaborated with fellow Aussie Nick Cave, and starred in films opposite Jean-Claude Van Damme, Pauly Shore, and Stephen Baldwin. DISCO is as much an ode to the 6:00 a.m. set as it is a musical mission statement for the star, one of the biggest-selling female artists in history, with just as many honorifics as awards. The album is a return to everything she’s ever done well in song: gooey melodies, sheeny production, spellbinding reverie. In meetings with her creative team and cowriters, which began in person last fall before moving online as London went into coronavirus lockdown, Minogue says she kept everyone on track by routinely pulling up videos of Earth, Wind & Fire. She knew they were onto something when her longtime collaborator Biff Stannard called her in tears after finishing the sparkling lead single, “Say Something.” It was the first week of mandated quarantine, and London was eerily silent. “We were barely breathing,” she says of the pervasive feeling—but the track cut through.Hearing his reaction “made me cry,” she says. “Not just out of sadness, but that hope within the sadness. It’s that sweet spot of tears on the dance floor.” Minogue’s twinkling plea for unity and togetherness did the same for me. The song became my soundtrack to a summer spent at home, blaring in the kitchen, the backyard, or the liv-ing room fashioned into a workout studio. It lined the make-believe concerts of my mind, drumming up anticipation for the crowds that will (hopefully) gather in 2021 and, more than once, despair from missing the throngs of people of years past. It prompts the existential question the entire genre faces as it resurfaces: What is dance music without a dance floor? Disco was born in the club, and when it returned in the early 2000s, it did so as the large-scale festival exploded in America. (DaftPunk’s 2006 Coachella set is widely considered the best show the event has ever seen.) But, at least for the time being, any revelry is currently confined to quarantine bubbles and at-home stereos. The clubs are closed, the event calendars cleared. It’s an oddity Minogue acknowledges. “It’s a kitchen disco,” she says. “It’s your lounging disco. A virtual disco.” Reality may be damned, in other words, but the daydream lives on. https://www.esquire.com/entertainment/music/a34369549/kylie-minogue-disco-album-interview-2020/
  9. Kylie Minogue has said she's up for a duet with fellow music icon Madonna, but the problem is "finding the right song and the right moment." Which, given the amount of dud duets between pop titans that have been long-forgotten... is a fair point. The Say Something singer addressed a possible collaboration in an interview with Metro today. Saying she's been a "Madonna maniac" since the 80s, Kylie explained: "I am as curious as the fans are. It would be amazing. "The hard part is to get the right song and the right moment." The star - whose new album Disco is out soon - continued: "Maybe any moment is the right moment… but the right song? One that’s in people’s imagination, mine included, because don’t forget I was a 14-year-old Madonna maniac. I was that kid." Of other possible collaborators, Can't Get You Out of My Head singer Kylie suggested Midnight Sky singer Miley Cyrus. "Miley is absolutely smashing it right now," she said. https://attitude.co.uk/article/kylie-minogue-curious-to-duet-with-madonna-but-theres-just-one-problem-1/23910/
  10. Madonna’s film career has been one hell of a mixed bag. There have been highlights (Desperately Seeking Susan, Dick Tracy, A League Of Their Own), and there have been lowlights (just about everything else). Madonna’s presence within film has always seemed bigger than it really is, if only because Madonna has always been a pop star who carried herself as a movie star. Her videos are musical set-pieces. Her different sounds are characters that she embodies and then abandons. And her star persona — imperious, horny, slightly dangerous — could be modeled on any number of classic-film femmes fatales. In the video for her 1985 single “Material Girl,” Madonna essentially re-staged one of Marilyn Monroe’s musical sequences from Gentlemen Prefer Blondes. That moment is an early sign that Madonna understood her own iconography right away. She was willing to make those connections to past screen legends explicit, to present herself as being part of the grand American sexpot continuum. When “Material Girl” reached its chart apex in the early days of 1985, Madonna had already made her way into the mutliplexes of America. (“Material Girl” peaked at #2. It’s an 8.) A pre-fame Madonna actually made her film debut way back in 1979, when she starred in a cheap and notoriously shitty exploitation flick called A Certain Sacrifice. That movie went unreleased until 1985, when whoever owned the rights attempted to cash in on Madonna’s newfound fame. But Madonna’s first real film appearance is a quick scene in Vision Quest, one of many variations on the Rocky formula that came out in the ’80s. Vision Quest isn’t a huge movie, and Madonna’s appearance in it amounts to a one-scene cameo with no dialogue. But that one scene might still be the most famous thing about the movie. In Vision Quest, human Labrador Matthew Modine plays Louden Swain, a high-school wrestler in Spokane. Louden spends the movie desperately trying to cut weight so that he can take on an undefeated mythic figure named Brian Shute. Along the way, he gets into an affair with an older woman, an art student who’s renting a room in his father’s house. (That woman is Linda Fiorentino, who looks like she will eat Modine alive.) Somewhere along the way, Louden wanders into a bar, and Madonna is just up there, singing for an apparently-disinterested clientele — something that seems just as implausible as Louden’s eventual victory over Shute. The music supervisor for Vision Quest was Phil Ramone, who produced #1 hits for Billy Joel and who essentially put together the soundtrack for Flashdance, another one of those variations-on-Rocky ’80s movies. With the Vision Quest soundtrack, Ramone essentially had himself a mini-Flashdance. Many of the songs on that soundtrack were rock songs that were a few years old at the time: Foreigner’s “Hot Blooded,” John Waite’s “Change,” a memorable use of Red Rider’s “Lunatic Fringe.” (“Hot Blooded,” from 1978, peaked at #3. It’s a 7.) But Ramone also lined up some new joints from big guns. Journey, for instance, contributed “Only The Young,” the song that plays during the movie’s triumphant final moment. (“Only The Young” peaked at #9. It’s a 5.) And then there were the two Madonna songs. Phil Ramone had gone to the songwriters John Bettis and Jon Lind, hoping that they could come up with something for the movie. Both of them were music-industry types with plenty of credits to their names. Bettis, who wrote the lyrics, had started out in the band Spectrum with Richard and Karen Carpenter, and he’d co-written the Carpenters’ 1973 chart-topper “Top Of The World.” Lind, who wrote the music, had co-written “Boogie Wonderland,” the 1978 Earth, Wind & Fire/Emotions collaboration that peaked at #6. (“Boogie Wonderland” is an 8. As a songwriter, Lind will appear in this column again.) Bettis and Lind had the idea that their big ballad should describe everything that’s going on during that scene in the bar, where Modine dances with Fiorentino. That makes it a sort of musical number, with lyrics describing the feelings that a character won’t just come out and say. Ramone had met with Madonna, and he’d been impressed. He gave her the song, an act of smart corporate synergy on his part. (Warner Bros. was the studio behind Vision Quest, and Madonna was signed to Sire, a Warner subsidiary.) But Bettis and Lind thought of Madonna as a dance-pop singer, and they didn’t think she could handle their ballad. When they went to an early recording session, their fears were confirmed. Madonna wasn’t up to it. They worried that the song wouldn’t even make it into the movie. Madonna handled the song just fine, of course. Madonna turned out to be a great ballad singer. She’s never been a vocal powerhouse, and the warble-wail singing style so popular on ’80s-movie ballads wasn’t something she could do. But Madonna communicates. “Crazy For You” isn’t exactly a love song. Madonna’s narrator never uses the word “love.” Instead, “Crazy For You,” like so many other Madonna songs, is about attraction. Madonna’s narrator sees someone from across a smoky room as she watches other people pair off. She wills this person to come over and talk to her — “Can’t you feel the weight of my stare?” — but the person never approaches. So Madonna walks over, and they find a wordless connection. She sings that she’s crazy for this person. She doesn’t sound crazy. She sounds perfectly in-control. But she also sounds nervous and vulnerable — like she hasn’t quite come to understand her own power yet, or like she’s aware that she’s surrendering that power to someone else. Madonna had already proven herself as a dance-pop singer long before “Crazy For You,” but she hadn’t sung this kind of torch song before. She nails it. Her voice is confident and nervous at the same time. She doesn’t sound horny, and she doesn’t sound like she’s preying on someone else’s horniness. Instead, she sounds like she’s driven by an aching need. When she stretches out that title phrase, she almost sounds like a country singer. I love how the song doesn’t end with a big note. Instead, Madonna stops singing altogether and just talks, deadpanning the phrase, “I’m crazy for you.” That’s acting. For “Crazy For You,” Madonna worked with another artist who didn’t have any history with ballads. Bronx native John “Jellybean” Benitez was a dance-pop DJ and in-demand remixer who’d produced Madonna’s first real hit “Holiday.” (“Holiday,” from 1983, peaked at #16. As a lead artist, Benitez’s highest-charting single is the 1987 Elisa Fiorillo collab “Who Found Who,” which also peaked at #16.) Benitez had been Madonna’s boyfriend. “Crazy For You” was his first ballad, and he says that he did everything on pure instinct, since he didn’t really know what he was doing. Like Madonna, he crushed it. “Crazy For You” doesn’t sound like an early-’80s movie ballad; that’s why it works. The sounds on the song are dance-pop sounds rendered in a ballad context. The keyboards ripple and hum. The synth-bass brings a purposeful strut. The gated drums boom and echo. The backup singers sigh beatifically. The only part I don’t really like is the oboe that wanders through the song, adding a chintzy easy-listening element that the track doesn’t really need. But “Crazy For You” did cross over enough to reach #2 on the Adult Contemporary chart. Maybe the oboe helped. Madonna and Benitez also recorded another track for the Vision Quest soundtrack, and it’s a banger. “Gambler,” the song that Madonna sings when Modine first walks into the bar, is a classic early-Madonna dance-pop jam. “Gamber,” which Madonna wrote, never came out as a single in the US, but it went top-10 in the UK and Australia. In both countries, Madonna was such a big deal that Warner capitalized by releasing Vision Quest under the title Crazy For You. Vision Quest hit American theaters in February of 1985 — right after “Like A Virgin” had fallen out of the #1 spot, and while “Material Girl” was still rising. Sire, Madonna’s label, was adamant that her Vision Quest songs should not become singles, since they would detract attention from the Like A Virgin album. Various different entertainment execs yelled at each other behind the scenes, and the compromise was that “Crazy For You” would be a single and “Gambler” would not. A month after Vision Quest came out, Madonna became a movie star. Madonna was just a supporting actor in Desperately Seeking Susan, which hit theaters in March, but she’s awesome in it. She plays the title character — a mysterious figure so wild and magnetic that Rosanna Arquette’s bored housewife turns her whole life upside down trying to figure out Madonna’s whole deal. Madonna’s “Into The Groove,” one of her all-time great singles, was her contribution to the Desperately Seeking Susan soundtrack. “Into The Groove” was a global smash, a #1 single in the UK and almost a dozen other countries. In the US, “Into The Groove” was huge in clubs, and it topped Billboard’s Dance Club Songs chart and went top-20 on R&B radio. But after the whole “Crazy For You” kerfuffle, Sire wouldn’t let Madonna release “Into The Groove” as a single in the US. That meant it never made the Hot 100, a travesty of chart justice. Instead, “Into The Groove” became a B-side on the maxi-single of Madonna’s Like A Virgin single “Angel.” (“Angel” peaked at #5. It’s a 7.) Still, it’s a pretty amazing stroke of luck that the Vision Quest producers managed to get Madonna when they did. In the spring of 1985, Madonna was one of the biggest stars in pop music, and she took a pretty great first step toward movie stardom, too. She launched her Like A Virgin arena tour, released multiple huge singles, and dominated the press. The lack of an “Into The Groove” single release is probably the only reason she didn’t have another #1 single during that stretch. And yet we were supposed to believe that she was just up there singing in some Spokane dive. https://www.stereogum.com/2100282/the-number-ones-madonnas-crazy-for-you/franchises/columns/the-number-ones/
  11. thank u, next 7 rings stuck with u Rain On Me
  12. Beyoncé, 'Lemonade' Parkwood/Columbia, 2016 “Nine times out of 10 I’m in my feelings,” Beyoncé announced on her heartbreak masterpiece, Lemonade. She dropped the album as a Saturday-night surprise, knocking the world sideways — her most expansive and personal statement, tapping into marital breakdown and the state of the nation. It was a different side than she’d shown before, raging over infidelity and jealousy, but reveling in the militant-feminist-funk strut of “Formation.” All over Lemonade she explores the betrayals of American blackness, claiming her place in all of America’s music traditions — she goes outlaw country on “Daddy Lessons,” she digs blues metal with Jack White on “Don’t Hurt Yourself,” she revamps the Yeah Yeah Yeahs on “Hold Up.” Ashes to ashes, dust to side chicks — all hail the queen.
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