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This was filmed in March 2018. Either way, MOVE BRIT! SCREAM, CONTROL AND DOMINATE! #FREEBRITNEY

Hi, Britney Army! I thought it would be cool to revive Britney's Section a bit, she's so iconic so she deserves the attention. So, first of all my plan was to all sign up for the Britney Army in this thread to create our Army 'Tag list', so that whenever a Britney Soldier opens another thread about the Queen of Pop he/she can Tag the entire army, so we can all rejoice about the newsflash/hot selfie/juicy album rumors.. etc. I hope you guys are interested in doing so, and if it works, I want to try and come up with other ideas to make the Britney Section rise a bit. Britney Army: @ChooseyLover @Mikey Likey @Newton @California boy @Justas @Christian. @Maryanne @Vesper @Lord Stoneheart @WorkDude @harryoopsididit @Jae @trashmagic @Destiny. @Hot as Ice @imaslave4britney @Sylkmonster @Erotic Romance @Jose @The Black Parade @theonesthatentertain @TillTheWorldEnds @Gabriel @Honey~ @Archie @Destiny's Childs @Michael. @Alek @GlenCoco @BlackJesus @Anna-wa @The Last Of Us @Iridescent @Juinae @Babybrit @TTWEHIAM @itsryanyall @Adriano @Brent Brashear @belinda @Sheezus @Addi @Nick Jonas ✅ @Cady Heron @M3LL155X @Sad Dream @Aleco @Fearless @Quicksand @sonowgoodbye @Hooker Barbie @Mason @Kenny Mccormick @Mr.Gorgeous @Imperfect @stilldirrtyx @Kim Jongin @Kim Jiwon

Best of Me Your Body Let There Be Love Cease Fire Lotus Intro Around the World Make the World Move Red Hot Kinda Love Army of Me Just a Fool Circles Light Up the Sky Blank Page Empty Words Shut Up Sing for Me i'm sorry but i really love this album and i'll keep defending it till the day i die.

Disney will take "full operational control" over Hulu from Comcast, effective immediately, the companies announce. Comcast also has an agreement to enforce an option to sell its 33% stake in Hulu to Disney in 2024 at a valuation of at least $27.5 billion. NBCUniversal has reconsidered the pricing of its upcoming streaming service after Disney's announcement that Disney+ will cost $6.99 per month. https://www.google.com/amp/s/www.cnbc.com/amp/2019/05/14/comcast-has-agreed-to-sell-its-stake-in-hulu-in-5-years.html

https://www.drownedmadonna.com/2019/05/15/audio-snippets-of-madonnas-future-feat-quavo/

If you see me in the Kylie section - You will know I am always coming up with fantasy setlists I have spent the past few days working on this on and think I have got it to how I would like it I have included many big hits of course as well as some more obscure inclusions I also made sure to include something from all eras in some way except MX for the time being The sections kind of represent the Madonna archetypes and styles through her career with the exception of the opening act and the encore

In the second half of the video.

Kylie (8 Tracks) Enjoy Yourself (8 Tracks) Rhythm of Love (10 Tracks) Let's Get To It (9 Tracks) Kylie Minogue (12 Tracks) Kylie Minogue Double Album (14 Tracks) Impossible Princess (12 Tracks) Light Years (10 Tracks) Come Into My World (Fever - 11 Tracks) Body Language (12 Tracks) X (12 Tracks) X Double Album (14 Tracks) Aphrodite (12 Tracks) Break This Heartbreak (Kiss Me Once - 11 Tracks) Golden (11 Tracks)

We stan a business woman!

PWL Inspired Mix https://www.youtube.com/watch?v=WH549IHkT4Q Nice but the vocal effect throws it off

I-

hope she's okay

The queen of reinvention, you can picture what every great Madonna record looks like without even listening to it Oh just seize me by the collar and cha-cha me into oblivion, Madonna! This month The Queen of Pop returned with the first taster of ‘Madame X’ – her first record in four years – and in short, it’s evidence that she’s bursting with fresh inspiration. Featuring the Colombian singer Maluma, and taking its name from his birth city of ‘Medellin’, Latin pop influence appears to be back for Madge – who moved permanently to the Portuguese capital of Lisbon last year. And while she might’ve been enjoying a few more trips on the city’s ancient trams in recent years (who am I kidding, she definitely has a chauffeur) this isn’t a brand new obsession. In truth, Madonna has been channelling this sort of thing since the days of ‘La Isla Bonita’ and her video for ‘Borderline’. Perhaps that’s why it stands out? When it comes to Madonna, the word reinvention quickly comes to mind. Think about her path, and you think of the effortless way that she transforms herself; she’s a chameleon who shifted from ‘True Blue’s yearning Marilyn Monroe figure to the crotch-grabbing sinner of ‘Like A Prayer’. These days every pop star worth their salt approaches each album like a separate world with a distinct visual identity; it’s now very common to hear music fans referring to things like Ariana Grande’s ‘Sweetener’ phase or The 1975’s ‘Music for Cars’ era. This has been Madonna’s game since 1979. Let’s be real, we’ve been waiting for Madonna to return with a strong new era for some time. Yes, ‘MDNA’ had a few underrated bangers in the mix but it was also fragmented as albums go, and felt like a rushed production job; the album title bearing all the subtlety of a Stella-swigging lad asking if “anyone’s got Mandy’s number”. Though her 2015 follow-up ‘Rebel Heart’ was a far stronger record, it was also one of jarring halves that didn’t quite connect; torn somewhere between the music Madonna wanted to make, and the music that she perhaps felt she had to make. Meanwhile, the entire visual identity of her forthcoming new album ‘Madame X’ feels like a deliberate throwback, in the sense that it nods to Madonna’s most sensational run of albums. From ‘Music’s campy cowboy look around the turn of the noughties, to ’Confessions on a Dance Floor’s high-cut neon leotards, the wedding dress of ‘Like A Virgin’ or ‘True Blue’s preened mop of glamorous platinum blonde, you can picture what every great Madonna record looks like without even listening to it. Here’s a rundown of her most iconic eras… The Material Girl Prancing around a red velvet set nicked straight out of Marilyn Monroe’s ‘Diamonds Are A Girl’s Best Friend’ Madonna – complete with shimmering diamond jewellery and an entourage of adoring men – is lavished with gifts and attention in one of her best known videos. Parodying the superficiality of fame, Madge might coyly declare that she’s a ‘Material Girl’ over a Nile Rodgers-produced beat, but this isn’t a superficial song about being wooed by expensive gestures and cash-grabbing from hapless men. Instead, Madonna’s singing about mastering the rules of our greedy society, playing its lead culprits at their own game, and ensuring that she gets every single penny she’s owed. “Experience has made me rich, and now they’re after me,” she sings sweetly. “I don’t let them play, no way,” she warns elsewhere. Tearing up the canals of Venice in her title-track’s matching visual, ‘Like A Virgin’ takes a different approach to the weirdly creepy practice of putting female sexual purity on a pedestal. The entire ‘Like A Virgin’ era – centred around Madonna’s second album, on which ‘Material Girl’ also appears – is broadly concerned with playfully dissecting what Madonna isn’t: speaking to Rolling Stone, she said: “they were ironic and provocative at the same time but also unlike me. I am not a materialistic person, and I certainly wasn’t a virgin. And, by the way,” she asked, “how can you be like a virgin? I liked the play on words; I thought they were clever. They’re so geeky, they’re cool. I never realised they would become my signature songs.” Key song: ‘Material Girl’ Key album: ‘Like A Virgin’ (1984) The Pop Art icon Flinging back her head and channelling platinum-hued Marilyn Monroe once again – this time, through the bold pop art lens of Andy Warhol – ‘True Blue’ has to be Madonna’s most iconic album cover. If ‘Like A Virgin’ proved that she was an artist capable of becoming an icon, its successor is the record that seized superstar status with both hands. On her third album, Madonna fully harnessed the power of image and creating a mythology to match each record. Her Who’s That Girl? world tour took things even further. “What have I done? What have I created?” the star once asked. “Is that me, or is this me, this small person standing down here on the stage?… I play a lot of characters, and every time I do a video or a song, people go, ‘Oh, that’s what she’s like.’” Incorporating Spanish influences into ‘La Isla Bonita’ for the first time in her career, standing up to male authority atop the jaunty classical strings of ‘Papa Don’t Preach’, and acknowledging sexual desire on ‘Open Your Heart’ in a way that predictably angered conservative listeners, ‘True Blue’ paved the way for the controversy-seeking Madonna that we know and love today. It also inspired plenty of ill-advised hair bleaching among fans along the way. Key song: ‘Open Your Heart’ Key album: ‘True Blue’ (1986) The penitent Catholic From ‘Like a Virgin’ to ‘Like A Prayer’, Madonna had a talent for a surprise simile. And in her fourth studio album, her raunchily religious explorations prompted a firestorm; the actual Pope even took time out of his day to condemn her sacred (or sacrilegious, depending who you ask) imagery. Either way, who can forget the flaming crucifixes and suggestive kneeling-stances of late-’80s Madge? Drawing comparisons between sin and kinkiness, equating spiritual worship to sexual ecstasy, the ‘Like A Prayer’ era was all about Madonna finding a way to stack up her Catholic upbringing next to lust and desire. On one side, there’s the clout of ‘Express Yourself’. Strutting around in a power-suit, fag in hand – while an army of well-oiled men thrust their pistons about (yes, that is a visual euphemism) in a dystopian factory beneath her- Madonna eventually ends up pouring milk over one particular muscular man who leaves his work post to pursue lustier temptations. In his absence, things descend into Fight Club level brawling, long before Fight Club was even a thing. Then there’s ‘Cherish’ – a deliciously catchy ode to love that approaches the level of worship. And on the other, ‘Oh Father’ is a sweeping pop epic; written to Madonna’s dad in the years following her mother’s death. Though Madonna’s time as a penitent Catholic is often remembered as her most controversial era, it’s probably her most honest, too. Key song: ‘Express Yourself’ Key album: ‘Like A Prayer’ (1989) Big Strap Energy Madonna Defined by sleazy Shep Pettibone beats, orgasmic gasps, and choice lyrics like this one – “My name is Dita, I’ll be your mistress tonight, I’d like to put you in a trance, if I take you from behind” – Madonna’s ‘Erotica’ makes 50 Shades of Grey look tamer than a fully-domesticated alpaca. Celebrating sexuality – specifically a kinky, dark and subversive kind of desire – there’s a threatening danger to ‘Erotica’. Provoking a huge backlash when it was released, Madonna was one of the few mainstream artists exploring the sex politics around the AIDS crisis and the highly conservative Reagan era. Around the same time, Madonna also began work on called Sex – a hulking great coffee table book dedicated to the act of bumping nasties. Filled with essays, poems and stories, and written under her Mistress Dita pseudonym, the 182 page book also featured explicit imagery: ranging from a naked Madonna hitchhiking to Miami and shaving a man’s pubic hair, to hefty bits of bondage gear, whips, chains, and knives. She even threw in a bit of rimming, and honestly, since she was aiming for full-blown scandal, why the hell not? Featuring various contributors including Isabella Rossellini, rappers Big Daddy Kane and Vanilla Ice, the supermodel Naomi Campbell, and gay porn star Joey Stefano, the book saw Madonna renamed “the queen of obscene”. It has to be said that Madonna’s chief goal wasn’t outrage: she wanted to open up a dialogue around responsible, safe sex. Though Sex was her most explicit statement yet, encouraging listeners to use protection – particularly with regard to countering the stigmas and myths associated with AIDS – had been a goal of Madonna’s since the days of ‘Like A Prayer’. “I don’t think sex is bad. I don’t think nudity is bad,” she said around the release of ‘Erotica’ and Sex. “I don’t think that being in touch with your sexuality and being able to talk about it is bad. I think the problem is that everybody’s so uptight about it and have turned it into something bad when it isn’t. If people could talk about it freely, we would have more people practicing safe sex, we wouldn’t have people sexually abusing each other.” Key track: ‘Erotica’ Key album: ‘Erotica’ (1992) Mystic Madge A bit like taking a wrong turn in Glastonbury’s Healing Fields and stumbling upon a trance-soundtracked meditation session involving a lot of chakra aligning and crystals being waved about, Madonna’s seventh album ‘Ray of Light’ seems to emit liquid chill hippy vibes. According to ‘Ray of Light’s producer William Orbit, Madonna’s catchphrase during this new zenned-out era was “don’t gild the lily” – aka. keep things imperfect. And listening to stonking moments like ‘Frozen’ and title track ‘Ray of Light’, you can see what she was getting at. Channelling her new-found spiritualism – Madonna got really into Kabbalah and Ashtanga yoga around this time – it’s an era of reflection that mixes futuristic electronica with eastern influences and ambient music. “When I was very young, nothing really mattered to me but making myself happy, I was the only one,” she sings on ‘Nothing Really Matters’, “Now that I’ve grown, everything’s changed.” Singing about her daughter Lourdes on ‘Little Star’ and revisiting the pain of her mother’s death elsewhere, ‘Ray of Light’ didn’t just shake up the face of contemporary pop; it saw Madonna blending icy aesthetics with a warmer kind of honesty. Key track: ‘Frozen’ Key album: ‘Ray of Light’ (1998) Red Dead Redemption meets campy cowboy Look, if you’re somebody who shopped at Tammy Girl in the early noughties, you’ll recognise that the ‘statement belt’ is an item best left in the past. Wearing a gigantic buckle covered in diamanté gems does not a fashion icon make: pair it with tartan and stick your thumbs in it, and you’re just asking to get mistaken for an extra from Sex and the City. There’s but one caveat: none of this applies if you’re Madonna. Sauntering down a deserted highway, and kicking her mud-caked flares through the dust, Don’t Tell Me’ is the definitive Western Madge moment. Because simply walking somewhere would be far too passé, director Jean-Baptiste Mondino filmed Madonna walking on a treadmill in front of a green-screen; which gives the whole music video a campy, artificial quality. Co-written and co-produced by Mirwais (who produced a good portion of Madonna’s forthcoming ‘Madame X’) ‘Don’t Tell Me’ was originally written as a jaunty tango number, but Madonna fiddled around with the arrangements and landed on country-dance splendour. The switch was inspired by the new direction of her 1999 Austin Powers soundtrack contribution ‘Beautiful Stranger’ (tune!) along with that dubious cover of ‘American Pie’ from the turn of the millennium. As a whole, her 2000 album ‘Music’ – complete with a cover that shows a glamourous, hat-doffing Madonna lounging on a haystack – is line-dancing pop ridiculousness with a synthetic edge. Absurdly All-American, it’s an era of gas stations out in the sticks and star-spangled colour combinations, but it’s also a tongue-in-cheek celebration. From the style nods to gay icon Judy Garland to the total impracticality of pairing hugely expensive stilettos with cowboy work gear, there’s a touch of absurdity to Madge’s American Dream. Is it an homage, a parody or both? Either way, it bangs. Key song: ‘ Beautiful Stranger’ Key Album: ‘Music’ (2000) Hench disco Madonna Inspired by a heady blend of Saturday Night Fever, Donna Summer disco gold, and precarious roller skating routines, Madonna’s ‘Confessions on a Dancefloor’ flipped her previous album upside down. While ‘American Life’ was a fiery political release, complete with a cover that reimagined Madonna as Che Guevara, this was a record concerned with letting loose and dancing the night away. Everyone probably remembers watching Madonna dancing in the video for ‘Hung Up’ and thinking, ‘bloody hell, I’d keel over from exhaustion if I even attempted that!’. Heading down to the studio in her now-iconic pink leotard, the video in question features Madonna in training to join some sort of exclusive parkour and breakdancing troupe, and for her final audition, she performs a frenzied dance-mat routine at an arcade. It’s accompanied – of course – by the unmistakable hook of ABBA’s ‘Gimme! Gimme! Gimme!’. In order to secure the sample, Madge sent a special pop diplomat to hand deliver a letter to the group in Sweden, asking for their permission. After giving it some thought, they gave her the go-ahead. “This is only the second time we have given permission,” ABBA’s Benny Andersson told The Telegraph in 2005. “We said ‘yes’ this time because we admire Madonna so much and always have done. She has got guts and has been around for 21 years”. Thank god they did, because propelled by its gigantic lead single, ‘Confessions on a Dancefloor’ was a spandex-clad explosion of euphoria, crammed full with sly references to past icons and Madonna’s own back catalogue. Lyrics from her 1989 Prince collaboration ‘Love Song’ pop up again on ‘Hung Up’, while her eighth record ‘Music’, her formative years in New York, her biggest artistic inspirations, and multilingual tendencies all get a shout out. Flexing her self-referential muscles (along with her actual ones) this era is all about throwing a nonchalant middle finger in the direction of ageist naysayers – ten albums in, and Madonna’s still the queen. Key song: ‘Hung Up’ Key Album: ‘Confessions on a Dancefloor’ (2005) And how about Madame X….? Looking at ‘Madame X’s first statement of intent – “Madame X is a secret agent travelling around the world, changing identities, fighting for freedom, bringing light to dark places,” Madonna said in a teaser video, while striding around waving a whip – Madge’s new record seems to subscribe to similar ideas when it comes to strong eras. Throw in the involvement of ‘Music’ producer Mirwais (he’s been working on the new record, as revealed on her Instagram ) along with ‘Medellin’’s rhythmic cha-cha throwback – which brings to mind ‘Hard Candy’s ‘Give It 2 Me’ – and the dots begin to join up; Madame X is a return to the bold imagery that ‘Rebel Heart’ and ‘MDNA’ were missing. ‘Madame X’ also feels like a fitting moniker for Madonna to adopt. The original Madame X was an American socialite called Virginie Amélie Avegno Gautreau who moved to Paris and married a French banker. She soon had hordes of men – mainly leering artist types – falling at her feet and begging to paint her. Thoroughly unimpressed by it all, Gautreau eventually agreed to sit for one painter in the end; a fellow American expatriate called John Singer Sargent. Hard to imagine, but she found sitting still for hours on end very boring – and in dramatic @beam_me_up_softboifashion, Sargent moaned of the “the unpaintable beauty and hopeless laziness of Madame Gautreau.” What a big mood. Once he was finished, the painting scandalised the gentile art types of Paris – it had far too much flesh on show, it was vulgar and racy! Disheartened, Sargant had to repaint her dress strap to make it look more ‘securely fastened’, and shortly afterwards, he fled to London out of embarrassment. Meanwhile, Madame X returned to the portrait circuit, and stuck with her original choices. A second painting, by Gustave Courtois, went down a storm. These days, her first portrait hangs in the Met – one of the most prestigious museums in the world. Madame X really did get the last laugh, huh? Given the parallels between the painting’s controversial reception, and Madonna’s own career, it’s the ideal name for Madonna to pilfer, really. Over the course of a forty year career, she’s outraged, delighted, and puzzled her listeners in more or less equal measures – and like Madame X she’s emerged on top; a classic figure in the pop world who paved the way for countless others. https://www.nme.com/blogs/material-girl-campy-cowboy-madonnas-iconic-eras-2482550

When Decca Aitkenhead meets Madonna for the June cover interview of Vogue, she is not sure which iteration of the pop powerhouse will receive her – and the impeccable Georgian façade of her central London townhouse betrays no clue. The mother of reinvention, Madonna has variously been a singer, actor, dancer, filmmaker, activist, author and philanthropist. She has been a Kabbalah spiritualist, a punk club kid, an English country lady, a dominatrix; she has played Eva Perón and Breathless Mahoney, and channelled Marilyn Monroe. But, even now, aged 60, and with her 14th studio album, Madame X, due for release on June 14, her career still feels like a battle. “People have always been trying to silence me for one reason or another, whether it’s that I’m not pretty enough, I don’t sing well enough, I’m not talented enough, I’m not married enough, and now it’s that I’m not young enough,” she tells Aitkenhead. “So they just keep trying to find a hook to hang their beef about me being alive on. Now I’m fighting ageism, now I’m being punished for turning 60.” She’s motivated by the thought of paving the way for women to come, but Madonna’s duty of care to younger generations is often overlooked by the celebrity gossip narrative. “People got very excited about [the thought of Lady Gaga and myself as] enemies, when we never were enemies,” she sighs of society’s tendency to pit women against each other. “There are no living role models for me,” she concedes. “Because nobody does what I do. And that’s kind of scary. I can look back at women who I think were great and amazing – freedom fighters, like Simone de Beauvoir or Angela Davis – but they didn’t have kids. Being a single parent of six children, I continue to be creative and be an artist and be politically active, to have a voice, to do all the things that I do. So I mean, there isn’t anybody in my position.” Read more here: https://www.vogue.co.uk/article/madonna-on-ageing-and-motherhood

Less than an hour after she delivered one of the most imaginative awards show performances in a career full of them, Madonna stood backstage in an eye patch at the Billboard Music Awards, explaining how the seeds of her forthcoming album, Madame X, were planted more than three decades ago. “[Madame X] was a name given to me when I was 19 and I first moved to New York, by a woman who I looked up to and admired,” Madonna told Billboard's Senior Director of Charts Keith Caulfield. The woman she was referring to was modern dance genius Martha Graham, who influenced Madonna’s choreography as a mentor, prior to her death in 1991. “And she gave me that name because she said she couldn’t recognize all my different personas, because I kept changing the way I looked. “And that was in the beginning of my career, when I didn’t think about who I should be or what I should be -- I was experimenting,” Madonna continued. “And so I felt like I had come full circle, and gave the record that name, because I’m in the same frame of mind.” If the title of Madame X, Madonna’s fourteenth studio album due out June 14, reflects the complex, multifaceted nature of her pop aesthetic, so will the way in which the full-length is unfurled. There’s already been “Medellín,” the mid-tempo, multi-lingual Latin pop confection alongside Colombian heartthrob Maluma released last month, as well as its opulent, cinematic music video for the track, which clocks in at nearly seven minutes. Then there was the pair’s Billboard Music Awards showcase of the song, which combined live dancers and light BDSM play with augmented reality technology, which allowed multiple avatars of Madonna to seemingly grace the stage on the ceremony’s telecast. Madonna says that she came up with the concept for the eye-popping set piece “many, many months ago,” and required weeks of rehearsals to properly configure her AR personas for the green screen. Yet as ambitious as the visual presentations of “Medellín” have been, the song represents just the first piece of the multi-track pre-album rollout that Madonna has planned over the next six weeks. The Maluma collaboration has already been followed by “I Rise,” the theatrical solo song that closes out the Madame X track list and was unveiled on Friday (May 3). The inspirational track features a sample of speech made by Marjory Stoneman Douglas High School school shooting survivor Emma González. Next up is “Crave,” the combustible team-up with Swae Lee, on May 10; the Rae Sremmurd rapper is currently riding a hot streak as a featured artist thanks to his appearance on French Montana’s “Unforgettable,” Travis Scott’s “Sicko Mode” and Ellie Goulding and Diplo's “Close to Me.” After “Crave” comes “Future,” a Quavo collaboration that was also produced by Diplo, on May 17, and finally June 7 will bring “Dark Ballet,” one of the more multi-dimensional songs on the new album, according to President of Maverick Music Greg Thompson. “[The album] is a journey, and there are a lot of chapters,” Thompson explains of the decision to slowly trickle out five tracks ahead of the release, a deviation from Madonna’s previous rollouts. Her last album, 2015’s Rebel Heart, suffered leaks months ahead of release, resulting in six songs being rushed out early for an iTunes pre-order. “In a world where we’re more song-driven than we’ve been in a long time as an industry, it became a real question and a challenge: How do we make sure that people really understand this album by the time it comes out, but still have songs that can be hit singles in certain areas?” To that end, “Crave” with Swae Lee will become the de facto pop radio single upon its release, with an official music video to soon follow. Meanwhile, “Medellín” -- which received a global television launch across Viacom networks in April -- will continue being pushed in Latin markets. The decision to lead with “Medellín” instead of “Crave” came down to the belief that it was “the signature track to the body of work, and the right place to start telling the story,” says Thompson. He adds, “I think we have a good shot to get a top five club record with some [‘Medellín’] remixes, and get that song into people’s spaces that they might not anticipate.” (Madonna has notched a record 57 top five-charting hits on Billboard’s Dance Club Songs chart.) Aside from the upcoming song and video releases, Madonna confirmed to Billboard that there have already been production meetings for her next tour, which would follow the 82-date run in support of Rebel Heart. The Madame Xcampaign will also feature a few more surprises -- including further use of the growing lip-sync video platform TikTok, where Madonna launched the "Medellín cha cha cha challenge" earlier this week. “She started playing with it,” Thompson says with a laugh, “and we’re having some fun with it. We think it’s cool.” Above all, the rollout is designed to capture the multi-continent creation of Madame X, after Madonna relocated to Lisbon in 2017. “Crave” was one of the songs that was conceived in Portugal as the pop superstar started to focus on the follow-up to Rebel Heart, while other tracks -- which range in language, from English to Spanish to Portuguese -- were birthed in Colombia, Brazil and the States, among other locations. So out of that 13-song track list, what do those five pre-release tracks represent to Madonna? “A little smorgasbord of delights,” she says with a wide smile. “Appetizers from around the world.” https://www.billboard.com/articles/columns/pop/8509948/madonna-madame-x-album-campaign-rollout