Alibaba

I’d have to agree that with hindsight, Madame X makes for a tedious listen. It also happens to correspond to a time in my life that was particularly difficult, and so I don’t have any peripheral memories to bolster any affection for it. Intellectually, there is a concept behind the album, but it fails to ever deliver on fully developing what could have been a master work. The production, dare I say, is what truly drags the good songs into the mud. I think Medellin, Dark Ballet, Killers, Crazy and Crave are the closest to achieving their sonic goals, but even the gorgeous Come Alive, Extreme Occident, Looking For Mercy and I Rise are just plain burdened with unnecessary vocal filters, and either kitchen sink production or meandering studio tricks that never build to a satisfying conclusion. The inclusion of Faz Gostosa is baffling as it belongs on a totally different album, and there are no words to ever describe how angry Bitch I’m Loca makes me as a total waste of space that, in addition to being substandard, adds to the disastrous interruption to the flow of the album that its predecessor begins. Five years later I am quite certain that the overuse of pitch correction and auto tune was a grotesque miscalculation that renders the entire project less heart-driven and soulful, when that is exactly what these songs needed the most. The fact that Madonna hasn’t released an album since makes me wonder if her creative force has been spent, which is truly a shame as I had always hoped for her deepest most insightfully introspective and philosophical work to continue to evolve out of the experiment that was Madame X. 
 
The fact that its heavy-handed approach trumps Hard Candy’s basic lack of appeal to me in making it to the bottom of the list says a lot! At least HC delivered an era that brought joy and smiles to many on a stellar global tour. On tour, Madame X seemed determined to either kill me by asphyxiation from overheating in the stifling theater settings or drive me to suicide with its general darkness, only heightened by Madonna’s constant pain. A very strange era in Madonna’s storied career. Perhaps it will be revisited differently in the future, but upon recently trying to listen to it, I felt the distinct combination of indifference, boredom and sadness. Not a good look. 

I’d have to agree that with hindsight, Madame X makes for a tedious listen. It also happens to correspond to a time in my life that was particularly difficult, and so I don’t have any peripheral memories to bolster any affection for it. Intellectually, there is a concept behind the album, but it fails to ever deliver on fully developing what could have been a master work. The production, dare I say, is what truly drags the good songs into the mud. I think Medellin, Dark Ballet, Killers, Crazy and Crave are the closest to achieving their sonic goals, but even the gorgeous Come Alive, Extreme Occident, Looking For Mercy and I Rise are just plain burdened with unnecessary vocal filters, and either kitchen sink production or meandering studio tricks that never build to a satisfying conclusion. The inclusion of Faz Gostosa is baffling as it belongs on a totally different album, and there are no words to ever describe how angry Bitch I’m Loca makes me as a total waste of space that, in addition to being substandard, adds to the disastrous interruption to the flow of the album that its predecessor begins. Five years later I am quite certain that the overuse of pitch correction and auto tune was a grotesque miscalculation that renders the entire project less heart-driven and soulful, when that is exactly what these songs needed the most. The fact that Madonna hasn’t released an album since makes me wonder if her creative force has been spent, which is truly a shame as I had always hoped for her deepest most insightfully introspective and philosophical work to continue to evolve out of the experiment that was Madame X. 
 
The fact that its heavy-handed approach trumps Hard Candy’s basic lack of appeal to me in making it to the bottom of the list says a lot! At least HC delivered an era that brought joy and smiles to many on a stellar global tour. On tour, Madame X seemed determined to either kill me by asphyxiation from overheating in the stifling theater settings or drive me to suicide with its general darkness, only heightened by Madonna’s constant pain. A very strange era in Madonna’s storied career. Perhaps it will be revisited differently in the future, but upon recently trying to listen to it, I felt the distinct combination of indifference, boredom and sadness. Not a good look. 

Thanks for all of your choices and thoughts Everyone. So appreciated. Keep them coming! 

I’d have to agree that with hindsight, Madame X makes for a tedious listen. It also happens to correspond to a time in my life that was particularly difficult, and so I don’t have any peripheral memories to bolster any affection for it. Intellectually, there is a concept behind the album, but it fails to ever deliver on fully developing what could have been a master work. The production, dare I say, is what truly drags the good songs into the mud. I think Medellin, Dark Ballet, Killers, Crazy and Crave are the closest to achieving their sonic goals, but even the gorgeous Come Alive, Extreme Occident, Looking For Mercy and I Rise are just plain burdened with unnecessary vocal filters, and either kitchen sink production or meandering studio tricks that never build to a satisfying conclusion. The inclusion of Faz Gostosa is baffling as it belongs on a totally different album, and there are no words to ever describe how angry Bitch I’m Loca makes me as a total waste of space that, in addition to being substandard, adds to the disastrous interruption to the flow of the album that its predecessor begins. Five years later I am quite certain that the overuse of pitch correction and auto tune was a grotesque miscalculation that renders the entire project less heart-driven and soulful, when that is exactly what these songs needed the most. The fact that Madonna hasn’t released an album since makes me wonder if her creative force has been spent, which is truly a shame as I had always hoped for her deepest most insightfully introspective and philosophical work to continue to evolve out of the experiment that was Madame X. 
 
The fact that its heavy-handed approach trumps Hard Candy’s basic lack of appeal to me in making it to the bottom of the list says a lot! At least HC delivered an era that brought joy and smiles to many on a stellar global tour. On tour, Madame X seemed determined to either kill me by asphyxiation from overheating in the stifling theater settings or drive me to suicide with its general darkness, only heightened by Madonna’s constant pain. A very strange era in Madonna’s storied career. Perhaps it will be revisited differently in the future, but upon recently trying to listen to it, I felt the distinct combination of indifference, boredom and sadness. Not a good look. 

I’d have to agree that with hindsight, Madame X makes for a tedious listen. It also happens to correspond to a time in my life that was particularly difficult, and so I don’t have any peripheral memories to bolster any affection for it. Intellectually, there is a concept behind the album, but it fails to ever deliver on fully developing what could have been a master work. The production, dare I say, is what truly drags the good songs into the mud. I think Medellin, Dark Ballet, Killers, Crazy and Crave are the closest to achieving their sonic goals, but even the gorgeous Come Alive, Extreme Occident, Looking For Mercy and I Rise are just plain burdened with unnecessary vocal filters, and either kitchen sink production or meandering studio tricks that never build to a satisfying conclusion. The inclusion of Faz Gostosa is baffling as it belongs on a totally different album, and there are no words to ever describe how angry Bitch I’m Loca makes me as a total waste of space that, in addition to being substandard, adds to the disastrous interruption to the flow of the album that its predecessor begins. Five years later I am quite certain that the overuse of pitch correction and auto tune was a grotesque miscalculation that renders the entire project less heart-driven and soulful, when that is exactly what these songs needed the most. The fact that Madonna hasn’t released an album since makes me wonder if her creative force has been spent, which is truly a shame as I had always hoped for her deepest most insightfully introspective and philosophical work to continue to evolve out of the experiment that was Madame X. 
 
The fact that its heavy-handed approach trumps Hard Candy’s basic lack of appeal to me in making it to the bottom of the list says a lot! At least HC delivered an era that brought joy and smiles to many on a stellar global tour. On tour, Madame X seemed determined to either kill me by asphyxiation from overheating in the stifling theater settings or drive me to suicide with its general darkness, only heightened by Madonna’s constant pain. A very strange era in Madonna’s storied career. Perhaps it will be revisited differently in the future, but upon recently trying to listen to it, I felt the distinct combination of indifference, boredom and sadness. Not a good look. 

Yeah, I still find myself going back and listening to the demos way more often than the finished product too.  😢 

I’d have to agree that with hindsight, Madame X makes for a tedious listen. It also happens to correspond to a time in my life that was particularly difficult, and so I don’t have any peripheral memories to bolster any affection for it. Intellectually, there is a concept behind the album, but it fails to ever deliver on fully developing what could have been a master work. The production, dare I say, is what truly drags the good songs into the mud. I think Medellin, Dark Ballet, Killers, Crazy and Crave are the closest to achieving their sonic goals, but even the gorgeous Come Alive, Extreme Occident, Looking For Mercy and I Rise are just plain burdened with unnecessary vocal filters, and either kitchen sink production or meandering studio tricks that never build to a satisfying conclusion. The inclusion of Faz Gostosa is baffling as it belongs on a totally different album, and there are no words to ever describe how angry Bitch I’m Loca makes me as a total waste of space that, in addition to being substandard, adds to the disastrous interruption to the flow of the album that its predecessor begins. Five years later I am quite certain that the overuse of pitch correction and auto tune was a grotesque miscalculation that renders the entire project less heart-driven and soulful, when that is exactly what these songs needed the most. The fact that Madonna hasn’t released an album since makes me wonder if her creative force has been spent, which is truly a shame as I had always hoped for her deepest most insightfully introspective and philosophical work to continue to evolve out of the experiment that was Madame X. 
 
The fact that its heavy-handed approach trumps Hard Candy’s basic lack of appeal to me in making it to the bottom of the list says a lot! At least HC delivered an era that brought joy and smiles to many on a stellar global tour. On tour, Madame X seemed determined to either kill me by asphyxiation from overheating in the stifling theater settings or drive me to suicide with its general darkness, only heightened by Madonna’s constant pain. A very strange era in Madonna’s storied career. Perhaps it will be revisited differently in the future, but upon recently trying to listen to it, I felt the distinct combination of indifference, boredom and sadness. Not a good look. 

I’d have to agree that with hindsight, Madame X makes for a tedious listen. It also happens to correspond to a time in my life that was particularly difficult, and so I don’t have any peripheral memories to bolster any affection for it. Intellectually, there is a concept behind the album, but it fails to ever deliver on fully developing what could have been a master work. The production, dare I say, is what truly drags the good songs into the mud. I think Medellin, Dark Ballet, Killers, Crazy and Crave are the closest to achieving their sonic goals, but even the gorgeous Come Alive, Extreme Occident, Looking For Mercy and I Rise are just plain burdened with unnecessary vocal filters, and either kitchen sink production or meandering studio tricks that never build to a satisfying conclusion. The inclusion of Faz Gostosa is baffling as it belongs on a totally different album, and there are no words to ever describe how angry Bitch I’m Loca makes me as a total waste of space that, in addition to being substandard, adds to the disastrous interruption to the flow of the album that its predecessor begins. Five years later I am quite certain that the overuse of pitch correction and auto tune was a grotesque miscalculation that renders the entire project less heart-driven and soulful, when that is exactly what these songs needed the most. The fact that Madonna hasn’t released an album since makes me wonder if her creative force has been spent, which is truly a shame as I had always hoped for her deepest most insightfully introspective and philosophical work to continue to evolve out of the experiment that was Madame X. 
 
The fact that its heavy-handed approach trumps Hard Candy’s basic lack of appeal to me in making it to the bottom of the list says a lot! At least HC delivered an era that brought joy and smiles to many on a stellar global tour. On tour, Madame X seemed determined to either kill me by asphyxiation from overheating in the stifling theater settings or drive me to suicide with its general darkness, only heightened by Madonna’s constant pain. A very strange era in Madonna’s storied career. Perhaps it will be revisited differently in the future, but upon recently trying to listen to it, I felt the distinct combination of indifference, boredom and sadness. Not a good look. 

I’m gonna have to say MX. I will say though, as you all know, Looking For Mercy was a standout for me. I love it. 
 
It’s interesting to hear everybody’s but let me tell you, I’ve found this channel on YouTube and this girl is deep diving Madonna albums for the first time. I love her videos, check them out if you have time!
Really cool to hear how she is interpreting these songs for the first time and digging some that a lot of us actually don’t enjoy. I personally love her reacting to the LAP album.
 

I'm in a relationship with a  38 year old guy who's never heard Into the Groove till I played it to him this year. Some people just don't care about pop music and don't pay attention to hits.

Sorry for not living under your rock ;)

Taylor Swift seems to be much more of a controlled construct as an industry player than Madonna ever was. As already stated, her music doesn’t reach across cultural divisions the way Madonna’s did. Madonna was a truly global powerhouse…Taylor Swift’s touring success is really more a reflection of today’s YOLO/FOMO consumerism on steroids. Attending the Eras Tour was the thing to do, and people do what everyone else is doing. Yes, it’s always been the case that corporatism dictates group think, but it’s far more palpable now than ever before. Madonna was antithetical to this, even if she was bankable. She was always an underdog, even at her commercial peak, and this was part of her appeal. Her exploration of different musical genres makes her discography particularly unique, and it’s Madonna’s ability to successfully lend her voice to almost any genre that  many young people today are in awe of when they discover her music. 
In Swift’s case, while there have been discernible shifts in the production of her albums over the course of her career, they aren’t innovative; they are adapted to sound current. Like Lana Del Rey, her musical style is quite consistent. In total honesty, I personally find this boring. When an artist stays faithful to the same songwriting style and delivery, I lose interest. I loved Del Rey through Ultraviolence, but it became an exercise in patience to endure her output thereafter. That isn’t to say she hasn’t made some great tracks since 2014, but the vibe never changes. I feel the same about Swift, except that I find her music extraordinarily tedious. Lyrically, she is confessional but lacks the poetry of Joni Mitchell to elevate the songs above a perpetual adolescent perspective on life, which is, I guess, why her music seems to appeal to children. At almost 35, she seems preternaturally stunted. I suppose one might say that Madonna was no beacon of maturity at 35 either, but her subversiveness combined with an implicit intellect gave depth to her work.
The media may elevate her as a cultural phenomenon, and clearly she is that to many. However, I think she peaked as a pop star with 1989. Midnights was like a comeback in my eyes, and so it’s hard to say what the future holds for her. Perhaps she will try other styles, but like Beyonce (Gaga doesn’t qualify at all at this stage as her influential cultural peak ended a decade ago), I think any effort to compare her to Madonna is pointless. Madonna has really managed to remain culturally, artistically and commercially influential for longer than anyone else. When Taylor has been in the game for over 40 years we can reassess. Until then, I think the most obvious conclusion lies in the notion that Swift has more VMAs than Madonna, and yet I can only recall seeing two of her videos in all these years. That explains it all in a nutshell. 

Taylor Swift seems to be much more of a controlled construct as an industry player than Madonna ever was. As already stated, her music doesn’t reach across cultural divisions the way Madonna’s did. Madonna was a truly global powerhouse…Taylor Swift’s touring success is really more a reflection of today’s YOLO/FOMO consumerism on steroids. Attending the Eras Tour was the thing to do, and people do what everyone else is doing. Yes, it’s always been the case that corporatism dictates group think, but it’s far more palpable now than ever before. Madonna was antithetical to this, even if she was bankable. She was always an underdog, even at her commercial peak, and this was part of her appeal. Her exploration of different musical genres makes her discography particularly unique, and it’s Madonna’s ability to successfully lend her voice to almost any genre that  many young people today are in awe of when they discover her music. 
In Swift’s case, while there have been discernible shifts in the production of her albums over the course of her career, they aren’t innovative; they are adapted to sound current. Like Lana Del Rey, her musical style is quite consistent. In total honesty, I personally find this boring. When an artist stays faithful to the same songwriting style and delivery, I lose interest. I loved Del Rey through Ultraviolence, but it became an exercise in patience to endure her output thereafter. That isn’t to say she hasn’t made some great tracks since 2014, but the vibe never changes. I feel the same about Swift, except that I find her music extraordinarily tedious. Lyrically, she is confessional but lacks the poetry of Joni Mitchell to elevate the songs above a perpetual adolescent perspective on life, which is, I guess, why her music seems to appeal to children. At almost 35, she seems preternaturally stunted. I suppose one might say that Madonna was no beacon of maturity at 35 either, but her subversiveness combined with an implicit intellect gave depth to her work.
The media may elevate her as a cultural phenomenon, and clearly she is that to many. However, I think she peaked as a pop star with 1989. Midnights was like a comeback in my eyes, and so it’s hard to say what the future holds for her. Perhaps she will try other styles, but like Beyonce (Gaga doesn’t qualify at all at this stage as her influential cultural peak ended a decade ago), I think any effort to compare her to Madonna is pointless. Madonna has really managed to remain culturally, artistically and commercially influential for longer than anyone else. When Taylor has been in the game for over 40 years we can reassess. Until then, I think the most obvious conclusion lies in the notion that Swift has more VMAs than Madonna, and yet I can only recall seeing two of her videos in all these years. That explains it all in a nutshell. 

@Alibaba just nailed it.
 Taylor's impact since she got not big, but legendary BIG (around the mid-late 10s) and after all her dramas with Spotify (seems like ages ago but it was only 2017 she didn't want to do anything with them - until she got her cash of course), the Taylor's versions... all is always about the money she generates. Read any piece about her impact in the last five years or about the recent tour. It's all money talk. The tickets she sells, the boost in the economy for the cities she plays live, etc. etc.
Occasionally it translates into "power": the highest amount of VMAs, the full Billboard Hot 100 Top 10, things like that.
But it's never or rarely about the music.
Money is the anthem of success, yes, but it's also quite telling what most of this is about.
She's one of the superstars of this generation and that's obvious and undeniable. And the girl can write a pop song.
But the only comparison to Madonna is that they both are excellent marketers.

Taylor Swift seems to be much more of a controlled construct as an industry player than Madonna ever was. As already stated, her music doesn’t reach across cultural divisions the way Madonna’s did. Madonna was a truly global powerhouse…Taylor Swift’s touring success is really more a reflection of today’s YOLO/FOMO consumerism on steroids. Attending the Eras Tour was the thing to do, and people do what everyone else is doing. Yes, it’s always been the case that corporatism dictates group think, but it’s far more palpable now than ever before. Madonna was antithetical to this, even if she was bankable. She was always an underdog, even at her commercial peak, and this was part of her appeal. Her exploration of different musical genres makes her discography particularly unique, and it’s Madonna’s ability to successfully lend her voice to almost any genre that  many young people today are in awe of when they discover her music. 
In Swift’s case, while there have been discernible shifts in the production of her albums over the course of her career, they aren’t innovative; they are adapted to sound current. Like Lana Del Rey, her musical style is quite consistent. In total honesty, I personally find this boring. When an artist stays faithful to the same songwriting style and delivery, I lose interest. I loved Del Rey through Ultraviolence, but it became an exercise in patience to endure her output thereafter. That isn’t to say she hasn’t made some great tracks since 2014, but the vibe never changes. I feel the same about Swift, except that I find her music extraordinarily tedious. Lyrically, she is confessional but lacks the poetry of Joni Mitchell to elevate the songs above a perpetual adolescent perspective on life, which is, I guess, why her music seems to appeal to children. At almost 35, she seems preternaturally stunted. I suppose one might say that Madonna was no beacon of maturity at 35 either, but her subversiveness combined with an implicit intellect gave depth to her work.
The media may elevate her as a cultural phenomenon, and clearly she is that to many. However, I think she peaked as a pop star with 1989. Midnights was like a comeback in my eyes, and so it’s hard to say what the future holds for her. Perhaps she will try other styles, but like Beyonce (Gaga doesn’t qualify at all at this stage as her influential cultural peak ended a decade ago), I think any effort to compare her to Madonna is pointless. Madonna has really managed to remain culturally, artistically and commercially influential for longer than anyone else. When Taylor has been in the game for over 40 years we can reassess. Until then, I think the most obvious conclusion lies in the notion that Swift has more VMAs than Madonna, and yet I can only recall seeing two of her videos in all these years. That explains it all in a nutshell. 

Taylor Swift seems to be much more of a controlled construct as an industry player than Madonna ever was. As already stated, her music doesn’t reach across cultural divisions the way Madonna’s did. Madonna was a truly global powerhouse…Taylor Swift’s touring success is really more a reflection of today’s YOLO/FOMO consumerism on steroids. Attending the Eras Tour was the thing to do, and people do what everyone else is doing. Yes, it’s always been the case that corporatism dictates group think, but it’s far more palpable now than ever before. Madonna was antithetical to this, even if she was bankable. She was always an underdog, even at her commercial peak, and this was part of her appeal. Her exploration of different musical genres makes her discography particularly unique, and it’s Madonna’s ability to successfully lend her voice to almost any genre that  many young people today are in awe of when they discover her music. 
In Swift’s case, while there have been discernible shifts in the production of her albums over the course of her career, they aren’t innovative; they are adapted to sound current. Like Lana Del Rey, her musical style is quite consistent. In total honesty, I personally find this boring. When an artist stays faithful to the same songwriting style and delivery, I lose interest. I loved Del Rey through Ultraviolence, but it became an exercise in patience to endure her output thereafter. That isn’t to say she hasn’t made some great tracks since 2014, but the vibe never changes. I feel the same about Swift, except that I find her music extraordinarily tedious. Lyrically, she is confessional but lacks the poetry of Joni Mitchell to elevate the songs above a perpetual adolescent perspective on life, which is, I guess, why her music seems to appeal to children. At almost 35, she seems preternaturally stunted. I suppose one might say that Madonna was no beacon of maturity at 35 either, but her subversiveness combined with an implicit intellect gave depth to her work.
The media may elevate her as a cultural phenomenon, and clearly she is that to many. However, I think she peaked as a pop star with 1989. Midnights was like a comeback in my eyes, and so it’s hard to say what the future holds for her. Perhaps she will try other styles, but like Beyonce (Gaga doesn’t qualify at all at this stage as her influential cultural peak ended a decade ago), I think any effort to compare her to Madonna is pointless. Madonna has really managed to remain culturally, artistically and commercially influential for longer than anyone else. When Taylor has been in the game for over 40 years we can reassess. Until then, I think the most obvious conclusion lies in the notion that Swift has more VMAs than Madonna, and yet I can only recall seeing two of her videos in all these years. That explains it all in a nutshell. 

But those type of actors, singers, authors... walk around like everyone owed them something. And it's not the case. She can be super talented but if she comes across this bitter every time she opens her mouth, what's the point?
Madonna has had an acting career and has been in successful movie projects (big flops as well). "Evita" was a hit and Madonna was part of that success. That's a fact, Putone likes it or not.
First thing a professional artist does is respecting other artists.
Holding grudges for THREE decades... not the best look, don't know.

I think she's probably extra bitter that Madonna did do such a good job with Evita despite otherwise being a generally bad actress. There are so many worse singer-actors and yet, for 25 years, Madonna is still on the tip of her tongue at all times.

You can pre order the album here the song is called Young Lion and it is credited to Sade Adu so i guess it's her first solo effort.

It also evolved into Frozen…Madonna has generally had a knack for knowing what will withstand the test of time. Revenge is very much of its era and doesn’t have the timelessness to it that other tracks on ROL retain, imo. 

It also evolved into Frozen…Madonna has generally had a knack for knowing what will withstand the test of time. Revenge is very much of its era and doesn’t have the timelessness to it that other tracks on ROL retain, imo. 

@RUADJAIThank you!!

Yes, she did. Humor isn’t universal, nor did I say I found it funny. 
Also, Jan Brady deserves your compassion. Her sister was a real c*nt.

Yes, she did. Humor isn’t universal, nor did I say I found it funny. 
Also, Jan Brady deserves your compassion. Her sister was a real c*nt.

Yes, she did. Humor isn’t universal, nor did I say I found it funny. 
Also, Jan Brady deserves your compassion. Her sister was a real c*nt.