bruises on my leg from rehearsal
cut my lip from rehearsing Girl Gone Wild
heart shaped bruise on my ass
12:02PM GMT 07 Mar 2012
Saturday, March 10, 2012
'Billboard’ Magazine.. Gives Madonna’s ‘M.D.N.A.’ A Very Favorable Review "Madonna is still very much the Queen of Pop."
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Friday, March 9, 2012
GIVE IT 2 ME on CRACK?
Material Girl Madonna is slowly but surely amping fans up for her latest material. Although no major promo campaign will accompany ‘MDNA’, the Grammy winner’s 12th LP (March 26th), that hasn’t stopped her from readying the follow-up to its lead, top 10 single ‘Give Me All Your Luvin’.
However, with no Superbowl hype to consort the album’s second offering, does it have enough standalone staying power to slay charts? To get fans all riled up, Madge has prepped a sneak peek for the soon-to-be-released visual.
Check out all the action below and tell us if Madge is headed for a hit:
Madonna - Girl Gone Wild Video Official (Teaser)
Thursday, March 8, 2012
MDNA Wins Rave Reviews from Music Critics
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I'll Remember...1987
Rare French 2 track 7" of The Look Of Love. Fantastic French issue with the red sleeve, different to every other issue Worldwide. Side 1:The Look Of Love
Side 2: I Know It
I hated 'I Know It' back in the day when I first got the 'Madonna' album. I thought it didn't fit in with the funky vibes of the rest of the album. But, now listening to it I have gain a new appreciation for it. It’s kind of old skool, like a 'True Blue' vibe. I can envision the 'True Blue' video as the prequel to 'I Know It' and then it ends with 'Gang Bang'!
A love story through songs by Madonna
Fever
I Want You
Get Together
True Blue
Crazy For You
Hung Up
I Know It
Till Death Do us part
The Power of Goodbye
Take a Bow
Bye Bye baby
Gang Bang
Wednesday, March 7, 2012
WTF?!
“There’ll Be No ‘MDNA’ Launch Promo”
Controversial. Artistic. Cunning. These are but a few of the titles Madonna has worn over the course of her illustrious career. However, the trait shining brightest these days is the singer’s “business savvy”.
The MDNA era seems to be mishandled by Madonna's management team BIG time. With three weeks remaining before the release of the megastar’s ‘MDNA’ LP, fans -naturally- have been salivating over her promotional spots. Where she’s performing? Where she’s appearing. So on and so forth. Yet, it seems team Madonna have an altogether different strategy; one which centres on sales of the touring variety, as opposed to album figures.
For when quizzed on promotion for the album, the 53 year old’s manager Guy O’Seary replied on Twitter, offering:
“we don’t have any tv currently scheduled.. will keep you posted
there is no time for promo tour.. We are in full on tour mode.. Need to get it ll together.. working on other ideas..
she’s in full on rehearsals.. a teaser of video coming soon.. and video being edited now.. other things in the works.."
Needless to say an interesting approach; one which presents quite the conundrum.
On the one hand, it makes an abundance of sense. Madge’s album sales have been on a steady decline for the last 10 years. Yet, her tour-on-tour grosses ($) continue to break records. Hence, her new joint 360 deal with Live Nation and Interscope will see the label recoup millions and then some from her forthcoming world tour (which is already sold out in many countries). And with a projected $400 Million box office gross, the trek (which sets sail in May) will generate more for the label than the album would have – even with Lady GaGa type sales.
And yet, there’s the fact that fans who can’t afford her extortionate ticket prices won’t be privy to see their idol any time soon. A fact which sees ‘MDNA’ arguably serve as little more than commercial for a tour which’ll make Madge richer, yet leave many fans out of pocket.
It’s worth noting, though, that the commercial flare of the singles thus far indicate chart success may have been desired. However, after the lukewarm reception to both ‘Give Me All Your Luvin” and ‘Girls Gone Wild’, gears may have changed.
Whatever the case it’ll be interesting to see how the project plays out when it arrives on March 26th. Let's prey thatthe video for 'Girl Gone Wild' inhances the luke warm/been there done that/reductive song. Photoshopped single cover and all....just saying.
Quote Of The Day
"Life and love inspire me. I think reinventing yourself is vital to your survival as an artist and a human being. I know it’s cliché to say about me at this point, but it’s true. My curiosity definitely is the driving force in my life and career. When you stop learning, engaging and growing, you’re dead."
Madonna
Madonna's new album MDNA: track-by-track review
Madonna's 12th album MDNA finds her still in imperious pop mode...
1. Girl Gone Wild
A lean, sleek, electro stomper kicks proceedings off the way Madonna means to continue – with the machine tooled precision of 21st century techno-pop, balancing the twin requirements of radio friendly hooks and dance floor drive. “Girls they just wanna have some fun,” suggests our fearless leader.
Now where have we heard that idea before? This not particularly original notion is the album’s central manifesto: innocent amusement over introspection.
1. Girl Gone Wild
A lean, sleek, electro stomper kicks proceedings off the way Madonna means to continue – with the machine tooled precision of 21st century techno-pop, balancing the twin requirements of radio friendly hooks and dance floor drive. “Girls they just wanna have some fun,” suggests our fearless leader.
Now where have we heard that idea before? This not particularly original notion is the album’s central manifesto: innocent amusement over introspection.
2. Gang Bang
Despite an unfortunate title that younger fans would be advised not to google, this is not (thankfully) some brutal sex romp. Rather, the title is a misguided attempt to distinguish itself from Sixties pop classic Bang Bang, from which Madonna borrows the central image of murdering an errant paramour: “Bang bang, shot you dead / Shot my lover in the head”. Sparse and atmospheric, with a stripped back electrobeat and low, drawling vocal, buoyed by bursts of sub-bass and developing into a solid techno groove, its one of the album’s odder and most interesting tracks, only sullied by Madonna’s dedication to leaving no lyrical cliché unturned. She is a fish out of water, a bat out of hell, apparently.
Despite an unfortunate title that younger fans would be advised not to google, this is not (thankfully) some brutal sex romp. Rather, the title is a misguided attempt to distinguish itself from Sixties pop classic Bang Bang, from which Madonna borrows the central image of murdering an errant paramour: “Bang bang, shot you dead / Shot my lover in the head”. Sparse and atmospheric, with a stripped back electrobeat and low, drawling vocal, buoyed by bursts of sub-bass and developing into a solid techno groove, its one of the album’s odder and most interesting tracks, only sullied by Madonna’s dedication to leaving no lyrical cliché unturned. She is a fish out of water, a bat out of hell, apparently.
3. I’m Addicted
Arpeggiated synth sequences build into fizzing swells and stabs, bleeping and swooshing all the way. Very effective digital pop that will sound fantastic loud and hard on the dance floor but, like so many songs on Madonna’s 12th studio album, lyrics appear to have been added as an afterthought. Does anyone really need another song about being addicted to love, comparing the rush of hormones with narcotics? The vocal cuts and stutters, so that Madonna repeatedly declares herself to be a dick, dick.
Arpeggiated synth sequences build into fizzing swells and stabs, bleeping and swooshing all the way. Very effective digital pop that will sound fantastic loud and hard on the dance floor but, like so many songs on Madonna’s 12th studio album, lyrics appear to have been added as an afterthought. Does anyone really need another song about being addicted to love, comparing the rush of hormones with narcotics? The vocal cuts and stutters, so that Madonna repeatedly declares herself to be a dick, dick.
4. Turn Up The Radio
Even in the age of the internet, it is still the radio that holds romance for our 50-year-old pop queen. Lush, shimmery keyboards frame a slow start, with Madonna seeking space from the crowd (or rather, in an effort to use every cliché available, “the maddening crowd”), before a nice, wonky synth launches a solid pop belter. Madonna finds herself “sucked like a moth to the flame” but the slamming dance floor outro should distract from lyrical banality.
Even in the age of the internet, it is still the radio that holds romance for our 50-year-old pop queen. Lush, shimmery keyboards frame a slow start, with Madonna seeking space from the crowd (or rather, in an effort to use every cliché available, “the maddening crowd”), before a nice, wonky synth launches a solid pop belter. Madonna finds herself “sucked like a moth to the flame” but the slamming dance floor outro should distract from lyrical banality.
5. Give Me All Your Luvin’
Is the spelling meant to distinguish it in search engines from ZZ Tops’ Gimme All Your Lovin’? Madonna’s serial appropriation of perennially overused ideas might almost be passed off as some kind of pop parlour game.
The first single is the lightest, frothiest track on the album, deliberately dinky and cute, built on a burbling eighties synth and glam slam drum pattern. Its prime purpose appears to involve Niki Minaj and MIA represent all next generation female pop stars by swearing allegiance to the Queen with the chant of “L-U-V Madonna!”
Is the spelling meant to distinguish it in search engines from ZZ Tops’ Gimme All Your Lovin’? Madonna’s serial appropriation of perennially overused ideas might almost be passed off as some kind of pop parlour game.
The first single is the lightest, frothiest track on the album, deliberately dinky and cute, built on a burbling eighties synth and glam slam drum pattern. Its prime purpose appears to involve Niki Minaj and MIA represent all next generation female pop stars by swearing allegiance to the Queen with the chant of “L-U-V Madonna!”
6. Some Girls
Let’s give Madonna the benefit of the doubt and assume she didn’t know the Rolling Stones already have a song called Some Girls. Anyway, you’d never find Mick and Keith shaking their stuff to a mid-tempo groove with a deep electro bass line and stabbing synths. Producer William Orbit plays tricks with Madonna’s vocals, from intimate to echoed, tinny to seductive, but the intention is apparently not to portray Madonna as some kind of every woman: “Some girls are not like me / I’d never wanna be like some girls” she rather tartly declares.
Let’s give Madonna the benefit of the doubt and assume she didn’t know the Rolling Stones already have a song called Some Girls. Anyway, you’d never find Mick and Keith shaking their stuff to a mid-tempo groove with a deep electro bass line and stabbing synths. Producer William Orbit plays tricks with Madonna’s vocals, from intimate to echoed, tinny to seductive, but the intention is apparently not to portray Madonna as some kind of every woman: “Some girls are not like me / I’d never wanna be like some girls” she rather tartly declares.
7. Superstar
Sweet and summery, with a shimmering ambience built up from a ringing guitar loop and echoing tom tom pattern that might have been constructed from Beatle drum fills. The poppy melody and “ooh la la, you’re a superstar” singalong chorus houses a lyric so clumsy its obtuseness almost sounds deliberate: “You can have the password to my phone / I’ll give you a massage when you get home”. For someone determined to keep up with the kids, Madonna’s retro references for ideal men may leave the youngsters baffled: Brando, Travolta, James Dean, Bruce Lee and Abe Lincoln (cause you fight for what’s right”).
Sweet and summery, with a shimmering ambience built up from a ringing guitar loop and echoing tom tom pattern that might have been constructed from Beatle drum fills. The poppy melody and “ooh la la, you’re a superstar” singalong chorus houses a lyric so clumsy its obtuseness almost sounds deliberate: “You can have the password to my phone / I’ll give you a massage when you get home”. For someone determined to keep up with the kids, Madonna’s retro references for ideal men may leave the youngsters baffled: Brando, Travolta, James Dean, Bruce Lee and Abe Lincoln (cause you fight for what’s right”).
8. I Don’t Give A
There is real energy to this Martin Solveig production. Madonna delivers a raised middle finger to the world in general, and ex-husband Guy Ritchie in particular: “I tried to be a good girl / I tried to be your wife / I diminished myself / And I swallowed my light / I tried to become all / That you expect of me / And if I was a failure / I don’t give a …” (I’ve been trying to think of an obscenity that rhymes with “me”, but maybe I am missing the point). The ending twists into a big, autotune choral coda with the drama of a techno Carmina Burana. An album highlight, though Niki Minaj’s explosive rap rather shows up Madonna’s more static delivery.
There is real energy to this Martin Solveig production. Madonna delivers a raised middle finger to the world in general, and ex-husband Guy Ritchie in particular: “I tried to be a good girl / I tried to be your wife / I diminished myself / And I swallowed my light / I tried to become all / That you expect of me / And if I was a failure / I don’t give a …” (I’ve been trying to think of an obscenity that rhymes with “me”, but maybe I am missing the point). The ending twists into a big, autotune choral coda with the drama of a techno Carmina Burana. An album highlight, though Niki Minaj’s explosive rap rather shows up Madonna’s more static delivery.
9. I’m A Sinner
With Orbit back at the controls, this is reminiscent of the uplifting thrill of Ray of Light. Constructed on a drum loop, it pulses along with a fluid almost Sixties keyboard, building to a big, declarative chugging gospel techno ride, with Madonna exultantly declaring that, like St Augustine, she wants to be saved, but not quite yet. A breakdown into a recitation of Saints (Christopher, Sebastian and Anthony all get a name check) is effective, and it ends with “ooh ooh”s cheekily reminiscent of Sympathy For The Devil. Fun.
With Orbit back at the controls, this is reminiscent of the uplifting thrill of Ray of Light. Constructed on a drum loop, it pulses along with a fluid almost Sixties keyboard, building to a big, declarative chugging gospel techno ride, with Madonna exultantly declaring that, like St Augustine, she wants to be saved, but not quite yet. A breakdown into a recitation of Saints (Christopher, Sebastian and Anthony all get a name check) is effective, and it ends with “ooh ooh”s cheekily reminiscent of Sympathy For The Devil. Fun.
10. Love Spent
Gypsy string loop and brief, treated Spaghetti Western banjo flourishes introduce an almost organic feel to a very synthetic, stylised album. A pop song about love and money (topics the Material Girl frequently conflates) it weaves elegant electro patterns and builds to a big, throbbing chorus.
Gypsy string loop and brief, treated Spaghetti Western banjo flourishes introduce an almost organic feel to a very synthetic, stylised album. A pop song about love and money (topics the Material Girl frequently conflates) it weaves elegant electro patterns and builds to a big, throbbing chorus.
11. Masterpiece
Sweet, gentle love song with a Spanish guitar loop, a light beat and flowing melody, filled out by synthetic strings. The theme song for her critically panned film W.E., she may have been thinking of Prince Edward when she wrote “honestly, it can’t be fun / To always be the chosen one”, but the message applies just as much to Madonna herself. For most of this album she seems determined to demonstrate that a 50-year-old mother of four can still cut it with the kids at the club. Yet, perversely, she sounds most at ease when she calms down a bit and acts her age.
Sweet, gentle love song with a Spanish guitar loop, a light beat and flowing melody, filled out by synthetic strings. The theme song for her critically panned film W.E., she may have been thinking of Prince Edward when she wrote “honestly, it can’t be fun / To always be the chosen one”, but the message applies just as much to Madonna herself. For most of this album she seems determined to demonstrate that a 50-year-old mother of four can still cut it with the kids at the club. Yet, perversely, she sounds most at ease when she calms down a bit and acts her age.
12. Falling Free
The first five tracks of MDNA are all produced by hit techno teams and the results are digitally sparkling, catchy and contemporary. The second half of the album is presided over by William Orbit, and while not as immediately hook laden, there is more sonic depth and invention. But only on the album closer is there a suggestion of a musical life beyond the hit parade. With a cascading, beatless melody and poetic, free form lyrics, Madonna’s pure, dreamy vocal has her declaring herself “free to fail.” It is a song about letting go, by a woman who, most the time, seems to be holding on very tightly indeed. Although out of character with the rest of this youth-focused electro dance pop confection, it suggests that Madonna may actually have musical and emotional places to explore when she eventually tires of setting the pop pace.
The first five tracks of MDNA are all produced by hit techno teams and the results are digitally sparkling, catchy and contemporary. The second half of the album is presided over by William Orbit, and while not as immediately hook laden, there is more sonic depth and invention. But only on the album closer is there a suggestion of a musical life beyond the hit parade. With a cascading, beatless melody and poetic, free form lyrics, Madonna’s pure, dreamy vocal has her declaring herself “free to fail.” It is a song about letting go, by a woman who, most the time, seems to be holding on very tightly indeed. Although out of character with the rest of this youth-focused electro dance pop confection, it suggests that Madonna may actually have musical and emotional places to explore when she eventually tires of setting the pop pace.
Tuesday, March 6, 2012
I Bet You Think This Song is About You...
Fans have been left with little doubt over the singer’s feelings for ex-husband Guy Ritchie, after she revealed snipping lyrics in her forthcoming album.
It seems like our fair Madge is letting some issues loose in her new album, MDNA. Her anger at former husband someone "unknown" fires in full force in the track Bang Bang:
"Bang bang, shot you dead/Shot my lover in the head/Now my lover is dead/And I have no regrets/He deserved it/And I’m going straight to hell/And I got a lot of friends there/And if I see that bitch in hell/I’m gonna shoot him in the head again/Cuz I want to see him die/Over and over."
In the song I Don’t Give a . . . the material girl croons about the ex-couple's 8 year marriage:
"I tried to be a good girl/I tried to be your wife/Diminished myself/And I swallowed my light/I tried to become all/That you expect of me/And if it was a failure/I don’t give a [bleep]."
No rage compares to that of a woman scorned, Ritchie, you better get ready to repent your ways!!
It is not the first time the pair, who were married for eight years, have traded blows publicly. Last year, film director Ritchie told a US Lourdes
The album will not be completely focused on the femme fatal . One track entitled Superstar has an ethereal feel to it and features vocals from Lourdes
Monday, March 5, 2012
Saturday, March 3, 2012
'Girl Gone Wild' RollingStone Review
Madonna
"Girl Gone Wild"
Rolling Stone: star rating
Community: star rating
February 29, 2012
Madge pissed off Girls Gone Wild scumtard Joe Francis with the title of her latest - and that isn't the only admirable thing about this return to the straight-ahead club trance she holds dear. Sure, as wildness goes it's closer to Parks and Recreation's Leslie Knope than Britney Spears, but the track (by Italian house producer Benny Benassi) smartly inverts the overpowering apocalypse pump of "Till the World Ends" into Euro-spa electro burble that's buoyant and warm-rinse soothing. It's the sound of a woman who hits the dancefloor for restoration more than craziness. After the "Mickey"-recalling head-scratcher of "Give Me All Your Luvin'," it's nice to see her get back into the groove.
Friday, March 2, 2012
Thursday, March 1, 2012
I am listening to the Madonna album.
MDNA, recorded in New York and LA, reunites Madonna with former collaborator William Orbit (“Ray of Light”) who co-wrote and co-produced several cuts on the new album. Other co-producers include Martin Solveig, The Demolition Crew, Marco “Benny” Benassi and Alessandro “Alle” Benassi, Hardy “Indiigo” Muanza, Michael Malih and Madonna.
We already revealed that Nicki Minaj and M.I.A. were featured on the lead single “Give me all your Luvin’” and also featured separately on two different tracks.
Now Universal Music Italia confirms that “I Don’t Give A” features Nicki Minaj and, as we already know, “B-day song” features M.I.A.
Other collaborators are LMFAO, Klas Ahlund, Joe Henry and Mika, who co-wrote one of the songs.
The Swedish songwriter and record producer Klas Ahlund has already worked with the likes of Britney Spears and Kylie Minogue, but was also co-writer and producer for the incredible “Body Talk” albums by Robyn.
Madonna’s brother-in-law Joe Henry is no stranger and worked with Madonna in the past on titles such as “Don’t Tell me”, “Jump”, and “Devil Wouldn’t Recognize You”.
2CD Deluxe version
1 Girl Gone Wild
2 Gang Bang
3 I’m Addicted
4 Turn Up the Radio
5 Give Me All Your Luvin’
6 Some Girls
7 Superstar
8 I Don’t Give A
9 I’m a Sinner
10 Love Spent
11 Masterpiece
12 Falling Free
Deluxe Edition Bonus Tracks:
13 Beautiful Killer
14 I F****d Up
15 B-Day Song
16 Best Friend
17 Give Me All Your Luvin’ (LMFAO Remix) [feat. Nicki Minaj and LMFAO]
I'll Remember...1979/1984
A Certain Sacrifice is the singer Madonna's first movie, made in September 1979, written and directed by Stephen Jon Lewicki. Madonna starred with Jeremy Pattnosh and Charles Kurtz. Madonna's earliest film was not released until 1985. The movie itself is an "oddball" indie, shot on-and-off over two years for a paltry sum of $20,000 (with virtually all of the actors in the film unpaid) in New York City. Madonna played the part of Bruna, a Lower East Side resident who lives with three "love slaves" (one male, one female, one transgender). Bruna meets Dashiell (Pattnosh) in the water fountain in Washington Square Park and the two "fall in love". Bruna tells her lovers she doesn't need them anymore. They attack her sexually (this scene caused controversy since Madonna is topless). Later, Bruna is raped by Raymond Hall (Kurtz) in a bathroom at a coffee shop. To exact retribution, Bruna enlists her love slaves and Dashiell to abduct the rapist. They dress up as hookers and lure him into a limo. They lead him to a theatre where a Satanic sacrifice is performed. Dashiell laters wipes Raymond's blood all over Bruna. In 1985, A Certain Sacrifice was released on video to capitalize .
In this segment of DRIVEN: Madonna's involvement in the 1979 film 'A Certain Sacrifice' is discussed, including interviews with filmmaker Steven Jon Lewicki.
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