Bjonkers

I love the thought behind this thread. For me, she has mostly been a sort of mother figure, who has guided me through dancing, religious views, sexuality, spirituality and self expression. For me, her presence will always be connected to my own personal journey, it's visceral. And in my own journey, I somehow recognise her own journey which generally leads me to accepting her creative decisions whether I like them or not. The weight of what she has given me or helped me give myself on the 'weighing scales of life' far outweighs what bugs me about her or what works I dislike.
With that context in mind, it can be difficult sometimes to discuss her career with people who perhaps don't have an emotional trajectory with her, or who view things she did or said in the 80s with a modern lens or with flippancy, or who only view her as being her current social media persona.
At this point, I also understand that opinions about her tend to evolve. Erotica, American Life, Hard Candy had people slamming her for poor creative decisions but which are now seen as vital steps in her overall tapestry. Once the noise surrounding them died down, they were heard differently. 
People experience her in their own ways I guess...

I love the thought behind this thread. For me, she has mostly been a sort of mother figure, who has guided me through dancing, religious views, sexuality, spirituality and self expression. For me, her presence will always be connected to my own personal journey, it's visceral. And in my own journey, I somehow recognise her own journey which generally leads me to accepting her creative decisions whether I like them or not. The weight of what she has given me or helped me give myself on the 'weighing scales of life' far outweighs what bugs me about her or what works I dislike.
With that context in mind, it can be difficult sometimes to discuss her career with people who perhaps don't have an emotional trajectory with her, or who view things she did or said in the 80s with a modern lens or with flippancy, or who only view her as being her current social media persona.
At this point, I also understand that opinions about her tend to evolve. Erotica, American Life, Hard Candy had people slamming her for poor creative decisions but which are now seen as vital steps in her overall tapestry. Once the noise surrounding them died down, they were heard differently. 
People experience her in their own ways I guess...

I love the thought behind this thread. For me, she has mostly been a sort of mother figure, who has guided me through dancing, religious views, sexuality, spirituality and self expression. For me, her presence will always be connected to my own personal journey, it's visceral. And in my own journey, I somehow recognise her own journey which generally leads me to accepting her creative decisions whether I like them or not. The weight of what she has given me or helped me give myself on the 'weighing scales of life' far outweighs what bugs me about her or what works I dislike.
With that context in mind, it can be difficult sometimes to discuss her career with people who perhaps don't have an emotional trajectory with her, or who view things she did or said in the 80s with a modern lens or with flippancy, or who only view her as being her current social media persona.
At this point, I also understand that opinions about her tend to evolve. Erotica, American Life, Hard Candy had people slamming her for poor creative decisions but which are now seen as vital steps in her overall tapestry. Once the noise surrounding them died down, they were heard differently. 
People experience her in their own ways I guess...

I love the thought behind this thread. For me, she has mostly been a sort of mother figure, who has guided me through dancing, religious views, sexuality, spirituality and self expression. For me, her presence will always be connected to my own personal journey, it's visceral. And in my own journey, I somehow recognise her own journey which generally leads me to accepting her creative decisions whether I like them or not. The weight of what she has given me or helped me give myself on the 'weighing scales of life' far outweighs what bugs me about her or what works I dislike.
With that context in mind, it can be difficult sometimes to discuss her career with people who perhaps don't have an emotional trajectory with her, or who view things she did or said in the 80s with a modern lens or with flippancy, or who only view her as being her current social media persona.
At this point, I also understand that opinions about her tend to evolve. Erotica, American Life, Hard Candy had people slamming her for poor creative decisions but which are now seen as vital steps in her overall tapestry. Once the noise surrounding them died down, they were heard differently. 
People experience her in their own ways I guess...

Madonna became close with the man she calls her “ride or die” in the same way that most people bond: through late nights out, long conversations — and no small amount of mischief.
In an interview with Variety, the pop icon opens up about her unconventional relationship with Variety’s 2022 Music Mogul of the Year Guy Oseary, that extends from partner-in-crime, at least in their early days in Miami, to trusted business partner and source of “calm wisdom.”
“I was always the adventurous, crazy one,” Madonna says. “As soon as Guy would get a little look of fear in his eyes, I’d think it was a good idea. I would use him as a weathervane.” However, that dynamic only crystallized over time. When the hitmaker first met Oseary, just 18 at the time, they were both unapologetic troublemakers. “As the years went by, he took on a more of a parental role,” Madonna reveals.
 
Oseary urged the notorious workaholic to rest more and spend wisely. Occasionally, Madonna heeded his advice. More often than not, she remained unswayed — such as the time Oseary suggested the superstar tone down on the elaborate staging of her tours. “He would try to get me to do less production because then I would have less overhead and make more money,” Madonna says. “He was always the voice of reason.”
While Oseary is now “the old man in the house in Benedict Canyon” according to his most famous charge, Madonna’s fearlessness has rubbed off on him in perhaps unexpected ways. Like his forays into the world of cryptocurrency and NFTs. “He’s always been the man behind the artist taking the risk,” she says. “Now he’s taking risks. He reminds me on a regular basis that he’s essentially invested all this money in the crypto world.” (Amusingly, their close bond didn’t guarantee Madonna the NFT ape she wanted from the Oseary-repped Bored Ape Yacht Club. )
 
As Oseary settled down, started a family, and rose in prominence as a manager, producer and investor, Madonna has learned, somewhat begrudgingly, to share her dear friend. “I’m not happy sharing him with apes. Cryptocurrency, Ethereum, U2, Anthony Kiedis, his four children and wife,” she jokes. “Why did all these people have to show up?”
Read on for more from the endlessly quotable multi-hyphenate.
 
How has Guy evolved over the years?
He’s changed a lot since I met him. When I met Guy, he was 18 years old. My first reaction to him was that he had a lot of opinions. But then, as I got to know him, I realized that he had good taste in music and recognized talent. We just became friends. I would get his advice about people I was dating and he was always going after supermodels that were breaking his heart.
In business, was he good cop to your bad cop?
More or less. I was always the adventurous, crazy one. As soon as Guy would get a little look of fear in his eyes, I’d think it was a good idea. I would use him as a weathervane. But that didn’t happen right away. We were on even ground and then, as the years went by, he took on a more of a parental role. He was always very practical. When I would go on tour, he would try to get me to do less production because then I would have less overhead and make more money. He was always the voice of reason and I was the mischievous one pushing the envelope.
Guy says that your risk taking rubbed off on him as a businessman.
He’s always been the man behind the artist taking the risk. Now he’s taking risks. He reminds me on a regular basis that he’s essentially invested all this money in the crypto world.
Which brings us to Bored Ape #3756.
I was so pissed off that I didn’t get the one I wanted. Once I get my mind around something then that’s what I’m going to have. But I learned quickly that wanting 32 musicians on stage in a small theater is not the same as wanting an ape with a leather motorcycle cap and multicolored teeth.
That’s the one you wanted?
Yeah and I didn’t get it. Even though I was told that it was inspired by me, and modeled after me. It was bought by a woman who is a fan of mine. I was like, “She should just sell it to me!” She was gonna sell it to me, but it was way, way too expensive. I can’t afford my own ape.
Do you share everything with Guy?
To a point. Once he got married, he created his own universe. Obviously, I had him all to myself and now I have to share him with his wife, which really pisses me off. I’m kidding! Before that a lot of pretty girls came and went — he’s gonna kill me for saying all of this — but then he settled down with a really nice girl. I was like, “God dammit. Now I have competition!” And then he started managing other artists, which really pushed me over the edge.
You have an unconventional relationship.
Like I said, before it was just me and Guy. We did everything together. I remember the tour where he went, “I can’t do this anymore.” It was for MDNA. I never settled down in a conventional way. I have a very unconventional family. I call myself a citizen of the world and my family unit moves with me.
He couldn’t be on the road all the time?
It probably had to do with him wanting to grow a business, but also having a family. Now he’s the old man in the house in Benedict Canyon. Is that where he lives? One of those canyons. I’ve only been to his house 3,000 times. But he has a lot of practical, calm wisdom that I do not have, so we still have a good dynamic. It’s just shifted.
What are your plans for music going forward?
I’m just looking for interesting, fun ways to rerelease my catalog and introduce my music to a new generation. I’m focused on that and I’ve been writing a screenplay for my film for the last couple of years. The whole thing with “Frozen” was so fun, but I woke up one day and went, “I’m sick of living in the past!” I want to go on tour again, I’m a creature of the stage. That is my happy place.
Would you miss Guy on tour?
I’m always happy to see him. In my opinion, he doesn’t come around enough. I wish he would come around more. I’m not happy sharing him with apes. crypto currency, Ethereum, U2, Anthony Kiedis, his four children and wife. Why did all these people have to show up?
Guy says you shot down any consideration of selling your song catalog. Why? 
Because they’re my songs. Ownership is everything isn’t it?  I mean, that’s why he’s buying apes.
Where are you at with the biopic?
I have a very long script that is really hard for me to make shorter. I’ve been whittling away at it, but it’s like hacking off my limbs.
Why did you decide to make the film?
I’ve had an extraordinary life, I must make an extraordinary film. It was also a preemptive strike because a lot of people were trying to make movies about me. Mostly misogynistic men. So I put my foot in the door and said, “No one’s going to tell my story, but me.”

If Madonna released Into the Groove, Live to Tell, Like a Prayer, Take a Bow or Hung Up today, they would be shreded to bits for an extra click here or there, some mixing anomaly, piss poor marketing, a lack of inspiration, weak vocals, her hairdo or "hairdon't", her ass, her waistline, her grilz, her age, being too political and not being fun enough, her social media accounts, having a life outside of her job... etc etc etc.  Maybe the true issue at hand is that Madonna has evolved over and over and many of her fans have not.   She is the Queen of reinvention.  I do not understand the obsession with dragging down everything that she does on a fan blog site.   It is rather tiresome and mundane.  Madonna has inspired and entertained me for decades and each era has spoke to me on a unique level.  She has never stopped, even when it made total sense to do so to the average person.  But here we are...  Madonna ushered us through many trials and tribulations and we are now making fun of her efforts. Some of us are attempting to rewrite history and pretend that none of it mattered.  She was, is and will continue to be a freedom fighter.  This one human being stood up for those who could not in a time when most would not.  We are simultaneously lamenting the past, present and future and forgetting her amazing discography and body of work, her contribution and her talents.   We need to lay off of the micro-aggressions and the outright assaults on her person and embrace her light while we still have it.  Forty years on and she "still melts my heart".  She will not provide sanctuary forever.   I remind you that the world will one day miss her light so keep your meltdowns to a minimum and enjoy the journey a bit more. 
 
 

There is still a lot of us that are absolutely still luving the ride she has taken us on. We just dont bark as loud. I was there in the 80's with her and every decade after.  I listen to the newer stuff just as much as the older stuff. Shes still a trail blazer to me.  the people that diss her latest stuff would have done the same right through her career.  Its just we didnt have social media and most people always look back more fondly at times when they were younger.  But I can think of 100s of things back in the 80's and 90's there would have been melt downs about. 

Long Form Video = a video that took over a year to edit.

Long Form Video = a video that took over a year to edit.

Long Form Video = a video that took over a year to edit.

Long Form Video = a video that took over a year to edit.

Someone's still involved it would seem...

We do. The isolated vocal stems which we discussed in the other thread on this subject clearly show that she sings LIFE most of the time. On a number of occasions, the word LIFE is clipped by a production edit, possibly on purpose, possibly accidental. There is no great mystery. Case closed.

Long Form Video = a video that took over a year to edit.

Long Form Video = a video that took over a year to edit.

Looks like they are reading this thread haha
its back! https://www.instagram.com/p/CgfUyNdPgP5/?igshid=YmMyMTA2M2Y= 

Long Form Video = a video that took over a year to edit.

Long Form Video = a video that took over a year to edit.

Long Form Video = a video that took over a year to edit.

ARTIST:Madonna
TITLE: Impressive Instant (Peter Rauhofer's Universal Radio Mixshow Mix) [2022 Remaster]
Label: RRW/Rhino/Warner Records
Config & Selection #: IS 
Street Date: 08/12/22
Coming soon.

In 2020 Guy announced he was departing the umbrella management company he set up so he could focus on Madonna and U2 careers again. Article below...
 
GUY OSEARY STEPS DOWN FROM ROLE AT LIVE NATION’S MAVERICK
Guy Oseary, a highly influential name in the US entertainment business, is leaving his role at Maverick – the artist management collective he founded at Live Nation in 2014.
Oseary has agreed to consult for Live Nation President/CEO Michael Rapino over the next three years, and will continue to have a relationship with the events company as manager of Madonna and U2.
Oseary said in a statement: “I’m ready for my new chapter and welcome the opportunity to have more time to focus on management of Madonna and U2 while furthering my passion for identifying and incubating revolutionary businesses.”
Added Rapino: “Guy built an incredible team at Maverick and his work with U2 and Madonna is unmatched. Live Nation has always been about putting the artist first and no one knows that better than Guy. I look forward to continuing our work together on projects including U2, Madonna and beyond.”
Live Nation’s Maverick is a collective of superstar managers, whose ranks today include the likes of Larry Rudolph (Britney Spears), Sal Slaiby (The Weeknd), Clarence Spalding (Jason Aldean) and Scott Rodger (Sir Paul McCartney).
These and other managers working under the Maverick umbrella will continue to operate as part of Live Nation’s wider home for artist managers, Artist Nation.
Earlier this month, Rapino publicly stated Live Nation’s mission to cut annual costs by $600m, as it battles the impact of a COVID-19-hit marketplace.
That $600m target was upped from a previously-stated $500m cost-cutting goal. Rapino himself is forgoing his $3m base annual salary until LN is out of the woods amid the global cancellation of concerts and festivals.
Live Nation says that Guy Oseary will now be “concentrating on his entrepreneurial interests, investing in and incubating companies on the cutting edge of technology and entertainment”.
Oseary is the co-founder, alongside Ashton Kutcher, of VC firm Sound Ventures, which has invested in the likes of Uber, Airbnb, Spotify and Square.
Live Nation’s latest annual filing, for FY 2019 stated: “We believe we are one of the world’s leading artist management companies based on the number of artists represented… as of December 31, 2019, we had nearly 110 managers providing services to more than 500 artists.”
And when Live Nation says “we had”, it really means, “we owned a stake in the businesses of”.
According to the same annual filing, Live Nation said that, at the close of 2019, its “subsidiaries” included Roc Nation Management, Philymack Management, Blueprint Artist Mangement, Faculty Management, Vector Management, Dalton Entertainment, Element 1 Management, Spalding Entertainment and Big Loud Mountain Management
Source: https://www.musicbusinessworldwide.com/guy-oseary-steps-down-from-role-at-live-nations-maverick/

In 2020 Guy announced he was departing the umbrella management company he set up so he could focus on Madonna and U2 careers again. Article below...
 
GUY OSEARY STEPS DOWN FROM ROLE AT LIVE NATION’S MAVERICK
Guy Oseary, a highly influential name in the US entertainment business, is leaving his role at Maverick – the artist management collective he founded at Live Nation in 2014.
Oseary has agreed to consult for Live Nation President/CEO Michael Rapino over the next three years, and will continue to have a relationship with the events company as manager of Madonna and U2.
Oseary said in a statement: “I’m ready for my new chapter and welcome the opportunity to have more time to focus on management of Madonna and U2 while furthering my passion for identifying and incubating revolutionary businesses.”
Added Rapino: “Guy built an incredible team at Maverick and his work with U2 and Madonna is unmatched. Live Nation has always been about putting the artist first and no one knows that better than Guy. I look forward to continuing our work together on projects including U2, Madonna and beyond.”
Live Nation’s Maverick is a collective of superstar managers, whose ranks today include the likes of Larry Rudolph (Britney Spears), Sal Slaiby (The Weeknd), Clarence Spalding (Jason Aldean) and Scott Rodger (Sir Paul McCartney).
These and other managers working under the Maverick umbrella will continue to operate as part of Live Nation’s wider home for artist managers, Artist Nation.
Earlier this month, Rapino publicly stated Live Nation’s mission to cut annual costs by $600m, as it battles the impact of a COVID-19-hit marketplace.
That $600m target was upped from a previously-stated $500m cost-cutting goal. Rapino himself is forgoing his $3m base annual salary until LN is out of the woods amid the global cancellation of concerts and festivals.
Live Nation says that Guy Oseary will now be “concentrating on his entrepreneurial interests, investing in and incubating companies on the cutting edge of technology and entertainment”.
Oseary is the co-founder, alongside Ashton Kutcher, of VC firm Sound Ventures, which has invested in the likes of Uber, Airbnb, Spotify and Square.
Live Nation’s latest annual filing, for FY 2019 stated: “We believe we are one of the world’s leading artist management companies based on the number of artists represented… as of December 31, 2019, we had nearly 110 managers providing services to more than 500 artists.”
And when Live Nation says “we had”, it really means, “we owned a stake in the businesses of”.
According to the same annual filing, Live Nation said that, at the close of 2019, its “subsidiaries” included Roc Nation Management, Philymack Management, Blueprint Artist Mangement, Faculty Management, Vector Management, Dalton Entertainment, Element 1 Management, Spalding Entertainment and Big Loud Mountain Management
Source: https://www.musicbusinessworldwide.com/guy-oseary-steps-down-from-role-at-live-nations-maverick/

HOW have they managed to add 8 seconds to the 7" edit??? 

I guess we’ll know in some hours...

I think like so many of the writing in this album it has a poetic approach rather than lyrics.
The repetition and cadence on the sentences are close to spoken word. Repeating sentences that sound the same and have small changes to give you and understating of the meaning.
The whole song goes about where's this place. And we know is not a real place. I think Place and face there mean: Place as being, like a physical or location in time, while face means what others see from you, your face to the public. A rhetoric Madonna goes into often in her lyrics.
Like poetry and spoken word it could sound cheesy or phony out of context but I personally love it within the album vibe.