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Found 2,617 results

  1. A top three livelie moment ever honestly Amazing vocals, visuals, look, cover, rare songs
  2. (CNN) — Madonna will launch an exclusive limited-run SiriusXM music channel, "Madonna's Madame X Radio," July 1, a SiriusXM spokesperson tells CNN. The channel will showcase music from Madonna's legendary career, including her latest album, "Madame X." Besides her extensive catalogue of songs, the channel will also feature exclusive stories from Madonna about her life and legacy, the making of her songs, and her love of art and music. "This channel brings you into the intricate world of Madame X," says Madonna. "You'll learn more about the creative process behind my latest album and gain a deeper understanding of what drives me as an artist and a performer." The channel will launch following Madonna's Pride Island appearance in New York City. It will run 24 hours a day through Wednesday, July 31 on SiriusXM radios (ch. 4), the SiriusXM app and web player. "Madonna is an artist who is the very definition of a musical and cultural icon. Her voice, songwriting, performances, and life's work has made her a universal force. Along the way she has created some of the most creative and biggest-selling albums of all time. Our exclusive channel celebrating Madonna is a truly comprehensive deep dive into the music of one of the world's most legendary artists," said Scott Greenstein, President and Chief Content Officer, SiriusXM. https://edition-m.cnn.com/2019/06/28/entertainment/madonna-siriusxm-channel/index.html
  3. Madonna is back at No. 1 on the Billboard 200 this week for the first time in several years with her latest studio effort Madame X, which debuts in the top spot with just under 100,000 equivalent units. The “Like A Prayer” powerhouse is no stranger to the throne, but this latest success is special—here are six reasons why. Fifth-Most No. 1 Albums With nine No. 1 albums to her name, Madonna has moved up into the top five when it comes to the artists with the most leaders on the Billboard 200. She may be tied for fifth place, but at least now she’s closer to the record, and she may continue to rise in the future. With nine leaders, she’s tied with Eminem, Garth Brooks and The Rolling Stones, all of whom have also ruled on nine separate occasions. Leading the way are The Beatles, who scored 19 No. 1 albums. They are followed by Jay-Z, who has 14, Barbra Streisand and Bruce Springsteen, who claim 11, and Elvis Presley, who nabbed 10. Fourth-Most No. 1 Albums Among Solo Artists When looking solely at soloists, only a few names are retracted from the list of the acts with the most No. 1 albums, though that helps everyone move up one rung. Since The Beatles run the show, once they’re removed, everyone jumps, including Madonna. Nine No. 1 records suddenly becomes enough to give her the fourth-most chart-owners. Second-Most No. 1 Albums Among Women When only women are taken into account, Madonna fares even better, and she’s only bested by one of the most successful recording artists of all time. Only Barbra Streisand, who has managed 11 chart-topping titles throughout her half-century-long career, is beating her, and Madge is closing the gap. Madame X puts her just two full-lengths behind the fellow singer-songwriter, and there’s no telling how their totals will change in the coming years. Fifth-Most Top 10 Albums It's important to remember that in addition to being her ninth No. 1, Madame X is also another top 10 win for Madonna, and it helps her move up on a closely-watched list as well. The title is her twenty-second to break into the uppermost region, which ties her for the fifth-most top 10 albums, right alongside Bob Dylan. Fourth-Most Top 10 Albums Among Soloists The Rolling Stones are in charge when it comes to the most top 10 albums, as they have landed inside the area 37 times. When only solo acts are considered, Madonna rises once again, and her sum becomes the fourth-most in history. Second-Most Top 10 Albums Among Women When only women are included in that list, Madonna only ranks behind Barbra Streisand, though she's got a long way to go before she catches up with the singer and actress. Streisand has charted 34 top 10 titles throughout her career. https://www.forbes.com/sites/hughmcintyre/2019/06/28/6-reasons-why-madonnas-new-no-1-album-is-historically-important/?fbclid=IwAR3_rCMZN8zRZuSE-NHdh4L4qMFrYf3Oc6UiZAdOXNWSVNBa_Mmli2L7CGU
  4. Dark Ballet It's not hard to see why Madonna has long been obsessed with Joan of Arc, a fiercely independent warrior persecuted for heresy and cross-dressing, and eventually burned at the stake by the patriarchal Catholic Church in 1431 (and later canonized by the church). Madonna cast queer, black HIV+ rapper Mykki Blanco as Joan in her "Dark Ballet" video because, as Blanco tells Billboard, she told him, "'If you had existed as you in her time — you would have been burned at the stake as well.’” The dark, sumptuous cinematography emphasizes the sinister, shadowy quality to Catholic imagery, and the scenes of Mykki/Joan burning don't shy away from the visceral pain of death by fire. Much like the song, the video itself goes totally bonkers at the halfway point, with rapid-cut editing as Blanco ballet dances to a synth-heavy interpolation of Tchaikovsky's "Dance of the Reed Flutes" from The Nutcracker Suite. - JOE LYNCH https://www.billboard.com/articles/news/list/8516848/best-music-videos-of-2019-so-far Other sites made also a list. They didn't mention Madonna at all, but there are so many videos that are inferior to Medellin.
  5. Most #2 hits (for a woman I think) - 6 overall YNTCD ME! IDWLF IKYWT Today Was A Fairytale YBWM
  6. She debuted with 2.8M and this is her highest day yet
  7. 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
  8. 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
  9. 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."
  10. 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
  11. Her 9th song to do so, 8th as lead!
  12. 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
  13. 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
  14. 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
  15. 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.
  16. 600 is really Rihanna’s number this year
  17. 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/
  18. But I was told she was a fad
  19. 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.
  20. 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
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