acolyte

LOL

Seriously, Taylor Swift has NO era. My god those millenials really are the worst with their bougie idols.

I recreated with AI Warning Signs. Obviously the original version is not like that but we know that the melody and the words are like that, so we can make an edea.
I decided to put an audio watermack in the track that says "Skin Bruno AI Reconstruction" because the clip I had put on the net as a preview was being passed off as the original and since I don't want anyone to take advantage of it I put the watermack audio and watermark visible on the spectum of the audio.
I hope you enjoy this version.
Originally Reconstructed and shared by @santamadonnapodcast
Original Vocals: @Hiddentrakk
Original Musical Production: Agustín Aguirre @soyagustinaguirre
Thanks to @Webo_1958


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Madonna fans searching for the album reissues... 

So, Madonna did not perform Burning Up at CBGB's. When she first played CBGB's it was with the Breakfast Club (original line up minus Bray). She wrote Burning Up later while in Emmy. 
There are tons of videos where Dan Gilroy explains how he taught her how to play guitar and how she wrote her first songs with basic chords, hell, you even have these recordings online because the Shamrock reels leaked. She played rhythm guitar when she left Breakfast Club beause she wanted to lead and they did not want her to. She first had her drum kit but it was too heavy to carry around so she got rid of it and focused on playing guitar instead. she moved into the Music Building where she lived illegally but she went back to the Gilroys in Queens for a few onths after she left because she was homeless in new york. She formed her first band "Madonna and the Sky" and yes, there are recordings besides the receiver records 4 tracks ep that was released, you have the "demos" of her on a tape recorder, playing guitar and singing the songs and sometimes just playing guitar, yes also available online. DO THE WORK. 
The band became Emmy when Bray moved from Michigan to New York. They played Max's Kansas City which was the other punk joint on the Bowery, Gary Burke, the band's bassist (and with Madonna since Breakfast Club) secured the gig by hanging out with the guys from the band Suicide. The gig was such a success that they got invited back and Max's wanted to sign them on their label (they had their own) but Madonna had other ideas, she had invited Camille to see the second gig. Meanwhile she had no place of her own, crashing at friends or at the Star Motel when she had enough money. One day her electric convector set the room she was in on fire. She had to leave and at this point she was so destitute she had her first breakdown and was close to moving back to Michigan. 
Steve Bray said she could have made a career out of being a rhythm guitar player.
She did not like the direction Camille wanted her to take, Jon Gordon, the producer of the Gotham demos (and later Suzanne Vega) said that she was always playing with her guitar and keyboards and testing sounds, that's how he found out she was not happy with the direction she was forced to take and he did not like what he did with the demos either. Madonna was already doing dance music with Bray and hanging out at clubs in Manhattan, she wanted to make the music she was dancing to at these clubs, punk rock was 2 years ago for her and yet New Wave and dance music in New York at this time were derivative of punk rock in terms of being DIY. Camille managed to lure her into renewing her contract by securing a gig to be the open act for New York Dolls singer David Johanssen at his Xmas show for newly launched MTV. So she signed that contract but Camille did not know Madonna had also secured a new agent from CAA so after the gig she told camille the contract was over but her new agent left her  (it's that second contract Camille sued her for when Madonna signed with Sire Records). She was on her own again with no place to live because Camille was paying for the apt. she lived in. She was back to the Music Building. That's when she shopped the demos she did with Bray around the clubs she was already hanging out at. She then moved in with her friend from UoM, Janice Galloway (whom later married Madonna's first a&r Michael Rosenblatt) and worked at the Lucky Strike bar occasionally with Erika & Martin under the supervision of Haoui Montaug. Montaug was also doorman at Danceteria and had his own night their "No Entiendes Cabaret" (he was in Martin's room with Madonna when he died and in 1991, terminally ill with complications in connection with being hiv positive he organized his suicide, Madonna was on the set of A League Of Their Own but was there via phone, his portrait also appears during Live To Tell).
And on and on and on. It's ALL out there. If you are curious and interested in the truth and not letting ignorance spread like a substitute for knowledge.
It's all out there. You have biographies, including the new one, youtube files, websites etc....and most of all the incredible work of Webo1958 on Instagram. If you are interested in Madonna's roots and past and you are not already following this account, do it, it's a goldmine and you even have Madonna's past collaborators correcting or adding things in the comments like Jon Gordon, Jellybean, Gary Burke etc...

I noticed the lisp was flaring! It’s a choice for sure. I did hear her say that whatever people tell her not to do, she does more. We must all collectively praise it in every single way, on every possible forum and comment section. Reverse psychology is the only feasible intervention!

Having seen the tour a few times in person now, I'm not so sure we'll get an album that soon anymore. She seems extremely humbled, somewhat melancholic and still a little shaken by her recent death scare. It's just a feeling on my part that the musical focus may have changed to something entirely different at this stage or that whatever she may have recorded and planned thus far doesn't really represent where she's at emotionally right now...

I think it's more likely that Madonna and her team gave directions for what  silhouettes they envision for each segment, and then designers submitted their sketches and finished pieces for the final fitting and selection. Can you imagine asking those big egos to work on some other designer's piece

I get where you're coming from, but I'd like to offer some insights. Regarding Madonna, the performance of Sorry you mentioned wasn't lip-synced; it was her actual voice, albeit with some audio processing. If you delve into live recordings from different shows, you'll pick up small imperfections that vary from night to night.
As for Beyoncé and Gaga, their vocal prowess is undeniable. They resort to backing tracks primarily for numbers with intense dance routines, yet they consistently deliver powerful live vocals on top of those tracks. While her vocal abilities are extraordinary, Lady Gaga sometimes overemphasizes her higher chest notes. This reliance on a less mixed or head voice can affect the interpretative quality of her performances. Nonetheless, her vocal talent is substantial, and these instances do not diminish her impressive range and control. I don't listen to her and I don't like her, but I gotta be honest.
I'm a huge Depeche Mode fan myself and have seen them live four times, most recently this past summer, with plans to see them again this winter. It's true that Dave Gahan has his off moments (like during A Pain That I'm Used To), which could be attributed to his past struggles with substance abuse and sometimes he's strained with his high chest register (this made his voice deteriorate). However, the majority of his performances are solid, usually outshining Madonna's at least in terms of pitch, breath control and tuning, and he performs without a backing track, relying only on Martin Gore's backing vocals.
Celine Dion may not be everyone's cup of tea, but from a technical standpoint, she's more skilled than many pop vocalists. Taylor Swift may not be the most virtuosic singer, but she's certainly not tone-deaf at all. In fact, her live performances are consistently strong, and she seems to have improved significantly over the years (from what I've seen in videos, as I don't actively follow her). Britney Spears does rely on playback, but we shouldn't settle for mediocrity as a common comfort.
My point, as a singer and longtime voice student, is that Madonna's vocal abilities have progressively declined. She did make a bit of a comeback after the Sticky and Sweet Tour, but she has never returned to her prime vocal quality, as heard during the Drowned World Tour or the Reinvention Tour.
She was never the epitome of vocal perfection, but she was better than this, reaching her peak in the early 2000s. Even in the '80s and early '90s, her vocal performance was superior to what we hear from her today.

It's wise for her to use backing tracks and Auto-Tune, although autotune is sometimes too subtle to correct her pitch effectively and may inadvertently highlight her vocal imperfections leading to the closest note (which is a wrong note).
Her current vocal capabilities are below those of 90% of her peers in the pop world. Despite this, I still love her and find her timbre particularly beautiful in the lower notes, where she seems most comfortable now.
You can certainly hear a stark contrast when comparing renditions of the same songs from the Reinvention Tour to this tour. The difference is quite pronounced.
However, that said, I still enjoy the show. I'm aware that her singing isn't flawless and I wasn't expecting any better.
I concur with your preference for Madonna's voice timbre over Celine's, Whitney's, or Mariah's, without any hesitation. While Celine Dion is undoubtedly a skilled vocalist, there are others who excel even more, particularly in different musical genres. Her songs don't resonate with me, and while her timbre is decent, it's not one that I'm particularly fond of.
Mariah Carey has always possessed excellent vocal technique, but I'm not a fan of her music, and it seems she has lost some of her prowess over the years, possibly due to a lack of ongoing vocal training.
As for Whitney Houston, she never really 'screamed' in her performances. Instead, she was a master at controlling her chest voice, adept at varying her dynamics from powerful belts to the softest whispers. She skillfully utilized her mixed and head registers as well. High chest notes, naturally, are not meant to be sung softly, as they require a certain level of intensity to be belted out effectively. But that's not screaming. Christina Aguilera is a screamer.
Whitney's high notes were always well-integrated into the narrative of the song, adhering to the appropriate ascending and descending climaxes.
Madonna didn't believe enough in her own vocal abilities, ceasing her vocal training prematurely and not solidifying the techniques she had developed up until the early 2000s. She didn't gave enough credit to her voice and her big achievements.
Yet, her voice is distinctive and with the right technique her potential could be tremendous. She has a unique vocal quality that has its own appeal. Her voice tells a story that aligns with her artistic persona and that storytelling aspect is something I greatly appreciate.

But this is cherry-picking. You've chosen her least successful vocal performance on TV EVER. Moreover, it's the technically most challenging song of her entire career, and she has only sung it in its original key twice (here and on Oprah).
In this performance, it's evident that there were several issues, and she wasn't even in good shape. It can happen once in a career, unless you're a technically extremely skilled singer, in which case your great technical knowledge compensates for the problems of the day.
Furthermore, it's worth noting that she often gets very nervous when it comes to singing live on TV, as confirmed by some of her collaborators. She was definitely extremely nervous that evening, perhaps because she had laryngitis or something similar.

Let's talk about the tours.
Let's talk about her consistency, not just a single unsuccessful performance.
In the DWT, RIT, and CT, except for a few off nights, her vocal level was good. Throughout the Music Promo Tour and the American Life Promo Tour (possibly the best vocals of her entire career).
he was never an excellent singer, but she was never a slouch either. She has demonstrated throughout her career that she can sing, even if she doesn't excel. After CT, her voice changed. Her tone has changed significantly; she has lost consistency. I believe her poor vocal technique may have also taken a toll on her vocal cords. A tour like the Sticky and Sweet Tour can't help you maintain a healthy voice; there are consequences. After the RHT, the best thing she has done is the tribute to Prince.
At the WTG and BAT, she was far from perfect, and sometimes she sang worse than others, but overall, she was usually in tune, and the performances were almost always quite successful. She didn't have the heavy breathing and intonation problems that she has now. Don't live in denial.
I don't know about other fan bases, but it has to be said that these mentioned singers rarely give performances that are so out of tune.
They hit some wrong notes, but Madonna, when she's not in good shape, surpasses them by far.
 
 
Lauryn Hill does sound much better than Madonna, even though she may not be in her prime anymore. Enrique Iglesias, for me, is not even an artist.
And nowadays on social media, when someone sings poorly, they become the target of online ridicule.
It's not that there's a specific bias against Madonna; it happens to everyone. I think of Fergie's national anthem performance, Lana del Rey's infamous SNL performance, Mariah's NYE 2016 performance.
Similarly, Madonna is mocked on TikTok for singing CFY nearly tone deaf as well

It happens that I can count myself among those who attended the show. I saw the opening night, and I'll see it again in Lisbon. I was very excited, as I am every time I've seen Madonna up close. I had the feeling that she looked at me three times, and it was a beautiful feeling since I've admired this woman for most of my life.
But I'm at a stage in life where I've let go of idol worship. I no longer blindly idolize. I understand that love also involves recognizing flaws, seeing what worsens and what improves. One shouldn't be blind, one shouldn't perpetually stay in the infatuation and extreme idealization phase. It's about synthesizing thesis and antithesis; that's the dialectic, and that's the knowledge that underlies true love.
If I say she was off-key, it doesn't mean I don't love her. If I say the ending left some people a bit confused, it doesn't mean I didn't enjoy the concert.
If many say it's the best since the Confessions era, I don't agree but I respect this opinion, it's just my personal taste. The tour is great and probably better than Madame X and MDNA Tour. But I loved the RHT, and I loved Sticky & Sweet more than this one (although I'm still evaluating it). I'm happy that she's alive and did a show like this. 
I'm a superfan of Mother And Father, it's one of the songs I listen to most often. I remember all the performances from the Re-Invention Tour, the acoustic one on TV, the one at La Cantine du Faubourg; they were all vocally excellent or even outstanding. This is a different story; you can see she has technical difficulties (as others more knowledgeable than me have explained), and the autotune fails to correct the cracks and the pitch problems well when she holds the long note in "give it UUUUUUUUUUUUUP."
Did I still enjoy it? Yes. Did I notice that it wasn't comparable to those from the RIT? Yes.
I'm not nitpicking.
I'm just saying this show is AMAZING, but her voice is not in a great condition and I did not love the ending.
I love her, no hate. 
I don't agree with you. She always sang beautifullly till the Confessions Tour.

Says the one who called everyone on here judging the show by YouTube videos "THAT fucking dumb" but fair enough, I guess.

She may significantly struggle vocally during some portions of the show for reasons that @Lorx explained really well, but I do have to say that I find it remarkable regardless that she's singing live at all on this tour.
Yes, her vocal performance for the last ten years or so hasn't been particularly impressive from a technical point of view, but I think we all should bear in mind that three months ago, she didn't only find herself in an induced coma but had also been intubated. Vocal cord paralysis and prolonged hoarseness after intubation are very frequent side effects.
I had my doubts as to whether she'd be able to sing at all. Given that she's only three months into her recovery from all this, most of it spent resuming rehearsals and actually kicking off the tour, I'm surprised that she doesn't actually sound worse than she has in the past few years which makes me wonder if she's had specific vocal coaching this time. 

This is such a cool fan review of the show last night from RJF at Pop Justice that I had to share. I hope you enjoy this read as much as I have….
So after spending about half an hour panicking in the longest, coldest queue ever to get into the stadium last night, it turned out... I must have been in the first thousand or so allowed into Golden Circle?!?!!! Gag the girls who actually paid for Early Entry a bit, I guess. But basically, there were so many bits where I could be just a few rows away from the stage. I had no idea where was technically best... so I just went for the end of the stage. Now, I am not a barrier girlie, friends. I honestly just don't care enough to put myself through it and normally I turn up to get a decent midway spot which is what I thought I was doing, but I luck appeared to be on my side so I just fucking went for it, toilet and drinks be damned. I have never been that close to the stage at an arena show. I was vibrating!!!! Well maybe not after standing there for the next two hours waiting for her to come on but all was forgotten when the lights went down.

Last night was really just perfect, honestly. Conceptually, the show is just a total masterpiece. I remember when this tour was announced - this greatest hits tour that we all thought she would never do - and even in our wildest dreams I don't think any of us could have imagined it being a two hour invite into the maelstrom of Madonna's mind. At the beginning of last night in that absolutely merciless run of early 80s smashes, I thought I had things pegged: a chronological show, a stylised life story, cool! I was all in! ...but then I should have realised. As "Holiday" guttered out into a desperate plea, the disco ball slowed to a crawl, her dancer ebbed away, and "In This Life" (?!?!?!??!??!!?!?!!?111!11111!) started, I actually thought of that haughty post in here a few weeks ago being all, "I paid for a greatest hits show!!!" and reminded myself of my own words: this was a show for her first, and us second. In fact, she even told us what kind of show this was going to be the moment we saw the imagery: iconography, distorted and warped. Not a discography, but the performance of a life, remembered and misremembered. Sometimes coherent and correct, and sometimes wild hazy and inaccurate.

The staging is... yet another example of her show pushing the medium forward. I actually went to Fotografiska earlier that day and weirdly I felt that it prepared me for what she had in store? The way the screens constantly shifting and moving feel more like someone trying to organise their thoughts as things flicker in and out of focus; how sometimes things overwhelm and overpower. The AIDS memorial was instantly one of the best things she's ever done on stage; how her floating mournfully around it felt like some kind of solemn recollection and a gallery/museum preserving these memories rolled into one. Of course they're also just used to blast you with how much of a QUEEN she is, but they're used really artfully too. Stuff like during "Mother & Father" where she, tiny, is singing up to the monolithic, untouchable portrait of her mother... chills. I also have no real concrete problems with the setlist; I at least understand the logic and reasoning behind all the choices made, some of them were a gag (Erotica ATE!!!) and each suite after the cheery 80s gauntlet becoming something more abstract was really interesting. Less about representing a time period and more about representing an attitude, or a state of mind. The pacing of the middle is wildas things lurch between deep cuts, smash hits, and utterly random connections (Human Nature/Crazy For You and I Will Survive/La Isla/Don't Cry?!?!??!!!!) with all varying tempos... It's chaos... but Madonna is chaos. And we are merely guests for a time in this, the palace of her mind. A hitmaker, a performer, a ferocious deity, a woman, an activist, an advocate, and most importantly to her these days, a parent.

She's also human. Seeing her up close was an incredible reminder of that. After I recovered from being about five people away from her, I was struck by the fact that... she's a person? Tiny in real life and every single inch of her purpose-built for a two hour show, but still just... vulnerable in a way I never think of her as. It was during the third act when she's in the red lingerie, fully exposed, but still entirely in control. There were also moments where she was of course invincible like the fucking silver bodysuit?!?!?!?1/!?! I live.

The whole thing was just a much needed reminder of how singular she is... and how much she means to me. The pandemic really did a number on my relationship with her music and with this forum; I'll never regret the work I put into the discography rate but it came at a cost, sacrificing memories and associations songs originally had until it was just a spreadsheet and the fucking wall I would stare at between paragraphs when I was doing write ups. I really needed this show to fix that. A pilgrimage to pop's capital to see its Queen and remember why I swore fealty in the first place! It was the hunt for tickets that brought me back to all of you full-time as well, I'm sure some of you will be thrilled to know. It was similar to Dua's tour last year; I needed new memories to obliterate the old ones, and well... I got them in spades. I'll remember it for the rest of my life, I hope.

No one else will ever be like her. Ever.

She may significantly struggle vocally during some portions of the show for reasons that @Lorx explained really well, but I do have to say that I find it remarkable regardless that she's singing live at all on this tour.
Yes, her vocal performance for the last ten years or so hasn't been particularly impressive from a technical point of view, but I think we all should bear in mind that three months ago, she didn't only find herself in an induced coma but had also been intubated. Vocal cord paralysis and prolonged hoarseness after intubation are very frequent side effects.
I had my doubts as to whether she'd be able to sing at all. Given that she's only three months into her recovery from all this, most of it spent resuming rehearsals and actually kicking off the tour, I'm surprised that she doesn't actually sound worse than she has in the past few years which makes me wonder if she's had specific vocal coaching this time. 

It's possible that she had a vocal coach who gave her some advice because she doesn't actually sing worse than in the last two years. In fact, she sings a little better! However, I would say she didn't undergo a full-fledged training with a vocal coach and didn't attend lessons once or twice a week, otherwise things would be way different. Her voice is still weak. She might have received some specific advice for this tour, but I guess her voice is gonna get worse during this tour.
I was afraid she would perform much worse; I was actually hoping for a super lip sync. Instead, she managed to strike a good balance thanks to technology.
If it's a compact camera, I think you could get in. If it's a reflex or mirrorless, no.
But I would put it in my jacket or pockets, not in my bag.

She may significantly struggle vocally during some portions of the show for reasons that @Lorx explained really well, but I do have to say that I find it remarkable regardless that she's singing live at all on this tour.
Yes, her vocal performance for the last ten years or so hasn't been particularly impressive from a technical point of view, but I think we all should bear in mind that three months ago, she didn't only find herself in an induced coma but had also been intubated. Vocal cord paralysis and prolonged hoarseness after intubation are very frequent side effects.
I had my doubts as to whether she'd be able to sing at all. Given that she's only three months into her recovery from all this, most of it spent resuming rehearsals and actually kicking off the tour, I'm surprised that she doesn't actually sound worse than she has in the past few years which makes me wonder if she's had specific vocal coaching this time. 

I don't believe this theory is true. Madonna put a lot of herself into STR and if a label ever pushes her to do something, she tries to do it her way. I also don't think she sings poorly "on purpose." However, I believe here CFY is a tribute to her rebellious side, to the Madonna we see in Human Nature.

Is anyone else getting the vibe that the brief "Crazy for You" moment is meant to be a tribute to the Something to Remember period? I don't know how else to explain her being escorted off the stage by her "Human Nature" persona as well as the tone of the show suddenly softening and turning romantic after the Erotica/"Vogue" segment. 

Madonna, showing what time her shows start 🙂

I think that's a genius idea. But I also think that this would work wonderfully in book form!

I think that's a genius idea. But I also think that this would work wonderfully in book form!

If you don't get the social commentary  she was making by having two men speak about fucking her in the back of a cab after she poured her emotional heart out over the course of an album then that's on you. Did You Do It completely contextualized the male gaze Madonna was trying to dismantle with the whole era. the SEX book, her desires from her point of view. In many ways in preempted the backlash before the album was even released.
Only cool girls really get this. Some of us just like to read etc.
 

I should really go to bed because I'm terribly sleep-deprived and my antipsychotics are starting to kick in making me feel a bit woozy BUT I just listened to the Bad Girl performance and it's quite heartbreaking how differently those words hit now following her self-destructive behaviour these past few years AND her near-death experience with her children by her side...

I should really go to bed because I'm terribly sleep-deprived and my antipsychotics are starting to kick in making me feel a bit woozy BUT I just listened to the Bad Girl performance and it's quite heartbreaking how differently those words hit now following her self-destructive behaviour these past few years AND her near-death experience with her children by her side...