Unapologetic Bitches
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About stefo

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    The Power Of Good-Bye

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  1. stefo

    This is exactly the meaning of it all and the reason for the reversed edit imo ... and let me tell you one thing of my life, as we're talking about this, thanks to the significant "wake up call" M realized with this video. I don't live in the same city where my family lives since twenty years and here I have such a strong relationship with a family I consider close as my own, I really do love them and spend, me and my companion, a big part of our free time with them. Shortly, we're family. Four years ago two members of them were victim of a terrible crime. It was about gun control and unfortunately they're not with us anymore. One was just a child. I've been in therapy for two years and the members of the family are still working with doctors and struggling to survive since then. I can assure you that there's a feeling of disbelief and atrocity, when something like this breaks the screen of your PCs and TVs and hits your life, changing it for ever. It was unrestrainable and solemn at the same time and, also now, after the work I made on the pain, the shock and the loss, I still feel weak and scared, as I felt watching this video tonight ... so much scared because from that moment on I do feel and know that really everything can happen, that the illusory wall, that allowed me to think those kind of events were far from me, finally collapsed. The thing I heard the most in those tragic months was: "This is untrue, I never believed it could have happened to us ... how could it, how?"
  2. Black and white Madame X booklet close up in colour
  3. stefo

  4. Beautiful new covers for a german magazine (especially love the first one)
  5. Still in the Madame X enchantment here, wich recalls me the Ray of Light and the Erotica ones ... and still wondering where the gorgeous music that follows Extreme Occident in the "Welcome to the world of Madame X" teaser come from. I can't recognize it in any of the new tracks. Does anybody know or suppose anything about it?
  6. stefo

    There's also me! the 40th
  7. Does anyone know how to rip this stream? I think it's been the most interesting and funny interview with the Danton one honestly. She's funny, intelligent, delicate and supersweet
  8. M at the IHeart Theatre tonight (supposed recording for the fans chat streamed tomorrow)
  9. I wanna take part of this ... Bedtime Stories and Madame X are ex aequo for me Ray of Light Erotica Like a Prayer Madame X Bedtime Stories Rebel Heart Music Madonna Confessions on a dancefloor Like a Virgin American Life True Blue I'm Breathless MDNA Hard Candy
  10. There is just one only thing I'm not really enjoying about this era and it's the extremely delated promotion, we had two talkshow interviews and two performances in three months ... better with the videos this time though, Dark Ballet and Crave are among the best of her career and we're still waiting for the much awaited God Control. One of her best eras anyway, no doubt about it: still the happiest
  11. stefo

    Forbes POSITIVE review Madonna’s ‘Madame X’ Is Bizarre And Brilliant Madonna’s Madame X is a prime example of an A-list artist who knows she can do what the heck she wants – and boy, she does. Her 14th studio album could just play it safe with the sort of infectious music that has taken dance floors by storm since the 1980s. It doesn’t, though this was implied by the first single, a duet with Colombian reggaeton singer and songwriter Maluma. “Medellín” came blasting out with so-fashionable Latin pop. The track pretty much defies you to keep still. You think Luis Fonsi had the market nailed? On the album,, we find Madonna, again with Maluma, doing a Latino workout on “Bitch I’m Loca.” Songs like this are straightforward enough. Madame X is not Madonna playing it safe after four years away. Instead, she takes risks, some of which pay off brilliantly. While it may baffle some and not be so commercially-friendly as some predecessors, Madonna has been here before. Hands up, those who remember American Life in 2003 which mixed the mainstream, even her Bond theme “Die Another Day,” with daring concepts that were perplexing to some and misunderstood by others. Straight after the “Medellín” opener, Madonna kicks into her “strange days” mode with the next two tracks. First, “Dark Ballet” has a six-minute video with images of Joan of Arc. The lyric is incendiary too: “people tell me to shut my mouth, that I might get burned.” Then “God Control” is also six minutes, starting with a languid rap and then breaking into choral backing, strings and lyrics such as “This is your wake-up call/ I’m like your nightmare/ I’m here to start your day… People think that I’m insane/ The only gun is in my brain/ Each new birth, it gives me hope/ That’s why I don’t smoke that dope.” Madonna feels free to add some serious political comment with “Killers Who Are Partying.” We perhaps had inklings that this was going to be a challenging Madonna album, from the time she announced that the Madame X persona was its cornerstone concept. For those who don’t know, Madonna has explained that “Madame X” was a nickname given to her by her dance teacher Martha Graham, who told the 19-year-old Madonna Louise Ciccone: “Every day, you come to school, and I don’t recognize you.” Madonna says that it gives her the chance to be a chameleon: anybody from a mother to a head of state, saint, nun or whore. These are roles she has played for years of course, and Madame X is being inevitably compared with Beyoncé’s Sasha Fierce persona. Albums where stars get weird on us or divert from their normal style can divide the critics: Bob Dylan’s Street-Legal, U2’s Achtung Baby, Radiohead’s Kid A. If anyone is dismissive, the creator can say that they are being ironic and usually win some kudos for trying something different rather than being stuck in the same creative rut. Madonna, at 60, is definitely not stuck in a rut and is always interesting even with the flaws. Anyone who expects her to be making another Like A Virgin is both misguided and outdated. This is not a classic album to sit alongside Like A Prayer or Ray Of Light, may not win her many new fans and may not set the charts alight, but that’s not what this is about. At its best Madame X has some moments that rate with her finest, such as the mid-pace, catchy Spanish-guitar tinged “Crave.” She croons “you’re the one I crave, and my cravings get dangerous.” Long may she remain a dangerous lady. Beautiful Forbes article Madonna's 'Madame X' Offers A Blueprint For Multigenerational And Multicultural Artistry Madonna is in the spotlight again with her 14th album Madame X, released today. In a climatic build, this best-selling female artist pre-released five songs, one per week, giving listeners a taste of her global collection. In Madame X, Madonna offers a blueprint for multigenerational, multicultural artistry that keeps her music and visual expression fresh and relevant. Reviews of Madame X include bizarre, daring, political, bold. While some critics praise her album as the 2019 version of "Bohemian Rhapsody," another suggests it sounds like an aimless documentary. Still, even the naysayers agree that Madame X could become Madonna’s best selling album yet. German reporter Michale Pilz writes in Welt that not only is Madame Xundoubtedly the most bizarre representation of her life’s work; it also may become her greatest. Since the release of Madonna's her first self-titled album in 1983, there is no argument that she has shaped pop music of today with her push-the-envelope edginess both lyrically and visually. With 12 number one and 38 top ten hits, Madonna is also the highest-grossing female concert tour artist earning $408 million for her Sweet & Sticky tour that began in August 2008 to promote her eleventh studio album, Hard Candy. Years of experience in the industry, combined with the endless cultivation of her passion for music and dance, gives Madonna iconic status and collaborative authority that few other musicians have earned. Multigenerational, Multicultural Relevance Madonna’s proactive collaboration with artists and producers from around the world, including young, fresh talent, gives Madame X significant relevance. It represents a multicultural, multigenerational strategy reaching across genre and audiences to stimulate global appeal. Pilz captured it best with, “Her one-world music of reggae, samba, hip-hop, fado, classical, Eurodance, Latin and Afropop sounds like her newly adopted rainbow family.” Madame X is, at its core, a model strategy for diversity and inclusion with Madonna the executive sponsor driving it to fruition. Four of the five pre-released songs were collaborations with younger artists. "Medellín" features Columbian Maluma, recently crowned most-followed Latin male artist on social media thanks, in part, to Madonna showcasing his sensuality in her early release and their "Medellín" performance at the 2019 Billboard Music Awards. "Crave" features Rae Sremmurd’s Swae Lee, a 24-year-old rapper from California. In a post-show interview following the Billboard performance, Madonna noted Swae Lee’s appeal. “I think he’s really talented. He’s a very good writer, a great singer and he’s so cute,” she said. "Future" is a collaboration with Quavo from the hip-hop trio Migos. Finally, rapper Mykki Blanco plays Joan of Arc in the music video "Dark Ballet." Blanco told Billboard that although the video may seem strange, with Madonna everything has a purpose. Other appearances include Brazilian singer Anitta on "Faz Gostoso," a song Madonna sings in Portuguese. In a London interview with Katja Schwimmers, Madonna explained that since she had been living in Portugal on and off over the last two years, it was “important to sing in the local language, even if I can only speak ten words in Portuguese.” Madame X is not the first time Madonna successfully reached across the generations to cross-fertilize and promote her music. In her 2015 album Rebel Heart, she collaborated with rappers Nicki Minaj, Nas and Chance the Rapper. Perhaps being a single mother to six children helps her stay looped into the younger generation as well. Her children, aged six to 22 years, are artists in their own right. Madonna tells Schwimmers that all of her children sing on the piece "Batuka," but only 12-year-old David insisted on receiving song credits on the album. “How could I resist?” she asked. Always Controversial In the two months leading up to the Madame X release, headlines have highlighted Madonna’s controversial performance in Israel, her accusations of ageism and a court ruling that did not go in her favor which meant hundreds of her personal items retrieved from the estate of her former lover Tupac Shakur would go to auction. The most recent headlines spotlighted Madonna’s reaction to Vanessa Grigoriadis’ New York Times feature which she slammed on Instagram, calling it a colossal disappointment and stating she was sorry to have spent five minutes with the writer. Controversy is par for Madonna who never shied from contention. The mega pop star has always pushed the envelope, intentionally drawing ire from the boundary masters she challenged, be it the Catholic Church or nations at war. And like any radical change-maker, Madonna leverages her greatest asset to disrupt the norm–her platform of music and visual creativity. She understands that music brings people together and that makes it a useful tool for communicating. “People have always been trying to silence me for one reason or another,” she said in an interview with British Vogue. If Madame X proves anything, it’s that Madonna will not be silenced. “I’ll never stop playing music to suit someone’s political agenda nor will I stop speaking out against violations of human rights wherever in the world they may be,” she said to Reuters. The statement was delivered in defense of her Eurovision appearance where she performed Like a Prayer before being joined by Quavo on "Future." The controversy came from both sides, those petitioning her to boycott the event, and those shocked at the liberties she took by adding the Israeli and Palestinian flags to the backs of two dancers. The gesture was in direct violation of European Broadcasting Union’s principle of non-political engagement–as if that mattered. “With Madame X, Madonna instead grits her teeth, puts on a glitter-encrusted eyepatch, looks in the mirror with seriously reduced depth perception and says: ‘Bitch, I’m Madonna,’” writes Ben Beaumont-Thomas in The Guardian. A Reluctant Pro-Age Activist? Clearly, Grigoriadis’ feature angered Madonna. For starters, the headline Madonna at Sixty made it seem as though she should be applauded for making it to 6 - 0, given that so many of her contemporaries did not–Prince, Michael Jackson, Whitney Houston, George Michael. Madonna felt that Grigoriadis’ focus on her age “would never have been mentioned had I been a man!” For those who managed to get past the headline, Grigoriadis did refer to Madonna’s age in a positive, inspirational light. “I admired her for shaking off prejudice about what an older woman could be, for being creative, provocative and sexual over 60 — ‘It’s almost like a crime,’ was the way she characterized it. She might have been doing all this for the younger generation, so that when Miley Cyrus was 60, no one would bat an eyelash if she twerked on stage.” Commenting on Grigoriadis’ article, supportive fans came to Madonna’s defense. Why keep prodding her about her age - as if it is somehow a failure on her part that she didn't die of a drug overdose like so many of her contemporaries? Why not ask her when she'll write a book about her early days? I doubt the French would have placed as much focus on Madonna aging. She is a work of moving art. Perhaps she still feels terrific, vibrant, sexy at 60. Why shouldn't she project that inner self the way she always has? Madonna coached Grigoriadis to think less about growing old and “just live your life and don’t be influenced by society trying to make you feel some type of way about your age or what it is you’re supposed to be doing.” What a difference it would make if the world could follow this one piece of advice. After all, children aren’t born thinking one race or gender is inferior to another, or that older people add no value to the world. They come to believe it because that is the language they have been subjected to and, by default, it becomes a part of their belief system. More convincing was the argument Anders Christian Madsen made in response to BBC Radio 1 not adding "Medellín" to its playlist because Madonna did not appeal to their younger audience. He wrote in British Vogue, “By denying Madonna the same platform to promote her music as Rihanna, Beyoncé and Ariana Grande, we seem to forget the invaluable part she has played in creating the culture of individuality and diversity so attributed to the new generations.” Madsen pointed to the public’s unwillingness to accept that age does not define a person. “What seems to be society’s issue with her is that she refuses to abide by the unwritten rules of age pertaining to everything from behavior to dress codes and humor. The implication is that Madonna is in denial of her age; that she wants to trick us into thinking she’s young. The nerve!” Typically those who pick up the anti-ageism banner are those who have felt the pain of it; which, of course, is part of the problem. All ages are needed to change a culture that disparages the natural process of getting older. As Madsen wrote, “Rather than pointing out her age, every person on social media - young or old - should be celebrating it, thanking Madonna for continuously going where no one else dares to go. Because while all of Madonna’s revolutions have gained her attention, it’s nothing compared to what she’s done for the rest of us.” Madonna has been a vocal crusader for many causes including homophobia, racism and sexism. Just last month she was honored at GLAAD's 30th Annual Media Awards as an Advocate for Change. And while focusing on age discrimination and other age-related issues may not be her first topic for advocacy, Madonna’s voice and activism are needed because every disenfranchised group she represents will, if they are fortunate, age. By the sheer fact that Madonna is who she is, doing what she’s always done, she has become an unintended lightening rod for ageism. What’s Your Truth? Even with Madonna’s misgivings of Grigoriadis’ article, the author captured what she believed set Madonna apart. Her career had not only been about ambition, or ratcheting up achievement. It had been one long process of meaning-making, of understanding herself through her art. Some of it wasn’t for public consumption anymore; she might not tell us as much about herself as she used to. But she was always crafting a narrative, whether the story was about young women’s empowerment or biblical salvation, being reborn in sweat on the dance floor or in motherhood." Most compelling were the moments when Madonna became the guru, the teacher, imparting profound truths that directly correlate to the curious nature of age accumulation. Grigoriadis wrote, “At one point, she said to me rhetorically: ‘Your truth when you’re 18 is not going to be your truth when you’re 28 or when you’re 38. Life is not black and white. It’s gray, and one minute you’re going to feel so strongly and believe in something so strongly, and then maybe you won’t in five years.'” Madonna is driven by her passions. Music and making a meaningful difference in the world are two of them. Grigoriadis wrote that Madonna’s inspiration for Madame X was, “To thine own self be true.” A mantra that, undoubtedly, even she must remind herself. In her interview with Schwimmers, Madonna explained how she wanted her music to help people overcome exclusion and expand consciousness to bring people together. When Schwimmers asked if her intention was naive, Madonna admitted it was a fight she had never been able to win. Yet, knowing that a world united by unequivocal acceptance and love is a pipe dream, she hasn’t backed away from evangelizing about it in her music. If Madame X is meant to inspire acceptance, inclusion and love; if it’s meant to call out the hypocrisy of double-standards; if it’s meant to address exclusion and judgment against difference as one of the most pervasive societal diseases we’ve yet to eradicate, then it hits the mark. Whether people are open to receive its message remains to be seen. You do you, Madonna. To thine own self be true.
  12. I'm so proud of this album, so fucking proud. And I'm sure that if this one had been the 2008 Madonna release, the Confessions on a dancefloor follow up, many of this experts and social pundits would have been celebrating her work as the most mature, bold and experimental of her career. When she started to tell she was victim of ageism a few years back (about her songs not being played on radios or critics attacking her for some looks and choreo ideas) I was like "Yes, part of it is true, they're too harsh, it's too much, but, at the same time, let's not deny you're not giving the same quality you used to and you're getting a little too repetitive, both in terms of creativity and music (personal opinion of course)". This is a complete different case, this is just refusing to appreciate the courage and the freshness of a project that all at once appears in the pop scenario with such a different, outspoken and crystal personality. Some choices can be criticizable but saying that this record is the work of a finished artist, who's got nothing left to say or can't find a proper way to say it, to keep in touch with her audience, is just brutally false, MALA FIDE!! So let's full the theatreS for her shows, let's listen to her music and celebrate her wonderful work on and offline, let's make her feel how proud and satisfied we are this time and take the mean reviewers for what they are ...
  13. For whoever wants to watch the full Norton episode and did not have the chance to ... it's definitely not a high quality, but watchable
  14. Just came back home, I couldn't watch the show. What did she do this time? And how was the whole interview? Does anybody rip that?