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Showing posts with label videos. Show all posts
Showing posts with label videos. Show all posts
hard candy fitness center in mexico - video
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rare footage from 1994
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videos
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Variations: "Don't Cry for Me Argentina"
Julie Covington: 1977 (21 January) Top of the Pops
Olivia Newton-John
Patti LuPone
Madonna version from the movie.
Elaine Paige was Eva in the West End original London production.
"No llores por mí Argentina"
Paloma San Basilio.
Nacha Guevara
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→Variations: "Don't Cry for Me Argentina"
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i'm in the mood: vogue
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music: live 8
This isn't news but it's a great performance.
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great performance: like a prayer live 8
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Mark Romanek / Madonna / "Bedtime Story"
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'No one's telling you how to live your life but it's a set-up, until you're fed up.'
'No one's telling you how to live your life but it's a set-up, until you're fed up.'
So deep
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Madonna On "Ellen "
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Who Am I?
This is from Madonna's "The Confessions Tour - Isaac". Heartfelt thanks to Donnaleigh de LaRosa for posting this on Face Book! Stunning video! The words here are fiction - they are not meant to reflect the content of the video. The video acts as a focus, or catalyst for the writing.
Hear that music? hear that voice? It speaks to my soul - it asks me who I am, and what I am going to do about that. Hear that quickening? Eveything is moving faster … faster … faster!
What is this cage that I am in? I choose to move - faster … faster … faster! Keep moving! Don't stop! Don't wonder why I am in this cage. As big as it is - it limits me … it forces me to live within boundaries that are not mine!
Hah! As long as I keep moving, you cannot catch me! You cannot define me! You cannot control me!
Who am I? It really doesn't matter, because I am as free as I want to be!
(c) October 2010 Bonnie CehovetWho Am I?
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madonna let it will be live confessions tour
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Live Aid: The Ladies
While male acts dominated the lineup that day, a few ladies were able to strut their stuff.
Madonna had only become a household name the year before with Like A Virgin. Here, a brunette version performs two of her classics:
Earlier in the day, the Pretenders performed with Chrissie Hynde in great form:
Later that night, Patti Labelle performed to the Philadelphia crowd:
Back at Wembley, Sade performed early in the concert, though only Your Love Is King made it to the DVD. She performed a few songs including Is It A Crime?:
Alison Moyet performed with Paul Young at the end of his set for soulful That's The Way Love Is:
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Madonna: when she doesn't try
Most people claim they hate Madonna because she 'tries too hard' and is always up in their face with Kabbalah or some over sexualized gimmick. This is true for some things, however, she really shows her talent and lasting quality by seeking out the latest euro producers and songwriters to stay current. Here are some jams you may have overlooked in the '90′s just because they were released under 'Madonna'.
'Bedtime Story' - by Bjork
'Take A Bow' - by Babyface
'Justify My Love' - by Lenny Kravitz
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Madonna Singles
Here comes a song that I actually genuinely like, and am sad to eliminate off the list, but well, it's the concept of this blog so I can't go back on my word suddenly and opt to keep it, even if that'd be something that I wanted to do, so without further whining, the third song to get eliminated is..
DATE RELEASED: September 22, 1998
US CHART PERFORMANCE: #11
UK CHART PERFORMANCE: #06
BEST CHART PEAK: #02 (Europe; Spain)
LAST.FM PLAYS: 371.104 (20th)
LAST.FM LISTENERS: 72.733 (22nd)
So, as you can see, I chose to eliminate The Power of Goodbye as the twenty-fourth placer on my countdown. It's not entirely on purpose, but you see the real reason why I had to take down such a good song so early, is because this awesome song is just outmatched by other awesome Madonna songs, cause lets face it: she's made some pretty awesome music in the past twelve years. This is where the list starts getting tough, and soon, I'll be picking off the great songs one-by-one, and leave us with my favorite Madonna song, yay!
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You Must Love Me
Don't freak out, this isn't a post about my love life. At least, not my romantic life. This is about my first love: musicals.
Within my general obsession with musical theater, there are a few areas I find particularly interesting, all of which can be grouped under the rubric of transformations. I am fascinated with the way stories are told and retold, and few storytelling arenas are as obsessed with retelling as musical theater.
I love to read/watch the books, plays, and movies that musicals were based on to see how the composers, lyricists, bookwriters, directors et al applied their craft. For example, my already huge admiration for Oscar Hammerstein II grew exponentially after reading Edna Ferber's original novel Show Boat. The way that Hammerstein transformed the central metaphor of the book - Magnolia's relationship with the Mississippi River - into the central metaphor of the show - Magnolia's relationship with the musical stage - is genius.
I am also intrigued by the ways in which musicals change of time. No theater piece is ever as static as film (unless the film in question belongs to George Lucas), but this seems even more the case with musicals. Maybe it's due to the ways in which technology has changed (bringing in microphones, mixing boards, and electronic instruments), or the fussiness of living composers (I'm looking at you, Mr. Sondheim), or the egos of contemporary directors… but musicals seem to change. A lot. I'm not only talking about contemporary auteurs like Sam Mendes deciding that Cabaret needed the injection of a half-dozen extra songs from the film or cut from the original production. Even the first Broadway production of Show Boat added new numbers, including "Nobody Else But Me" which has become a standard. And no production of Annie Get Your Gun today would dare omit "Old Fashioned Wedding," added for the 1966 Lincoln Center revival. Some shows, such as Beauty and the Beast, even added songs to their original productions after they opened (and after the cast albums were recorded).
A third, related fascination of mine is songs added for the film versions of musicals. And that is where our friend Madonna comes in. Musicals made from Broadway shows have added songs since films first had sound. Seriously, The Jazz Singer is based on a Broadway show, but the film score is augmented with plenty of songs that weren't in the original play. (Wikipedia tells me the original play had no on stage singing, so maybe this isn't the best example, but if I use Show Boat for every single example here, it will get tiresome. However, the song "I Have the Room above Her," added for the 1936 film version of Show Boat, is a favorite.)
I have other, related interests, such as songs cut from shows and films, and songs from shows that never got recorded by their original cast, and cover versions of showtunes… but future blog posts can examine those categories.
Why do songs get added to film versions of successful musicals? There are several reasons, some more artistically driven, others commercially driven, and of course, not a few are ego-driven.
In the best cases, songs get added because film is a different medium than the stage, and storytelling works differently on film. Take, for example, Little Shop of Horrors. I'm not going to argue that "Mean Green Mother from Outer-Space" is a fantastic song, but it takes advantage of the special effects capabilities of the screen in a way that the stage production never could. In the film, Audrey II is even more of a star, and the song gives the star his 11:00 number. But the song hasn't migrated back to the stage because it wouldn't work delivered by the considerably more Muppet-like plant used on stage.
Sometimes songs get added in order to create a hit single, court an Oscar, or give more screen time to a star whose character sang less in the original. Some of those examples are interchangeable. But commerce is commerce, and often one commercial move can support multiple commercial reasons.
Which brings us back to Evita and "You Must Love Me." When it was announced that Madonna would star in the long-anticipated film version of Andrew Lloyd Webber & Tim Rice's musical, there was little doubt she would get a new song written just for her. No one was going to deny Madge her shot at another hit single, nor would anyone get between Lloyd Webber and his Oscar. And it worked.
But did it work? I remember rushing out to buy the single (because it was released in advance of the soundtrack) and feeling underwhelmed by the song. It was a pretty enough melody, and Madonna sang it well, but… the lyrics sat awkwardly on the tune. Whenever Madonna sang the title phrase, she treated each word as though it were it's own sentence. You. Must. Love. Me. The effect was similar to the film's real hit song, "Don't Cry for Me Argentina." The song might be catchy, but I defy anyone to say what the title really means.
But the more I've come to know "You Must Love Me," the more I like it. When I hear it, I find myself wondering, is Evita giving her husband a command (you must love me!) or having a realization (you must love me!). I'm not sure Madonna is capable of playing the nuance (forgive me, Madonna! I love you… just not when you "act"). But the song has migrated back into the show, and I'd love to see a better actress play the scene.
However much I might dislike Madonna the actress - in other post, I will detail my long and sordid history with Dick Tracy - I do love that she has incorporated several songs from Evita into her concert repertoire. The video above is from her Sticky & Sweet Tour DVD, in which "You Must Love Me" is paired with "Don't Cry for Me Argentina." On the tour documented in I'm Going To Tell You A Secret, she sang "Lament," my favorite piece from the show. I'm still waiting for a really dance-able take on "Buenos Aires," but who knows, that may come with the next tour.
You Must Love Me
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X-Static Process" by Madonna
I'm not myself when you're around
I'm not myself standing in a crowd
I'm not myself and I don't know how
I'm not myself, myself right now
Jesus Christ, will you look at me
Don't know who I'm supposed to be
Don't really know if I should give a damn
When you're around
I don't know who I am
I'm not myself when you go quiet
I'm not myself all alone at night
I'm not myself, don't know who to call
I'm not myself at all
Jesus Christ will you look at me
Don't know who I'm supposed to be
Don't really know if I should give a damn
When you're around
I don't know who I am
I always wished that I could find
Someone as beautiful as you
but in the process I forgot
That I was special too
I'm not myself when you're around
I'm not myself standing in a crowd
I'm not myself and I dont know how
I'm not myself, myself right now
Jesus Christ will you look at me
Don't know who I'm supposed to be
Someone say if I should give a damn
When you're around
I dont know who I am
I always wished that I could find
Someone as beautiful as you
but in the process I forgot
that I was special too
I always wished that I could find
Someone as talented as you
but in the process I forgot
that I was just as good
As you
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New Madonna!
[lastfm]Madonna[/lastfm] has dropped a steamy new video. Watch this clip which is one minute of HOTness! Check It->
It's a sneak peek video of [lastfm]Madonna[/lastfm] endorsing a new line of Dolce & Gabbanna shades dropping in 2011. Madonna is getting money every which way!! Just watch how her new Macys "Material Girl" line makes a killing this year!
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Behind the scenes of Madonna's Dolce&Gabbana photoshoot
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MADONNA DIRECTING W.E.
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Dick Tracy
Legendary police detective Dick Tracy (Warren Beatty) is the only man tough enough to take on gangster boss Big Boy Caprice and his band of menacing mobsters. Dedicated to his work but also devoted to his loyal girlfriend, Tess, Tracy's torn between love and duty. Things get even stickier when Tracy's saddled with an engaging orphan and meets seductive and sultry torch singer Breathless Mahoney (Madonna).
Matt
Rating: 8 out of 10
When people talk about great comic book movies, Dick Tracy is never in the conversation. But it should be.
I plucked this from the deep library on Netflix, and I'm glad I did. I really liked this movie as a kid but, as an adult, I like it even more. Beatty directed this visually intriguing film. It's a noir world full of pastel colors. It is a dark place, full of criminals that are disfigured and warped. Tracy is ice-cold, not unlike Batman. This film has a similar feel to the world of Batman with the art deco buildings, neon lights and a camera watching from the shadows.
This comic book film is lighter in feel than most, however dark the characters are. Al Pacino is Big Boy Caprice, and he plays him to monstrous levels only he's capable of. The film has a ridiculous cast, too. I'd argue the best of any comic book movie. Aside from Pacino and Beatty, the cast includes Dustin Hoffman, Dick Van Dyke, Paul Sorvino, Madonna, James Caan, Kathy Bates, Mandy Patinkin and Seymour Cassel.
This movie was made with a great deal of forethought and love for the source material. It's an original take with a visually stunning style, great performances, and a fun story. This is a film that should be in the conversation of great comic book movies.
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