Future is my least fave so far.. its very slow idk why shes performing this one at Eurovision. Crave or I Rise would've been better

Its probs because she is singing Like A Prayer aswell so makes sense to use a slow song with it

Why does Swae Lee look like the Grudge?

https://upload.wikimedia.org/wikiped...ee_-_Crave.png

Dreadful performance.

Her voice sounded bad when she was singing LAP, but at least she didn't mime, so that's something. As much as I like Future, it just didn't work.

I also had visions of her coming tumbling down those steps too but thank god she didn't. That Brit awards performance is engraved on my brain since it happened.

...in general I don’t think the acoustics at Eurovision's are the best...but she sang live and she’s a 60 yr old performer...how many 60yr old would even consider performing live on something like that..?...I think she’s incredible, I have nothing negative to say about her...she’s Madonna and she didn't even have to say yes to a Eurovision live performance... but she did and I have nothing but admiration for her ....:flutter:...

I thought her LAP live vocal was decent, but the Future autotuned mess was disastrous

was a bit of a mess tbh.. I've never heard a boring remix of LAP until last night.. and the vocals were pretty bad in some places

Future was a mess with that autotune microphone.. what was she thinking! also bringing Quavo to Eurovision is basically homophobia

Every song she’s released from the album is better than future, why on earth did she perform that/even chose to release it as a single. Crave is 1000x better

IA, Future felt so flat during that performance

:cheer2:

For those who don't know, Lucy O'Brian is a writer/broadcaster. Author of She Bop, a history of women in popular music, and the biography Madonna: Like An Icon.

I believe her for now

https://66.media.tumblr.com/4f4274fe...xo2_r4_250.gif
https://66.media.tumblr.com/fcbac708...xo6_r5_250.gif

Wbk the Mirwais tracks would be the best

http://forums.madonnanation.com/uplo...c53a5b945.jpeg

http://forums.madonnanation.com/uplo...ec805a43d.jpeg

"God Control" is said to be the BANGER of the album. :dance:

her Like a Prayer vocal, well it was a different version of that song, with that orchestral choir

and also Madge gotten older than when she recorded that song anyway, so i thought it wasn't a disaster


and not if she is the only one who isn't perfect vocally :idc:



about Future, well we knew madame x was gonna include experimental music, what we never heard from her before

I didnt even notice a song called 'Gun Control' in the tracklist :skull:

lol.

Here's the video for Crave.

Quote from French magazine Têtu:
Dark Ballet: "as if Daft Punk remixed Queen's Bohemian Rhapsody!!!"

:dance:

Isn't Dark Ballet the part of her Eurovision performance with the gas masks ? In between LAP and Future

Yes, the spoken part is said to be the intro for Dark Ballet and I can't wait to hear it in full. God Control is another one that's said to be "Crazy".

I'm rather intrigued about "Batuka" too. I loved the clip she posted on IG of her dancing with the batukadera's a few months ago.

Looks like this album is going to be very creative.

Glitter Cassette:
https://cdn.shopify.com/s/files/1/00...g?v=1558649655

Rocketman Director Up for Madonna Biopic

Rocketman director up for doing a Madonna biopic next: 'She’s extraordinary'
EXCLUSIVE: But Dexter Fletcher – also known for Bohemian Rhapsody – has a reservation about making a film of the Material Girl's life...

Director Dexter Fletcher has said he would be up for shooting a film about Madonna’s life.

Of course, the filmmaker already has a track record for rock biopics.

As well as this month’s Rocketman, which details the life of Elton John, he directed part of last year’s blockbuster Queen/Freddie Mercury picture, Bohemian Rhapsody.

We spoke to Dexter last month ahead of the London premiere of Rocketman earlier this month, and asked him: ‘Would you consider a return to the rock biopic genre – and would you please do Madonna or Cher’?

‘If I was to tackle any other icon…’

Dexter replied: ‘I’d do Madonna! That sounds like a real rollercoaster ride! It would be extraordinary.’

Asked if thought of a film on the Material Girl’s life had occurred to him before, he said: ‘No… no it hasn’t. I don’t know how happy she’d be about that [idea]… But what an extraordinary life that would be.

‘If I was to tackle any other icon like that, it would be her. She’s extraordinary.’
‘Nobody knows what I know’

Repots circulated in 2017 that a Universal biopic of Madonna called Blonde Ambition was in the works.

Madonna, who returns in 2019 with new album Madame X, seemingly addressed the rumors on Instagram at the time.

She wrote: ‘Nobody knows what I know and what I have seen. Only I can tell my story. Anyone else who tries is a charlatan and a fool. Looking for instant gratification without doing the work. This is a disease in our society.’

Rocketman is out now in UK cinemas and hits US screens on Friday 31 May.

The movie, which stars Taron Egerton, Richard Madden and Bryce Dallas Howard, has scored highly positive reviews.

^ Written by Rob Sheffied. I'm not going to say anymore on that. lol

:dance:

Omg, love this new version of Frozen:

Q Magazine just gave the album 4 stars.

https://i.ibb.co/PWHJBJx/ll.jpg

im hoping thats out of 5 not 10

It is. Q only give 5 stars.

Madonna confirmed for Pride NYC

The Times:

Madonna: Madame X review — probably her boldest album yet

Rating: 4 Stars out of 5 Stars

Ever since she emerged from New York in the early 1980s, Madonna’s moderate abilities in music, singing and dancing have been more than made up for in searing ambition, an ability to work with the right people at the right time and a brittle form of bravery, with outer toughness masking inner frailty. Now comes probably her boldest, certainly her strangest, album yet. Madame X veers between pop, Latin and clubby dance music, jumps from the personal to the political and is bound together by an exotic, breezy mood that feels strangely intimate, as if she is revealing a hitherto hidden part of her soul. She isn’t really, of course, but she does a good job of pretending she is.

Dark Ballet, recorded with the French producer Mirwais, throws all of these qualities into one three-part experimental epic. Over piano-led, minor-key pop, Madonna variously tells us that she can dress like a boy or a girl as she wishes, castigates the world for being obsessed with fame and concludes by saying that some unnamed people, at a guess Donald Trump and his team, are naive to think that we aren’t aware of their crimes. At one point she says something indecipherable in a half robot, half Disney princess voice. It is quite a trip.

Then there is Killers Who Are Partying, on which Madonna goes the full Bono as she identifies with Africa, poor people, exploited children and pretty much everyone else who isn’t a rich, old, golf-playing white man. “I’ll be poor, if the poor are humiliated,” she claims over a touch of Portuguese fado, and although you suspect that she isn’t really about to give up her life as the most successful female pop star yet and wander the Earth as a penniless ascetic, the sentiment is there. “I’ll be Islam if Islam is hated,” she continues. “I’ll be Israel if they’re incarcerated.” World peace through song may be a naive endeavour, as John Lennon found out five decades ago, but this flash of idealism at a time of rising global division is welcome nonetheless.

There are straightforward pop songs, such as the country-leaning Crave and the English/Portuguese Crazy, but the most captivating moments push the boat out. The Latin-tinged Batuka has a wayward quality reminiscent of Brazil’s late-1960s tropicalia movement and features the unequivocally Trump-bashing line “Get that old man and put him in jail”.

It wouldn’t be a Madonna album with a bit of overt sexuality and Faz Gostoso (“make it tasty”) pours the sauce over a samba rhythm, while on I Don’t Search I Find she reconnects with her core audience via the medium of high-energy, pumping house music. Finally comes I Rise, an empowerment anthem with a sample of the now-famous speech by the Parkland shooting survivor Emma González.

Madonna will be on the Graham Norton show on June 14th.

NME: Bold, bizarre, self-referential, and unlike anything Madonna has ever done before
Score: 4/5 stars

https://www.nme.com/reviews/album/ma...adame-x-review

Madonna’s latest persona ‘Madame X’ borrows her name from the historical figure Virginie Amélie Avegno Gautreau: a socialite and occasional muse who scandalised genteel French society when she bared naked flesh – her entire shoulder, would you believe it – in a portrait. And while Madge’s own eye-patch wearing interpretation prefers taking a more enterprising approach to the current job market (Madame X is a mother, a child, a teacher, a nun, a singer, and a saint many among other things) it’s a fitting moniker for a record that restlessly explores all sides of contemporary pop at full divisive pelt: visiting Latin pop, all-out Eurotrash, gloomily percussive trap, NYC disco, house, and reggaeton.


During its most reckless moments, ‘Madame X’ is bold, bizarre, and unlike anything Madonna has ever done before. The frantic ‘Dark Ballet’ harnesses gloomily spun strings and robotic overlord vocals; it’s as villainous and foreboding as ‘Ray of Light’s darkest moments, or her ‘Die Another Day’ Bond theme. Then, quite out of nowhere, an extended piano interlude morphs into a mangled, glitching excerpt of ‘Dance of the Reed Pipes’ from Tchaikovsky’s ballet ‘The Nutcracker’ – it’s brilliant, overblown ridiculousness. “I want to tell you about love…. and loneliness,” Madonna husks dramatically.

Touching heavily on both these things, ‘Madame X’ explores the state of the world (spoiler: it’s not doing great) at large – as well as Madonna’s place within it – from her new base in Lisbon. ‘Madame X’ isn’t flawless in its vision: at times, Madonna’s attempts to lead the future revolution can come off as ham-fisted. ‘Killers Who Are Partying’ features some absolute clanging missteps: booming lines like “I’ll be Islam if Islam is hated” and “I’ll be Native Indian if the Indian has been taken” seem like tone-deaf expressions of solidarity, especially from a wealthy white woman who seems to be planting herself at the centre of multiple minority narratives. And moments like ‘I Rise’s rehashed quote from the French philosopher Jean-Paul Sartre – “Freedom’s what you choose to do with what’s been done to you” – can border on inspirational fridge magnet territory, too broad to establish real connection.

‘Madame X’ is a far more interesting prospect when the focus moves back onto Madonna herself. ‘Crazy’ – produced by Jason Evigan and Kanye West collaborator Mike Dean – is a self-referential accordion bop: “I bend my knees for you like a prayer,” she sings, pointedly name-checking her 1989 album, and flipping from the original’s religious innuendo, towards doomed, dead-end infatuation “oh god, look at me now”. Elsewhere, the rhythmic whisper of “cha cha cha” on opener and lead single ‘Medellín’ recalls ‘Hard Candy’s ‘Give It 2 Me’.

‘Bitch I’m Loca’, meanwhile, is the sort of swaggering anthem that campy Disney villain Ursula might belt out from the depths: Maluma (who also appears on lead single ‘Medellín’) the ideal sidekick. “Where do you want me to put this?” he drawls with a comedy wink. “You can put it inside” she replies. It’s like Madonna’s diva sketch at the end of ‘Act Of Contrition’ turned Carry On… Madame X. Her cover of ‘Faz Gostoso’ – originally by Brazilian pop star Blaya – is equally great fun. And the House-inflected standout ‘I Don’t Search I Find’ – bringing to mind Shep Pettibone’s production on ‘Vogue’, and repurposing a quote from Pablo Picasso for its title – is just as playful. “Finally, enough love,” Madonna announces.

Throughout her forty year career, outrage has always tailed Madonna closely; a point which is referenced on the likes of ‘Extreme Occident’ and the vulnerable admissions of ‘Looking For Mercy’ (“flawed by design, please sympathise,” she pleads) . “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,” Madonna recently expanded, speaking to Vogue,

In reality, if age wasn’t the chosen topic of the moment, the star would be “too much” of something – anything – else: too sexual, too attention-seeking, too weird, too controversial, too outspoken, too unwilling to disappear quietly into the good night. Instead, Madonna will do no such thing, happiest dancing said night away to the beat of her own creative drum.


For the first time since ‘Confessions on a Dance Floor’, perhaps, there’s a glint in Madonna’s eye; her visible, un-eyepatched one, at least. Sonically restless, ‘Madame X’ doesn’t imitate current pop trends as much as it mangles them into new shapes. A record that grapples with being “just way too much”, ultimately, it refuses to tone things down.