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'You Don't Know Madonna'

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if only 3 of them were on actual subject rip1kii

Yeah, it's the forum equivalent of selling a million albums in the opening week and I don't know, like 440,000 or some random number were sold for less than a dollar.

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well theres no lie Gagz was heavily influenced by Madonna no one cant deny that xtina11

 

You know, I'd like to say that's the case but... all I'll say is that if I were an established artist, yada yada yada everyone is so mean to me, blah blah blah the press, the media, they're so negative, etc etc etc stop the drama, start the music, etc etc here's an iTunes link to G.U.Y. download it seven times for each day of the week you love Mother Monster kthnxbai

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You know, I'd like to say that's the case but... all I'll say is that if I were an established artist, yada yada yada everyone is so mean to me, blah blah blah the press, the media, they're so negative, etc etc etc stop the drama, start the music, etc etc here's an iTunes link to G.U.Y. download it seven times for each day of the week you love Mother Monster kthnxbai

 

 

THE ACCURACY OF THIS 

 

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I made it through part 1 and 2, I will read rest later, I was raelly enjoying it but have to take a break fall3.gif' alt='fall2'>

 

I love this paragraph, it makes total sense

 

 

 

The great surprise of Madonna’s career is that she’s fared so poorly as a movie actress. Yet the reason is hardly a mystery; conventional acting involves erasing all traces of one’s self-awareness, while Madonna’s performance strength consists of letting us know that she knows what she’s doing, even as she does it (New York’s Stage Deli offered a sandwich fittingly called the Madonna Tongue n’ Chic). She’s at her best playing wisecracking dames like Susan in Desperately Seeking or Mae in A League of Their Own, characters for whom jokey self-mockery feels most natural. But in other roles (most egregiously as Rebecca Carlson in Body of Evidence), the effort of keeping a straight face seems to flatten out all of Madonna’s usual animation. Her most recent film performance, in Swept Away (directed by her British husband, Guy Ritchie), contains both these extremes: Madonna has a field day vamping as the snarling, cartoonishly vicious Amber in the first half of the movie, but as the tame and devoted Amber of the second half, she’s blah. What’s missing is the savvy brand of narcissism that fuels Madonna’s vast energy. Without that, she’s just a person with limited acting skills in someone else’s movie.
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