Alibaba

I find Future Nostalgia a wee bit overated. Like..It's a cute girl and all but it's just because it's unashamedly pop that the gays have gone mad for it. Some good bopps though but the over used Your Woman sample in Love Again is yawn and the last two tracks ruin an otherwise good album. So yeah 7 decent tracks and the dodgy title track.
 

You mean before she released Like A Prayer, Express Yourself, Vogue... Literally nobody thinks Madonna peaked in 1987 .

I think Madonna does not want Warner make dollars off her back now. She did like being sued for Maverick and having to sell her parts in the company. (even though the ceo's who sued her are maybe retired now or left). One thing that frightens me with M is if she's ever to make remastered deluxe versions of her albums, she'll have a hand in them and if she does to themwhat she does editing her concerts......
Even PJ Harvey will have ALL her back catalogue including b-sides and demos re-released between this late august and 2021.

Madonna isn't signed to Warner and Madonna isn't dead. 
The Prince estate has a whole team dedicated to putting these things together and working with Warner to put them out. Plus Prince was signed to Warner before his passing.
I wouldn't expect a release like this from Madonna anytime soon, that is until the album masters fall back into Madonna's hands like 3-5 years from now. If Warner won't re-certify Madonna's past albums, then they certainly won't work with her in putting together a super deluxe anniversary release. And if Guy O isn't going to manage a release like this, then I don't know how it's going to happen.
BUT
There was that LAP 4-disc re-release rumored earlier this year. The same time that a "Sign O' The Times" LP re-issue in peach colored vinyl that was rumored for RSD, then cancelled, but now it's finally coming out released along side all of the anniversary re-issues.
So maybe we might get something after all!

Yes. It's too much to ask because it is absolutely breathtakingly selfish and ignorant. How could you expect an artist to be blind to the enormity of the world's turmoil when we face either social revolution or a world war? This is where you realize you should have stuck to Paula Abdul.  

oh boy — that's purely based on your personal feelings.
critics and the general public praised COADF. it wasn't her most profound work, but it surely was finely executed and coherent.
with HC she followed a trend that was already dying. obviously with the records after that she became less relatable to the masses for whatever reasons.

Topics like this are hilarious. One's "decline in originality" is another's favourite and most creative thing ever.
I often say to people who complain about "post Hard Candy" Madonna that perhaps you have just lost your interest in her naturally, which is fine, I used to love certain artists and then they just start to bore me for whatever reason. This probably happened to you with Madonna because Hard Candy just wasn't your taste and now everything is compared to Confessions etc (which I find to be some of her weakest and least creative work to date myself)... 
Madonnas entire life changed post 2007, she divorced, she was a single mother of young kids, she finished with a record company shed been with for decades, the pop landscape was changing and she was about to turn 50. Perhaps she just wants to enjoy life and not be as tied down to rules and convention or worry about who she is going to please or piss off?
Hard Candy while being modern sounding at the time is also a complete 80s dance throw back album. It's probably in my top 3 favourite albums because It so seamlessly mixed old school cool with the new sound at the time, and Madonna was on top of her game yet again after the lacklustre grab at a hit that was Confessions. Sure, Confessions waa successful and I have a feeling that if MDNA/Rebel Heart/Madame X were also commercially successful, a lot of naysayers would be stating its her best work ever like they do with Confessions... just a thought.
And any comment about her appearance or what she does or doesn't wear is embarrassing... she can do what she wants and who she wants, just like you can do the same. If you find it not to your taste, again, move on from Madonna and try Cyndi Lauper or someone of the same era to follow, it may work out better for you in the long run because Madonna's career from now on is going to be a very bumpy ride but I can't wait for it!

With the exception of a few posts throughout these four pages, there is a fundamental lack of attention given to the primary issue here. It has less to do with Madonna changing, and more to do with the concept of fame changing post-digital revolution. Madonna's type of fame was truly exceptional for the longest time, but she aged out of the Zeitgeist when corporate interests no longer saw her preeminence as commercially useful. There was more money to be made from youth-oriented culture. Doing business with an artist of Madonna's stature would have meant profit margins for the corporate entities were diminished because she could take a larger stake herself. As the industry changed and panic kicked in regarding dwindling sales and illegal downloading, replacing artists like Madonna with green-eyed younger and more malleable acts would have been a natural shift. As it turned out, Madonna and Oseary were prescient and understood that they needed to strike while the commercial iron of touring receipts was hot, thus her 360 deal with Live Nation. Sidenote: Recording music hasn't been a valid source of income for Madonna for well over a decade; she herself decided to use her records as showcases for her live performances. She approached her creative flow as a Broadway director does. The music is the soundtrack to the show. No one seems to get this. Look at how this has become a more cynical template for less successful legacy acts who all have some type of dreadful Broadway adaptation of their back catalogs in the works.
As much as it upsets many of Madonna's fans to face this truth, most of them have long stopped being a core capitalist demographic. In fact, whenever I consider Madonna's modern legacy I am more fascinated by how limited many of her fans' perspective on her evolution is. I read endless posts about how she should be promoting her music as she did Ray of Light...That she would be better off returning to Warner Bros, as if nostalgia holds some sort of commercial magic wand in an era when almost no one sells music anymore! It shows a fundamental lack of comprehension that the world itself has drastically changed over the course of Madonna's career, and the fact that her phenomenal stamina managed to give her a somewhat imperialistic hold on global pop culture for two and a half decades is unprecedented. That's enough within itself to make everything she has done since that imperial phase ended worthy of admiration and a much kinder assessment, but there is so much more to explore here. 
There is no doubt that the public essentially wrote her off after she returned to her raunchier persona post-divorce.  One cannot deny the dismal showing of Celebration was more than a commercial embarrassment; it was a global smack in the face to the woman; age seemed to offer the world the chance to finally kick her where it hurt. 
I am more shocked by people's surprise at Madonna's healthy appetite for self-preservation through plastic surgery than by the results of the surgery. In an era of digital film and photography, no one can afford to show signs of obvious aging, and as one of the world's most photographed women whose career was built in great part on the promise of video as art form, it seems entirely logical that she would succumb to the pressures of the industry. Surely people aren't shocked to learn that Madonna is vain and a narcissist? 
Madonna explained herself most effectively during her promotion for her film W.E. I don't think many actually caught on at the time when she made parallels between herself and Wallis Simpson by describing the limiting views of the masses that prevent a public person from having more than one or two characteristics. It had long become painfully obvious that Madonna could not simultaneously and successfully be a provocative showwoman, a film director, a recording artist, an actress, a business owner, a good mother, and a human being with an evolving intellect...She therefore seemed to step back until she eventually found the best way to enable her own version of that narrative to thrive by inventing the Madame X character; an empty vessel capable of being anything she wants to be at any given fork in the road. Tears of a Clown was her first foray into meta-identity-fucking, and she knew all along that the only way forward was to leave the past and its intransigent inhabitants behind. I believe Madonna is a deconstructionist at this point in her life, fully in charge and fully self-aware. Whatever anyone else thinks of her is merely a projection of something deep within themselves. The need to denigrate her choices and their results is most probably more indicative of the audience's inability to move beyond preconceived notions and prejudice. After all, in a world of bullies, everyone is somehow still a victim. Madonna's greatest achievement is that she is a living work of art, full of contradictions and the ability to elicit the fullest emotional spectrum no matter the brush stroke. 

I think there was much to be enjoyed in this show, but I found the stage design much simpler than I’d wanted, and the tone of the show was slightly stilted and murky. I felt like it had more potential than was actualized, and unfortunately Madonna’s injuries only added to this impression. However, let’s be real. I have seen a lot of modern theater, and there is some gimmicky shit out there! This felt like straight from the mind of playwright M...She has a style, and even when occasionally suffering from a tiny itch of amateurism, Madonna is always a remarkable and compelling performer! And while she can afford the luxury of experimentation at this advanced stage in her performance career, the fact that she committed to the entire Madame X project and saw it through as the world was crumbling around her while facing hugely debilitating injuries and sickness, is unfortunate, but extraordinary; even miraculous! Brava! 
 
The tour deserves to be considered on par with The Girlie Show in my humble opinion:
1. Confessions
2. Blond Ambition
3. MDNA
4. The Girlie Show/Madame X
5. Drowned World
6. WTG
7. Sticky + Sweet (both versions)
8. Rebel Heart
9. Reinvention 
10. Virgin (And even coming in last, it would get an A+ by any other standard if it weren’t so short!) 
 
???
 

Extreme Occident, for sure! Hearing the playfulness and dexterity in her voice during the Fado section, which included Sodade at the time...Unexpectedly beautiful. Come Alive for its choir finale. I only saw the show once, and there was far too much to take in. I’ve actually come to the conclusion that it was much harder to watch Madonna in a small venue because you focus entirely on her, and can easily miss key moments of the grandiosity of the message and the broader visuals! With all the focus on her injuries even as far back as November, it was impossible not to imbue any assessment of her performance with a sense of diminishment. I regret not being more present with hindsight, and I can’t wait to see it directed for the screen! 

I think there was much to be enjoyed in this show, but I found the stage design much simpler than I’d wanted, and the tone of the show was slightly stilted and murky. I felt like it had more potential than was actualized, and unfortunately Madonna’s injuries only added to this impression. However, let’s be real. I have seen a lot of modern theater, and there is some gimmicky shit out there! This felt like straight from the mind of playwright M...She has a style, and even when occasionally suffering from a tiny itch of amateurism, Madonna is always a remarkable and compelling performer! And while she can afford the luxury of experimentation at this advanced stage in her performance career, the fact that she committed to the entire Madame X project and saw it through as the world was crumbling around her while facing hugely debilitating injuries and sickness, is unfortunate, but extraordinary; even miraculous! Brava! 
 
The tour deserves to be considered on par with The Girlie Show in my humble opinion:
1. Confessions
2. Blond Ambition
3. MDNA
4. The Girlie Show/Madame X
5. Drowned World
6. WTG
7. Sticky + Sweet (both versions)
8. Rebel Heart
9. Reinvention 
10. Virgin (And even coming in last, it would get an A+ by any other standard if it weren’t so short!) 
 
???
 

In truth it’s like comparing apples and oranges. Madame X wasn’t a spectacular in anyway shape or form. Seeing as it was a theatre style smaller production I actually expected a hell of a lot more in terms of stage stuff. Much more in line with cirque de soleil. 
There were two or three cute stage effects but I felt the energy of the entire show was kind of subdued and slow. Even the uptempo numbers seemed to have a stilted energy about them. It was very Madonna in your living room. 
 
A bit like Madame X there were moments of brilliance but the money shot was so often missing and things rarely climaxed. 
 
but like I say you can’t really compare with the drama and production of something like MDNA. 
I was hoping for more of a Girlie Show warmth but hey. 
I still had a great time but I really think a Theatre tour would have been much much much more suited to a broader selection from her back catalogue. 
Maybe the DVD will frame things differently but I don’t feel like the mood or energy or vibe changed much throughout the show.
and I’m still pissed AF about Rescue Me being dropped. 

And you know what, that’s amazing! As much of a disconnect I had from this era it’s really great to hear that other fans did enjoy the show and had a blast.

Please don’t answer for her or justify her actions.
Who cares if she wears a mask or not. The point is she SHOWED UP. She is fighting for what she believes in. She’s doing the right thing.
Look at the photos and videos. I see multiple people without masks. Get over it y’all.
Spread love not hate.

Don't you just love her ? Human, thats all I can say

I know we don't all live in the same reality, but anyone who is jumping on the opportunity to make this into something it is not via another knee-jerk dismissal is missing an opportunity here. Yes, this is a daytime television show of little merit, but then again most television is deceptive and shallow! We pick and choose based upon what reflects our own comfort zones. Outside of this, we still have to acknowledge that large amounts of people do watch these dreadful daytime talk show panels, and they form a lot of their own opinions from hearing the opinions delivered by the panel member they relate to the most. In Sharon's case, she has a deep knowing and understanding of the music business and the entertainment industry, and while I don't share her public values whatsoever, I respect her tenacity and ambition.
Now for the actual content highlighted here in this clip...She didn't criticize Madonna at all. She seemed informed, as if she had given it some genuine thought, and spoke quite eloquently and positively about Madonna. And I think what she points out is actually extremely interesting and worthy of debate. In fact, I think what Sharon Osbourne brings up is more in alignment with the notion that always gets in the way of feminist progress: Women simply do not majoritarily elevate other women! Competition between women is usually fierce and covert. I understand that Reese Witherspoon and Nicole Kidman would have us all believe that there is a giant sisterhood of actresses, directors, producers, agents and managers who aspire to tell stories about other women that encourage solidarity and union, but this is, in my experience, strictly aspirational, and mostly self-serving. And yes, Madonna is as much a victim of female competitiveness as she is a perpetrator. Brava to Osbourne for bringing up a slightly more intelligent narrative regarding Madonna. She isn't exactly Wendy Williams after all!  

At the end of the day people can blame whoever they want but she is past it from a commercial perspective- there are no artists or groups ( alive) over the age of at least 50 who perform well in the charts and the sooner her fans and M get over this - the better - I just want her to make good music period and not try to pander to tweens who’s taste in music nowadays is shit anyway ? I mean Drake ? Come on ?

She's moving around pretty good....
 

A great article / interview about Lisa Osborne's journey after having a full hip replacement:
 
https://www.lesmills.com/instructors/instructor-news/lisa-osborne-inspiration/
 
 

I think there are a lot of people in this debate who need to take a long hard look in the mirror and stop projecting upon Madonna the emptiness of their own lives. Ridiculous doesn't even cover the level of a lack of self-awareness that would make a person think Madonna's life is empty, or that she is losing at anything. 

You lose your argument just based upon your insistence on seeing Cher and Madonna in even remotely related categories as human beings. Their one commonality is that they are both showgirls, but Madonna is a tireless freedom fighter. Cher is an entertainer from an entirely different era who has been a novelty act for at least three decades, if not five. And yes. I saw that she saved an elephant.
I have enjoyed Cher at times in my life (I Found Someone and Heart Of Stone were on heavy rotation when I was still a child), but nothing about her musicality, her performance standards and capabilities, her manifesto or her humanity is on par. Cher is Mae West. She's a holiday camp variety act. Look at this photo of her. Cher cannot do sex. She can wear it, but she can't be it. Ever. 
Madonna doesn't use her sexuality for anything at this point in her career. She has always exuded sex, and that will always be the case, but any intentionality has been political for quite some time, and not an actual reflection of sex. This type of cynicism is derivative and baseless. Madonna is functioning on a much higher level than some of her fans seem to realize. 

I think there are a lot of people in this debate who need to take a long hard look in the mirror and stop projecting upon Madonna the emptiness of their own lives. Ridiculous doesn't even cover the level of a lack of self-awareness that would make a person think Madonna's life is empty, or that she is losing at anything. 

You lose your argument just based upon your insistence on seeing Cher and Madonna in even remotely related categories as human beings. Their one commonality is that they are both showgirls, but Madonna is a tireless freedom fighter. Cher is an entertainer from an entirely different era who has been a novelty act for at least three decades, if not five. And yes. I saw that she saved an elephant.
I have enjoyed Cher at times in my life (I Found Someone and Heart Of Stone were on heavy rotation when I was still a child), but nothing about her musicality, her performance standards and capabilities, her manifesto or her humanity is on par. Cher is Mae West. She's a holiday camp variety act. Look at this photo of her. Cher cannot do sex. She can wear it, but she can't be it. Ever. 
Madonna doesn't use her sexuality for anything at this point in her career. She has always exuded sex, and that will always be the case, but any intentionality has been political for quite some time, and not an actual reflection of sex. This type of cynicism is derivative and baseless. Madonna is functioning on a much higher level than some of her fans seem to realize. 

I do love I'll Remember. The song evokes melancholy and nostalgia with sophistication and immediacy, which isn't an easy task. However, I think that This Used To Be My Playground is a much more important underrated song in Madonna's discography...It's simplicity is deceptive, and it's overt saccharine vocal pining is so intensely authentic. I'll Remember has moments of this same version of Saudade, but in affirming her emotional resilience and transcendence the song feels less vulnerable and more about self-empowerment, which is a regular theme throughout Madonna's discography. TUTBMP feels genuinely self-aware, but with a tiny twist of hopeful romanticism to it. That has always felt devastatingly honest to me; like a good cry in private. 

You lose your argument just based upon your insistence on seeing Cher and Madonna in even remotely related categories as human beings. Their one commonality is that they are both showgirls, but Madonna is a tireless freedom fighter. Cher is an entertainer from an entirely different era who has been a novelty act for at least three decades, if not five. And yes. I saw that she saved an elephant.
I have enjoyed Cher at times in my life (I Found Someone and Heart Of Stone were on heavy rotation when I was still a child), but nothing about her musicality, her performance standards and capabilities, her manifesto or her humanity is on par. Cher is Mae West. She's a holiday camp variety act. Look at this photo of her. Cher cannot do sex. She can wear it, but she can't be it. Ever. 
Madonna doesn't use her sexuality for anything at this point in her career. She has always exuded sex, and that will always be the case, but any intentionality has been political for quite some time, and not an actual reflection of sex. This type of cynicism is derivative and baseless. Madonna is functioning on a much higher level than some of her fans seem to realize.