Showing posts with label people who say Madonna sucks probably aren't very fun to be around... avoid them if possible. Show all posts
Showing posts with label people who say Madonna sucks probably aren't very fun to be around... avoid them if possible. Show all posts

Monday, December 30, 2013

Give It 2 Me



What are you waiting for?
Nobody's gonna show you how
Why work for someone else to do what you can do right now?

Got no boundaries and no limits
If there's excitement put me in it
If it's against the law arrest me
If you can handle it undress me

Don't stop me now, don't need to catch my breath
I can go on and on and on
When the lights go down and there's no one left
I can go on and on and on

Give it to me, yeah
No one's gonna show me how
Give it to me, yeah
No one's gonna stop me now

They say that a good thing never lasts and that it has to fall
Those are the people that did not amount to much at all

Give me the bassline and I'll shake it
Give me a record and I'll break it
There's no beginning and no ending
Give me a chance to go and I'll take it

Don't stop me now, don't need to catch my breath
I can go on and on and on
When the lights go down and there's no one left
I can go on and on and on

Give it to me, yeah
No one's gonna show me how
Give it to me, yeah
No one's gonna stop me now

Get stupid, get stupid, get stupid, don't stop it
Get stupid, get stupid, get stupid, don't stop it

You're only here to win
Get what they say?
You're only here to win
Get what they do?
They'd do it too if they were you
You've done it all before, this ain't nothing new

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Just some Monday morning motivational music for yall's asses. Enjoy!

Saturday, October 5, 2013

Dare



TRUTH OR DARE?

"That is a catchphrase that's often associated with me. I made a documentary film with this title, and it has stuck to me like flypaper ever since. It's a fun game to play if you're in the mood to take risks, and usually I am. However, you have to play with a clever group of people. Otherwise you'll find yourself French-kissing everyone in the room or giving blow jobs to Evian bottles!

People usually choose "truth" when it's their turn because you can tell a lie about yourself and no one will be the wiser, but when you are dared to do something, you have to actually do it. And doing something daring is a rather scary proposition for most people. Yet for some strange reason, it has become my raison d'ĂȘtre.

If I can't be daring in my work or the way I live my life, then I don't really see the point of being on this planet.

That may sound rather extremist, but growing up in a suburb in the Midwest was all I needed to understand that the world was divided into two categories: people who followed the status quo and played it safe, and people who threw convention out the window and danced to the beat of a different drum. I hurled myself into the second category, and soon discovered that being a rebel and not conforming doesn't make you very popular. In fact, it does the opposite. You are viewed as a suspicious character. A troublemaker. Someone dangerous.

When you're 15, this can feel a little uncomfortable. Teenagers want to fit in on one hand and be rebellious on the other. Drinking beer and smoking weed in the parking lot of my high school was not my idea of being rebellious, because that's what everybody did. And I never wanted to do what everybody did. I thought it was cooler to not shave my legs or under my arms. I mean, why did God give us hair there anyways? Why didn't guys have to shave there? Why was it accepted in Europe but not in America? No one could answer my questions in a satisfactory manner, so I pushed the envelope even further. I refused to wear makeup and tied scarves around my head like a Russian peasant. I did the opposite of what all the other girls were doing, and I turned myself into a real man repeller. I dared people to like me and my nonconformity.

That didn't go very well. Most people thought I was strange. I didn't have many friends; I might not have had any friends. But it all turned out good in the end, because when you aren't popular and you don't have a social life, it gives you more time to focus on your future. And for me, that was going to New York to become a REAL artist. To be able to express myself in a city of nonconformists. To revel and shimmy and shake in a world and be surrounded by daring people.

New York wasn't everything I thought it would be. It did not welcome me with open arms. The first year, I was held up at gunpoint. Raped on the roof of a building I was dragged up to with a knife in my back, and had my apartment broken into three times. I don't know why; I had nothing of value after they took my radio the first time.

The tall buildings and the massive scale of New York took my breath away. The sizzling-hot sidewalks and the noise of the traffic and the electricity of the people rushing by me on the streets was a shock to my neurotransmitters. I felt like I had plugged into another universe. I felt like a warrior plunging my way through the crowds to survive. Blood pumping through my veins, I was poised for survival. I felt alive.
But I was also scared shitless and freaked out by the smell of piss and vomit everywhere, especially in the entryway of my third-floor walk-up.

And all the homeless people on the street. This wasn't anything I prepared for in Rochester, Michigan. Trying to be a professional dancer, paying my rent by posing nude for art classes, staring at people staring at me naked. Daring them to think of me as anything but a form they were trying to capture with their pencils and charcoal. I was defiant. Hell-bent on surviving. On making it. But it was hard and it was lonely, and I had to dare myself every day to keep going. Sometimes I would play the victim and cry in my shoe box of a bedroom with a window that faced a wall, watching the pigeons shit on my windowsill. And I wondered if it was all worth it, but then I would pull myself together and look at a postcard of Frida Kahlo taped to my wall, and the sight of her mustache consoled me. Because she was an artist who didn't care what people thought. I admired her. She was daring. People gave her a hard time. Life gave her a hard time. If she could do it, then so could I.

When you're 25, it's a little bit easier to be daring, especially if you are a pop star, because eccentric behavior is expected from you. By then I was shaving under my arms, but I was also wearing as many crucifixes around my neck as I could carry, and telling people in interviews that I did it because I thought Jesus was sexy. Well, he was sexy to me, but I also said it to be provocative. I have a funny relationship with religion. I'm a big believer in ritualistic behavior as long as it doesn't hurt anybody. But I'm not a big fan of rules. And yet we cannot live in a world without order. But for me, there is a difference between rules and order. Rules people follow without question. Order is what happens when words and actions bring people together, not tear them apart. Yes, I like to provoke; it's in my DNA. But nine times out of 10, there's a reason for it.

At 35, I was divorced and looking for love in all the wrong places. I decided that I needed to be more than a girl with gold teeth and gangster boyfriends. More than a sexual provocateur imploring girls not to go for second-best baby. I began to search for meaning and a real sense of purpose in life. I wanted to be a mother, but I realized that just because I was a freedom fighter didn't mean I was qualified to raise a child. I decided I needed to have a spiritual life. That's when I discovered Kabbalah.

They say that when the student is ready, the teacher appears, and I'm afraid that cliché applied to me as well. That was the next daring period of my life. In the beginning I sat at the back of the classroom. I was usually the only female. Everyone looked very serious. Most of the men wore suits and kippahs. No one noticed me and no one seemed to care, and that suited me just fine. What the teacher was saying blew my mind. Resonated with me. Inspired me. We were talking about God and heaven and hell, but I didn't feel like religious dogma was being shoved down my throat. I was learning about science and quantum physics. I was reading Aramaic. I was studying history. I was introduced to an ancient wisdom that I could apply to my life in a practical way. And for once, questions and debate were encouraged. This was my kind of place.

When the world discovered I was studying Kabbalah, I was accused of joining a cult. I was accused of being brainwashed. Of giving away all my money. I was accused of all sorts of crazy things. If I became a Buddhist—put an altar in my house and started chanting "Nam-myoho-renge-kyo"—no one would have bothered me at all. I mean no disrespect to Buddhists, but Kabbalah really freaked people out. It still does. Now, you would think that studying the mystical interpretation of the Old Testament and trying to understand the secrets of the universe was a harmless thing to do. I wasn't hurting anybody. Just going to class, taking notes in my spiral notebook, contemplating my future. I was actually trying to become a better person.

For some reason, that made people nervous. It made people mad. Was I doing something dangerous? It forced me to ask myself, Is trying to have a relationship with God daring? Maybe it is.

When I was 45, I was married again, with two children and living in England. I consider moving to a foreign country to be a very daring act. It wasn't easy for me. Just because we speak the same language doesn't mean we speak the same language. I didn't understand that there was still a class system. I didn't understand pub culture. I didn't understand that being openly ambitious was frowned upon. Once again I felt alone. But I stuck it out and I found my way, and I grew to love English wit, Georgian architecture, sticky toffee pudding, and the English countryside. There is nothing more beautiful than the English countryside.

Then I decided that I had an embarrassment of riches and that there were too many children in the world without parents or families to love them. I applied to an international adoption agency and went through all the bureaucracy, testing, and waiting that everyone else goes through when they adopt. As fate would have it, in the middle of this process a woman reached out to me from a small country in Africa called Malawi, and told me about the millions of children orphaned by AIDS. Before you could say "Zikomo Kwambiri," I was in the airport in Lilongwe heading to an orphanage in Mchinji, where I met my son David. And that was the beginning of another daring chapter of my life. I didn't know that trying to adopt a child was going to land me in another shit storm. But it did. I was accused of kidnapping, child trafficking, using my celebrity muscle to jump ahead in the line, bribing government officials, witchcraft, you name it. Certainly I had done something illegal!

This was an eye-opening experience. A real low point in my life. I could get my head around people giving me a hard time for simulating masturbation onstage or publishing my Sex book, even kissing Britney Spears at an awards show, but trying to save a child's life was not something I thought I would be punished for. Friends tried to cheer me up by telling me to think of it all as labor pains that we all have to go through when we give birth. This was vaguely comforting. In any case, I got through it. I survived.

When I adopted Mercy James, I put my armor on. I tried to be more prepared. I braced myself. This time I was accused by a female Malawian judge that because I was divorced, I was an unfit mother. I fought the supreme court and I won. It took almost another year and many lawyers. I still got the shit kicked out of me, but it didn't hurt as much. And looking back, I do not regret one moment of the fight.
One of the many things I learned from all of this: If you aren't willing to fight for what you believe in, then don't even enter the ring.

Ten years later, here I am, divorced and living in New York. I have been blessed with four amazing children. I try to teach them to think outside the box. To be daring. To choose to do things because they are the right thing to do, not because everybody else is doing them. I have started making films, which is probably the most challenging and rewarding thing I have ever done. I am building schools for girls in Islamic countries and studying the Qur'an. I think it is important to study all the holy books. As my friend Yaman always tells me, a good Muslim is a good Jew, and a good Jew is a good Christian, and so forth. I couldn't agree more. To some people this is a very daring thought.

As life goes on (and thank goodness it has), the idea of being daring has become the norm for me. Of course, this is all about perception because asking questions, challenging people's ideas and belief systems, and defending those who don't have a voice have become a part of my everyday life. In my book, it is normal.

In my book, everyone is doing something daring. Please open this book. I dare you."

Madonna by Madonna, Harper's Bazaar, Nov 2013





Monday, September 9, 2013

Paradise (Not For Me)


I can't remember when I was young
I can't explain if it was wrong
My life goes on but not the same
Into your eyes my face remains

(I've been so high)
I've been so down
(Up to the sky)
Down to the ground
I was so blind, I could not see
Your paradise is not for me

Autour de moi
Je ne vois pas
Qui sont les anges
Surement pas moi
Encore une fois
Je sui cassee
Encore une fois
Je n'y crois pas

There is a light above my head
Into your eyes my face remains

I can't remember when I was young
Into your eyes my face remains

------------------------------------


This is my favorite Madonna ballad. Although I have always liked the song it wasn't until my father passed that I feel I truly "got" what it was about. In fact, more than any other piece of music, Paradise helped me through the process of grieving and letting go, but never forgetting. It was then that Paradise went from being a great Madonna ballad to a song I connected with on a very deep, visceral level. And so sometimes when I think about my dad, such as tonight (for whatever reason), I like to play this song. And I thought I'd share it with you guys. It truly is a beautiful song, and that truly is an understatement.

Monday, August 12, 2013

ThumbnailX12



You didn't really think I was going to devote a blog post to thumbnails, did you? No, what I'm sharing today are my responses to a small fan poll thingy asking to rank and review Madonna's twelve studio albums. I had no intention of sharing this here, it was just something I did for fun for some fellow fans. But I thought, hey, this is just the kind of thing I post here so why not share it. These are really brief (hence, thumbnails) and don't delve too deeply, but hopefully you like them anyway. Let's get started...




12. MDNA (2012) By any other singer MDNA would be heralded as a brilliant modern pop album. Unfortunately, Madonna has her towering back catalog to deal with. When you're the person who brought us Vogue, Like A Prayer, and Live To Tell, Girl Gone Wild ain't gonna cut it. MDNA does have it's moments: the pounding finale of Love Spent, the steady build and calculated release of I'm Addicted, the deranged climax of Gang Bang. All great songs, all pure Madonna. But for the most part MDNA feels halfhearted, like the songs are almost there but needed just a little more attention from their makers. A good enough effort nonetheless, and it gave us Madonna's best tour, so I can't be too mad at it. But I do hope next time around she has her head a little more in the game.

Key lyric: "Wrap your arms around my neck / It's time to deal so cut the deck / If you wanna play this game with me / I'm not like all the rest / Some girls are second best / Put your lovin' to the test -- you'll see"



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11. True Blue (1986) Madonna stepped it up for True Blue, delivering her strongest vocal performances to date and some solid songwriting, along with her first credited co-productions. Songs like Live To Tell and Papa Don't Preach evinced a new depth to her music and were a sign of the future. Personally, though I like True Blue, it's my least favorite of her 80's albums. It doesn't have the gravity of Like A Prayer and it's not as fun as her self-titled debut and Like A Virgin . It's somewhere in the middle musically and as such, so are my feelings on it.

Key lyric: "If I ran away I'd never have the strength to go very far / How would they hear the beating of my heart / Will it grow cold, the secret that I hide / Will I grow old / How will they hear, when will they learn, how will they know"



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10. American Life (2003) This is the natural continuation of 2000's Music, offering up a more cohesive listening experience than that album, although the highs here don't come close to those on the previous record. Still, it's a good album that Madonna clearly put a lot of heart and soul into. As good as it is I find I rarely listen to it nowadays outside of a couple of songs. At the very least I admire her for it. The woman who sang Vogue now disowning "the pretty pictures"? Pretty damn ballsy.

Key lyric: "I want to let go of all disappointment that's waiting for me / What I want is to live forever / Not defined by time and space / It's a lonely place"



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9. Madonna (1983) The album that started it all, and arguably the quintessential dance-pop album. It's the 80's pop album that people who don't like 80's pop will listen to. That says it all really.

Key lyric: "Unlike the others I'd do anything / I'm not the same, I have no shame / I'm on fire"



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8. Music (2000) Following up an "album's album" like Ray of Light (1998) with what is essentially a single's collection was a surprising move on Madonna's part. Maybe she knew after all the praise, sales, and awards Ray of Light got that the follow-up could never live up to it anyway. It's ironic that only three singles were pulled from Music because it really does seem to have been made for just that -- releasing singles. At least two or three more songs could've been released and likely would've seen success. (Amazing and Impressive Instant come immediately to mind.) Oh well. Here you'll find what is, in my opinion, Madonna's best ballad: the stirring and sweeping Paradise (Not For Me).

Key lyric: "Don't think of yesterday and I don't look at the clock, I like to boogie-woogie / It's like ridin' on the wind and it never goes away / Touches everything I'm in, got to have it every day / Music"



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7. Hard Candy (2008) Despite positive reviews and respectable sales this album seems to get a bad rap. It's a real shame because this fun, tongue in cheek record also happens to be brimming with some genuine emotion. It was written and recorded while Madonna's marriage to Guy Ritchie was falling apart, and though it was released before we knew they had hit splitsville, in hindsight it's clear her anguish and anger over their impending divorce informed much of the lyrical content. (See: Miles Away, Voices, Incredible.) But it's not all gloom and doom as the bulk of the album is actually quite upbeat and positive. Candy Shop, Give It 2 Me, and Beat Goes On are jams that always get me on my feet and put a smile on my face.

Key lyric: "I just woke up from a fuzzy dream / You never would believe the things that I have seen / I looked in the mirror and I saw your face / You looked right through me, you were miles away"



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6. Bedtime Stories (1994) It was tough to be a Madonna fan in 1994, what with the Sex backlash and general hate seemingly everyone was throwing her way. Can you imagine what it must've been like for the woman herself? Yikes. But Madonna persevered, offering up her sixth studio album, an R&B tinged collection of smooth pop. There was a lot of talk about Madonna laying low and purposely going soft for Bedtime Stories, and while that's definitely true, she didn't completely lie down and take it. Survival and Human Nature both highlight her fighting spirit: even when she's soft she's gonna make sure she gets her point across. Lyrically, Bedtime Stories deals a lot with seeking comfort and finding inner peace, and the music perfectly fits the mood. This album is like a warm blanket on a winter night: cozy, comforting, and just what you want to sink into to escape the world, if only for an hour.

Key lyric: "You gave me back the paradise that I thought I'd lost for good / You helped me find the reasons why / It took me by surprise that you understood / You knew all along what I never wanted to say / Until I learned to love myself I was never ever lovin' anybody else"



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5. Like A Prayer (1989) Like A Prayer is a great album that got a little boost by being the first "serious" work by an artist that had up 'til then been perceived as a disco dolly. There's no denying the power and potency of songs like Like A Prayer, Express Yourself, Till Death Do Us Part, and Oh Father, and you're gonna spend a long time searching for a "current" pop singer who takes their work and craft this seriously. Nonetheless, Madonna had bigger fish to fry and her best work was still to come.

Key lyric: "The bruises, they will fade away / You hit so hard with the things you say / I will not stay to watch your hate as it grows / You're not in love with someone else / You don't even love yourself / Still I wish you'd ask me not to go"



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4. Like A Virgin (1984) Over the years many Madonna collaborators have spoken of how "alive" and "present" she is as a person and artist. Of all her albums that's perhaps clearest on Like A Virgin. Here Madonna is warm and engaging, fun and flirty throughout. No pretensions, no big messages, just great pop songs you can dance to. In terms of craft it's not her most accomplished album by a long shot. But Madonna's charisma and effervescence hook the listener; there's an immediacy to these songs that's palpable. It's easy to see why this album would come to define the decade.

Key lyric: "Make me strong, yeah you make me bold / Your love thawed out, yeah your loved thawed out what was scared and cold"



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3. Confessions on a Dance Floor (2005) Her previous album, American Life, didn't do too well so Madonna went into damage control mode. A hits tour (or as close as she's gonna get to one) and a dance album to the rescue! And it worked -- Confessions and it's lead single Hung Up broke sales record around the world. (How amazing is it that Madonna's biggest hit to date came not in the 80's but over two decades into her career!) The funny thing is, thematically, Confessions is just American Life with a disco beat. The fame stuff, shattering illusions, it's all still there, just gussied up in a pink leotard. And it's fantastic. The mammoth beat of Hung Up is impossible to resist and it paves the way for a surprisingly personal dance record. Get Together tugs at your heart while Let It Will Be may just be the funnest (and quirkiest) paean to accepting life's disappointments ever recorded. People didn't like it when you strapped on a guitar and told them that fame kinda sucks? Throw on a house beat, dye your hair a flamboyant red, then tell 'em!

Key lyric: "Now I can see things for what they really are / I guess I'm not that far / I'm at the point of no return / Just watch me burn"



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2. Ray of Light (1998) I remember when MTV was gearing up for the premier of the Frozen video back in early 1998. They were running teasers featuring only a brief clip of the video accompanied by a snippet of the song. Those eerie, pulsating drums in the clip would send a jolt of excitement shooting up my spine every time I heard them. Even my friends who weren't into Madonna were curious about the forthcoming song and album. When it hit it was unreal the level of interest surrounding this "new" Madonna and her cool new record. It was incredible; I hadn't seen this much "Madonna mayhem", as the magazines were calling it, since 1990. That clip and the ensuing hysteria is a microcosm of the whole album and era. If you didn't live it you may think I'm throwing out hyperbole -- I'm not. And as for the quality of the music? Frozen still sends a jolt up my spine today.

Key lyric: "And the ground gave way beneath my feet / And the earth took me in her arms / Leaves covered my face, ants marched crossed across my back / The black sky opened up, blinding me"



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1. Erotica (1992) Erotica is aggressive, abrasive, angry, decadent, silly, and smart -- and utterly brilliant. It was the first time Madonna got real -- truly real -- about life and love: the ups and downs, the good and bad, and everything in between. She's swooning with love one minute (Deeper and Deeper, Fever), bitter and broken the next (Waiting, Words), and sometimes she just needs a moment to herself (Secret Garden, In This Life). And luckily for us she's willing to share the experiences. Make no mistake, from the ghostly feedback at the start of the title track to the bleeped ending of Bye Bye Baby to the typewriter pounding out a missive on Words to the blazing sunshine that comes bursting forth during Rain's bridge, Erotica is top-shelf Madonna, the best you're gonna get.

Key lyric: "Once you put your hand in the flame you can never be the same / There's a certain satisfaction in a little bit of pain / I can see you understand, I can tell that you're the same / If you're afraid, well rise above / I only hurt the ones I love"



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In other news, I've got some comments built up that I'm gonna go ahead and publish. I can't respond individually to them just yet but I'll back tomorrow to do just that! See you soon!

Tuesday, July 23, 2013

Words

Words
They cut like a knife
Cut into my life
I don't want to hear your

Words
They always attack
Please take them all back
If they're yours I don't want any more

You think you're so smart
You try to manipulate me
You try to humiliate
 with your words

You think you're so chic
You write me beautiful letters
You think you're so much better than me

But your actions speak louder than words
And they're only words unless they're true
Your actions speak louder than promises
You're inclined to make, and inclined to break

Words
They cut like a knife
Cut into my life
I don't want to hear your

Words
They always attack
Please take them all back
If they're yours I don't want any more

You think you're so shrewd
You tried to bring me low
You tried to gain control
 with your words

You think you're so sly
I caught you at your game
You will not bring me shame
 with your words

Too much blinding light
Your touch
I've grown tired of your

Words
A linguistic form that can meaningfully be spoken in isolation
Conversation
Expression
A promise
A sigh
In short, a lie
A message from heaven
A signal from hell
I give you my word -- I'll never tell
Language that is used in anger
Personal feelings signaling danger
A brief remark, an utterance
Information
Don't mince words, don't be evasive
Speak your mind, be persuasive
A pledge
A commitment
Communication
Words






Sunday, June 23, 2013

The Real Deal

Think I'm gonna have to break this down into a list.

-- For two weeks now I've been filling in for two coworkers on vacation. Busy and frazzled = John.

-- I'm genuinely sorry I haven't updated the blogs with anything. I know you guys have been wondering what the deal is and, as is usually the case, it all comes down to boring "real life" stuff.

-- It's probably going to be another week before anything happens.

-- But take heart! I'm itching to do some writin' (and rightin') and can't wait to get back in that saddle and ride like nobody's business. (Wow that sounded dirty.)

-- In non-apology news, earlier tonight a friend and I watched Stoker. Great movie, highly recommended!




-- Earlier earlier tonight, the Epix premiere of Madonna's MDNA Tour happened. I saw this show live twice last year and it was mindblowing. The Epix show doesn't quite capture the magic of the real thing, but it's more than worthy nonetheless.

-- You younger folks can keep this mess...




-- I'm sticking with the real deal...




---- Booya.




-- I leave you with a modern torch song. Beautiful...



Monday, May 27, 2013

Let's get unconscious, honey...

Jeez, what's John up to this time?

I got off work from a sixteen hour shift at 6 a.m. this morning. Separately, my mother and my niece & her fiance are moving. One move is hectic, two is insane. There's also the fact that my niece's wedding is less than a month away, so my family is kinda going nuts with stress from that. And then there's work. As always, busy, busy, busy! And in the middle of it all I try to have a personal life, plus run the blogs. I was nearly at the end of my rope. But there's relief in sight! Not only is today Memorial Day, it's also the first day of my week-long vacation! These first few days will be spent here at home, taking care of a few home improvement projects. And later this week it's off to Holiday World with two of my very best friends to ride roller coasters! (At nearly three hundred ridden, coasters are yet another hobby of mine.) That shortening rope I was reaching the end of has suddenly sprouted a few more feet, and I don't think I'll be reaching the end of it at all! Hooray! Over the next week, in addition to completing those small home projects and riding roller coasters, I plan to go a little wild! It's my week and I've earned it! As you may have guessed I'm feeling a bit feisty already, and have been bumping some jams and dancing 'round the house like nobody's business! Care to join me?


    I'm A Sinner - Album Version - MDNA (2012)


Like the sun, like the light, like a flame
Like a storm, I burn through everything
Like a bomb in the night
Like a train thundering through hills, let it rain

I'm a sinner, I like it that way
I'm a sinner, I like it that way

All the boys, all the boys and girls
 wanna be like us tonight
All the boys, all the boys and girls
 ride the magic bus tonight

I'm a sinner, I'm a sinner, I'm a sinner
I like it that way

Like the moon with no light of my own
Search the sky for a place to call home
I woke up with my hand in the fire
Get my kicks when I'm walking the wire

I'm a sinner, I like it that way

All the boys, all the boys and girls
 wanna be like us tonight
All the boys, all the boys and girls
 ride the magic bus tonight

I'm a sinner, I'm a sinner, I'm a sinner
I like it that way
Praise the Lord and I like it that way

Hail Mary, full of grace
Get down on your knees and pray
Jesus Christ, hanging on the cross
Died for our sins, it's such a loss
Saint Christopher, find my way
I'll be coming home one day
Saint Sebastian, don't you cry
Let those poison arrows fly

Saint Anthony, lost and found
Thomas Aquinas, stand your ground
All the saints and Holy men
Catch me before I sin again

I'm a sinner, I'm a sinner, I'm a sinner
I like it that way

You're a sinner, you're a sinner, you're a sinner
You like it that way

We're all sinners, we're all sinners, we're all sinners...

    Justify My Love - MDNA Tour 2012 Video Interlude

Justify my love
I'm not afraid of who you are
We can fly
C'mon baby... you can fuck with me

Pleasures...
Dreams...
Naked...
Fears...

You put this in me
So now what?
So now what?

Wanting...
Waiting...
For you to justify my love
Hoping...
Praying...

Kiss me
That's right, kiss me

Wanting...
Needing...
Waiting...
For you to justify my love
I'm open
Ready
For you to justify my love

Wanting...
Waiting...
Praying...
To justify my love

Love me
That's right, love me

    Bedtime Story - Re-Invention Tour 2004 Video Interlude

Today is the last day that I'm using words
They've gone out, lost their meaning
Don't function anymore

I'm leaving logic and reason
 to the arms of unconsciousness
Leaving logic and reason
 to the arms of unconsciousness

I'm travelling, leaving logic and reason
I'm gonna relax in the arms of unconsciousness

And inside we're all still wet
How can I explain how I feel?

Let's get unconscious, honey
Let's get unconscious
Let's get unconscious, honey
Let's get unconscious

I'll never explain again...


Have a great week, y'all!


Thursday, April 25, 2013

Flirtation Dance




Do I know you from somewhere?
Why do you leave me wanting more?
Why do all the things I say sound like the stupid things I've said before?

So begins Skin, track number five on Madonna's 1998 album Ray of Light, co-produced by the brilliant William Orbit. I called it a track instead of a song, because the word song implies a four minute ditty made of a verse-chorus-verse-chorus-bridge-chorus-fade structure and that's most definitely not what Skin is. Opus is a more fitting descriptor, I do believe. But let's back up a bit.

Some people wonder how Madonna has lasted so long, and why her fans are so ardent in their support of her to this day. Those people only know the Madonna of Like a Virgin, Vogue, Express Yourself. Iconic as those songs are, they're barely the tip of the iceberg when it comes to Madonna and her music. See, somewhere around the late 80's Madonna went from being a singles artist (that is, an artist who throws together albums built around hit singles rather than a coherent musical statement), to an albums artist (an artist who builds albums around themes or concepts, hopefully with a few possible hit singles in there, as well). To recognize that Madonna's musical themes have steadily deepened and her talents as a lyricist and vocalist have grown ever stronger, you have to listen to her albums, not just her singles. Perhaps no album exemplifies this better than Ray of Light, an album that garnered critical praise and strong sales (not to mention a handful of Grammy's), but launched only two smash hits (Frozen and the title track).

With that understood, and with the acknowledgement that it is a subject I will almost certainly come back to in a future post, let's move on to Skin. It wasn't a single, and rightly so. Clocking in at well over six minutes, and approaching the subject of emotional and sexual connection from a dark, psychological point of view, it was never meant to be played on the radio. That's not to say the song is dirty or raunchy -- quite the opposite, actually. It takes a poetic, but as I said, very dark, look at the excitement and frustration of trying to connect with another person on an emotional level, with sex lingering in the background.

Amid a wash of slow, deep synths and subtle bleeps, Madonna opens with the lyrics I quoted at the start of this post, "Do I know you from somewhere..." Later we will learn this is actually the chorus of the song. Her vocal is calm, with a hint of confusion and frustration, perfectly matching the lyrics. As she finishes this intriguing vocal intro, the synths go quiet and the electronic bleeps steadily descend in key. Just as they start to bottom out, a deep, thudding beat starts to build and tinkling chimes come in. Heavily fuzzed vocals from Madonna, buried under the beat, whisper "Put your hands on my skin..." repeatedly, and you can hear her sighing heavily. The beat and chimes get faster and then - bam! - the beat kicks in proper. Into the first verse we go...

Kiss me, I'm dying
Put your hand on my skin
I close my eyes, I need to make a connection
I'm walking on a thin line
I close my eyes, I close my eyes

Clearly we're not dealing with your average hook-up song! Throughout the verse heavy Middle Eastern influences can be heard (and this was about three years before hip hop would pick up on these sounds and take them into the US mainstream). Her vocal is both delicate and demanding, her enunciation of each word sang as if the entirety of her existence depends on this one moment. On the last line of the verse the steadily thudding beat drops out and a new, much faster, skittering beat comes in. We go into the chorus...

Do I know you from somewhere?
Why do you leave me wanting more?
Why do all the things I say sound like the stupid things I've said before?

During the chorus we go back into the more sweeping synths of the song's opening, but this time they're paired with the skittering beat. Darting around Madonna's vocal and the synths are more frenzied bleeps, plus some teetering, squelching sounds (think a firefly on speed). You start to realize that the layers of music, of pure sound, are dense. This is great use of "wall of sound", with every angle of the aural field put to use. Sounds aren't just moving from left to right, but front to back, back to right, and up to front again. It's astonishing. The chorus ends and we have a brief pre-verse coda where a thundering percussive piece comes in and a fuzzed loop of Madonna saying "Kiss... kiss...kiss..." can be heard in the background. Then, into the next verse!

Touch me, I'm trying to see inside of your soul
I've got this thing, I want to make a correction
I'm not like this all the time
You've got this thing, you've got this thing

You'll notice the lyrics are playing on the those of the first verse. A story is building. Roles are being established. Excuses are made but the flirtation continues. Madonna's vocal delivery is becoming more demanding, almost urgent. In the background the Middle Eastern sounds are built upon with a snake charmer wafting into the musical ether. We also start to hear heavily processed electric guitar licks stinging the end of some lines. Momentum is building. We go back into the chorus, the synths still carrying the same melody but now in staccato. More chimes have come in, these a little quieter than those we heard earlier, and surprisingly mellow compared to everything else going on in the song. Are we being subliminally told that there is a certain magic in the air when two people meet, even when everything else around them, and perhaps even themselves, are frenzied?

And to think, everything up to this point in the song has just been the warm up. After the chorus we have another coda of thundering percussive elements along with some processed electric guitar. Those bleeps from the beginning, the ones that had bottomed out, come raging back in, no rhyme or reason to their arrangement. The mellow chimes have disappeared. A tinge of desperation in her voice, the bleeps again starting to descend, the beat still skittering along, Madonna sings...

Kiss me, I'm dying
Put your hands on my skin
I close my eyes, I need to have your protection
I close my eyes, I close your eyes

As the verse goes on Madonna's voice goes into heavy reverb, eventually echoing around back into itself. You can hear heavy breathing deep in the background. The moment has become confusing for our narrator, emotions are running high. On the last line the beat drops and a drone-like synth descends sharply while Madonna whispers, "Kiss.. kiss... kiss... kiss me", a reprise of her earlier whisper, but this time with some specificity: it's herself she wants to be kissed. The droning synth pitches upwards as she finishes her whisper and the beat comes raging back in. It's one of those dramatic, jaw dropping musical moments; the kind that give you chills, the kind that remind you why you love music so much in the first place. It's the work of experts at the top of their game. But we're not done yet! After that showstopping coda we again go into the chorus, this time repeated twice.


Do I know you from somewhere?
Why do you leave me wanting more?
Why do all the things I say sound like the stupid things I've said before?


One might expect the song to simply fade to end from here. Madonna and Orbit have other things in mind. After the previous chorus repeats (this time accompanied by a sort of forlorn siren wailing in the distance), those thunder claps come back in, in addition to the buzzing fireflies. A whirring synth not previously heard in the song comes in, descending, spinning. The beat is at a fever pitch now, the thunder claps louder than ever, the bass pounding. Madonna continues her plea...

Kiss me, I'm dying
Touch me, I'm trying
I'm not like this all the time
I'm not like this all the time

She sweetens these words with Middle Eastern chants at the end of certain lines. Everything is now at its peak: beat, synths, thunder claps, drones, electric guitar, bleeps, any and everything really. It's layers upon layers upon layers of sound. All with Madonna sing-screaming and chanting over them. One last element we haven't heard yet comes in, and it's possibly the least expected of all: a soul rhythm straight out of 1975, processed into a piercing siren, rising and falling as the thunder crashes and the percussion darts frenetically around it. The various musical elements eventually begin to slowly fade, a few at a time. The beat now laid a bit more bare, that snake charmer making his presence again known, things now calming down, Madonna continues...

Put your hand on my skin
Put your hand on my skin
I'm not like this all the time
I'm not like this all the time

The track comes to it's final fade with multiple Madonnas whispering first in tandem and then over each other, "Kiss me... touch me... kiss... kiss... put your hand on my skin...", while heavy breathing can still be heard in the background. The very last things we hear are the distant snake charmer and a faint multitrack of Madonna whispering "Put your hand on my skin..."

Fin.

What did we learn from all this? Meeting someone new can be exciting and exhilarating and nerve wracking! And when you get right down to it, what we all want is to be able to connect with a person in a meaningful way. But sometimes we go about it stupidly and say stupid things. But it can still be magic. And it can seem dramatic and lifechanging, and sometimes it is. Sometimes it seems like a matter of life or death. (It's not -- but how poetic!) And, of course, one more thing: Madonna is a supremely talented musician and lyricist. Oh, so why did I name this post Flirtation Dance? That was the working title of the song!

You know as well as I do you can't be here and not listen to the song. If you've heard it before you already know the treat you're in for. If it's your first time, well, I envy you -- you're in for a wild, chaotic, sublime journey! (Seriously though, 15 years and literally hundreds of listens later, I'm still picking up on previously unheard sounds in this song. Amazing.)