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Found 2,514 results

  1. https://kontraband.store/kylie/makeup Its over for K**** ****** Anyway some really cool new stuff on her store as well as an awesome pic (not for sale) of all the AAA passes from her tours I+L onward
  2. Released 19 June 2000 as the lead single to pop comeback album Light Years and as we all know - It remains a live staple to this day
  3. Some background info: Apple Music pre-orders are basically called pre-saves - it just means she’s broken the record for the most adds to peoples’ libraries first day, for a woman. Ariana previously held the record with TUN (178k) and Lover is already at 220k+. Billie holds the overall record of 800k+ pre-saves before her album dropped. Taylor probably won’t break that but we’ll see! "Apple Music revealed that Taylor Swift became the woman artist with the most pre-orders on the first day, surpassing Ariana Grande's record with thank u, next. Swift racked up 178,600-plus pre-adds worldwide on their platform alone on June 13. She has kept going since then, and is at more than 222,400 pre-orders and growing as of June 16. Apple Music revealed that Swift also now holds the record for most pre-added pop album in its first day worldwide."
  4. Rihanna Umbrella Security banned umbrellas from her gigs following complaints that people were getting poked in the eye. A summer song worth risking a cornea for, in our opinion.SW Rihanna ft Drake Work Work is sweat; it’s sand in your crevices; it’s that cool drip of water racing down the side of a pre-mixed cocktail can towards your thigh. Work is summer in a song; it’s dry-humping anything that moves; it’s Lilt; it’s Rihanna in excelsis; and it’s so good it doesn’t matter that Drake almost ruins it. MC DJ Khaled Wild Thoughts You, a low-ceilinged club with sweat on the walls, some very earnest chats with strangers in the bathroom, holding a can of beer to your head in a futile attempt to cool your blood: summer is here, and Wild Thoughts is the capital-H Horny soundtrack to it all. That said, the “burned out, cremation” line shouldn’t have got past as many people as it did. JG full list here: https://www.google.com/amp/s/amp.theguardian.com/culture/2019/jun/15/from-rihanna-to-the-ketchup-song-the-best-and-worst-songs-of-the-summer
  5. She wanted to rule the world – and did. Madonna looks back on four decades of fame, why the music industry needs a #MeToo moment, and her still insatiable ambition On YouTube, you can find a clip of Madonna appearing on American Bandstand in January 1984. She is still promoting her eponymous debut album, released six months before, and still just one among a raft of young singers mining a vein of post-disco dance-pop. She has yet to have a Top 10 hit in the United States, and the host, Dick Clark, still finds it necessary to explain who she is when introducing her. Her label’s expectations for the single she performs, Holiday, are so modest, it hasn’t bothered commissioning a video for it. And yet it’s not just hindsight that makes the viewer realise something big is about to happen to her career. After she mimes to Holiday, the audience won’t stop screaming and cheering: Clark has to plead for quiet so he can interview her. Answering his questions, Madonna is funny and flirtatious and very, very confident. He asks her what her ambitions are. “To rule the world,” she answers. Madonna appearing on American Bandstand in 1984. Thirty-five years on, Madonna laughs when I mention it. “Yes,” she nods. “Sorry for saying that.” The thing is, she says, she wasn’t confident at all back then: it was all a front. “I may have been insecure, I may have felt like a nobody, but I knew I had to do something. If I was going to make something out of my life, I had to, you know, hurl myself into the dark space, go down the road less travelled. Otherwise, why live?” She recalls feeling as startled as anyone else when she realised how famous she had become, less than 18 months after she had informed Clark she was going to rule the world. The Like a Virgin album had come out and sold 3.5m copies in 14 weeks in the US alone. She had scored six transatlantic Top 10 hit singles in under a year. Desperately Seeking Susan was in cinemas: her presence as the titular heroine had turned a low-budget film packed with cameos from New York underground luminaries – Richard Hell, Arto Lindsay, Ann Magnuson – into a box-office smash. No one was talking about her being just one among a raft of young post-disco dance-pop singers any more. “It took my breath away. I can’t begin to tell you. I remember the first concert I did on the Virgin tour, in Seattle, when everything became big and I had no way of being prepared for it. It literally sucked the life out of me, sucked the air out of my lungs when I walked on stage. I sort of had an out-of-body experience. Not a bad feeling, not an out-of-control feeling, but an otherworldly feeling that nothing could prepare you for. I mean,” she smiles, “eventually you get used to it.” You clearly do. The Madonna that sits before me, perched on an overstuffed sofa in a swish hotel not far from the house she owns in central London, certainly doesn’t give the impression of being a woman terribly plagued by insecurity: a solitary wobble comes when talk turns to her then-forthcoming appearance on Eurovision, a venerable television institution almost unknown in the US and that, it quickly becomes apparent, Madonna has never actually seen. “Well, Jean-Paul Gaultier is obsessed with it,” she shrugs. Her unexpected, apparently unresearched and ultimately divisive plunge into the world of Ding-a-Dong, Dana International and nul points pour le Royaume-Uni notwithstanding, she radiates starry self-assurance. And why wouldn’t she? A list of her achievements in the intervening 35 years includes becoming the bestselling female artist ever, the most successful solo artist in the history of the American charts, the highest-grossing solo touring artist ever and, as she dryly notes, “still being alive”, her only real competition for the title of most legendary pop artist of her era, Michael Jackson and Prince, having both prematurely passed away. Sometimes when she talks, she unmistakably sounds like a pop star forged in a different era. She is “dizzy” at the sheer turnover of pop in the digital age – “There are so many distractions, so much noise, so many people coming and going so quickly, it takes away the artist’s ability to grow” – and says the modern way of writing pop songs, where artists are thrown together with a rotating cast of random star producers and writers at songwriting camps, didn’t suit her at all. “Oh, I tried that on MDNA and Rebel Heart. I worked with a lot of talented people, but it’s too hard to have a vision when you work with so many people: there’s so much input. I didn’t enjoy the process at all. Sometimes it was great, but it’s very weird to sit in a room with strangers and go: ‘OK, on your marks, set, write a song together!’ You have to reveal yourself, you have to be vulnerable, and it’s hard to do that right away.” Full article at The Guardian
  6. It seems her livestream made Instagram crash she had like 200k people which is 3x as much as the average celeb live stream I can’t And people doubt her power
  7. When Helen Brown listened to friends saying they wished the pop icon had ‘retired with dignity’, she realised she too had been guilty of criticising the singer in her lonely fight against a sexist, ageist culture. When Madonna called out ageist reactions to her 14th album this month, I felt a nasty lurch of guilt in my stomach. Reviewing MDMA in 2012, I was mean about her decision to invest so much “desperate” energy into maintaining the impression of eternal youth, leaving her looking and sounding “exhausted and unhappy and making me feel the same”. I was 36 then and Madonna was 54. I’d just given birth to my second child and wanted to weep at the number of playgroup conversations in which the women around me discussed the diets, workouts and cosmetic surgery required to restore their figures to perky, pre-pregnancy form. The female celebrities they saw in magazines seemed time-proof and they dutifully added this responsibility to their To Do lists. It seemed to me that if anybody had the power to flip a big, stadium-sized, multi-platinum V sign at this rubbish it was the hero of my early teens – Madonna. She had reinvented herself so many times, inspiring girls like me with possibilities of freedom and flexibility of identity. She gave me my first feminist lesson in embracing the reality of female bodies by blow-drying her armpits in a public restroom in Desperately Seeking Susan (1985). Shortly before I saw that film, a friend of mine had provoked sniggers when she dropped a deodorant in a changing room. She flushed as the can rolled across the tiles with its shaming label promising: “extra protection.” We were all expected to use the stuff, but to spray it discreetly, beneath the shirt, pretending we naturally smelt like whatever chemicals they put in it. And then, swaggering across the big screen came Madonna: honest about her body, owning her sweat, taking pleasure in the blast of air on her skin and looking fantastically cool in the process. I was thrilled by the way she combined a fearless punk attitude with the joyful shimmer of pop. I loved that she was unashamed of her appetite for fame, money, sex, love and cultural significance. With songs like “Express Yourself” (1989), “Vogue” (1990) and “What it Feels like For a Girl” (2000), she changed the game for women and the LGBT+ community. And she never pretended to get it all right. On “Rescue Me” (recorded for 1990’s The Immaculate Collection), she confessed that she was “ferocious, weak, silly, pretentious… a freak” and acknowledged that she was “scratching out the eyes/ Of a world I want to conquer/ And deliver and despise”. She emits love/hate and the world reflects it back, with Lady Gaga admitting in 2017: “I just want Madonna to push me up against a wall, kiss me and tell me I’m a piece of shit.” So I wanted Madonna to age like a punk: like Vivienne Westwood, flashing the wrinkles beneath the lace. I didn’t want her to stop making music or dancing in her underwear or speaking out whenever she wanted. I just wanted to her to age frankly and show me how much of a party that could be. Which I now realise was ridiculous. Because being the world’s best-selling female artist hasn’t been a party for Madonna, has it? The self-confessed “masochist… walking alone/ never satisfied/ trying to fit in” of 2014’s “Rebel Heart", Madonna continued to need our attention: sometimes seeking approval, sometimes being an unapologetic bitch. And she continued to be wounded by the criticism which was aimed at her more aggressively than at her male contemporaries. Sitting safely behind my keyboard with my mumtum, while the paparazzi aimed their lenses at her “wrinkled” hands, I had no right to expect her not to care. Her job was bloody hard work and I had no right to resent her for letting that show. Accepting the Woman of the Year Award at the Billboard Women in Music Awards in 2016 she thanked the organisers “for acknowledging my ability to continue my career for 34 years in the face of blatant sexism and misogyny and constant bullying and relentless abuse”. She said she had been inspired by David Bowie: “He made me think there were no rules. But I was wrong. There are no rules – if you're a boy. There are rules if you're a girl. “If you're a girl, you have to play the game. You're allowed to be pretty and cute and sexy. But don’t act too smart. Don’t have an opinion that's out of line with the status quo. You are allowed to be objectified by men and dress like a slut, but don’t own your sluttiness. And do not, I repeat do not, share your own sexual fantasies with the world. Be what men want you to be, but more importantly, be what women feel comfortable with you being around other men. And finally, do not age. Because to age is a sin. You will be criticised and vilified and definitely not played on the radio.” Madonna had once been applauded by feminists like Germaine Greer and Camille Paglia. But in 2006, Greer, an equally strong and contradictory character, then 67, dismissed Madonna, then 48, as a woman “in her dotage”. In her Billboard speech, Madonna said: “I remember wishing I had a female peer I could look to for support. Camille Paglia said I set women back by objectifying myself sexually. So I thought, 'oh, if you're a feminist, you don't have sexuality, you deny it.' So I said 'f**k it. I'm a different kind of feminist. I'm a bad feminist.’” She concluded her speech listing the peers she had outlived: Michael Jackson, Prince, Whitney Houston, David Bowie. “But I'm still standing. I'm one of the lucky ones and every day I count my blessings. What I would like to say to all women here today is this: women have been so oppressed for so long they believe what men have to say about them. They believe they have to back a man to get the job done. And there are some very good men worth backing, but not because they're men – because they're worthy. As women, we have to start appreciating our own worth and each other's worth.” It was between the Rebel Heart album (which I felt marked an honest re-engagement with her music after a few albums that sounded dialled-in and scene chasing) and the Billboard speech that I found myself settling into a better relationship with Madonna. When she fell over and got up at the BRITS, I felt protective and proud. Madonna’s British biographer, Lucy O’Brien says that her Billboard speech was ”honest and brave. It came before the #MeToo movement. She showed the reality of what it's like to be a woman at that level, in the music industry.” But when I asked my Facebook friends for their feelings on Madonna in 2019, it was mostly women who said they once loved her who felt “her time is up”, “she should have retired with dignity” and winced at her ponderous, pitchy performance at Eurovision in May. Another was angered by the cleaned-up vocal when the performance appeared online: “She’s fake news and artifice”. Another dismissed her complaints about ageism and not being played on Radio 1: “How much attention would a 20-year-old Madonna have given to a 60-year-old?” Journalist Fiona Sturges, who normally writes this column, has previously suggested we all back off on Madonna’s age and just judge her on the music alone. I certainly agree with Sturges that women are judged much more harshly and I’m equally furious with those who tell Madonna to “put it away, grandma!” But I do find an artist’s age interesting and I think it’s OK to include that in the discussion of their music and performances, provided we judge men and women by the same standards. In my last few album reviews, I’ve discussed Nile Rodgers’ age (compared with those of his collaborators) and Morrissey’s politics. It all feeds into the pop package they’re selling us. Voices, shows and subjects change with time. Creativity can go off the boil or catch fire at different times. Age and experience can be more powerful on record than youth: last year, at 71, Marianne Faithfull made an astonishingly beautiful album that knocked spots off the stuff she recorded at 17. And last week Nick Coleman (author of Voices: How a Great Singer Can Change Your Life, 2018) posted a later period Joni Mitchell song on social media, noting how her singing had evolved from the “self-bastingly pretty” sound of her early years to become brilliant in terms of her “connection with language, the way she accessed emotion”. Other singers – he mentioned Aretha Franklin – don’t get better. Most change and isn’t it OK to discuss what they do with a changing instrument? Madonna’s voice hasn’t actually changed much, but I maintain a connection to it: playful, light and provocative, dropping to dramatic and confessional when needed. But I also love her endurance, her wit, her ongoing embrace of fresh, new sounds and ideas. I love that she continues to speak up for women and named Simone de Beauvoir, Anne Sexton, Sylvia Plath, Carson McCullers, Dorothea Tanning, Leonora Carrington, Frieda Kahlo as inspiration for her most recent incarnation: Madame X. “They all led strong independent lives, unconventional lives and had unconventional relationships,” she told Vogue. So she’s complicated. My responses to her are complicated. And we are living in a complicated world where the odds are piled against a woman maintaining a powerful career in showbiz for over 30 years. If I’m honest, the last time she gave me musical goosebumps was with Confessions on a Dancefloor in 2005. But I think Madame X is the best and bravest record she has made since then. So I’m sorry, Madonna, for the times I’ve been mean. For the times I’ve put pressure on you to fight a sexist, ageist culture alone, while continuing to turn out tunes, shows and films, raise your kids and have a life. I’m a single mum, too. When I look in the mirror, I sometimes see my daughter behind me, watching me apply age-masking makeup, and I wonder what message I am sending her. It’s not easy, is it? I’m looking to you for clues about how to age and you told Vogue you’re sad you have no living role models. Perhaps it’s OK if we’re all reinventing it as we go along. Stepping forwards and sideways to a beat we can’t always control. One, two, cha cha cha… https://www.independent.co.uk/arts-entertainment/music/features/madonna-madame-x-age-controversy-sexism-career-billboard-pop-music-a8955036.html
  8. Was medlline the Right choice to start that era ? Rise 2nd promo single? Future Performance at Eurovison?? Dark Ballet as last promo single to kill all the hype? the nerve
  9. Not the basic promo single, according to most members here, being already more legendary than the 2 singles. Glad i stan since first listen. @Venom and @Agent X can't relate.
  10. 600 is really Rihanna’s number this year
  11. I cant Madonna spoke out against Harvey Weinstein and the allegations of sexual assault in the recent New York Times article saying he “crossed lines and boundaries with me.” Weinstein dismissed the allegations in a statement to the BBC, which included multiple references to Madonna’s hit songs… Madonna is such a maverick it is surprising that she conformed to what’s in Vogue. This new narrative was not the nature of my relationship with her, and I will not Justify My terrific feelings for her. It was significant, Material and fun. She was that Ray of Light whom I will always Cherish. Anyone who knew her well back in those days, appreciates that she knew how to Express herself, she was fun, flirtatious and genuinely engaging, but if getting on this bandwagon helps her sell records, Turn Up the Radio. https://www.madonnarama.com/posts-en/2019/06/09/harvey-weinstein-calls-out-madonna-for-jumping-on-the-bandwagon/
  12. But I was told she was a fad
  13. https://www.officialcharts.com/chart-news/60-incredible-chart-facts-and-feats-about-madonna__23566/ August 16th, 2018 = 3,730,000 https://www.officialcharts.com/chart-news/madonnas-official-biggest-selling-albums__26462/ June 8th, 2019 = 3,770,000 Timeless. These figures do not include BMG sales, the actual number is around 4.1m which is phenomenal.
  14. From reggaeton bangers to dancehall-infused protest anthems, the singles (or buzz tracks) from Madame X have been nothing if not eclectic. And yet, they still don’t portend the demented grandeur of “Dark Ballet.” Co-produced with Mirwais, the song that was first performed as “Beautiful Game” at the 2018 Met Gala is a sprawling indictment of modern society. “It’s a beautiful plan, but I’m not concerned,” Madonna preaches on the chorus. “It’s a beautiful game that I never learned, people tell me to shut my mouth that I might get burned.” But we all know that Madonna will never hold her tongue. Which leads to a brilliantly warped post-chorus that culminates in an extended piano solo and an even weirder bridge. “I will not denounce the things that I have said,” a heavily-distorted voice declares robotically. “I will not renounce my faith in my sweet Lord.” It’s a wild, thrilling mess that makes me even more excited for Madame X (if that is even possible). It’s time to accept that the Queen of Pop’s days of chasing hits are over. She’s now doing whatever the fuck she wants and it sounds amazing. https://www.idolator.com/7794749/madonna-dark-ballet-review?andro=1&chrome=1
  15. MadonnaNewEra is actually one of oldest online communites devoted to Madonna overall. They are playing 50 Madonna hits today on streets of Warsaw and you can listen to the same playlist on spotify too
  16. “She's so invested in every detail of what she does, and when someone's been doing this for 30 years, especially a pop icon like her, I guess you would expect that,” he says. It was a relatively regular day for Mykki Blanco: last year, the rapper was walking around an IKEA in Lisbon, Portugal, attempting to find a couch to furnish his new apartment. All of a sudden, his phone buzzed as a text message came in saying, “Hello, is this Mykki?” When the star confirmed and questioned back, asking who was texting him, he received the reply, “Hi, this is M, Madonna.” It wasn’t a total shock for Blanco — producer extraordinaire Mike Dean had reached out two weeks prior asking if he could give Madonna his contact information. But what started as a simple text conversation turned into an elongated phone call within the confines of the Lisbon IKEA. “I was hiding in a staged kitchenette set in an IKEA with the curtains closed, and we’re talking on the phone for the first time,” he tells Billboard. “So you can imagine how surreal this was for me.” A whirlwind transpired over the next few months — Blanco met with Madonna in her London home, heard a finished version of her album Madame X (which he calls “a manifestation of Madonna’s imagination”), and was asked to play a role in one of her new music videos. But Blanco wasn’t offered just any role. Madonna chose him to portray the legendary French heroine Joan of Arc in her video for “Dark Ballet,” believing that the rapper could properly relate to the saint’s struggle. “She tells me, ‘Based on some of the things that you've told me you experienced in this industry and in this society, I feel that some of those things could be a modern day analogy for Joan,’” he says. “‘Because think about if you had existed as you in her time — you would have been burned at the stake as well.’” In the new video (out today), Blanco, as Joan, is seen being held in a prison, praying for salvation before being brought before a tribunal. Ultimately, Joan is found guilty of her crimes, sentenced to death and burned at the stake. Blanco, stripped down and head shaved, wails in pain while a group of mourning nuns (including Madonna) looks on. But the video takes a cerebral turn, as Blanco’s Joan appears in a strange dream sequence, once again before her tribunal, performing an erratic dance to Tchaikovsky’s “Dance of the Reed Flutes” from The Nutcracker Suite. “God is on my side and I'll be fine/ I am not afraid 'cause I have faith in him,” Madonna sings through a vocoder as Blanco thrashes around a circle of judges, newly dressed in saintly garb. While the video was directed by up-and-coming talent Emmanuel Adjei, Blanco says that Madonna basically served as an uncredited co-director for the project, advising on acting, choreography, cinematography, and even the costuming of the background extras. “She's so invested in every detail of what she does, and when someone's been doing this for 30 years, especially a pop icon like her, I guess you would expect that,” he says. “Intention is very important to her, that's what I took away.” In one particular exchange, according to Blanco, Madonna even took over a choreography rehearsal, saying that she wanted to try something different for a section of the video. “Within an hour and a half, we had new choreography directly from Madonna,” he says with a laugh. “Madonna's a hell of a dancer.” The rapper says he understands that the video is surreal and strange, but adds that everything Madonna does has purpose and meaning outside of simple shock value. “We don't just shoot something or move or flail our arms just for the hell of it,” he says with a laugh. “There's always a deeper, inner intention.” But Blanco feels that Madonna’s current innovations in her music are largely overlooked thanks to her age. Madonna would certainly agree with that statement — in an Instagram post on Thursday (June 6), the singer criticized the New York Times Magazine’s cover story on her, saying that the writer was primarily focused on her age rather than her artistry. In our interview, Blanco says he has not had an opportunity to read the story, but he agrees with Madonna that many in the industry overlook Madonna’s creativity in favor of her age. “When people are making these comments that are so ageist, it's not only tacky, but it's so disgusting to me,” he says. “It's so misogynist, because you're saying an artistic being shouldn't continue to play and manifest their imagination however they see fit.” It’s no surprise that Blanco identifies with Madonna’s alleged plights — the star revealed his positive HIV status in 2015 and says he thought it would be the end of his career. But seeing an artist of Madonna’s caliber celebrate him in her work has meant that he no longer has to worry about the status of his career. “She's not doing me any favors,” he clarifies. “But for her to reach her hand out and lift me up creatively to her level … that does mean something to me. This project has exposed me to an audience that might not have been within my reach.” https://www.billboard.com/articles/news/pride/8514955/mykki-blanco-interview-madonna-dark-ballet-video-joan-of-arc?fbclid=IwAR2bVk0ETICs_CeNq6VPCEkU_MkVhgypTNEMeOAYQwXFAdyYhGuB-_TvgBI
  17. Looks like she's gonna snatch another top 10! x
  18. I know itunes is dying, but it's still impressive! We all thought she was gonna free fall quickly asdfghjkl
  19. With "E.T." selling over 6 million downloads, Katy Perry becomes the first artist with four 6 million sellers in the U.S.
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