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Found 288 results

  1. Two beautifully created remix albums. Hopefully there is a third. B in the Mix: The Remixes November 2005 B in the Mix: The Remixes Volume 2 October 2011 Comment on which album stands out more to you. What are your favourite remixes from the projects?
  2. About Pop Vocal http://www.billboard.com/articles/news/grammys/7998376/grammys-2018-ed-sheeran-bruno-mars-best-pop-album They talk about her at 2:20 ____________________________________________________________________________________________-- About Song/Record of The Year http://www.billboard.com/video/grammy-preview-song-vs-record-of-the-year-experts-debate-7998370 They talk about her at 2:00 Thoughts?
  3. http://www.metacritic.com/movie/gaga-five-foot-two Pressed haters were making fake accounts giving it low scores, but they actually made her #1
  4. Review

    Kesha Raises Spirits, Preaches Equality at Triumphant Nashville Show http://www.rollingstone.com/music/live-reviews/keshas-rainbow-tour-visits-nashvilles-ryman-auditorium-w505884 Kesha Annihilates Authenticity http://www.npr.org/sections/therecord/2017/09/28/554264327/kesha-annihilates-authenticity Concert review: Kesha brought glitter, honesty and fun to the Roxy http://music.blog.ajc.com/2017/09/30/concert-review-kesha-brought-glitter-honesty-and-fun-to-the-roxy/ LIVE REVIEW: Kesha rises from the ashes in ‘Rainbow Tour’ debut https://substreammagazine.com/2017/09/kesha-rainbow-tour-review/ Kesha Brings the House Down at Powerful Hometown Show http://www.nashvillescene.com/music/spin/article/20977396/kesha-brings-the-house-down-at-powerful-hometown-show All positive
  5. -Apple Music- Okay, guys, here's the thing. I've been having an Apple Music subscription for a very long time, but I mostly spend it listening to (amazing) soundtracks. Like from the Studio Ghibli movies, Disney movies, even from amazing games like; Monument Valley & Journey and the list goes on. But I actually really want to get into some new -underdog- music and artists. So from now on this blog entry is open for any recommendations. I will start with taking on different albums. I think I'll pick about four albums for every week. And I'm open to all kind of recommendations! My music range goes from Tokio Hotel to Lana del Rey, from Britney Spears to Marilyn Manson.. As you guys can see in my Music Collection blog. So, a few things I already picked out myself to try this upcoming week; -Up Next- BTS - Wings Twenty One Pilots - twenty one pilots Arizona - Gallery Frenship - Truce [EP] -Recommendations- (I will post your recommendations here) -Favorites- ...
  6. Review

    Prior to beginning Madonna's discography, my only taste of her was what she presented to the general public; her singles, her music videos and her controversies. My parents were never huge fans; my mother opted for Chrissy Amphlett of the Divinlys, Stevie Nicks and Debbie Harry. My father's closest association with pop music was handling Kylie Minogue's fan mail before The Locomotion blew up. She wasn't a staple in my household nor on the radio bar Hung Up's domination. It took me seventeen years before deciding to listen to an album of hers and luckily that led to the discovery of my favourite musician of all time. For eight months, nothing was played besides Madonna, every album hooked me for weeks and every era inspired me. Exploring her albums coincided with one of the biggest transitional periods in my life; songs connected with memories during that time that hold sentimental value. Reviewing her albums has taken me nearer three years but understanding her body of work requires time. Her debut provides me with one of my earliest memories of her; my mother adored Holiday and couldn't help but blast it whenever it came on television or radio. Originally the album didn't connect with me, it seemed repetitive and unfinished. Revisiting this album allowed me to appreciate it. Kicking off the album is Lucky Star, a simple dance-pop track with moments of excellence and moments of mediocrity. The production is consistent from the starting synth note to the classic electronic drumbeat but her vocals sound inept and amateur-like. The lyrics aren't anything to write home about but the hooks are addictive and memorable. The track fades into Borderline, one of the highlights of the album. Integrating 70s disco with 80s synth pop, the song is easily perceived as 'fluff' however the lyrics are suggestive, possibly referring to having an orgasm. It is a principal example of classic pop Madonna, exhibiting her expressive energy despite her restrained yet emotional vocal delivery. Burning Up presents a grittier and effervescent side of the pop star who shamelessly owns her sensuality ('do you wanna see me down on my knees/or bending over backwards now would you be pleased'). Backed by heavy guitar riffs, the song feels extrinsic in her early discography as it delves mainly into the rock genre. I Know It is more melodramatic, implying her refusal to care for her lover's antics. It falls on deaf ears, her articulation coming across immature. The jazz touches reveal an early incarnation of the theatrical flair of I'm Breathless and Evita introduced later in her career. One of the strongest points on the album is Holiday, an infectious dance-pop affair with hooks ('if we took a holiday/took some time to celebrate') that endure time. Fun in nature, it stands out as one of her less intense and digestible recordings. It's bizarrely nostalgic, unintentionally focused on accomodating for sentimental feelings of happiness and gaiety. Her strong, non-compliant nature is reintroduced in Think of Me, a classic dance-pop track with a unforgettably slick saxophone interlude. She imposes herself as assertive ('think of me/I know you want to baby') by threatening to leave her lover; using manipulation to get what she wants, a trait that helped invigorate her as a strong, feminist figure. Her inhibited sexuality is explored in Physical Attraction, a lengthy offering about the feelings of attraction between her and a lover. The pacing of the production is noticeably slower but masterfully mixed. Madonna's strident vocals are compelling, encapsulating the sensual mood immaculately. Everybody teases similar qualities with the heavy synths but the dispassionate moaning, demo-like production and vocal mixing make it difficult not to call it the weakest point on the album. The hooks are more irritating than catchy ("everybody/get up and do your thing') and the verses are laughable. The track shouldn't be taken too seriously but in comparison to Holiday, the liveliness doesn't compare. In retrospective, the album was significant in the development of Madonna's image, music and artistry. Her strong persona is subtlety scattered throughout; a characteristic that would afflict and elevate her career to the pop staple she became. The sensual undertones aren't as overt but clearly embodied. Vocal wise, her signature expressive and emotive style is present but roughly. Recommendation: begin with this album but revisit it once you finish her discography. It isn't the worst album but it isn't one of her best.
  7. Album

    Lemonade: Album Review WHEN WILL YOUR FAVE!!!!!!!!!!!! This album was the greatest piece of work since 21 in 2011 and that is saying alot because there were alot of good album since between that time period.Her vocals were great, the production was golden and i liked 95% of the album tracks. Upon its debut, i was confused about the album's concept. i couldnt figure out who she was talking to, and it wasnt until i looked on a review of it did i see she was referring to Jay-Z in most of the songs. My favorite part about Lemonade was how connected, how real Beyonce sounded. I think ever since 2011, Beyonce has managed to make her self more part of her music. You can see in self-titled and this album that she meant what she said. Lyrically, the album was amazing. I mean, i love lines like,"When he f*** me good i take his a** to red Lobsters" and "Show me your scars". Like i said, i never felt an album that was crafted so perfectly since Adele's 21. To deal with a man who cheats on you and make you cry is hard to make into an album without sounding repetitive and cheesy. Beyonce mastered that with this album and i appreciate it greatly. Highlights include Formation, which was the BOP of 2016 to be truthful. I never spent a week with out playing it at least once. Sorry, Sand Castles and hold Up were the tracks that really made me realize the meaning of the album; amazing songs they were. Lyrics:A+ Vocals:A Production:A Overall:A+(the very first album to receive an A+ from me)
  8. ~ Dairy of an Otaku ~ #3 My God, I just realized it's been 2 months since I posted in this Blog. Such a shame, I've been slacking Anime lately. But now, I'm back at it again and just wanted to mention I re-watched both seasons of Attack on Titan. Gave to stay strong to wait another year (if we're lucky) for some new material. But I loved the OVA's especially the one about Levi's backstory. Also finished the Attack on Titan Junior one today. Nothing too special, but it was amusing. So by saying this I want to make an overview of things I'll be watching ASAP and we'll see what I can get to in this week. I'm of course always looking for recommendations so leave them in the comments below! ON BOARD TO WATCH ¤ Alice & Zouroku ¤ I remember trying out the first episode of this one and enjoying it and feeling intrigued to find out more about the story. And now that it's been two months since I posted for the last time, I checked and all the episodes are online now. So will definitely be watching! Summary: The story centers on a little girl called Sana, who is one of the children that holds the power of "Alice's Dream," an ability that enables her to materialize anything she imagines. After escaping a lab where she was a test subject, Sana ends up in a normal world where she encounters an old man named Zouroku, but will he help her? ¤ Hinako Note ¤ Definitely loved the first episode of this one and the final episode of this one has also been posted online. I can not wait to finish this one. The characters were all so cute and the scenery was breathtaking, so I'm excited to see how this storyline unfolds. Summary: Hinako is a shy little girl whom animals are instinctively drawn to. Because of this, Hinako works as a scarecrow to keep said animals away from the crops in her neighbors fields. Thus the tale of the scarecrow girl begins! ¤ The Eccentric Family ¤ I've been looking forward to watching this one! It has two seasons, so I've got some serious bing-ing to do. Haven't seen anything of this one yet, with all the gifs with the animals and magic that I've seen is already getting me excited and there's not much more persuading I need. Summary: In Kyoto, there are three kinds of residents: humans, raccoon dogs, and tengu. Shimogamo Yasaburou is the third son of the Shimogamo raccoon dog family. His father, Souichirou, had been the head of Kyoto raccoon dog community until he was eaten by the human members of "Friday Club". While taking care of old tengu, fighting with other raccoon dogs, and playing with a psychic human girl, Yasaburou approaches the truth of his father's death. TRY-OUTS FOR UPCOMING WEEK ¤ Shuumatsu Nani Shitemasu ka? Isogashii Desu ka? Sukutte Moratte Ii Desu ka? / WorldEnd: What do you do at the end of the world? Are you busy? Will you save us? ¤ Summary: Five hundred years have passed since the humans went extinct at the hands of the fearsome and mysterious 'Beasts'. The surviving races now make their homes up on floating islands in the sky, out of reach of all but the most mobile of Beasts. Only a small group of young girls, the Fairies, can wield the ancient weapons needed to fend off invasions from these creatures. Into the girls’ unstable and fleeting lives, where a call to certain death could come at any moment, enters an unlikely character: a young man who lost everything in his final battle five hundred years ago, the last living human awakened from a long, icy slumber. Unable to fight any longer, Willem becomes the father that the girls never had, caring for and nurturing them even as he struggles to come to terms with his new life, in which he feels the pain of helplessly waiting for his loved ones to return home from battle that his 'Daughter' once felt for him so long ago. Together, Willem and the girls gradually come to understand what family means and what is truly worth protecting. ¤ Tsuki ga Kirei ¤ Summary: Kotarou Azumi and Akane Mizuno became third year students at junior high school and are classmates for the first time. These two, along with fellow classmates, Chinatsu Nishio and Takumi Hira, relate to their peers through mutual understandings and feelings. As their final year at junior high school progresses, the group overcome their challenges to mature and become aware of changes in themselves. ¤ Clione no Akari ¤ Finally! This is one I've really been looking forward to, even though it seems to be getting bad ratings, I don't really care until I've seen something for myself. And honestly, a lot of people are saying Attack on Titan is overrated, well, I never let that stop me either. Summary: The story centers around an illness-stricken, constantly bullied orphan girl named Minori. After one rainy day, she doesn't turn up at school, having been admitted into a hospital in a distant town. Two months pass, and the girl's two school friends, Takashi and Kyōko, receive a mysterious email with no sender listed. The email reveals a summer festival taking place at a nearby town .... SIDE-NOTE: Sagrada Reset won't finish until September, so I'm gonna wait with that one. Once again, let me know if you wish to be added or removed from the taglist. RECOMMENDATIONS:
  9. "Do you ever look around at the pop culture landscape and wonder which cultural icons will still be obsessed over and celebrated decades from now, joining the ranks of women like Marilyn Monroe, Bianca Jagger and Diana Ross? Our money's on Rihanna, because whether she's whipping around in her own motocross-inspired designs or showing up to the red carpet looking like a literal princess, she's always show-stopping. This was true as ever at the London launch of Fenty Beauty at Harvey Nichols Knightsbridge on Tuesday evening. Wearing a frilly lavender dress from British designer Molly Goddard, custom-made shoes from René Caovilla and a diamond ring from Anabela Chan, Riri leaned into her femme side without seeming cutesy. Of course, her beauty look was no afterthought, and her blush, eyeshadow and glossy lips all featured undertones of lavender that coordinated with her frock. According to a post on Fenty Beauty's Instagram page, the tone-on-tone makeup look was the result of a combination of the brand's Matchstix in Unicorn and Confetti, which were both swiped over Rihanna's lids, cheekbones and lips." https://fashionista.com/2017/09/rihanna-fenty-beauty-harvey-nichols-launch I see no lies
  10. I'm back with an album review of a record where praise seems hard to come by! There's like a million editions of this album with various bonus tracks and they're all messy so I'm just going to go with the version I created for my iTunes. THE TRINITY: Halo, If I Were a Boy, Ave Maria #LachlanDELETES: Radio (fight me Lord Stoneheart), Hello OVERALL SCORE: 76/100 --- ALBUM RANKING SO FAR B'Day - 81 I Am Sasha... Fierce - 76 Dangerously In Love - 72
  11. The answer comes early in “Five Foot Two,” as an unvarnished Gaga gets real while sitting on the curb. “The thing with me and Madonna is that I admired her always and still admire her, no matter what she might think of me,” says Gaga. “The only thing that really bothers me about her is [that] I’m Italian and from New York, so if I have a problem with somebody, I’m gonna tell you to your face.”To hear Gaga tell it, if Madonna would just take her comments straight to the source, there’d be no beef. “She wouldn’t look me in the eye and tell me I’m reductive,” says Gaga, using one of the Material Girl’s pet adjectives. But there’s still hope, Gaga says, grinning: “I just want Madonna to push me up against the wall and kiss me and tell me I’m a piece of shit.” http://www.vulture.com/2017/09/what-does-lady-gaga-say-about-madonna-in-her-new-doc.html
  12. The hate this album get is outrageous. i mean, personally, it ranks second after My Love is Your Love and is my favorite of all her albums. Maybe it was th time in her career it was released, but this is a good album, full of hidden gems and some of the best songs Whitney has ever recorded. One Of Those Days-9/10 When the first son g off an album sucks, it sets a bad taste to the listener, fan or not. But Whitney's first track was the case. One Of Those days is a song about hoping, needing a time of peace from all the stress of daily life and while for Whitney it was much bigger than that at the time, this song is a more than decent track. Tell Me No-10/10 Yes, this is the first 10/10 track off the album. I feel as if this was a jab to her record label, who were still trying to control her nearly 20 years into her career. With the defiant lyrics and Whitney's booming voice and the little guitar-like riff at the end makes this a great track to listen to. Things You Say-9/10 Like i said, i really like this album and at first, Things You Say is a track I wondered if Whitney didnt really pay attention to. It in a way, reminds me of Rihanna's "Love On the Brain" as they both sound lazy and a bit tipsy but its a cool R&B track to listen to when relaxing in a tub full of warm water or by the fire on a rainy day. My Love-7.8/10 Y'all know how I feel about the majority of Whitney's duets. Im not trying to say Bobby Brown is a talentless act, but this was his, what, second collab with Whitney and the first time, this song was just not good at all and this time, his voice had lost alot of it's goods, and , unlike Whitney, who was going through the same problem, he couldnt make it sound good.
  13. Review

    DJWS just played it I'm trying to find a link And it's really good
  14. They talked about a few topics connected to the documentary, full interview HERE!
  15. Review

    Open the pictures in a new tab and click on them, they should zoom in.
  16. Here's Gaga teaching us how to talk about our fucked experiences in a graceful manner in front of our Grandpa: Vs High With Friends:
  17. (Upon @Anna-wa's request!) Pretty Hurts - 4/10 The intro is cute. Overall, I think the song is too whiney and like it's trying too hard. Not a good choice for an opener either. Haunted - 5/10 Sounds like a Lemonade reject. The beat is pretty ear friendly. I think it would make a better interlude to outro the album. Drunk In Love (feat. JAY Z) - 6/10 This song literally encapsulates an aeons. It's sooo long. Nevertheless it's still a cute trashy bop that lives up to the "Drunk" in it's title. Jay doesn't add much. Blow - 9/10 Best song on the album! When I listened to BEYONCÉ top to bottom, this was such a refresher to my sanity after the record starting dragging on only three tracks in. The beat melted into my ears, dripping sensuality. I've only watched a handful of the videos from this album and this is my favourite after Yoncé No Angel - 3/10 Not feeling these vocals at all. Continues the trend of boringness. No redeeming qualities, except for the occasional clean vocals. Partition - 8/10 Yoncé is the track that got me to start paying proper attention to Beyoncé. A great intro. Possibly my favourite intro ever. I'd loose a finger for a full version! The video is also gorgeous! Partition itself isn't as good, but it's still enjoyable and defiantly should have been the album's opener. The french at the end is cool and the translation is interesting. I have to savour the bops on this album as they're few and far between. Yoncé and Partition do not disappoint Jealous - 6/10 Reminds me of the opening line of UUC by Willam (his parody of Love On Top). The song is okay. Not particularly interesting or special. Rocket - 6/10 Sonically pretty. A slight improvement from the jealous. It could've been shorter by a minute. Mine (feat. Drake) - 6/10 Meh. I feel like this song could've been way more high energy. Drake's chorus parts are what keep this song afloat for me, despite them not jelling with the song. I would prefer a whole two minutes chopped off the track time. XO - 3/10 The whole song is basically just one giant chorus that is completely uninspired. It sound like some boring festival bop. I don't see why it was the lead. ***Flawless (feat. Chimamanda Ngozi Adichie) - 7/10 I don't see anything wrong with this song. Feminist "anthems" just don't seem necessary anymore. The speech sample was mixed in well. Superpower (feat. Frank Ocean) - 6/10 Meh. Heaven - 5/10 She isn't out of slow songs yet? Blue (feat. Blue Ivy) - 5/10 7/11 - 6.363636364/10 () Decent trashy bop. Nothing more, nothing less. Flawless Remix (feat. Nicki Minaj) - 8/10 Revive me bitch! My attention span is back! Nicki's verse is fire! This version trumps the original by far! Drunk in Love Remix (feat. JAY Z & Kanye West) - 6/10 Kanye makes it less boring, but not much better. Jay didn't need to be on this version Ring Off - 6/10 The production is adorable Blow Remix (feat. Pharrell Williams) - 9/10 Ain't better or worse! Pharrel and Bey have moderate chemistry. I'd be interested in them collaborating again. Standing on the Sun Remix (feat. Mr. Vegas) - 6/10 Meh. Grown Woman - 8/10 A bop that should have not just been a video exclusive! The attitude is on point. General commet/s: There was A LOT of fat that could've been trimmed!!! FINAL SCORE : 6.11/10 Best: Blow Worst: Angel If you would like me to review another album, let me know.
  18. In celebration of Madonna’s birthday (August 16), we’ve deemed it Madonna Day on Pitchfork. We’ve reviewed four of her classic albums—her 1983 debut, 1989’s Like a Prayer, 1994’s Bedtime Stories, and 1998’s Ray of Light—and now we move onto the ties that bind her career. If you were to see someone tweet the phrase “Madonna is everything,” you might attribute it to a very 2017 type of online hyperbole. And yes, Madonna is everything in that sense, but from a pop perspective Madonna also feels like everything because in a career spanning four decades she has attacked, absorbed, and conquered pop music from every possible angle. When Madonna’s referenced as the Queen of Reinvention, it tends to suggest the linear series of career moves, from album to album, sonic era to sonic era, hairstyle to hairstyle. In reality, her layered approach to pop domination has frequently seemed to consist of multiple Madonnas existing at the same time. Here are six of her best, key to understanding her work. Madonna, The Controversialist Many of Madonna’s supposedly controversial songs (like ‘80s hit “Papa Don’t Preach,” with its subtext of abortion) are now more clearly identified as feminist statements or expressions of self, but that’s not to say Madonna has never deliberately courted outright controversy. It’s easy to mock the quaint ’80s reaction to the lyrics of “Like A Virgin,” but it’s also fair to say that if a mainstream 2017 pop act—Ariana Grande, for instance—released the video Madonna made for “Like A Prayer,” all hell would still break loose. That video tackled religion, race, and sex, with scenes depicting murder, burning crosses, and Madonna with stigmata-esque wounds. It led to predictable complaints from the American Family Association, a denouncement by the Vatican, and a $5 million Pepsi ad campaign being benched. It would have been disingenuous of Madonna to feign surprise at the reaction. And she didn’t. Her response? “Art should be controversial, and that's all there is to it.” Madonna upped the ante on her next formal album, 1992’s Erotica, and its accompanying artifacts, including the boundary-breaking “Justify My Love” video and a coffee table book called Sex, whose main shock value these days involves the inclusion of Vanilla Ice. Fast-forward to 2017, after decades of refusing to be silenced: Live on CNN from the Women’s March on Washington, Madonna delivered a passionate speech about change, sacrifice, rebellion, the tyranny of Trump, and the power of love. There was more, of course: “To our detractors that insist this march will never add up to anything: fuck you. Fuck. You.” Not great news for CNN’s switchboard but a fair point, well made. Madonna, The Club Queen When Madonna descended on New York in 1978, she’d just dropped out of a University of Michigan dance scholarship and was hell-bent on making it as a professional dancer. So, spoiler alert, she’s not averse to tripping the light fantastic, as her 1983 debut proved out the gate. Her discography is full of floorfillers, and she holds the record for the most No. 1 singles on Billboard’s Dance/Club Songs Chart, even if some of those chart-topping tracks—like the various mixes of the poignant gender-role assessment “What It Feels Like For A Girl”—make for a somewhat complex shimmy. Peppered throughout Madonna’s career are more direct hints at what it might be like to actually—imagine this!—go dancing with Madonna. She likes to boogie woogie, this much we know from “Music.” On the 2000 album track “Impressive Instant,” Madonna reveals that her skills extend to both rhumba and samba (though bear in mind this was also the song where she declared, “I like to singy singy singy like a bird on a wingy wingy wingy,” so there’s that). Most significantly, Madonna’s belief in the dance floor as a sacred space is described in “Vogue” with words some will find as inspiring in 2017 as listeners almost three decades ago did: “When all else fails and you long to be something better than you are today, I know a place where you can get away—it's called a dance floor.” Released a few years earlier, True Blue album cut “Where’s The Party” was ostensibly a song about going out and losing control after a week at work. Madonna wistfully recalls that as a child she “couldn’t wait to get older,” before acknowledging that getting older hasn’t been everything she’d hoped, then looking ahead to the future: “Don't want to grow old too fast, don’t want to let the system get me down.” Like some of the best pop songs, it’s about living in the moment, even if the importance of doing so only makes sense in the context of what came before, and what will come in the future. Which leads us to… Madonna, The Clockwatcher Madonna looked closer to home on another time-shifting track, “This Used to Be My Playground” from A League of Their Own, with further songs like “Oh Father” and “Live To Tell” also looking back on Madonna’s upbringing with themes of defiance, resolve, and closure. A more literal timepiece motif emerged during the 2000s, when the lead singles from two successive Madonna albums each began with the sound of a clock ticking. In the first, 2005’s Abba-sampling behemoth “Hung Up,” the ticking clock was inspired by producer Stuart Price’s earlier remix of Gwen Stefani’s “What You Waiting For,” and was followed by Madonna’s observation that “time goes by so slowly for those who wait, those who run seem to have all the fun.” By 2008, it was Timbaland administering the ticks on “4 Minutes,” rather improbably Madonna’s second most-streamed song on Spotify. That song’s lyrics (“We only got four minutes to save the world… grab a boy, then grab a girl”) suggested procreation-based speed dating, but Madonna later explained that they hinged on “living on borrowed time essentially, and people are becoming much more aware of the environment and how we're destroying the planet.” Madonna may have overestimated the urgency but, well, that clock’s still ticking. Madonna, The Moviegoer The are various words we might use to describe Madonna’s film career, one of the more generous being “lengthy.” Since the ’80s, Madonna’s screen credits have prompted a series of musical contributions whose quality has frequently, often mercifully, failed to correlate with that of the actual movie. Were one to assemble those alongside songs contributed to films in which Madonna didn’t even appear, you’d have one of the modern pop era’s most surreal career retrospectives. It would include glossy pop jam “Who’s That Girl,” wistful ballad-banger “I’ll Remember” (from a dreadful Joe Pesci-Brendan Fraser vehicle), the William Orbit-produced, Austin Powers-soundtracking “Beautiful Stranger,” a peculiar cover of “American Pie” featuring Rupert Everett, the slightly mind-boggling “Hanky Panky" (and the rest of her *Dick Tracy* companion LP), futuristic Bond theme “Die Another Day,” and (on a technicality) “Into the Groove.” By law, that compilation would also need to include Madonna’s take on “Don’t Cry For Me Argentina,” but not the version she sang in Evita. Instead we’d have the castanet-strewn, 100 percent spectacular, seven-minute remix, for which Madonna recorded brand new vocals and a second chorus entirely in Spanish. Sadly, some may say criminally, this definitive version of “Don’t Cry For Me Argentina” is unavailable on streaming services, but it does live on via YouTube. Madonna, The Pensive Chanteuse Treat with deep suspicion anybody who links lyrical substance to low tempo. That said, while Madonna has definitely explored the extremes of human emotion via dance floor smashes, some of her most profound thoughts have arrived within her most elegant songs. On her wildly underrated American Life album, “Nothing Fails” boasts a tempo that barely reaches the status of mid, but for a truly downbeat masterpiece, try Ray Of Light’s “Drowned World/Substitute For Love,” a prelude to a reflective and immersive album whose sonic departure made it the riskiest move in a career built on the avoidance of safe decisions. It’s there that we found Madonna, who’d previously sung plenty about being a daughter, singing for the first time about being a parent (via sparse lullaby “Little Star”) while also, on mesmerizing album closer “Mer Girl,” reflecting on the death of her own mother. Madonna, The Hopeful Romantic Madonna undoubtedly defined the role of sex in modern pop, but just as prominently—in songs as diverse as “Take A Bow,” “Get Together,” and “Borderline”—are themes of romance, heartbreak, and optimism. “The thing is,” Madonna told Rolling Stone regarding 2015’s “Living For Love,” “lots of people write about being in love and being happy or they write about having a broken heart and being inconsolable. But nobody writes about having a broken heart and being hopeful and triumphant afterwards. I didn't want to share the sentiment of being a victim. This scenario devastated me, but it just made me stronger.” The survival spirit of “Living for Love“ came to life in an unexpected way. One of the song’s first performances took place at the 2015 Brit Awards, where, at a key moment, a dancer tugged Madonna’s cloak. The garment should have billowed away to reveal Madonna’s full performance outfit, but the clasp jammed. Madonna was abruptly yanked off the stage platform but was back on her feet within seconds, singing lines like, “Lifted me up, and watched me stumble… after the heartache, I’m gonna carry on.” She finished the song, conjuring a live TV victory where others would have conceded defeat. The aftermath was Madonna in excelsis: She didn’t block the performance’s upload to the Brits’ YouTube channel. She didn’t hide the imperfection or pretend it had not happened. In fact, within a week, the full performance was on her official VEVO channel, where it remains. Elsewhere on Rebel Heart, Madonna sings, “I’m only human”—which is true, of course. Madonna definitely is a human being—she just happens to be one whose remarkable longevity and multifaceted creativity justify her reputation as the Queen of Pop. http://pitchfork.com/thepitch/6-sides-of-madonna-that-explain-her-genius-listening-guide/
  19. OMAHA -- As she showed millions during the televised Super Bowl halftime show, Lady Gaga is a great live performer. As she showed a packed CenturyLink Center Saturday, she’s better and more impressive in person in an arena. Starting 90 minutes late for reasons not disclosed, Gaga’s two-hour show was a masterpiece of entertainment, innovatively staged and strikingly arranged and choreographed from her opening cry of “I am Joanne” onward. That yell brought out the first of many Gagas. For the first four songs, she was the rock singer, who strapped on a guitar, and roared through the opening number “Diamond Heart” and, with her five-piece band, put a guitar punch into “Poker Face” as Gaga, her band and dancers performed on a stage that moved up and down in sections in front of a bank of bright lights. Along the way, more Gagas emerged, most often after short “intermissions” and a costume change -- the pop star, the singer-songwriter, the vocalist, the musician, the dancer. She can do it all and did in a concert that was music theatre in the best, not the Broadway sense of the term. While the show has some jarring juxtapositions in tone, Gaga never failed to captivate -- whether gyrating with her dancers on a raised platform on “Dancin’ In Circle” and “Paparazzi,” where she was letting her internal tramp out to play or, minutes later, sitting alone with an acoustic guitar, telling the heartrending family story behind, then singing the song “Joanne,” the title cut cut of her new album. The “bridge” was part of the stunning stagecraft that saw three large, cloud-like structures near the ceiling serve as lighting bays, transform into video screens, then lower down the bridges that allowed Gaga and her dozen-or-so dancers run from the main stage, onto two platforms to a second stage at the opposite end of the arena. There, she delivered the night’s most impressive performance, a solo take on “The Edge of Glory,” as she played piano and emotively sang at her very best. As for the costumes, well, they fit the moment, coming out in a David Bowie-esque outfit for the glittery “Just Dance,” “LoveGame” and “Telephone” -- that would be the glam Gaga, wrapping a fluffy white skirt around herself as she strutted down the bridges during her anthem “Born This Way” and wearing a white-winged mask to kick off the final segment of the evening that began with “Bad Romance.” Before that song, she asked “Where are my Little Monsters?" They were there in droves and connected with her from start to finish. So did everyone else in the building. Lady Gaga is no longer the pop star of the moment. To be honest, “Joanne” isn’t her best album nor were the songs from it the peaks of the night. But she is, unarguably, today’s top pop singer, capable of duetting with Tony Bennett or belting out rockers as well as a talented dancer and a purveyor of unvarnished emotion and heart that few if any can match. Add the striking staging, lights, dancers and choreography and Gaga’s show was terrific -- once it got started. http://journalstar.com/blogs/ground-zero/lady-gaga-demonstrates-she-s-a-great-live-performer-in/article_48b26854-8575-11e7-8553-e70e6bd765af.html AMEN
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