Tuesday, March 3, 2015

Pitchfork Interviews Madonna.

Pitchfork: You have worked in lots of different mediums—acting, directing, theater, philanthropy—but always come back to pop music as your primary means of expression.

Madonna: Yes, my home base—pop music and the Catholic Church.

Pitchfork: And sex.

M: [laughs] Yes. Why not? All three together, if possible.

Pitchfork: What makes pop music such a powerful medium for you?

M: It’s very primal. It’s also like poetry, when it’s good. I like that you have four minutes to zero in on something and evoke a specific feeling and take people on some sort of journey. When I discovered that I could write music, it felt like the most natural way for me to connect with people and tell my stories. I’ve always thought of that as what I do: I tell stories.

Pitchfork: I was really surprised by this new record. To be honest, I was also kind of relieved…

M: That you didn’t hate it? [laughs]

Pitchfork: Yes, actually. I mean, you never know…

M: Totally. That’s to be expected.

Pitchfork: This is your 13th studio album. Do you tend to go into the making of a record with a sense of what you want the record to be, or does that reveal itself as things unfold?

M: Generally I start by choosing producers to work with, which determines the direction the overall sound is going to go in. But this time around, my goal from the very beginning was just to write good songs that don’t require any production to be felt or understood. I wanted to be able to sit in a room with a guitar and play the song from beginning to end and have it be as impactful as if you heard the studio version with all the bells and whistles. In the beginning I was writing songs with Avicii, whom everyone associates with EDM, but I worked with his team of writers and everything was very simple—vocals and piano, vocals and guitar. It almost had a folk feeling to it.

It wasn’t until I got about halfway through the album that I started thinking about sounds, and that’s where Diplo came in. He started adding these monster beats and punch-you-in-the-stomach bass sounds and 808s like you’ve never heard before, and that pushed me in a certain direction. Then I looked at the songs I had that still didn’t have producers and started asking around for people I thought it would be fun to work with.

I wanted to work with a hip-hop producer, but not a conventional hip-hop producer, and DJ Dahi had worked on a Kendrick Lamar record that I really liked. Then [Diplo] brought Blood Diamonds into the picture, and I’d never heard of him before. It was like a train that started moving: Along the way, new people would get on while other people would get off for a while only to return again later. So not only was I the primary songwriter, but I was also the schedule keeper trying to manage the comings and goings of crazy DJs who all have ADD. [laughs]

Pitchfork: When I was listening to the record I started to make a division between the “party” songs and the “personal” songs—the party versus the personal…

M: Party versus funeral. [laughs]

Pitchfork: I found myself much more drawn to the personal songs.

M: Which song in particular?

Pitchfork: “Joan of Arc”, for example. Maybe it’s just because…

M: You feel like a martyred saint? [laughs]

Pitchfork: I was gonna say because I’m a 40-something gay dude—same thing. I was just drawn to the songs that seem to deal with getting older, making sense of things.

M: I can understand that.

Pitchfork: You’ve never been afraid to put yourself out there in terms of talking about provocative topics like sex or religion, but is it somehow scarier to talk about your personal, intimate feelings?

M: Hm. I think “scary” is probably the wrong word. You just have to be ready. You know, I just don’t ever want to sound like a victim, or like a person that is feeling sorry for themselves. However, I did want to share some aspects of my life experiences that were painful that I think people can relate to—especially in this age of social media where people can hide behind the Internet to say a lot of disparaging, hateful, discriminatory things to other people. It’s not that people got crazier or more hateful, it’s just that now people have the courage to say stuff without any fear. As much good as it does, social media can also encourage stupidity and degradation.

Do you know [‘60s poet] Anne Sexton? I worship her. She came up in a tough time, and she definitely wasn’t encouraged to be a poet or to speak her mind or reveal anything personal. When I made Truth or Dare, I got so much shit from people for everything, for allowing cameras to follow me around all the time. Can you imagine, in this day and age?

Pitchfork: Now everyone has a camera following them at all times.

M: When that movie came out I was constantly referencing this Anne Sexton poem called “For John, Who Begs Me Not to Enquire Further”. She was given so much shit for being too personal in her work, but that poem is her way of saying, “Look, I don’t know how to do anything else.” That poem always gave me solace, especially at a time when everyone told me I was being crazy.

Pitchfork: What has inspired you recently in the realm of pop music?

M: To be honest, pop music isn’t exciting me too much right now. I mean, do you consider James Blake pop music? I love his music, some of his songs just kill me. He’s a great songwriter. It’s the kind of thing that makes me jealous, like, “Oh! I wish I’d made that!”

Pitchfork: You’ve talked about how having kids is like the best A&R, because they keep you up to date on what’s happening in the world.

M: Oh yeah, they’ve certainly turned me on to lots of great music.

Pitchfork: Are they harsh critics as well?

M: Yes. They’re like, “Please, Mom, no. Please stop. Oh, here she goes again…” And then I say, “Shut up, this is paying the bills!” [laughs]

Pitchfork: Two of your children are from Malawi, and I think it’s important to acknowledge the work you continue to do there.

M: Yes. My work there gives me a sense of purpose that I never really had before—it gives me a lot of joy, and it would be wonderful to invite other people to get involved. You witness extreme suffering but also extreme joy. I know it’s a cliche, but it really puts everything else in perspective. You just have to pour yourself a great big glass of “shut the fuck up” because you realize that you literally can’t complain about anything.

I love taking my kids there because not only does it stop them from ever complaining, it lets them become adults and takes them out of their comfort zone and they get to do this amazing work to help people. Being able to step outside of yourself in order to help someone else is why we’re all here, it’s what we should all be doing if we can. I don’t talk about this too much because I’m not in it so people can pat me on the back. Even when the former president there was trying to run me out of the country when we were trying to build schools and hospitals, it never stopped me, because I do this for love. It’s as important as anything I have ever done.

Pitchfork: You also really advocated for gay people—and talked openly about AIDS—at a time when not a lot of people were willing to do so.

M: Absolutely.

Pitchfork: I appreciate that you’ve been so supportive of my people.

M: [laughs] Your people? My people.

Pitchfork: Are you surprised by how radically things have changed, particularly in respect to things like gay marriage?

M: Well, it’s about time. I’m not surprised really. There are too many powerful, intelligent voices in the gay community for things not to change. So, I’m happy and I’m relieved. I feel vindicated.

Pitchfork: In preparation for this interview, I spent a lot of time watching lots of YouTube videos of your past performances…

M: Oh god, you must be so sick of me.

Pitchfork: Are you still excited about being on stage in front of people?

M: Yeah. I like coming up with these spectacular extravaganzas that will, hopefully, totally blow people away. But I also like the intimacy of stopping it all and sitting at the edge of the stage and connecting with individual people in the audience. Actually, I quite like the idea doing a different kind of tour—and don’t get any ideas because this is not gonna happen right now—where I would sing songs and play guitar and just have maybe one other musician out there with me; it’s just me and a guitar and a good bottle of wine. I could talk in between each song and tell stories, or do some of my stand-up comedy, which I’m actually quite good at. I love it when I see a stand-up comedian have some amazing back-and-forth dealing with a heckler in the audience. I could really have a field day with something like that. I don’t think you understand how funny I am—I mean, maybe not right now, but in general. I do some of my best stand-up comedy during sound checks.

Pitchfork: I always thought it might be frustrating how big stadium shows don’t allow for much spontaneity.

M: I actually always try to have a moment in my show where I can just lay down on stage and talk to people for a little while. Also, I like to fuck with people sometimes. [laughs] I might be responsible for as many gay marriages as I am for heterosexual divorces, because there have been circumstances where see couples in the audience and there is a husband sitting there with his arms crossed, looking bored out of his brain, while his wife is up on her feet dancing and having such a good time. I’ll stop the show and point them out and say, “Who’s that guy sitting down right now?” And she’ll reply, “Oh, he’s my husband.” And I say, “Divorce him—right now.” And then they do! Just kidding. I hope they don’t, really.

Pitchfork: Could you imagine a time when you wouldn’t want to tour or make records anymore?

M: This might be verging on a stupid question. [laughs] You might need to take a drink for that one. You know what, I’ll have a drink too. [pours tequila shots] Cheers! Here’s to a stupid question!

Pitchfork: Here’s to apparently never retiring!

M: Here’s to never retiring!

Source : Pitchfork

Madonna on the cover of Italian Vanity Fair.

Monday, March 2, 2015

Madonna announces Rebel Heart Tour Dates!

The list of Madonna concert dates for her highly anticipated 35-city ‘Rebel Heart’ Tour were officially announced today by Live Nation with the opening night scheduled for August 29th in Miami, Florida. Additional performances to follow include New York, LA, Chicago, Philadelphia, Boston, Vancouver, Montreal and several other cities including San Juan, Puerto Rico. Following the North American leg of the Rebel Heart Tour, Madonna will begin the UK/European series of dates on November 4th in Koln, Germany with stops in major cities including Barcelona, London, Paris and Glasgow amongst others. A complete list of tour dates follow this release. Tickets for The Rebel Heart Tour go on sale starting Monday, March 9th. Additional tour dates for Asia and Australia are expected to be announced soon. The Rebel Heart Tour is produced by Live Nation Global Touring.

“Madonna continues to be one of the most successful touring artists in history – her shows are legendary and we are thrilled to have her going back on tour,” Arthur Fogel, President – Global Touring and Chairman – Global Music.

The “Rebel Heart” Tour follows the March 9th release of Madonna’s Rebel Heart album on Interscope Records (Germany and Japan March 6; Europe/UK March 9; North America March 10). Rave reviews for Madonna’s 13th studio album include: The Sun (UK): “The Queen of Pop will reign again – Madonna is about to release her best album in 17 years and one of the greatest of her career.” NY Times: “They won’t experience the celebrity of Madonna the fashion statement but the Madonna who has kept us listening for decades: Madonna the musician”.

Following Madonna’s stunning performance on the Grammys, three songs from Rebel Heart topped the Global iTunes Chart. The multi-Grammy winner’s current single “Living For Love” is at No. 1 on the Billboard Dance Charts – her 44th time at the top spot. Madonna also recently performed on The Brits in London and is scheduled to appear and perform on The Ellen DeGeneres Show in the US for the entire week of March 16th. Other global TV performances include France’s Le Grand Journal on March 2nd, Italy’s ITV on Sunday March 8th, an interview on The Today Show on March 9th and 10th and a performance and interview on the Jonathan Ross ITV UK Special airing March 14th.

Along with extraordinary critical acclaim as an artist, songwriter and producer, Madonna’s reputation as one of the most successful live performers of all time speaks for itself. The 2008/2009 Sticky & Sweet tour is the highest grossing tour of all time for a solo artist and the 2012 MDNA tour was the most successful tour of that year.
General Sales for Madonna’s Rebel Heart Tour will go on sale starting Monday, March 9, 2015. From March 9th – March 30th every North American ticket purchased online will come with an exclusive digital download of the SUPER DELUXE version of “Rebel Heart” which includes 6 bonus tracks (including 4 previously unreleased studio tracks).

Icon is Madonna’s official fan club. Lifetime Legacy members of Icon will receive first access to tickets and VIP Packages starting March 3, 2015. Fans may purchase an “Icon Live Pass” today, which gives them access not only to ticket & VIP Package pre-sales, but also a free membership to Icon, the official Madonna fan club, access to a tour devoted forum and an exclusive tour gift. Fans who are already registered simply need to upgrade their account with the Icon Live Pass on Madonna.com.

Citi is the official card of Madonna’s Rebel Heart tour. For concerts in the United States and Paris, France, Citi cardmembers will have access to a presale beginning Wednesday, March 4 (10am) through Friday, March 6 (4pm) for applicable concerts going on sale to the general public on Monday, March 9; and a presale beginning Wednesday, March 11 (10am) through Friday, March 13th (5pm) for applicable concerts in the United States going on sale to the general public on Monday, March 16. For concerts in the United Kingdom, Citi cardmembers will have access to a presale beginning Wednesday, March 11 (10am) through Friday, March 13 (4pm) for applicable concerts going on sale to the general public on Monday, March 16. For complete presale details visit: www.citiprivatepass.com

North America:
Aug. 29 Miami, American Airlines Arena (on sale Mar. 9)
Sept. 2 Atlanta, Philips Arena (on sale Mar. 16)
Sept. 5 San Juan, P.R.. Coliseo de Puerto Rico (on sale Mar. 21)
Sept. 9 Montreal, Bell Centre On Sale Mar. 14
Sept. 12 Washington, D.C., Verizon Center (on sale Mar. 16)
Sept. 16 New York. Madison Square Garden (on sale Mar. 9)
Sept. 19 Brooklyn, Barclays Center (on sale Mar. 9)
Sept. 24 Philadelphia, Wells Fargo Center (on sale Mar. 16)
Sept. 26 Boston, TD Garden (on sale Mar. 16)
Sept. 28 Chicago, United Center (on sale Mar. 9)
Oct. 1 Detroit, Joe Louis Arena (on sale Mar. 23)
Oct. 3 Atlantic City, N.J. Boardwalk Hall (on sale Mar. 16)
Oct. 5 Toronto, Air Canada Centre (on sale Mar. 9)
Oct. 8 St. Paul, Xcel Energy Center (on sale Mar. 16)
Oct. 11 Edmonton, Rexall Place (on sale Mar. 9)
Oct. 14 Vancouver, B.C., Rogers Arena (on sale Mar. 9)
Oct. 17 Portland, Ore., MODA Center (on sale Mar. 23)
Oct. 19 San Jose, Calif., SAP Center at San Jose (on sale Mar. 9)
Oct. 22 Glendale, Ariz., Gila River Arena (on sale Mar. 23)
Oct. 24 Las Vegas, MGM Grand Garden Arena (on sale Mar. 16)
Oct. 27 Los Angeles, The Forum (on sale Mar. 16)

Nov. 4 Koln, Germany, Lanxess Arena (on sale Mar. 16)
Nov. 7 Prague, CZ, O2 Arena (on sale Mar. 16)
Nov. 10 Berlin,Germany, Mercedes-Benz Arena (02 World) (on sale Mar. 16)
Nov. 14 Stockholm, Sweden, Tele 2 Arena (on sale Mar. 16)
Nov.17 Herning, Denmark, Jyske Bank Boxen (on sale Mar. 9)
Nov. 21 Turin, Italy, Pala Alpitour (on sale Mar. 16)
Nov. 24 Barcelona, Spain, Palau Sant Jordi (on sale Mar. 16)
Nov. 28 Antwerp, Belgium, Sportpaleis (on sale Mar. 9)
Dec. 1 London, UK, O2 Arena (on sale Mar. 16)
Dec. 5 Amsterdam, Holland, Ziggo Dome (on sale Mar. 9)
Dec. 9 Paris, France, Bercy (on sale Mar. 9)
Dec. 14 Manchester, UK, Manchester Arena (on sale Mar. 16)
Dec. 16 Birmingham, UK, Barclaycard Arena (on sale Mar. 16)
Dec. 20 Glasgow, Scotland, The SSE Hydro (on sale Mar. 16)


Sunday, March 1, 2015


“I LIVE my life like a masochist. Hearing my father say/’I told you so, I told you so. Why can’t you be like other girls? I said: ‘Oh no, that’s not me/And I don’t think it ever will be’.”

Those are some of Madonna’s lyrics from the title track of her upcoming “Rebel Heart” album.

Whatever Madonna does, whomever she marries, beds, or no matter how many children she has, whatever her age, she will never ever be like “other girls.”

Also, apparently, Madonna will never reconcile her issues with her dad. (One of the star’s most powerful songs, with an accompanying haunting video, was 1989’s “Oh, Father.”)

Madonna refuses to bow down to any tiresome convention relating to her art or to what is expected of a woman over 40. (Her recent accident on stage in London, wound up too tightly in a cape, causing her to fall, has unleashed the usual ageist trolling vitriol on social media. When did 56 become “old?”)

La Ciccone’s new album is a source of tremendous controversy already. Half of it was hacked and leaked, forcing the star to officially release six songs. The deluxe version of the disc contains 25 tunes. England’s most popular newspaper, The Sun, says “Rebel Heart” is the greatest album of Madonna’s long career, and reviews ten of the albums unreleased songs.

THE pop icon also decorates the cover of Rolling Stone magazine yet again, profiled by the excellent Brian Hiatt. (I keep waiting for Madonna to become “irrelevant” but somehow that never quite happens.) Madonna talks of many things — her chronic insomnia (although she can’t relate to people “who sleep 12 hours a day”) … her four children … her parenting (“bossy — but what parent isn’t?”) … what she might have been (a schoolteacher in Detroit) … the sexism inherent when a woman displays herself … how Guy Ritchiedidn’t approve of her image (who did he think he married?) … Kanye West(“He’s a beautiful mess. I love him”) … still trying to understand the “degrading” remarks made about her age … her mortality (“In some respects I will never die. Because art is immortal”) … Lady Gaga (There is no feud: “Here’s the thing. One day everyone’s going to have to shut up about it. You’ll see! I have a plan.”)

And finally, writer Hiatt asks her if she is still open to falling in love again?

“Definitely. Yes.”

“That was a fast answer.”

“I don’t doubt love for a second. Come on, listen to my songs!”

Well, for all the blatant behavior — for which she makes no apology — underneath, Madonna has always been the ultimate romantic. That’s why I think her mournful/wistful/slow burn ballads will be better remembered in years to come than her dance tracks.

Thursday, February 26, 2015

Madonna is superhuman. She has to be to survive the ugly abuse!!

No wonder Madonna took her Brit awards fall in her stride – she deals with much worse just for being a 56-year-old woman

Madonna was at the Brits, performing her totally boss I Will Survive-style single Living for Love, when it happened. “Took me to heaven, let me fall down … lifted me up and watched me stumble.”

So she prophesied it, and so it came to pass. It wasn’t a trip or a tumble. It wasn’t funny; it was terrifying and so brutal that the audience fell silent. It was the kind of accident that breaks necks, damages brains and haunts Cirque du Soleil performers’ nightmares. The Armani cape Madonna was wearing as she approached the podium was tied too tight and didn’t fall undone when her dancers pulled it. She was yanked back by the neck and flew through the air over three steps, landed hard at the base of the podium and for a split second didn’t move.

Watching at home, my heart stopped. Is that all it takes to kill a queen? Milanese outerwear?

The hateful hashtags #shefellover, #Fallenmadonna, immediately began toxifying Twitter: “I get it, Madonna. My grandma is exactly the same.” “I hope grandma’s ok. A broken hip at her age could be a death sentence.”

But as Madonna also sang last night, “I picked up my crown, put it back on my head. I can forgive, but I will never forget.” After a fall like that, anyone else would roll around screaming in agony then look for someone to blame.

She drew on a higher power: herself. Showing her famous mental and physical strength, she got to her feet, picked up the choreography and tune, un-lip-synced and note perfect – as the isolated vocals from her performance at the Grammys show – and finished triumphantly.

That is the Madonna I’ve loved for ever, starting with the flamenco moves of La Isla Bonita. They say you’re not supposed to believe the hype. But with some people, the mythos is real. She has mystique, the rare bulletproof real-deal charisma. She has never been defined by men and has always advocated for other women, pointing out in her upcoming Rolling Stone cover interview that “people like to pit women against each other”.

Analysis Madonna falls, but it was the Brit awards that took a tumble
If the ceremony proved anything, it was that the Brit awards themselves are substantially less interesting than watching someone fall over
Read more
But it’s not just about individualistic survival ability, sisterliness or externals like Vogue style or Desperately Seeking Susan attitude. Madonna is not worthy of respect simply for surviving, having sass or cannily working out how to play every capitalist angle. She has a brilliant and indeed record-breaking talent in her discipline, which is music. She’s been making great albums including Like A Prayer, Ray of Light and Confessions on a Dancefloor throughout her career, and the latest, Rebel Heart, is up there with them; she is “in the game again”, as The Telegraph says.

But how many times does Madonna have to prove that she’s a worthy player? How many times does she have to break records by selling more, touring more lucratively, flexing harder than everyone else on the planet? Her many colleagues have paid tribute to her exceptional skills as a producer, songwriter, lyricist; but whenever Madonna successfully works with a male producer it is he who is given the credit.

Where her abilities are not ignored, imputed to men or praised in passing as though they have now faded, they are actively mocked. I loved her film WE, comparing it favourably with the risible King’s Speech, where the women were two doting wives with barely a line between them and Wallis Simpson was a depraved shrew. I saw WE with a historian friend who was astounded by its accuracy and detail; I loved the women characters, the aesthetic, the mournful realism behind the romance. It’s a feminist film, psychologically acute.

But she was brutally mocked in the reviews. And that laughter is growing louder and crueller and uglier, as the Twitter response to her fall illustrated. Madonna’s longevity was first admired and is now actively sabotaged by editorials which never fail to mention her age, as though it is something to be ashamed of. I am shocked by the uninflected scorn, the derision and foul-mouthed trashing she is dealt, and how much of it is grossly visceral: hatred of her flesh, physicality, sexual confidence, athleticism, ambition, her preference for Latin spunkbots, her alternating bossiness and vulnerability and romanticism and eroticism and playfulness, her performance ability and hunger. All the things which were once admired about her are now used to bash her and make her appear laughable or monstrous or desperate.

Madonna is no stranger to misogyny. She is a rape survivor and a domestic assault survivor. How much worse is this going to get?

Madonna is only 56. She is in the prime of her life, she has power, talent, experience and wisdom, in addition to her natural intelligence and rigour. She is about to release her 13th album – one of her best yet. The things she is ordered to do – age gracefully, put it away, retire, crawl away and die – have behind them a desire to shame, permanently destroy and negate this woman who dares to be vocal and visible, physical and political.

In order to withstand this, one would have to be superhuman. Luckily, Madonna is.

But why should anyone have to swallow the world’s unstinting hatred when she wants to be remembered for her brilliant artistry?

Friday, February 20, 2015

Madonna Gala Magazine Interview.

"I am terribly annoying for my kids"

They introduce her, saying that she is known for being quite difficult to interview and thus the guy interviewing her described, how nervous he was. He says how he´s been warned by Liz to not ask stupid questions in order to have a good time. The interview was located in the Universal building and he notices with astonishment that M is only fifteen minutes too late, which is nothing for a star. She seems to have played the tequilla game with him again . He says that she seems nice, has "remarkably many lines from laughing" around her eyes and wore gloves again.

​Your children are quite grown up by know. Did they help you choosing the songs for "Rebel Heart"?

Yes, for many years we do that together. I played them every songs and ask them for their opinion on the sound and the text.

How was their feedback?

They liked many songs right at the beginning. Sometimes though they opposed to my decisions - which always lead to discussions. I had to watch out for them not to undermine me. My kids know exactly how to influence me.

Who´s your biggest fan in the family?

David loves my music. He is really into the faster tracks and dances around in the room.

And who is your biggest critic?

Lola, definetly. Of all my kids, she is the one closest to me. She knows exactly what she wants. Just like me (laughs).

Lola turned 18 in October and now studies dance, music and theatre in Detroit. How hard was it for you to let go of your first child?

When she moved out of my house in autumn it was the hardest day of my life. I was destroyed. Even when my long-term relationships broke I did´t feel the pain I felt in that moment. It almost tore my heart out of my chest.

How long did it take for you to get used to this new situation?
I didn´t get used to it just yet. I miss my daughter every day. Lola for me is like a soul mate. She is a part of my and thus it feels like losing an arm.

As a mother, are you scared of many things?
Yes. I really annoy my children with that. I am very caring and overly protective. I can be a real mother-hen and I don´t like the thought of Lola dancing the night away in clubs without me having the possibility to control at what hour she returns to home.

But isn´t it normal for a young woman to test herself?
Yes, of course. I was even worse at that age (laughs). But it is a sad fact, that we live in a crazy and scary world.Every year it seems to get worse.There are so many freaked out people out there. That is why I am often very scared for my kids.

Is your family complete now or could you imagine adopting another child?
No, I have my hands full raising four children. But I still take financial care of the orphans in Malawi, trying to provide them with education. The children in Malawi in some ways feel like mine anyways.

What is the greatest misconception people have about Madonna?
Oh well, there are plenty. One, for sure is that I am not vulnerable. Some people honestly think that I am never neither sad nor depressed, exhausted and that I never suffer from a broken heart. They think of me as bigger than life. Or they believe that I am cold hearted and calculating. But you know what? I hate this question (pours tequila and hands it over)
Hold on for a second: you said I had to drink for every stupid question.
Well, I extend it with another category: annoying. Cheers. Drink it up!

And where is the salt and the lemon?
We didn´t have enogh money for that (laughs)
Your answer to the question about misconception shows that you are also a vulnerable person. "Rebel Heart" shows this part of your personality.

Have you grown
softer in the last years?
In some ways, yes. But even 25 years ago I already was romantic and sensitive. The other part of me will always be a rebel.

​How do you handle the hostility directed at you?
Sometimes I am very hurt, when I read the hateful and nasty comments people make about me in the Internet. I think it´s shocking how mean and villainous some people could be. Even more, since it´s a very coward behavior. Those people would never say the mean things to my face, if they met me in the streets.

You really read the nasty comments about you?
Every now and then, yes I do.

Why do you hurt yourself this way?
Because I am a very curious person. And luckily, there are not mainly nasty comments, but a lot of positive things. For me it´s exiting to see what my fans are thinking. And, concerning the haters: I should have grown a very thick skin by now, since I have always been critisized. Some people think I am an invulnerable superwoman. But I am not. Some offense directed at me really go under my skin and hurt me. After all, I am just a normal woman.

Why do you think you polarize as much as you do?
In many cases it´s enviousness. Many people just can´t bear the fact that I am still there. And I am a woman who pushes peoples buttons, who scandalizes(? don´t know, if there´s an english word for that) and polarizes. Many people are put off by that. That´s what I don´t understand: Why do people put so much energy in dealing with someone who they think is terrible.
Since 31 years you are a part of the "pop-circus". Are there moments in which you feel exhausted and wonder if you should carry on?
No, I love my work. I have too many ideals, plans and creativity to stop now.

Are you sometimes sad by seeing how time flies?
Yes, sometimes I really feel sad, but foremost nostalgic. I miss the good old days, in the beginning of my career. I was friends with so many great artists - Warhol, Haring, Basquiat. I experienced the upcoming of the Rock Steady Crew and the Graffity-Scene. New York was so full of life, we all pushed each other. Nothing was censored, everything was new, unique and exzessive. It was a wonderful time. Nowadays many things have become very nice and boring.
But your life remains exiting: In November you will start a new world tour.
To perform live in front of my fans is the greatest thing for me. But on the other hand it is also a huge effort. That´s why I train so much. I need to be super fit to be able to give my best every evening for months.
What do you say to people who think you are too old to participate in the Pop-

Business and who think that you generally don´t behave age-appropriate?
I only have one answer to that... (pushes the button which is standing on the table next to her. A squawking voice exclaims: "Two words - one finger")
"Fuck you" and the middle finger? There it is, Madonna`s rebellious side!
Yes! I am sick of this age-racisms in our society. Should women over 50 just vanish from the public? Is there a law saying that we can't be adventurous and experimental after that?

That we are not allowed to feel sexy and celebrate sexuality after we have
turned a certain age?
No, but many people think it is embarrassing to be sexy in a offensive way after a certain age.
That is not my problem. I never followed rules and I love pushing people´s buttons. If you don´t like it; don't watch, don´t listen

Madonna Notches Historic 44th No. 1 on Dance Club Songs Chart


The Queen of Pop reigns again with 'Living for Love,' tying with George Strait, the King of Country, for the most leaders on a single Billboard chart.

Madonna makes Billboard chart history, as she earns her 44th No. 1 on Dance Club Songs, where "Living for Love" lifts 2-1. (The ranking, dated March 7, will refresh on Billboard.com on Thursday, Feb. 26.)

With the coronation, Madonna equals George Strait, who's logged 44 No. 1s on Hot Country Songs, for the most leaders ever by an act on a singular Billboard chart.

It's fitting history for the artists also known, respectively, and reverently, as the Queen of Pop and the King of Country.

With her 44th leading title on Dance Club Songs, which measures reports submitted by a national sample of club DJs, Madonna pulls further ahead of runners-up Beyonce and Rihanna. In fact, Madonna has tallied as many No. 1s as they have combined: 22 each. (The chart launched as a national survey in the Billboard issue dated Aug. 28, 1976.)

Madonna, who performed "Love" at the Grammy Awards on Feb. 8, matches Strait's esteemed honor, with the latter icon having stood at the Hot Country Songs summit with 44 smashes between 1982 and 2009. He first reigned with "Fool Hearted Memory" (Aug. 28, 1982) and most recently ruled with "River of Love" (April 18, 2009.)

"Love" introduces Madonna's 13th studio album, Rebel Heart, due March 10.

Madonna On New 'Rebellious and Romantic' Music, Demo Leaks, 'Possibly' Crashing the Grammys and the 'Crazy' Sony Hack

"The reason I wanted to call the record Rebel Heart was because I felt like it explored two very distinct sides of my personality," Madonna told Billboard's Keith Caulfield in December. "The rebellious, renegade side of me, and the romantic side of me."

Specifically of the house music-infused "Love," the ever-youthful Material Girl similarly said, "It's kind of like the old me and the new me all mixed in together."

Looking ahead, all Madonna needs is one more leader, perhaps also from Rebel Heart, to pass Strait and claim vaunted chart history -- 45 No. 1s on one ranking -- all to herself.

For now, at least, Madonna and Strait make for unparalleled Billboard chart royalty.

Updated look at Madonna's 44 Dance Club Songs No. 1s @ http://www.billboard...direction=false

Thursday, February 19, 2015

Rebel Heart Australian Review!

Discussing Madonna around a dinner table will likely garner her some ridicule. “Relevant” seems to be the last compliment people want to give her, these days. The typical naysayer will give praise for what she used to be but express disdain for her continued eminence in culture. Reasons for such contempt usually circle her 56 years of age and the belief she’s desperate to still be doing what she’s already been doing for 30 + years.

Ironically, considering this apparent attitude, there are forces at work,which want Madonna’s new music in the world before she’s quite ready. The release of her 13th studio album Rebel Heart will be remembered for its premature leaks. Even before last year was through, numerous demos seeped onto the internet, prompting Madonna and her team to make six tracks from the LP immediately available on iTunes. An Israeli man was eventually arrested under suspicion for the hack, but the full album, in its completed form, subsequently emerged online earlier this month.

For an artist who has always muscled an iron grip on her career, it seemed, for the first time, Madonna was without considerable control. Interestingly, loss of control is a developed theme on ‘Rebel Heart’. In ‘Wash All Over Me’, she questions, “Who am I to decide what should be done?” There’s a sense Madonna has learnt to lean into seeming unease. “If this is the end then let it come. Let it come, let it rain. Rain all over me” she sings over the song’s majestic pace of marching band percussion. Lyrically, she’s releasing. And, at a point in her career where ageism is tugging at her seams, it’s a needed expression of self-awareness in being a mature icon, in today’s condemnatory pop world.

With letting go, Madonna is also willing to be vulnerable. Exposure runs rampant on ‘Rebel Heart’. Ten years ago, she was making frivolous confessions on a dance floor, now she’s confessing from a deeply honest place. On ‘Joan Of Arc’s’ tuneful chorus, she vents, “I don’t wanna talk about it right now, just hold me while I cry my eyes out.” It’s a tender moment from a woman who’s physicality, at the very least, suggests nothing can break her. ‘Joan Of Arc’ leads us to believe that despite her astonishing resilience, her armour can be shattered by what they say. Perhaps it’s responsive to claims of her irrelevance and desperation – “Each time they write a hateful word, dragging my soul into the dirt. I wanna die.” It’s an admission from Madonna that feels like a rarity, considering her typically steely persona.

Madonna’s previous album, 2012’s ‘MDNA’, was deemed her divorce piece. Her lyrics often detailed the drama she experienced in leaving ex-husband Guy Ritchie. On ‘Rebel Heart’, Madonna articulates her experience with separation on a greater spectrum. Sentiments travel from anguish to the power found in goodbye. ‘HeartBreakCity’ is a clear cut from her material defined by grief. “Cut me down the middle. Fucked me up a little”, she tremors over a forlorn piano, which is later intensified by another percussive march. Notably, marching is the sound of endurance on ‘Rebel Heart’, and we’re taking Madonna’s steps of survival in listening.

From the strength she finds in moving on, ‘Living For Love’ is manifested, as the album’s lead-single. The Diplo made sequence of house lifts the roof like her titanic benchmarks, ‘Like A Prayer’ and ‘Express Yourself’. There’s also duality within the song’s context of life-after-love. The secondary message is making love the point of life. And, for this reason, one can easily imagine pride seasons around the globe elevating ‘Living For Love’ to a higher anthemic level than where it already stands.

The reverse side of Madonna’s loss of love is her undying affinity with romantic idealisation. Such musings gain tremendous momentum on ‘Ghosttown’, where her perspective is starry-eyed, as she narrates a tale of love’s survival in a post apocalyptic world. Adorned with a far-reaching chorus, ‘Ghosttown’ is an electro-ballad with melodies that curve deeply. Despite minor flourishes of auto-tune, Madonna’s voice sounds wholesome and less cartoonish here. Behind all that goes on, sonically, the cinematic embellishments of this tune are lassoed in by a series of humble yet mighty chord progressions, which work to keep everything tightly arranged. Solely written by Madonna, ‘Ghosttown’ feels more concerned with song-craft than trend, making it a rewarding listen.

The delightful ‘Body Shop’ is another rose-tinted vision. Madonna likens her romantic needs to upkeep on a car, which ought to be attended to by her beau in the body shop. “Jumpstart my heart, you know what you gotta do.” The metaphoric discourse is endearing and the song twangs somewhere between India and Middle America. Is it a sitar or banjo playing? Either way, it strums blissfully on the ears. Not dissimilar to ‘Ghosttown’, it’s a track where Madonna doesn’t seem preoccupied with staying current, and the results are actually quite fresh.
Of course, there are ticks on ‘Rebel Heart’, where Madonna’s penchant for appealing to the youth market makes the production overexcited. ‘Bitch I’m Madonna’, featuring Nicki Minaj, swanks a flatulent synth that ambushes the listener with its teenage enthusiasm. With lyrics like – “Yeah, we’ll be drinking and nobody’s gonna stop us”, the song essentially uses the age-appropriate-guidebook as toilet paper. Likewise, on ‘Unapologetic Bitch’, Diplo edges the production with raving alarms, as it’s reggaeton beat struts with brazen confidence. “I’m popping bottles that you can’t even afford. I’m throwing parties and you won’t get in the door”, it’s a brattish ode to validating oneself against the ex. The pressing break-up suggests one she had with a recent boy-toy, perhaps twenty-something Jesus Luz or Brahim Zaibat? Surely Guy Richie could afford expensive champagne.

Even among the party packages, ‘Rebel Heart’ is an album laced with lush guitar and strong song writing. A noteworthy number, which attests to these qualities, is the title track, ‘Rebel Heart’. It’s a mid-tempo ballad so melodically sophisticated, with its sing-along euphony, that the chorus reaches a much higher plane. The instrumentation of heart-tugging strings and percussive punch helps to support a vocal performance from Madonna that echoes wisely from her point of reflection. The song, thematically, is a look back, “So I took the road less travelled by, and I barely made it out alive.”

Unlike the Madonna of previous eras, this one is absorbed in pronouncing all she’s done before. The album explicitly rejoices in her legacy and that’s evident in song titles like ‘Iconic’ and ‘Veni Vidi Vici’. In the latter, Madonna self-references her litany of hits by weaving big names into autobiographic lines like “I expressed myself, came like a virgin down the isle… I opened up my heart. I learnt the power of goodbye. I saw a ray of light. Music saved my life.” In the Natalia Kills assisted ‘Holy Water’, she goes as far as resurrecting the rap from ‘Vogue’ to commemorate her history. And after three decades of prominence in the music industry, she’s earned her privilege to revel in such rich heritage.

No one has matched the endurance of Madonna in pop. No one has had a career of consistency to compare to her achievements. ‘Rebel Heart’ can be enjoyed as a testament to her continuance. Usually, persistent success in one’s career, over a lengthy period, is societally regarded as an achievement worthy of applause. Therefore, it seems contradictory for cynics to drag her for prolonging a career. The alternative perception is to simply appreciate the music, as it so easily is, with ‘Rebel Heart’.

Inarguably it’s her best release in ten years. This is Madonna’s new era. If attention looks beyond the music, perhaps it’s time to notice that what she’s doing, as a 56-year-old female in pop, is shifting the paradigm for what it means to be middle-aged. We’re all living longer lives, let this central part in our life become more abundant. Let’s look to Madonna as an example on how to express freely.

Source : SameSame.co.au

Monday, February 16, 2015



Following its strong Valentine's Day performance, Madonna's "Living for Love" now ranks as one of the pop format's 50 most-played songs.

Thanks to a big Valentine’s Day push, Madonna’s “Living for Love” now registers as one of the fifty most-played songs at pop radio.

The song, which made an underwhelming pop radio impact last week, registers at #49 on Monday’s edition of the rolling Mediabase pop radio chart.

That #49 position is attributable to the 427 spins “Living for Love” received between February 9 and 15. Reports indicate that 205 of those spins came on Valentine’s Day.

Whether this weekend’s airplay represents an anomaly or the beginning of a momentum swing remains to be seen, but it certainly breeds some optimism for those discouraged by previous status reports.

Per last week’s Mediabase add board, only fifteen monitored stations added “Living for Love” in conjunction with its official radio impact (and on the heels of its Grammmy Awards showcase).

That it had gained virtually no traction ahead of its official impact date–Mediabase says it only received 10 pop radio spins during the week between February 2 and 8 despite its weeks of pre-impact buzz and availability–provided further reason to doubt the extent to which radio programmers were “Living for Love.”

If audiences reacted favorably to the song they started to hear more frequently over Valentine’s Day weekend, that could change.


Europe1 will be broadcasting a new interview with Madonna on Friday February 27th.

Madonna will talk about her new album, the recent terrorist attacks in Paris and the upcoming tour. According to Le Parisien newspaper, Madonna will be performing twice in France in the fall and it will probably be at the Bercy Arena in Paris.