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Unapologetic Bitches
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  1. Being referential to her past (which is indeed splendid and glorious) doesn’t mean she’s obsessed with her past and not a forward or future thinking artist. She truly is in uncharted territory as far as pop stars go. With the exception of possibly Tina Turner or Cher, but they also had already embraced the “heritage act” label well before their 40yr career mark. The entire Madame X persona, album, and tour are very referential to her past, but she didn’t pander to the audience to make it wholly familiar or comfortable, which would’ve been much easier (and probably terribly boring) for her as an artist. Madame X is not my favorite album, and not my favorite tour, but it is full of messages that are both current and forward thinking. As I stated earlier, MXT was, to me at least, reminiscent of BAT in the turning of the pop star concert tour into something theatrical and new and different than what anyone had really seen before in an arena or stadium. MXT was in the same vein, except it brought the arena show into the theatre. in my opinion they are bookends. Reusing the speech may work as a gimmick, but I doubt that was the intention. But I won’t know until Oct 8th.
  2. I’m really excited to see the opening act, and I hope Vogue is done some justice in the edit. It fell flat for me live, but the clips of it in the trailers have me excited. I can’t wait to see iDSIF and American Life. the Fado section was heavy handed, so even though I enjoyed Sodade, I prefer that her songs are in there rather than a cover. Killers and Crazy are so good and her voice is on point! Extreme Occident was magical at every show that I saw, so I hope they didn’t trim too much! I agree that Crave was out of place and seemed random, honestly, I don’t know where it would fit into the narrative of the show the way it was performed with the remix. Just my opinion. I have been critical of the show, but it was mostly her attitude. She was kinda bitchy… in a not fun way. (Not knowing the extent of her injuries explains a bit of that though) The BA Vatican speech makes sense to me because MXT reminded me of BA. Not conceptually, but the reformulation of a pop concert. It was magic, and it was a mess. But it worked. thanks for all the info @shoful 😘
  3. I just meant they were published in 1991, I assumed it was shot near the end of 1990 or early 1991.
  4. The bad girl single cover was a shot from the 1991 Truth Or Dare photo sessions by Steven Meisel. So is the famous bejeweled body stocking shots to promote used for Erotica WAY after the shoots for the Sex book that were actually used in the Erotica cover art. since this is being shot by Steven Klein, which was already done by him for the Iconic intro for RHT, using the same Bob Mackie dress from that ‘91 VF cover and Academy Awards performance, it definitely looks referential, but knowing SK’s insistence on including violent and deconstructed imagery, it could be an interesting photo story, disturbing or not. once the MXT is released on paramount+/MTV, she could be promoting the biopic and WMG deal to generate interest in the reissues and discuss the movie release. it would be way more interesting if she was shot again by Steven Meisel. But that’s just my opinion.
  5. IMO it looks like she’s merging Madame X with her own biopic. Like she’s letting her alter ego(s) tell the story of Madonna. It’s all so very Charles Dickens of her. 😏
  6. The script will be rewritten throughout filming. It always happens with films. What’s on paper doesn’t always translate well to the screen.
  7. Of course we want box sets. But WB did a huge amount of promotional effort for Madonna through her career. She wouldn’t have mentioned it in the press release otherwise. all the different mixes, single, and album covers for each individual markets would not have happened unless the record company was promoting their own artists’ success and artistic vision. Hell, she even made Maverick into an ACTUAL record company that was profitable and had high quality artists. I know we’re all here to celebrate her, but to me this announcement sounds like she’s cut off the shackles of corporate control, and she can proceed with her own artistry as she wants. If done correctly, which I’ve no doubt she will, this is a revolutionary move to continue a long and important career without having to release re-recorded versions of her previous albums, or create feuds with other artists or previous collaborators, or go to the lengths of withholding her work from fans by holding music delivery services (digital or physical) hostage.
  8. I personally think the LAP, and TB anniversary editions (which do leave a lot to be desired) are just the record company doing market research. The singles are already being rolled out to streaming services, as well as the promotion of HD upgrades of the videos on her YouTube site. I agree that there’s a huge amount of mythology surrounding Madonna’s unused songs, but we have also had many songs confirmed that were talked about for years and years when all the leaks started happening. For me, there’s an excitement for having actual “Madonna approved” releases, even if it had been leaked before. The press announcement, especially from Guy Oseary about listening to the fans, makes me hope that Madonna and her team will also take the care and consideration to make these truly worth the deluxe edition prices, and make it worthwhile to the fans. Slinging remixes onto the the end of an album isn’t really a worthy use of a huge press release, and there are many other lesser artists (sorry Prince and Depeche Mode!!) that have had amazing deluxe reissues, frankly without the importance. IMO. I wouldn’t doubt the amount of red tape involved in a deal of this kind. Pat Leonard already sold the rights to his portion of the recordings. And he suddenly halted the release of his own new interpretations of his songs with Madonna. We know Nile Rodgers will get royalties from both “Madonna” and “Like A Virgin”, per his contract to produce LAV, so I’m sure this wasn’t an easy deal to seal. Which is why LDLHA was cut from the RHT release. As well as LS from the medley. It’s the art and commerce dilemma. I'm most likely wrong, but artists like Madonna, Prince, MJ, David Bowie, etc. etc are why publishing right are so valuable. It’s collateral for the holder of the copyrights, and especially in MJ’s case, why he was able to float his finances for years without actually recording new material, because he owned everyone else song rights! Or Beyoncé requiring songwriting and publishing credit for songs she didn’t write. The business is complicated, and I’m grateful that Madonna continued to be an artist and create music and live productions rather than retreat for years like MJ or Kate Bush, or Prince for that matter. Madonna has remained relevant because she is. Additionally, we have no idea what terms her contract with LN or Interscope were beyond the public record. It’s quite possible she wasn’t “allowed” to damage their brands because it would also damage her own. She’s wishing death to the patriarchy for a reason.
  9. I said some months ago, I think when Interscope removed her on their artist roster, then she appeared more prominently on the Warner Records roster, that it made sense for her future as a recording artist to return to Warner. The biopic had just been formally announced, and the random “Madonna’s legacy” articles started appearing in web/print publications. Then the digital singles campaign began. It’s probably been in the works for months (if not a couple of years) because the only way for Madonna to continue to be a forging ahead recording artist is to consolidate her career under one roof, so to speak. Otherwise, and I think the LiveNation/Interscope years can attest to, is that her career was going to be as a heritage act that was fighting to stay relevant if she stayed. This new partnership with WMG is good business for her, especially since she’s going to also create the soundtrack for the biopic, but she gets to celebrate her past up to the present and put it to rest. She can continue her career path how she wants, and release new music how she wants, and her legacy so many fans seem to fear is in jeopardy, will be fully available and intact, not to mention she can perform whatever songs she wants live without the royalties issues. Even Guy Oseary exited his position at Live Nation to focus on managing his main artists Madonna and U2…remember that random news article? Could she still fuck it up? Of course. But her own statement about the “care and consideration of her music” reaching the widest and broadest audience possible, which WB did even up until the Sticky and Sweet release in 2010, speaks volumes about how her recording career was handled under LN/Interscope. Having the whole team of WMG, plus her management, business management, and herself involved, I only see good things happening. Not having a “3 album deal” announced with this press release, it frees her up to create as she wants, which also explains how the press just happened know she was building her own recording studio at the Hampton’s estate. She’s had a map laid out since the day she was born. But the roads aren’t flat, and the paper is far from worn.
  10. I think if she tours with the biopic soundtrack, which I can’t imagine her only recording 1 new song for it, she could do a “proper” GH tour, with the new songs. She could also add some extras, like Candy Shop and Human Nature… oh wait, those ARE greatest hits, right? Lol. seriously, if she did do ROL in it’s entirety, it would be cool if she opened with a set of older/newer hits, then stick ROL as a second act, then close with another set of familiar songs, hits or not. (The same format could be used for maybe the LAP album) in reality, it would probably be the entire ROL track list peppered into the overall setlist, which also is the only way I can see the entire Erotica album being presented. my real opinion is that “celebrating” an entire album/era would be an admission of being a heritage act, which she hasn’t been keen to embrace yet. But, who knows how she’ll feel about her past after the biopic?
  11. I know! Lol There’s nothing new to “sell”, and chances are the extras will be released to streaming as the anniversary dates of the singles approach anyway, right? And as I’ve already compared from the prior releases, a WB digital release is basically equal to the HQ CD rips we’ve had for years, or for some of us, in our CD players. LOL. but I’ll probably still buy it. That’s the kinda fan I am, and I’m beginning to resent MYSELF for it! Lol
  12. Like I said, I’m looking back to my 13/14yo self. I was lucky to have a good selection of local record shops and a also be a hub for WB promotions, which I NO clue would be usueful information in 2021! Lol. I’m not saying I’m right, I’m not saying anyone is wrong, I’m just sharing my memories and experiences. I could be wrong, but I was like a Madonna Savant back then… and kinda still an. Lol. She had a lot of output back then, and WB was always on top of promotions and servicing her new works to radio and club DJ’s. My former partner had SO many promo maxi’s on vinyl and CD because he was the DJ at Viilage Station (the only gay dance club in Dallas, and Arcadia, also in dallas, and a converted music hall/dance club.) maybe I should just let it go. I just know what I saw and remembered having to make a choice between vinyl and cassette! 🤷🏻‍♂️
  13. Okay. I used to go to a couple of local record stores in Dallas that sold imports, so maybe that’s how I saw it. One store called “Bill’s records and tapes” is where I got the Dear Jessie cassette single when it was released, which was confusing to me because I had no idea it was released in the UK instead of Oh Father. Lol. edit: the Oh father single was released on 10/24/1989 in the US, and I remember the world premiere of the video on MTV around that time as well, I’m not saying you’re not right, but my memory is is long and accurate, and the Keep it Together single was released in January of 1990 in the US, and shortly thereafter, in late February/early March 1990, MTV began teasing the Vogue video between commercials. So a 1990 release date in France of Oh Father was way behind what was happening in the US market, which I did in fact see a 45 sleeve of Oh Father when it was relaeased. I’m 45yo now, so I’m of course recalling old memories, but WEA (Warner-Elektra-Atlantic) did amazing and incredible promotional work back then, up until the early 2000’s when most markets closed their offices. Dallas has a WEA office that I actually got quite a bit of free promotional stuff from (and eventually befriending ) the Warner/Sire rep that always gave me info about the next singles, or that they had no info, etc. I sometimes got sent what was leftover from the promo stuff for DJ’s, including the red double vinyl Fever single, and the DJ only pink vinyl pressing of Bedtime Stories for free because it wasn’t for sale. I only say this because I know there are still things that pop up that the general market didn’t get at Musicland, Sam Goody, Tower Records, etc. like I said I mostly went to record stores that were local, so there’s definitely some room for discrepancies in my timeline, but I’ve also found that Discogs isn’t the end all, be all of “official releases”.
  14. The 45 did come in a picture sleeve in my market. I was 13 at the time, and my budget made me have to choose between the 45 and cassette single, which I chose the latter, which I still have. Since it wasn’t a “hit”, it disappeared quickly from the shelves, but I clearly remember it being available with a picture cover, because I was also confused that the b side was “Pray For Spanish Eyes” instead of the LP listing of “Spanish Eyes”. I remember pulling the 45 out of the sleeve to double check on the label.
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