A. A. Aardvark

The Actress Hasn't Learned The Lines (You'd Like To Hear)

The Actress Hasn't Learned The Lines (You'd Like To Hear)

Like A Madonna

I thought this was a nice story
 
https://www.theguardian.com/lifeandstyle/article/2024/jun/14/experience-i-sang-at-madonnas-wedding
 

"Well, of course, MY Voguing record flopped, the music industry has always been one of the most sexist, racist and homophobic organisations on the planet."

 

.
 

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"Eight years of acting classes reduced down to a one inch piece of wobbling plastic."

forgetting where you first wrote something is for legal reasons

"Curiously "Up And Down Suite" is divided in three parts on vinyl,
although the reproduction isn't affected."
https://www.discogs.com/release/77802-Madonna-Rain
how v. G. Michael, Prince...

Praise th' Lard

Because she was already seen as veteran and she was competing with new teen stars, she was 40, and experimental and hard album like ROL already had 3 big hits so it just got lost...

physical product

doesn't corrupt itself and vanish

Interview by Olivier Pernot
(extract)
You met Madonna in 1998. How did she discover your music?
Here's the true story: I had a deal with Naïve [French indie music label], when the French Touch was buoyant, even though I was a little older given the fact that I was 38 at the time. Disco Science came out in 1998. I had a deal with Sony for the rest of the world but I wasn't fond of their US team. I thought they were corny. Director Stéphane Sednaoui shot the Disco Science video and he had also done a Madonna video. So I asked him if he could pass on my maxi to Guy Oseary, the label manager at Maverick, the one Madonna had created at Warner. In the beginning, I was looking for a label in the US for my forthcoming album [Production] and Maverick had launched The Prodigy, among others. Guy Oseary gives the maxi to Madonna, she loves the track and the video. Then, Oseary comes to Paris and wants to meet me. He was staying at the Hôtel Costes with Red Hot Chili Peppers. I go there and he asks for more. So I handed him some other tracks. Then, later, he calls Naïve's boss to ask if I'd be interested in trying to work on things with Madonna. And I said "Of course, why not!"
How did the first meeting go?
I go to London for a work session in a recording studio and we hit it off immediately. Our artistic sensibilities are very close. Since then, surprisingly, we never hang out outside of work. But as soon as we're working together, we have an extraordinary relationship musically speaking.
How do you work with her?
With Madonna, it's a fifty-fifty collaboration. I like the idea of sharing and, when I was a teenager, I wanted to be in a band. Sometimes, I'll send her demos. Some with my own vocals. One of Madonna's strengths is that she has a flair for good tracks, for spotting the songwriting in a demo. A track that wouldn't get any label guy's attention, she gets the feeling, she takes it and makes something out of it. For her last album, she was very much influenced by Portugal and you can hear it on the record. She knows that I cross over a lot of things, we can go anywhere, in all directions.
After Music, Madonna called you again for two other albums: American Life and Confessions on a Dance Floor.
Her career had been rekindled by Ray of Light, the album she made with William Orbit. Music confirmed the success: it sold 11 million copies and went number 1 in the US. Then, cherry on top, Music, the song, made her ultra-hip again. So, of course, she was keen on us working together again.
(...)
Why has Madonna called you back in 2018 for Madame X?
I stopped working for her in 2006. I did only a few tracks on Confessions on a Dance Floor and I introduced Stuart Price to her. I left because I had personal issues I had to deal with. It had nothing to do with her. I had to focus on myself. But our work wasn't over. Our songwriting relationship wasn't over. We kept in touch. We'd e-mail each other often and, whenever she came to Paris, she invited me to her shows. Our relationship feels like she's family.
It sounds like you admire Madonna.
Yes, I admire her a lot because she has done everything for 40 years, in a lot of different styles. And above all, she is eager, she experiments. That's the most important thing about her. She took part in the New York scene in the 70s. So yes, she is an inspiration even though she isn't perfect. Moreover, she is post-success: she is beyond success and money. She has had all of this for a long time in her life, so her focus is on creation. The two of us get together straightforwardly to create songs. It's that simple.
You agreed to this interview because you wanted to speak of your new album. The former one, Production, is from 2000. Now we're in 2020.
I haven't made an album in 20 years, it's staggering. I was busy with Madonna between 2000 and 2006. It's quite something. In counting, with the last one, there are tracks of mine on 4 Madonna albums. 28 songs. After 2006, I went through depression. And then I started working again.
(...)
(The Retrofuture, Mirwais' next album, will feature Richard Ashcroft from The Verve and Kylie Minogue. It is slated for the fall of 2020, with another album ready for 2021. Mirwais plans a trilogy.)
(...)
Why do you give so few interviews?
Nowadays, you have a choice considering the media you'll talk to. Last year, with Madonna's album, I said no to the biggest TV news shows, because I didn't feel like talking. I did a single interview for a Madonna fan webzine. And then for you, Bon temps, because it's a real discussion, not promotion.
(...)
What excites you in music today?
(Mirwais quotes Bob Dylan and Joy Division's Closer as current influences.)
I'm looking for chaos in order to blend in and I think we're getting there. Something good always emerges from chaos!

this one
?
that's the kind of Pin Ups album I wanted her to do at one time
Midnight Lover and Where Love Lives too

 

It's the drums slow down you can hear them here:
https://www.whosampled.com/sample/379565/Madonna-Inside-of-Me-Aaliyah-Back-%26-Forth-(Mr.-Lee's-Bonus-Beats)/

Yes. Ryan Adams did exactly that to Taylor Swift's 1989. It's known as a mechanical license, and in the US, it is compulsory the original songwriter give permission (so long as the song has already been commercially released). The artist has no power to stop it. Peter Rauhofer did a note for note cover of Kosheen's Hide U and released it immediately after their own US release because they wouldn't give him licensing rights for his Star69 label, so he just put out his own. Shitty, but legal. The songwriters get paid. Prince hated cover songs and thought there was no point to re-record a song but he had no power over Sinead O'Connor's version despite not liking it.
That does not cover broadcast rights or sampling/substantially changing the song, which you need the songwriter's permission. Broadcast rights are way more relaxed in the UK (which is why you hear more popular songs in British TV), but I don't know how it works over there.
https://en.wikipedia.org/wiki/Mechanical_license

Also we have a big list of covers that are more popular than the original:
Bang Bang (My Baby Shot Me Down) - Nancy Sinatra/Cher
Torn - Natalie Imbruglia/Ednaswap
Tainted Love - Soft Cell /Gloria  Jones
Nothing Compares 2 U - Sinead O’Connor/Prince
I Will Always Love You - Whitney Houston/Dolly Parton
Respect - Aretha Franklin/Otis Redding

hypocrite
noun [ C ]
disapproving UK  /ˈhɪp.ə.krɪt/ US  /ˈhɪp.ə.krɪt/
Add to word list 
someone who says they have particular moral beliefs but behaves in way that shows these are not sincere

I miss gold CD albums:

we all need it tbh