{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}
I WENT TO THE FAR RIGHT
THEN I WENT TO THE FAR LEFT
I TRIED TO RECOVER MY CENTER OF GRAVITY
I GUESS I’M LOST I HAD TO PAY THE COST THE THING THAT HURT ME MOST WAS THAT I WASN’T LOST
The current ‘Madame X’ run we have going remains unbroken, as this marks the fifth Madonna Timeline in a row from the latest album. I was just about to suffer from some overplaying fatigue – a danger for any new Madonna album – but this has jolted me into an early Renaissance of celebrating that recent release. This is one of the more intriguing songs on ‘Madame X’ – with an old-world sound and ambivalent lyrics. Madonna returns to the well-tread (perhaps overdone) circle metaphor, but that is the only time when things dip a bit. The sparse arrangement of plucked strings and piano is a slice of atmospheric charm and drama, with searching lyrics that find Madonna ricocheting through time and space, touching on her own history, with a Wizard-of-Oz-like denouement.
I CAME FROM THE MIDWEST
THEN I WENT TO THE FAR EAST
I TRIED TO DISCOVER MY OWN IDENTITY
I GUESS I’M LOST I PAID A HANDSOME COST THE THING THAT HURT THE MOST WAS THAT I WASN’T LOST I WASN’T LOST
In a sunny summer dominated by the ‘Madame X’ album, this was a reminder that summer could go dark, and ruminations on finding oneself could run deep. Self-exploration and self-examination have earned dirty named for themselves in our selfie-obsessed society, but there is room for them when the intent is pure and the goal is noble and genuine.
NO, I WASN’T LOST
IT WAS A DIFFERENT FEELING
A MIX OF LUCIDITY AND CRAZINESS
BUT I WASN’T LOST, YOU BELIEVE ME
I WAS RIGHT, AND I’VE GOT THE RIGHT
TO CHOOSE MY OWN LIFE LIKE A FULL CIRCLE
LIFE IS A CIRCLE, LIFE IS A CIRCLE, LIFE IS A CIRCLE, LIFE IS A CIRCLE
LIFE IS A CIRCLE, LIFE IS A CIRCLE, LIFE IS A CIRCLE, LIFE IS A CIRCLE
Alone in a strange country… isn’t that everyone at some point? Even if you’ve never left home, there are moments when we all feel like a stranger, even in our own space, even in our native land. We are but visitors on this earth. Transient beings who will be turned over into the earth without much fanfare or remembrance. Not in the grand scheme of things, not in the infinite history of the universe. And such is the danger of ‘Extreme Occident’ if you let it get that far. Such is its beauty, too.
AQUILO QUE MAIS MAGOA
QUE EU NÃO ESTAVA PERDIDA
AQUILO QUE MAIS MAGOA
QUE EU NÃO ESTAVA PERDIDA
Album anniversaries bring back all sorts of memories, particularly Madonna album anniversaries. This time of year it’s all about the magnificent moodiness of the ‘Music’ album. Casual listeners may only know and remember the banging title track, but Madonna herself proclaimed the album much too moody to hear in the middle of the day. That’s my kind of music. It also brings back all sorts of happy memories, mostly because of ‘Music’ – which came out just as Andy and I were starting to date. I still remember standing near the bar at Mainestreet as a remix of ‘Music’ came on – to this day it’s a thrill when a Madonna song comes on (and it seems to be more and more rare).
Mirwais, who would return for the ‘American Life’ and ‘Madame X’ albums, spun his first straw into gold with ‘Music’ – his tell-tale sound is wailing on the sirens for ‘I Deserve It’ and the vocal distortions of ‘Nobody’s Perfect’ – and it was the world’s first introduction to the chemistry between M & M.
{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}
One of the stronger cuts, and definitely one of the most fun, from the ‘Madame X’ album, this is Madonna (with some help from Anitta) putting on a proper shredder complete with a carnival plunked right in the middle of the party proceedings. It deserves to be heard and celebrated rather than analyzed, which means this Madonna Timeline will be short and to the point so we can abandon ourselves to the glory at hand.
I have no idea what she’s saying or what any of it means, I just know that I love it and it makes me want to dance. The best songs cut through words and literal meaning to hit at the very heart and soul, something raw and powerful and driving, and that’s what this is to me.
{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}
IT’S A LONG WAY (IT’S A LONG WAY) IT’S A LONG WAY (IT’S A LONG WAY) IT’S A LONG DAY (IT’S A LONG DAY) IT’S A LONG DAY (IT’S A LONG DAY)
LORD HAVE MERCY (LORD HAVE MERCY) THINGS HAVE GOT TO CHANGE (THINGS HAVE GOT TO CHANGE) THERE’S A STORM AHEAD (THERE’S A STORM AHEAD) I HEAR THE WIND BLOWING (I HEAR THE WIND BLOWING) LET ME CATCH MY BREATH (LET ME CATCH MY BREATH) WILL WE WIN THIS RACE? (WILL WE WIN THIS RACE?) SWEAR THE ROAD IS LONG (SWEAR THE ROAD IS LONG) AND THE HIGHWAY LISTENS (AND THE HIGHWAY LISTENS)
‘CAUSE IT’S A LONG WAY (‘CAUSE IT’S A LONG WAY)
Madonna’s magnificent ‘Madame X’ album ushered in this summer season, which made for some happy music and some gloriously sunny days. How many more Madonna albums will christen a summer? I’m not sure it will happen again. (The quintessential Madonna summer album is, and remains, ‘True Blue’ – but I’d venture that ‘Madame X’ comes close (consider future timeline entries ‘Crazy’, ‘Crave’, and ‘Come Alive’ – all carry an easy-breezy summer vibe.) That leads us to the latest official timeline post: ‘Batuka’ – which joins ‘Future‘ and ‘Killers Who Are Partying‘ as a modern-moment music recollection.
I WAS UP ALL NIGHT I SAID A LITTLE PRAYER GET THAT OLD MAN PUT HIM IN A JAIL WHERE HE CAN’T STOP US (WHERE HE CAN’T STOP US) WHERE HE CAN’T HURT US (WHERE HE CAN’T HURT US) WE WILL STAND TALL (WE WILL STAND TALL) UNDERNEATH THIS TREE (UNDERNEATH THIS TREE)
‘CAUSE IT’S A LONG WAY (‘CAUSE IT’S A LONG WAY) IT’S A LONG WAY (IT’S A LONG WAY) ‘CAUSE IT’S A LONG DAY (‘CAUSE IT’S A LONG DAY) IT’S A LONG DAY
BUT WHEN WE CAN STOP IT ALL (BUT WHEN WE CAN STOP IT ALL) IN THE RIGHT WAY (IN THE RIGHT WAY) WILL WE STAND TOGETHER? (WILL WE STAND TOGETHER?) IT’S A NEW DAY (IT’S A NEW DAY) SO DON’T JUDGE A HUMAN (SO DON’T JUDGE A HUMAN) ‘TIL YOU’RE IN THEIR SHOES (‘TIL YOU’RE IN THEIR SHOES) IF YOU HAVE A DREAM (IF YOU HAVE A DREAM) THEN YOU CAN’T STOP US (THEN YOU CAN’T STOP US)
The call-and-response chant that will likely form a rousing portion of her upcoming theatre tour is the best part of ‘Batuka’ – and while the conceit has its limits and repetitive drawbacks, it proves effective enough, and this song gives the ‘Madame X’ album part of its world-music pedigree. The video is a joyous celebration of the beauty that Madonna found in other parts of the world. You have to love her for that, and this one grows on you like some of her best summer music.
SING, “HALLELUJAH” (SING, “HALLELUJAH”) SAY, “AMEN” (SAY, “AMEN”) SING, “HALLELUJAH” (SING, “HALLELUJAH”) AND SAY, “AMEN” (AND SAY, “AMEN”) I SAY, “OH, YEAH” (I SAY, “OH, YEAH”) I SAID, “OH, YEAH” (I SAID, “OH, YEAH”) I SAY, “AMEN” (I SAY, “AMEN”) I SING, “HALLELUJAH” (I SING, “HALLELUJAH”)
‘CAUSE IT’S A LONG WAY (‘CAUSE IT’S A LONG WAY) IT’S A LONG WAY (IT’S A LONG WAY) ‘CAUSE IT’S A LONG DAY (‘CAUSE IT’S A LONG DAY) IT’S A LONG DAY
Madonna celebrates her birthday today, and later on I’ll post the newest Madonna Timeline (another entry from her ‘Madame X’ album). This post is all about looking back for a bit, as some birthdays tend to be. I’m hard-pressed to think of someone who’s been such a consistent source of inspiration over the years as Madonna has been to me. It’s difficult to equate her, and those fans of her who have stuck by for over three decades, with any other artist or experience. It’s a singular thing because performers like Madonna are a dying breed – quite literally. There’s also no one else who has maintained such a lofty place in pop culture for such an extended period of time, and while she may not have all the tweens dressing up like her anymore, most modern-day pop stars admittedly owe their paths and ambitions to the trail she blazed.
The lady requires no further justification for my love, so on her birthday I’m simply going to let a few random Madonna Timeline entries speak for the celebratory joy she has always brought to my life.
“Open Your Heart,” she pleaded, unashamed to say that she was ‘Crazy For You‘ all the while knowing full well that you’re Frozen when your heart’s not open.
{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}
I suppose I should be grateful that the worst songs from Madonna’s ‘Madame X’ album are getting thrown out here first, not unlike the way the roll-out happened earlier this year. It will make the cuts to come that much sweeter. This is the dour ‘Killers Who Are Partying’ and the sooner it’s finished, the better. I like the sonics of it but the lyrics are messy and the melody mostly misses. Almost every Madonna album has a head-scratching clunker. (Even ‘Like A Prayer‘ had ‘Act of Contrition‘.) This is the one for the otherwise-excellent ‘Madame X’ opus.
I WILL BE GAY, IF THE GAY ARE BURNED I’LL BE AFRICA, IF AFRICA IS SHUT DOWN I WILL BE POOR, IF THE POOR ARE HUMILIATED I’LL BE A CHILD, IF THE CHILDREN ARE EXPLOITED
I KNOW WHAT I AM AND I KNOW WHAT I’M NOT
Despite my non-enthusiasm for the song, I’m interested in seeing what Madonna does with this for her Madame X Tour. It’s screaming for drama, and nobody does drama better than Madonna. It may also grow on me. I was playing the album while lounging by the pool and this one was surprisingly effective. Maybe it was the sun and mental meanderings of Portugal. Maybe it was the tequila.
I’LL BE ISLAM, IF ISLAM IS HATED I’LL BE ISRAEL, IF THEY’RE INCARCERATED I’LL BE NATIVE INDIAN, IF THE INDIAN HAS BEEN TAKEN AND I’LL BE A WOMAN, IF SHE’S RAPED AND HER HEART IS BREAKING
I KNOW WHAT I AM (GOD KNOWS WHAT I AM) AND I KNOW WHAT I’M NOT (AND HE KNOWS WHAT I’M NOT) DO YOU KNOW WHO YOU ARE? (MM) WILL WE KNOW WHEN TO STOP?
SONG #153: ‘Killers Who Are Partying’ – Summer 2019
{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}
It’s a rather dour statement, one that perhaps went with Madonna’s darker frame of mind during the creation of the ‘Madame X’ album. It’s also a collaboration with Quavo, and like most major stars of her caliber, collaborations too often end up deflating and diminishing the power of the individuals that comprise them.
Madonna apparently liked this song enough to use it at her infamous Eurovision performance, where Quavo joined her onstage. While all the ballyhoo seems to be about some missed ‘Like A Prayer‘ notes, the show was an impressive spectacle, and a hint of what might be to come on her Madame X theatre tour. Give me an armored Joan of Arc costume and I’m on board every time. As for ‘Future’, its best bit may be the ‘Don’t Tell Me‘ quote that comes during its transfixing bridge. The rest can bumble into the past.
Madonna takes an important stance for gun control in her latest video masterpiece for the ‘Madame X’ opus. ‘God Control’ is probably the most amazing track on the album – a dark, dreamy disco diatribe against one of American society’s most tragic epidemics. Directed by Jonas Akerlund (see also ‘Ray of Light‘ and ‘American Life‘) it’s a powerful time-rewind piece of videography that rivals her best work – and as Madonna is one of the world’s most striking video-makers, that’s saying quite a lot. It’s like the tragic step-sister to ‘Deeper and Deeper‘ – or the long-lost bitter cousin of ‘Music‘ – or the darker baby brother of ‘Hung Up‘. Still, it stands on its own as a masterful piece of storytelling, and a chilling indictment of the gun-obsessed society into which our country has denigrated. Most of us remember the horrific mass shooting at Pulse nightclub. How long until it gets even closer?
This is your wake up call. Gun violence disproportionately affects children, teenagers and the marginalized in our communities. Honor the victims and demand GUN CONTROL. NOW. Volunteer, stand up, donate, reach out. Wake up and insist on common-sense gun safety legislation. Innocent lives depend on it. Join me in supporting the following organizations: https://everytownresearch.org/
{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}
Turning back to Madonna’s ‘Rebel Heart’ album, ‘Borrowed Time’ is one of the bonus tracks from that musically fertile period. Rumor has it that originally ‘Rebel Heart’ was to be a double album, with two of Madonna’s emotional sides on raw display. I think that would have been a killer concept; whittled down to one collection left the final version feeling slightly disjointed and all over the place. Still, it was a beautiful mess, and while ‘Borrowed Time’ is rightfully left off the main event, it’s a lovely-enough tune.
DO WE NEED TO START A WAR
DO WE NEED TO TAKE A SIDE
IF WE OPEN UP OUR EYES
REALIZE THAT WE ARE DYING
IS IT ALL WORTH FIGHTING FOR
IT ALL COMES DOWN TO
WHO’S WRONG OR RIGHT
WHO’S BLACK OR WHITE
IT DOESN’T MATTER WHAT YOU’RE BLEEDING FOR
STRAIGHT OR BI OR
GOD ALMIGHTY
DOESN’T MATTER UNDERNEATH IT ALL
‘CAUSE WE’RE ONLY HERE TO LOVE
LIKE THERE’S NO TOMORROW
SO LET’S LIVE EACH MOMENT LIKE OUR TIME IS ONLY BORROWED
Back in 2015, after all the leaks and falls and wonky stand-up moments, ‘Rebel Heart‘ arrived with the insistent drumming and drive of a standard Madonna album, even if she was not pushing any overt boundaries. Rather than one or two main collaborators, however, Madonna and/or her management had a hefty cadre of contributors adding to its spotty feel. When it was high, it soared, as in the title track, the second single ‘Ghosttown‘ and the glorious ‘Messiah.’ When it went low on ‘Best Night,’ ‘Queen,’ and ‘S.E.X.‘ it was a reminder that not all that Madonna touched turned to gold. Still, give me a slight Madonna misfire over any current pop star’s smash hit any day. More indicative of the album and Madonna’s head at the time were songs like ‘Joan of Arc’ and ‘Inside Out‘ – two gorgeous songs that deserved more attention and honor.
DO WE NEED TO BUILD A BOMB
DO WE NEED TO FIRE A GUN
IF YOU HAVE TO STAND YOUR GROUND
IT’S A WAR THAT CAN’T BE WON
IS IT ALL WORTH DYING FOR
IT ALL COMES DOWN TO
WHO’S RICH OR POOR
VIRGIN OR WHORE
IT DOESN’T MATTER WHAT YOU’RE PRAYING FOR
DEATH OR LIFE
YOU’RE TRUTH ALMIGHTY
DOESN’T MATTER UNDERNEATH IT ALL
‘CAUSE WE’RE ONLY HERE TO LOVE
LIKE THERE’S NO TOMORROW
SO LET’S LIVE EACH MOMENT LIKE OUR TIME IS ONLY BORROWED
The ‘Rebel Heart’ album spawned the Rebel Heart Tour, something warmer and more heartfelt than previous tour outings (such as the criminally and intentionally-icy MDNA Tour). It remains to be seen where she’ll go next with her upcoming Madame X Theater Tour, but the encroachment of time has always been her greatest enemy, and the one consistently driving force that grows louder with each passing year. That must feel suffocating to someone like Madonna, and her quicksilver darting is testament to her mantra that it’s tough to hit a moving target. She hasn’t got much time to wait…
IT ALL COMES DOWN TO
WHO’S RICH OR POOR
VIRGIN OR WHORE
IT DOESN’T MATTER WHAT YOU’RE PRAYING FOR
DEATH OR LIFE
YOU’RE TRUTH ALMIGHTY
DOESN’T MATTER UNDERNEATH IT ALL
‘CAUSE WE’RE ONLY HERE TO LOVE
LIKE THERE’S NO TOMORROW
SO LET’S LIVE EACH MOMENT LIKE OUR TIME IS ONLY BORROWED
It’s been far too long since we’ve had a new Madonna Timeline entry, and since we have a whole new album of cuts to add to the iTunes shuffle roulette wheel we need to get going on the next one. New songs are usually trickier since there haven’t been any memories yet to attach to them, but that just means I have to get more creative. Before any of the new ones crop up, however, this is something linky to whet your appetite, just in case you haven’t had enough Madonna today.
Here’s a semi-random selection of some more recent timelines for your perusal and hopeful enjoyment:
Wacky, wild, weird and wonderful ~ all the superlatives you’ve heard about Madonna’s latest effort ‘Madame X’ are true, and then some. Early indications were questionable, with some die-hard fans finding many (or all) of the pre-release songs lackluster ~ and truth be told they comprise some of the weaker cuts of the album. I happened to be one of the few who loved ‘Medellin’ as a lead-in to the gloriously insane soundscape that ‘Madame X’ ultimately conjures. The duet with Maluma, performed as a holographic party at this year’s Billboard Music Awards, was seen by some as an oddly-muted lead single, but it ushers in a brand-new Madonna, which at this point in her storied career is a major feat unto itself. ‘Madame X’ gives us not one new re-invention, but a dazzling array of personae within which Madonna moves with characteristically-chameleon-like sinew. Whereas image may have fueled past musical endeavors, this time around the look (and it’s an intriguing, multi-faceted, one-eyed siren of sinister sexiness and voluptuous mystique) trails the music in impact. (Take note of the fact that the amazing video for ‘Dark Ballet’ shows only a few seconds of Madonna, cloaked in black lace at that.)
As a whole, ‘Madame X’ functions quite thrillingly as a sonic roller-coaster fit for a scintillating summer. It will invariably be saddled with expectations and a world of social media viciousness, but if you listen to the music you’ll find that everything’s gonna be all right, because the music is more daring and different than anything she’s made in years. That doesn’t always make it better, but it makes itself relevant and meaningful in a three-decade body of work that suddenly feels like an albatross, especially for someone who wants to keep moving forward.
As ‘Medellin’ reaches its giddy release, Madonna invites the listener to take a trip, alternating Spanish lyrics with Maluma and setting the album off on its world-wide trajectory. From there, ‘Dark Ballet’ reveals disturbing hints of tension and unrest, tied up in an insane Tchaikovsky bit over which Madonna gives warning to various entities: “They think we’re not aware of their crimes. We know, but we’re just not ready to act.” Only two songs in, she’s already tried out about five distinctly different voices, from her husky whispered “Cha-cha-cha’s” to the almost-unrecognizably-robotized distortion of ‘Dark Ballet’ and she’s just getting started.
Beginning ‘God Control’ with what sounds like a forced jaw effect, we hear Madonna like we’ve never heard her before. She previously promised ‘I Don’t Give A Fuck’ in 2012’s ‘MDNA’ album, but here she really means it. Even long-time fans of her more daring songs may be surprised by how experimental she’s going with ‘Madame X’ ~ and after finally giving up on chasing past chart glory, there’s a new freedom at work here, even better than her brilliant ‘Rebel Heart’ opus. ‘God Control’ is a highlight, and a powerful encapsulation of this whole new Madonna: exuberant, experimental, and ecstatic in all six-plus minutes of its glory. “It’s a hustle!” she gleefully proclaims at the midpoint, channeling all the disco divas that ever were and ever will be. This glitzy frenzy just keeps building and building until you can envision the final pan-out of a club at its most collectively-throbbing climax, hand-clapping choral chanting transcendently rising to rapture. Beneath it all lurks some troubling commentary on us as a nation, but the music’s so good it almost doesn’t matter, further fueling its potent pack of mixed messages.
An old-world accordion opens the gorgeous ‘Crazy’ and finds Madonna vacillating between joy and despondency, finally and fittingly settling on a certain ambivalent self-empowerment. It’s a piece of pop sweetness ~ captivating melodies and Madonna’s hopeful and mournful delivery. She moves from the high coos of a teenager to the deeper-throated whispers of a very wise and world-weary woman.
‘Crave’ with Swae Lee is deceptively quiet, and it finds Madonna at her most vocally relaxed, cooing like Ariana Grande as skittering high-hats delicately underscore all the obsessive love at hand.
The variety of voices employed here is schizophrenic, but rather than turning things into a disjointed affair, they somehow work to create a cohesive tapestry with their disparate nature. ‘Madame X’ is a skilled shape-shifter, and to her credit Madonna manages to wear multiple hats without ever letting them wear her.
Things falter a bit on the uninspiring ‘Future’ and the dour ‘Killers Who Are Partying’ which quickly falls into Mama-Don’t-Preach muck, but they aren’t bad enough to mar the overall experience of ‘Madame X’, the rest is simply too challenging, too daring, too good. Listen to things pick up whenever Madonna gives in to her new muses, as in the percussive call and response of ‘Batuka’ and the enthralling ‘Come Alive’ ~ all cheeky “I don’t want to blend in, why do you want me to?” attitude like that New York City street urchin from the early 80’s. The new influences of Portugal find delicious fruit in ‘Faz Gostoso’, a rollicking bit of Portuguese aided and abetted by Anitta – irrefutable proof that a good dance song need not originate in the disco, or in English for that matter.
If you’re looking for the ultimate pre-game party-prep track, seek no further than ‘I Don’t Search, I Find’ which locates Madonna back at the apex of 90’s acid-house eleganza. Her icy voice defiantly laments, “There’s no rest for us in this world,” before she gives into the essence of the music, and, finally, enough love.
‘Looking For Mercy’ is a classic Madonna power ballad that grows and grows, ultimately moving beyond a bit of maddening repetition into a clear demonstration of Madonna’s vocal prowess ~ when she cries out for “somebody to teach me to love, somebody to help me rise above” it’s one of the most commanding demonstrations of how stirring her voice can be. ‘Madame X’ could have done with a few more of these moments, and after further listening they may reveal themselves. For now, this is a dense collection of songs that cements her role as artist above all else. More than singer, more than actress, more than movie-maker, more than Madame, Madonna has always and originally been an artist, because an artist is the only thing that can encompass all she hoped to be. ‘Madame X’ returns her to those experimental roots while revealing striking new facets and shadings of her musical legacy. It also marks a way of reconstructing a fractured world, and if the pieces don’t always fit perfectly back together there can be beauty in the cracks as well.
There is a darkness at work here, and ‘Madame X’ is reportedly a direct result of Madonna’s loneliness and search for friends in Lisbon, where meeting up with other musicians at late night jam sessions was a comfort in a strange land. The album is proof that only in music Madonna does find her truest home. We welcome her back from her journey, eager to hear tales of her adventures… and it all sounds absolutely exquisite.
For the early stages of Madonna’s career, I was a semi-casual fan. Strange truth be told, it was my brother who brought the ‘True Blue’ album into our home. I’d loved ‘Like A Virgin’ but was dubious about whether I’d liked anything new by Madonna. (Ahh, to be that innocent and naïve and foolish again…) A true Virgo by nature, it wasn’t yet in me to embrace or look for change, so he ended up getting ‘True Blue’ and I ended up loving it. The same strange lack of excitement greeted ‘Like A Prayer’ – I just couldn’t be bothered with trying something new. Came around in a big way to that album too, even if I almost smashed it to smithereens in a moment of Catholic guilt. One would have thought by the time ‘I’m Breathless’ rolled around I’d have learned that I loved Madonna and she could do no wrong. Possibly, but I took my time getting into the brilliance of that album as well.
It wasn’t until ‘Erotica’ arrived that I was a super-fan, and since then I’ve never slacked. For the ‘Erotica’ album and ‘Sex’ book, I wasn’t even driving yet, so my friend Ann and her Mom brought me to the mall to pick them up. By the time ‘Bedtime Stories’ was released I was in Boston and doing my own thing. (Which consisted mostly of sleazing around Tower Records until the next Madonna single came out.)
At that point a new Madonna album release was an Event in the best and most explosive ways. The date would be marked on my calendar, the school or work schedules shifted for before and after, and a holiday would be born. To this day, I remember dates and time-frames in relation to Madonna album releases. It went this way for a while – the ‘Something to Remember’ ballad compilation, the ‘Evita’ soundtrack, the majestic ‘Ray of Light’, and the magnificent ‘Music’ album were all procured in this same format – a midnight release and a line at Tower Records.
Shortly after the turn of the millennium, however, with all the online leaks and download options, the necessity of standing in line late at night became a thing of the past, and with its passing so too went a ritual. Virgos love our rituals and we find comfort and safety in tradition. Taking it away just because I could download something on my computer may have been easier and faster than a trip to Boston or New York, it also left less of an impact. But that’s how we change and grow. The releases for ‘American Life’ and ‘Confessions on a Dancefloor’ and ‘Hard Candy’ were exciting, but mostly non-events. I’d still thrill to a club or gay bar playing something off a new Madonna album, which probably happened last in New York sometime after ‘Confessions’, but for the most part the releases were muted. There was a slight surge in the excitement level when her 2012 Superbowl performance had me overly-anticipating ‘MDNA’ but when the disastrous leaks of ‘Rebel Heart’ forced an early-but-staggered release, the blush of the single release date was definitely off the rose.
Tomorrow’s release of ‘Madame X’ had, until a few days ago, been relatively leak-free, and the late leaks of the album are coming so close to the real release date that a bit of the old magic and excitement is back. To that end, this lengthy, link-filled post has been written for a bit of Madonna history. All hail Madame X.
While waiting for my new credit card to arrive, tickets for Madonna’s intimate ‘Madame X Tour’ in Boston went on sale, so I quickly texted Andy to see if he could sign up for them. The convoluted and mysterious way they were on sale left me flummoxed, as did horror stories of other fans who were frozen out. Once my card arrived, I signed up for the chance too, but I assumed it was too late.
A few weeks later I got my official denial e-mail, but Andy got a message saying he would be receiving his ticket information soon. Hope! When they finally did arrive, he went on the site to claim them, but nothing happened. He stayed on, waiting for spinning icons and frozen websites until 3 in the morning, perhaps fearful of the wrath that might ensue should the tickets just disappear.
The next day we went back on the site and there they were – amazing seats for one of Madonna’s Boston shows at the Boch Theatre. Once again, Andy saves the world.
As for the Madame X Tour, I’m not sure what to expect. Sounds like a more casual and intimate affair, and based on the size of the venues I’m guessing it won’t be quite as bombastic and big as previous tours have been. But if anyone can astound and enthrall, even in a small acoustic set, it’s Madonna. The girl can’t help it.
Yes, I saw the Eurovision performance, and despite a few flat notes, I thought it was really powerful. More interesting than the hubbub about it is Madonna’s roll-out for her upcoming ‘Madame X’ album, starting with a cover story on British Vogue (featuring some of these amazing photographs). She’s also released four songs, and managed to do so (more or less) without any major leaks. At first listen, I was not instantly in love with them, but in the ensuing days they’ve been growing on me. (Remember, it took me a while before I came to love both ‘Like A Prayer‘ and ‘Frozen‘ so this is a good sign.) I still like lead single ‘Medellin‘ and its laid-back, almost sparse arrangement, the best of the offerings so far. “Slow down papa!” It’s a new sonic landscape for our favorite Madame, inspired from all the corners of the world, and will likely be the soundtrack to my summer.
“The sun was caressing my skin… another me could now begin…”
A shuffling little tropical trifle, this breezy ditty is really like nothing Madonna has ever done before. With the aid of a very relaxed Maluma and his reggaeton influence, it’s the perfect encapsulation of the coming summer, and Madonna’s intimate and occasionally whispered vocals (slightly reminiscent of the ‘Ray of Light‘ album’s beginning and ending) strike new territory for pop’s returning queen.
I like its casual, soft-focus vibe, and at this point in her career Madonna doesn’t give a fuck about the haters, so silencing the anonymous online trolls requires nothing more than a shrug. I’m a die-hard fan who enjoys most of what she does (not all) and I happen to already love this one. It’s a lovely intro to the ‘Madame X’ experience, as well as a wonderful, wistful slide into the spring/summer seasons. This was made for summer lounging, pool parties, and sunny drives. It doesn’t bother trying to live up to impossible expectations, and ends up giddily surpassing them because of it. Sometimes you just need to enjoy what a song sounds like and go with the flow. One-two-cha-cha-cha…
