VogueMusic

Uh, they've got the last two in that graphic completely backwards. Just sayin.

Why are folks using the term "overyhyped"... It's like a few little cryptic insta posts, and an insta story. That's it.

If she's going to do a true 'Greatest Hits' type show, she's going to tour it. There's massive money to be made with that. Pandemic aside, once touring is able to resume to as close to normal as possible (in a couple years, probably), I don't see why she wouldn't continue to do so in the future, as plenty of other acts older than her already do. At the very least she has a couple more large-scale arena/stadium shows left in her. Now to sell it, she most likely will have to pull out the hits for it, but at this point, it's befitting. And she doesn't necessarily need to physically dance as hard as those previous tours. They can choreograph and stage great numbers, and design a beautiful, stunning show, without having her all over the place. That being said, I think she will continue to explore the theater route to satisfy her more personal live artistic endeavors.

Sticky & Sweet is an incredible tour. And a perfect example of what separates Madonna from all the rest, especially those listed above. And in her 50's at the time too. Long live M-Dolla.

There is no worst.

I love finding out about things like this.

Is that available somewhere? Anyone have that?

Fucking STUNNING!!!!!!!!!!!!!!

Now THIS is my Madonna. The epitome of SEX. Independence. Living and aging however the fuck you want. OWNING it. And still pissing the usual suspects off beautifully.... LOVE IT.

THANK YOU!!! Say whatever you want about the writing, but the overall direction - particularly visually and acting-wise - is absolutely stunning. She knows how to direct a film.

It's an iconic musical, and think some are missing what the story is actually saying. That being said, I don't see Madonna doing a story like this (nor acting) any time soon (for multiple reasons)... and in all honesty, the film version role belongs to the incomparable Glenn Close, who is the most famous face of the stage musical version. If you haven't seen her in it, watch clips from youtube and have your mind blown. It's been rumored for a long time as well that the film version of Sunset Blvd would most likely be Glenn's ticket to a best actress Oscar (and perhaps her last shot), so I don't want to see that opportunity taken away from her. M would be amazing...but Glenn deserves it.

Whoopie-de-doo. This is how major Hollywood movies are made. The writer you start with is rarely the writer you end with... let alone the process of re-writes and 'notes' from the studio. Brace yourself, there are going to be lots of changes and people in-and-out of the process, period. Projects of this size take years as well, so some folks need to stop complaining about the timeline. You're not getting it anytime soon...and to get it right, we probably shouldn't be.

1. Shep Pettibone / Andre Betts 2. Stephen Bray / Jellybean / Reggie Lucas 3. Nelle Hooper 4. Pharrell 5. Patrick Leonard (though I consider him more a writer than producer) 6. Mirwais / Orbit 7. Diplo / Blood Pop 8. Stuart Price

Sometimes folks just may happen to have a perspective on something that is, dare I say, positive or affirming in nature, or that finds value or worth in something. That's not a crime, nor a shortcoming. I also find the "sycophant" argument flawed, and really a form of unnecessary name-calling...and if we are encouraged to not engage in such at various boards from one side, then why is it ok for others to do it from the other end? There are plenty of folks who seem to find fault in damn near anything she does, and I suppose I could spend all day calling them 'Bitter Bettes' or something like that, but I choose not to. Instead I make the choice to focus and give credit to the things I do like and that I believe are done well, and give rational, sane criticism where it is appropriate. I think we need to be careful at going down this road that if people like something, for whatever reason (simple or complex, intellectual or purely emotional), or find some sort of positive value or worth in something (whatever that may be), that that immediately is seen as some sort of intellectual/critical weakness or shortcoming on their part as a fan is just sad, unfair, and simply not true. We are all capable of "walking and chewing gum at the same time". Again, some of us may make a conscious choice to focus on the things we do enjoy and find value in, even if they're not perfect by any means. We are also more than capable of doing that while giving constructive criticism too.

THANK YOU!!! Finally, someone gets it. The last four albums truly do have incredible music on them, and it's a real shame that so much of this work doesn't get the proper respect and credit it truly deserves, especially from some 'fans'. As someone who has consumed the pop music of the last 30 something years, and certainly seen what some of these acts of the last 10 to 15 years have put out, I will gladly take M's contemporary work any day over this other "stuff". Particularly from some of the obvious names previously mentioned in this thread, who, in my opinion, are nothing but derivative, glorified tribute acts to everything better that has come before in the last 30-something years. Thanks, but no thanks. Not to mention her tours, that in the last decade are just as ambitious and artistically driven as they've ever been. I can't see any of these others continuing on as such, on that level, into their 40s, 50s, and 60s, while refusing to settle into nostalgia act territory. Let alone pulling back and reinventing once again in a theater format. Then there's her music video game that brought some of her strongest visual work she's done with just the last album alone. That doesn't touch on her tour visuals which are a work of art unto themselves. (Let alone conception, design, staging and choreography). Sadly, I feel that she can't even catch a break with her own fanbase at times. And sadly, this 'third chapter' (and the incredible, unprecedented things it's bringing that you will NOT see from these others) won't truly be understood, nor appreciated, until many years from now. Such is life.

Absolutely no one. That's why she's the one and true QUEEN.

Her words were not kind to Madonna in the 80s. Yes, she said those things...but there were also at a time when Clive and company were putting her out there as essentially the anti-Madonna - the good, Christian girl that was appropriate for everyone. As time went one, we quickly figured out that was pure image making, and the real Nippy was the furthest thing from a saint. Over time, she seemed to soften on Madonna and had much kinder things to say. But I think it's important to remember (as there are many young fans now) that Madonna in those times was extremely polarizing. And that's an understatement. M could even get under the skin of the most liberal, especially post 90-95. A lot of folks who have come to love and understand Madonna over the years weren't all exactly on board so easily in those times.

Beautifully articulated.

Thank you!!! This needs to be repeated more often. Far too much revisionism going on in Madonna fan circles these days.

The song I'm thinking of ain't even on the list.

Stuart was great at re-inventing her hits...but I was NO fan of his live musical direction. That 'canned' sound started with him. (Yep, I said it). I'm going to disagree with most here, and say Kevin's work was actually quite good on Sticky & Sweet. The band sounded live and funky, and the arrangements and transitions were great. The downslide started with MDNAT and into RHT. I don't hate Kevin's work entirely, he can be quite good with other artists...but it is time for a whole new band and new musical director. The truly last LIVE band that was great through and through was The Girlie Show band, led by the phenomenal Michael Bearden.

In her stories you get a much better look at it - I like it.

Oops. It was towards that line in the article...but now that I've actually read it, I took it completely out of context. It's quite a great review (except the remarks about Pettibone's production). Sorry 'bout that.