MichaelNadal
Bionic Poster
The history album is underrated af
Who do you think has had more classic hit songs - Michael Jackson or Madonna?
- Thread starter Djokovic2011
- Start date
The history album is underrated af
skaj
Legend
This is a cool song. Great message also.
NonP
Legend
Since I gave a shout-out to "Smooth Criminal" earlier I suppose an overdue reply (or several) is in order:
In one word: timelessness. There are several MJ/Madge tracks I like more than some of those top 20 classics - "Stranger in Moscow" and "Deeper and Deeper," to name just two - but I don't expect them to be played and performed quite as much as the top picks 100-200 years from now, hence their exclusion.
Words count a lot for me, too. Madonna has never been a great lyricist - in that respect she's no Kate, Liz, Taylor or even Gaga, not to mention legends like Carole, Joni, Dolly, Patti and Lucinda - but she could get around that limitation with searing vulnerability ("Live to Tell"), daring ecumenism ("Like a Prayer"), postmodern chic ("Vogue") or seductive mood painting ("Rain"). OTOH "Secret" and "Sorry," two more personal faves, don't bring any real depth to complement their infectious melodies, so neither makes the cut.
MJ fares a little better, but still falls short of greatness. And like her female counterpart (and onetime date) he was first and foremost a dance artist extraordinaire, so his best dance records tend to supersede even his best ballads most of which naturally weren't penned by himself.
Of course YMMV. And much of this is hairsplitting, anyway. The fact of the matter is that most of these ubiquitous and not-so-familiar tunes are among the greatest music in pop history and will outlive just about every Hot 100 hit today.
BJ is one of those miraculous creations that even a genius like MJ is fortunate to come up with once in his life. In fact that's something of a misnomer cuz you really don't "create" such perfection. It happens almost by chance, though much of the credit here goes to Quincy (of course).
And I did play it safe with the lists. I mean you have to when you're putting together anything definitive! By pure preference "Borderline" would probably top my Madge list, perhaps even the combined one, which brings moi to....
When people say Madge couldn't sing before Evita I always tell 'em to listen carefully to this track one more time. It may lack the full(er) register or tonal ripeness of her trained voice on that movie OST or Ray of Light, but her youthful self more than makes up for it with plain sassy fun.
And lest you think it all attitude try to name one closer in all of Madonna's discography as wonderfully wistful as that "Da-da-da-da, da-da-da-da...." What had felt like a frivolous dance ditty about her no-good beau suddenly becomes a paean to barely requited love, revealing an emotional richness she wouldn't equal till "Live to Tell."
I'd never really got "Borderline" until this one Xmas nite when I was driving back home after a jolly but exhausting catching up with an old bud. Since I'm getting drowsy (we're talking well past 2-3 am) I open my Prime Music app and switch to The Immaculate Collection to keep moi awake. First up "Holiday," which never fails to cheer me up. Next "Lucky Star," not one of my absolute M faves but still buoyant enough for this particular purpose. Then comes on "Borderline," another cushy number by Madge standards so I think about fast-forwarding to "Material Girl"... but I find myself singing along... at which point I realize this is one of her very best vocal performances, capped off by the killer "Da-da-da-da" that makes you marvel at the song's poignant turn.
Unlike "Like a Prayer" or "Vogue" (or MJ's "Billie Jean" or "Smooth Criminal," for that matter) "Borderline" is one of those songs that don't strike you right away as an immediate classic but slowly grow on you, and when they do they're unlikely to relinquish their place on your desert island. Needless to say I put this one on repeat for the rest of my 30-min drive home.
Have you seen Spike's new mash-up of the two versions with extra BLM footage?
Love the drums (courtesy of Olodum), but still can't quite stomach the song's monumental hypocrisy (pretty everything about the album is big scale):
Now that new AllMusic analysis did soften my objection to SC, but I just don't see how you can justify MJ's shameless appropriation of victimhood when he drops the K-word with impunity to refer to his supposed "Jewishness." As with its N counterpart no outsider gets to use that word, and the fact that he tried to make a moral equivalence between his (admittedly savage) treatment by the tabloids and historic persecution of Jews makes it even more damning.
TDCAU still appeals to me as music, but it's not a protest song and to keep treating it as one does real victims injustice.
In one word: timelessness. There are several MJ/Madge tracks I like more than some of those top 20 classics - "Stranger in Moscow" and "Deeper and Deeper," to name just two - but I don't expect them to be played and performed quite as much as the top picks 100-200 years from now, hence their exclusion.
Words count a lot for me, too. Madonna has never been a great lyricist - in that respect she's no Kate, Liz, Taylor or even Gaga, not to mention legends like Carole, Joni, Dolly, Patti and Lucinda - but she could get around that limitation with searing vulnerability ("Live to Tell"), daring ecumenism ("Like a Prayer"), postmodern chic ("Vogue") or seductive mood painting ("Rain"). OTOH "Secret" and "Sorry," two more personal faves, don't bring any real depth to complement their infectious melodies, so neither makes the cut.
MJ fares a little better, but still falls short of greatness. And like her female counterpart (and onetime date) he was first and foremost a dance artist extraordinaire, so his best dance records tend to supersede even his best ballads most of which naturally weren't penned by himself.
Of course YMMV. And much of this is hairsplitting, anyway. The fact of the matter is that most of these ubiquitous and not-so-familiar tunes are among the greatest music in pop history and will outlive just about every Hot 100 hit today.
BJ is one of those miraculous creations that even a genius like MJ is fortunate to come up with once in his life. In fact that's something of a misnomer cuz you really don't "create" such perfection. It happens almost by chance, though much of the credit here goes to Quincy (of course).
And I did play it safe with the lists. I mean you have to when you're putting together anything definitive! By pure preference "Borderline" would probably top my Madge list, perhaps even the combined one, which brings moi to....
When people say Madge couldn't sing before Evita I always tell 'em to listen carefully to this track one more time. It may lack the full(er) register or tonal ripeness of her trained voice on that movie OST or Ray of Light, but her youthful self more than makes up for it with plain sassy fun.
And lest you think it all attitude try to name one closer in all of Madonna's discography as wonderfully wistful as that "Da-da-da-da, da-da-da-da...." What had felt like a frivolous dance ditty about her no-good beau suddenly becomes a paean to barely requited love, revealing an emotional richness she wouldn't equal till "Live to Tell."
I'd never really got "Borderline" until this one Xmas nite when I was driving back home after a jolly but exhausting catching up with an old bud. Since I'm getting drowsy (we're talking well past 2-3 am) I open my Prime Music app and switch to The Immaculate Collection to keep moi awake. First up "Holiday," which never fails to cheer me up. Next "Lucky Star," not one of my absolute M faves but still buoyant enough for this particular purpose. Then comes on "Borderline," another cushy number by Madge standards so I think about fast-forwarding to "Material Girl"... but I find myself singing along... at which point I realize this is one of her very best vocal performances, capped off by the killer "Da-da-da-da" that makes you marvel at the song's poignant turn.
Unlike "Like a Prayer" or "Vogue" (or MJ's "Billie Jean" or "Smooth Criminal," for that matter) "Borderline" is one of those songs that don't strike you right away as an immediate classic but slowly grow on you, and when they do they're unlikely to relinquish their place on your desert island. Needless to say I put this one on repeat for the rest of my 30-min drive home.
Have you seen Spike's new mash-up of the two versions with extra BLM footage?
Love the drums (courtesy of Olodum), but still can't quite stomach the song's monumental hypocrisy (pretty everything about the album is big scale):
Now that new AllMusic analysis did soften my objection to SC, but I just don't see how you can justify MJ's shameless appropriation of victimhood when he drops the K-word with impunity to refer to his supposed "Jewishness." As with its N counterpart no outsider gets to use that word, and the fact that he tried to make a moral equivalence between his (admittedly savage) treatment by the tabloids and historic persecution of Jews makes it even more damning.
TDCAU still appeals to me as music, but it's not a protest song and to keep treating it as one does real victims injustice.
MichaelNadal
Bionic Poster
Since I gave a shout-out to "Smooth Criminal" earlier I suppose an overdue reply (or several) is in order:
In one word: timelessness. There are several MJ/Madge tracks I like more than some of those top 20 classics - "Stranger in Moscow" and "Deeper and Deeper," to name just two - but I don't expect them to be played and performed quite as much as the top picks 100-200 years from now, hence their exclusion.
Words count a lot for me, too. Madonna has never been a great lyricist - in that respect she's no Kate, Liz, Taylor or even Gaga, not to mention legends like Carole, Joni, Dolly, Patti and Lucinda - but she could get around that limitation with searing vulnerability ("Live to Tell"), daring ecumenism ("Like a Prayer"), postmodern chic ("Vogue") or seductive mood painting ("Rain"). OTOH "Secret" and "Sorry," two more personal faves, don't bring any real depth to complement their infectious melodies, so neither makes the cut.
MJ fares a little better, but still falls short of greatness. And like her female counterpart (and onetime date) he was first and foremost a dance artist extraordinaire, so his best dance records tend to supersede even his best ballads most of which naturally weren't penned by himself.
Of course YMMV. And much of this is hairsplitting, anyway. The fact of the matter is that most of these ubiquitous and not-so-familiar tunes are among the greatest music in pop history and will outlive just about every Hot 100 hit today.
BJ is one of those miraculous creations that even a genius like MJ is fortunate to come up with once in his life. In fact that's something of a misnomer cuz you really don't "create" such perfection. It happens almost by chance, though much of the credit here goes to Quincy (of course).
And I did play it safe with the lists. I mean you have to when you're putting together anything definitive! By pure preference "Borderline" would probably top my Madge list, perhaps even the combined one, which brings moi to....
When people say Madge couldn't sing before Evita I always tell 'em to listen carefully to this track one more time. It may lack the full(er) register or tonal ripeness of her trained voice on that movie OST or Ray of Light, but her youthful self more than makes up for it with plain sassy fun.
And lest you think it all attitude try to name one closer in all of Madonna's discography as wonderfully wistful as that "Da-da-da-da, da-da-da-da...." What had felt like a frivolous dance ditty about her no-good beau suddenly becomes a paean to barely requited love, revealing an emotional richness she wouldn't equal till "Live to Tell."
I'd never really got "Borderline" until this one Xmas nite when I was driving back home after a jolly but exhausting catching up with an old bud. Since I'm getting drowsy (we're talking well past 2-3 am) I open my Prime Music app and switch to The Immaculate Collection to keep moi awake. First up "Holiday," which never fails to cheer me up. Next "Lucky Star," not one of my absolute M faves but still buoyant enough for this particular purpose. Then comes on "Borderline," another cushy number by Madge standards so I think about fast-forwarding to "Material Girl"... but I find myself singing along... at which point I realize this is one of her very best vocal performances, capped off by the killer "Da-da-da-da" that makes you marvel at the song's poignant turn.
Unlike "Like a Prayer" or "Vogue" (or MJ's "Billie Jean" or "Smooth Criminal," for that matter) "Borderline" is one of those songs that don't strike you right away as an immediate classic but slowly grow on you, and when they do they're unlikely to relinquish their place on your desert island. Needless to say I put this one on repeat for the rest of my 30-min drive home.
Have you seen Spike's new mash-up of the two versions with extra BLM footage?
Love the drums (courtesy of Olodum), but still can't quite stomach the song's monumental hypocrisy (pretty everything about the album is big scale):
Now that new AllMusic analysis did soften my objection to SC, but I just don't see how you can justify MJ's shameless appropriation of victimhood when he drops the K-word with impunity to refer to his supposed "Jewishness." As with its N counterpart no outsider gets to use that word, and the fact that he tried to make a moral equivalence between his (admittedly savage) treatment by the tabloids and historic persecution of Jews makes it even more damning.
TDCAU still appeals to me as music, but it's not a protest song and to keep treating it as one does real victims injustice.
I did see the new TDCAU video, it's nice.
For me, young Madonna's best vocal performances are in Cherish and Papa Don't Preach. She sounds especially great at the end of PDP. It really is insane how much better her voice got during/after Evita. Im not sure I've seen any other artist improve that much to where she sounds absolutely angelic on Frozen.
skaj
Legend
Since I gave a shout-out to "Smooth Criminal" earlier I suppose an overdue reply (or several) is in order:
In one word: timelessness. There are several MJ/Madge tracks I like more than some of those top 20 classics - "Stranger in Moscow" and "Deeper and Deeper," to name just two - but I don't expect them to be played and performed quite as much as the top picks 100-200 years from now, hence their exclusion.
Words count a lot for me, too. Madonna has never been a great lyricist - in that respect she's no Kate, Liz, Taylor or even Gaga, not to mention legends like Carole, Joni, Dolly, Patti and Lucinda - but she could get around that limitation with searing vulnerability ("Live to Tell"), daring ecumenism ("Like a Prayer"), postmodern chic ("Vogue") or seductive mood painting ("Rain"). OTOH "Secret" and "Sorry," two more personal faves, don't bring any real depth to complement their infectious melodies, so neither makes the cut.
MJ fares a little better, but still falls short of greatness. And like her female counterpart (and onetime date) he was first and foremost a dance artist extraordinaire, so his best dance records tend to supersede even his best ballads most of which naturally weren't penned by himself.
Of course YMMV. And much of this is hairsplitting, anyway. The fact of the matter is that most of these ubiquitous and not-so-familiar tunes are among the greatest music in pop history and will outlive just about every Hot 100 hit today.
BJ is one of those miraculous creations that even a genius like MJ is fortunate to come up with once in his life. In fact that's something of a misnomer cuz you really don't "create" such perfection. It happens almost by chance, though much of the credit here goes to Quincy (of course).
And I did play it safe with the lists. I mean you have to when you're putting together anything definitive! By pure preference "Borderline" would probably top my Madge list, perhaps even the combined one, which brings moi to....
When people say Madge couldn't sing before Evita I always tell 'em to listen carefully to this track one more time. It may lack the full(er) register or tonal ripeness of her trained voice on that movie OST or Ray of Light, but her youthful self more than makes up for it with plain sassy fun.
And lest you think it all attitude try to name one closer in all of Madonna's discography as wonderfully wistful as that "Da-da-da-da, da-da-da-da...." What had felt like a frivolous dance ditty about her no-good beau suddenly becomes a paean to barely requited love, revealing an emotional richness she wouldn't equal till "Live to Tell."
I'd never really got "Borderline" until this one Xmas nite when I was driving back home after a jolly but exhausting catching up with an old bud. Since I'm getting drowsy (we're talking well past 2-3 am) I open my Prime Music app and switch to The Immaculate Collection to keep moi awake. First up "Holiday," which never fails to cheer me up. Next "Lucky Star," not one of my absolute M faves but still buoyant enough for this particular purpose. Then comes on "Borderline," another cushy number by Madge standards so I think about fast-forwarding to "Material Girl"... but I find myself singing along... at which point I realize this is one of her very best vocal performances, capped off by the killer "Da-da-da-da" that makes you marvel at the song's poignant turn.
Unlike "Like a Prayer" or "Vogue" (or MJ's "Billie Jean" or "Smooth Criminal," for that matter) "Borderline" is one of those songs that don't strike you right away as an immediate classic but slowly grow on you, and when they do they're unlikely to relinquish their place on your desert island. Needless to say I put this one on repeat for the rest of my 30-min drive home.
Have you seen Spike's new mash-up of the two versions with extra BLM footage?
Love the drums (courtesy of Olodum), but still can't quite stomach the song's monumental hypocrisy (pretty everything about the album is big scale):
Now that new AllMusic analysis did soften my objection to SC, but I just don't see how you can justify MJ's shameless appropriation of victimhood when he drops the K-word with impunity to refer to his supposed "Jewishness." As with its N counterpart no outsider gets to use that word, and the fact that he tried to make a moral equivalence between his (admittedly savage) treatment by the tabloids and historic persecution of Jews makes it even more damning.
TDCAU still appeals to me as music, but it's not a protest song and to keep treating it as one does real victims injustice.
Oh, ok, those were not your favorite tracks but those you think are timeless. Thanks for taking time to share that and your, rather silly, idea that Madonna has never been a great lyricist in comparison to people like Taylor Swift or Lady Gaga.
NonP
Legend
Both of 'em are good ones. Technically Madge's voice got better and better even before Evita, though it did take a quantum leap after that formal training.
But that's also what turned me off about Ray of Light, whose calculated perfection lacked that joie de vivre which made her earlier records so hard to resist (the whole kabbalah rigmarole didn't help, either). Again I did gain some renewed appreciation after coming across Chris Molanphy's gushing retrospective, but the gap between my top 5 Madge albums and RoL remains pretty big.
Your poor taste is duly noted.
MichaelNadal
Bionic Poster
Yeah I don't really bump Ray of Light lol (except Power of Goodbye which is fantastic). Confessions is prob my fav album, mainly bc of how epic the songs are live on the Confessions Tour. You DEF need to watch the Confessions Tour if you haven't, it's PEAK Madonna.
skaj
Legend
Thanks for taking time to share your opinion that saying Madonna's lyrics writing abilities are not as good as Taylor Swift's and Lady Gaga's is a result of poor taste.
My advice to you: don't share it publicly, it's embarrassing for you.
NonP
Legend
Not a bad choice at all. With the arguable exception of RoL Music and Confessions are probably Madge's best post-Evita albums.
Can't say I'm a fan of concert films which bore me for the most part. Hopefully I'll get to see her live one of these days.
No thanks, I don't take advice from a proud philistine that thinks he's qualified to give any sort of advice on matters of aesthetics.
MichaelNadal
Bionic Poster
T
TheNachoMan
Guest
Taylor Swift who writes about breakups and stuff that any emotional teenage girl could write on her notes app. lol
skaj
Legend
Not a bad choice at all. With the arguable exception of RoL Music and Confessions are probably Madge's best post-Evita albums.
Can't say I'm a fan of concert films which bore me for the most part. Hopefully I'll get to see her live one of these days.
No thanks, I don't take advice from a proud philistine that thinks he's qualified to give any sort of advice on matters of aesthetics.
Oh ad hominem comments in a lack of arguments, you must be right then...
To help you understand: I did not give you advice on matters of aesthetics, but on matter of your embarrassment.
As for the aesthetics, I will only say:
"Ra-ra-ah-ah-ah
Roma-roma-ma
Gaga, ooh la-la "
NonP
Legend
She still seems to be fit AF at 63. Must have a damn good personal trainer.
Ad hominem doesn't mean what you think it means. I was questioning your juvenile aesthetic judgment, so my calling you a philistine is not an ad hominem attack because it directly addresses the matter at hand.
And "Bad Romance" probably doesn't even make the top 30 of Gaga's best lyrical efforts. The fact that you cited her biggest hit as your support tells us all we need to know. Stop digging yourself a bigger hole.
skaj
Legend
It does mean what I know it means, in this case you were referring to my personality(“proud philistine”) and not to what I was talking about. Another advice: next don’t time quote yourself selectively, there’s a good chance it won’t help your poor argument, as it did not here.
And it’s funny how someone who thinks highly of Taylor Swift’s lyrics calls someone else’s esthetic judgement juvenile.
"Ra-ra-ah-ah-ah
Roma-roma-ma
Gaga, ooh la-la " probably does not make the top 30? No way!! Then the rest of her stuff must be all masterpieces. I must go and continue digging that hole then(a hole for whom though).
NonP
Legend
It doesn't and you don't. The key word there is "philistine," so you're the one italicizing selectively.
Back to Fallacies 101, boy!
Of course you agree with this kid that also thinks the new Blade Runner superior to the 1982 classic. Guess I should cut you young philistines some slack for failing to see the difference between expressions of youthful passions and juvenilia, but not for your outdated impressions which are at least several years old by now:
Name your favorite ground bass
tt.tennis-warehouse.com
If you're actually familiar with the rest of her stuff you sure have a funny way of showing it. You ain't fooling no one, kid!
skaj
Legend
It doesn't and you don't. The key word there is "philistine," so you're the one italicizing selectively.
Back to Fallacies 101, boy!
Of course you agree with this kid that also thinks the new Blade Runner superior to the 1982 classic. Guess I should cut you young philistines some slack for failing to see the difference between expressions of youthful passions and juvenilia, but not for your outdated impressions which are at least several years old by now:
Name your favorite ground bass
If you're actually familiar with the rest of her stuff you sure have a funny way of showing it. You ain't fooling no one, kid!
It does and I do. I was responding to what you wrote("proud"). The fact that you are trying to pretend that you didn't in order to support your poor attempt of argument does not change that, girl.
I am familiar with a lot of Lady Gaga's stuff, unfortunately. I gave the obvious, elephant in the room example, toddler.
Blade Runner? You are again trying desperately to disqualify someone because they said the obvious? Another advice for you: don't try to use your poor logic here, there's a good chance it won't work as it is not working in this case. If someone is wrong about one thing, it doesn't make them wrong about other things, especially if the other thing is something that is easier to realise.
As for juvenilia, it has noting to do with Taylor Swift in my post, but with people who think highly of her lyrics. I hope that is clear now.
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Incognito
Legend
NonP
Legend
Stop lying, I never disputed what I said. I merely pointed out your selective use of italics because you obviously have no clue what an ad hominem argument is.
Back to Fallacies 101, boy!
Of course it's obvious to you, just like your comically outdated notions about Swift's themes are obvious to you and your bud. You really ain't fooling no grown-up, kid.
Actual aesthetes like moi understand bad taste knows no boundaries, while juvenile consumers of pop art like you thinks these art forms can be separated. And if you told anyone in my cinephile circle that the new BB is better than the original classic you'd be laughed out of the room.
Just like you'd be laughed out of the room for insisting that Madonna is this great lyricist who eats Swift's and Gaga's lunch. I won't even bother with the fact that a decently intelligent college freshman has a better grasp of logic than you do. Just stop wasting anyone's time on a subject you don't have a clue about.
chrischris
G.O.A.T.
To me, both are sad examples of raw callous administration, shallow style nd issues due to business rather than freedom in their craft.
Prefer The Temptations, Al Greene, Marvin Gaye, Chic and Maze plus others in the domains of RnB and dance/disco...
Prefer The Temptations, Al Greene, Marvin Gaye, Chic and Maze plus others in the domains of RnB and dance/disco...
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NonP
Legend
For those of you grown-ups who see these juvenile notions of juvenilia for what they are and do care to learn, Madge vs. Gaga is actually a close textual call and almost a matter of preference. M is decidedly more pop and prefers impersonal, detached lyrics meant to appeal to the widest audience, while Gaga is all Gaga and unafraid to traverse the widest emotions, themes and identities, no matter how silly or contradictory they are. In fact my recent criticism of her has focused on how she's been imitating her character Ally's footsteps since her blockbuster success in A Star Is Born, pursuing prestige projects at the expense of her adventurous spirit which previously had seemed and felt bottomless. (Chromatica was a welcome respite from her Oscar phase, but she sounded like a real android rather than a human impersonating one.)
The clincher for moi is that Madonna tends to be more successful when she has enough discipline to be less Madonna the pop star, whereas juggling multiple identities happens to be Gaga's very métier. And up to Artpop or so Mother Monster seemed to be well on her way to surpassing Madge in a few years' time. Maybe she still will, maybe not, but I do wish Gaga would go easy on her acting and crooning gigs and stick to what she does and knows best.
OTOH Madge vs. TayTay is really no contest. I suggest y'all follow that link to see how silly it is to harrumph in 2022 that Swift still writes and sings about her boy crushes, or even this one to see what this supposed schoolgirl crush actually sounds like. Not to mention she writes many if not most of her best songs by herself, as opposed to Madame X who to my knowledge has never penned a substantial hit without a collaborator. Taylor may not be a Carole, Joni, Dolly, Patti and Lucinda quite yet, but to question her widely acknowledged status as one of today's top songwriters at worst this late into her career is, to put it mildly, a sign of provincial philistinism.
Speaking of which:
I dig how you bemoan these two's "shallow style" tied to "business" while you tout "dance/disco" as a superior example of all that's freer and higher about the art of music. Do you even have a clue what Jackson and Madonna excelled in?
The clincher for moi is that Madonna tends to be more successful when she has enough discipline to be less Madonna the pop star, whereas juggling multiple identities happens to be Gaga's very métier. And up to Artpop or so Mother Monster seemed to be well on her way to surpassing Madge in a few years' time. Maybe she still will, maybe not, but I do wish Gaga would go easy on her acting and crooning gigs and stick to what she does and knows best.
OTOH Madge vs. TayTay is really no contest. I suggest y'all follow that link to see how silly it is to harrumph in 2022 that Swift still writes and sings about her boy crushes, or even this one to see what this supposed schoolgirl crush actually sounds like. Not to mention she writes many if not most of her best songs by herself, as opposed to Madame X who to my knowledge has never penned a substantial hit without a collaborator. Taylor may not be a Carole, Joni, Dolly, Patti and Lucinda quite yet, but to question her widely acknowledged status as one of today's top songwriters at worst this late into her career is, to put it mildly, a sign of provincial philistinism.
Speaking of which:
I dig how you bemoan these two's "shallow style" tied to "business" while you tout "dance/disco" as a superior example of all that's freer and higher about the art of music. Do you even have a clue what Jackson and Madonna excelled in?
MichaelNadal
Bionic Poster
The BTW album will always be Gaga's peak
The whole tour is on youtube as a whole, and as the individual songs, it's ridiculous im telling you lol
The whole tour is on youtube as a whole, and as the individual songs, it's ridiculous im telling you lol
NonP
Legend
Pretty sure that's what everyone said about Madge at some early point in her career.
Stefani is still only 36 and has been occupied with more nonmusical projects than M at a similar age. Let's give her some time before we declare her a has-been.The whole tour is on youtube as a whole, and as the individual songs, it's ridiculous im telling you lol
I know they are. Just don't care much for concert films which can't hope to duplicate the live experience. I mean I often get bored during live concerts, LOL.
And I still regret missing Aretha at one of her last concerts when it had to be canceled due to an illness and of course never got to be rescheduled (that's one refund I could've done without). Ditto McCoy Tyner at my local Blues Alley club. Thankfully I was able to catch Tony Bennett a Wolf Trap before his recent retirement, but it was obvious he wasn't in perfect health as this was by far the shortest performance I've ever attended there (IIRC no more than 70-75 min). Dylan was somewhat more energetic (also at Wolf Trap), but the only "hit" he sang all nite was - I kid you not - the Joseph Kosma-penned "Autumn Leaves," and only a brief snippet at that. Not a single one from his earliest (and of course his most iconic) albums. I get that you don't care to belt out "Like a Rolling Stone" for the 1392478th time but still WTF.
So I don't wish to repeat that experience with another Queen.
FYI I did catch your gal Diana when she came to Wolf back in '17 and let's say I was gyrating like a fine-tuned automation when she began her obligatory Supremes medley. I've actually seen many other top acts* at this fab park of an arena over the past few years alone (in alphabetical order only): the B-52s and Berlin (yes they of Top Gun fame), Pat Benatar, Jeff Beck (zzz) and Buddy Guy (far more electrifying and Beck should've opened for him instead - still got recorded clips of Guy shredding his guitar up close when he walked into the crowd), Béla Fleck and his wifey Abigail Washburn, John Fogerty (one hell of a live performer), Boy George/Culture Club ("an interesting venue," he observed), Lyle Lovett, Yo-Yo Ma with his Silk Road Ensemble, Weird Al (the crowd ate it up but moi not so much), etc.Of course that was all before COVID, and I'm still a little squeamish about big crowds so hopefully Madge can wait a little bit.
*And a couple more at The Barn (yeah it really is a barn), which usually hosts less popular (read: classical, jazz and world) acts but I still have fond memories - and pictures! - of telling the lovely Suzanne Vega face to face that her music got moi thru some hard times and getting her autograph on my well-worn copy of her fine Retrospective compilation. Looking back I'm not as enamored of her English-major-ness as I used to be as a college kid, but I still dig her fetching tunes, including this one (which she didn't perform at that show, alas):
Admittedly it's no coincidence that her two biggest hits - "Luka" and of course "Tom's Diner" - largely eschewed highfalutin metaphors and adopted a folksy voice instead. Unlikely she'll ever duplicate that success again... but she's still my gal!
MichaelNadal
Bionic Poster
Pretty sure that's what everyone said about Madge at some early point in her career.
I know they are. Just don't care much for concert films which can't hope to duplicate the live experience. I mean I often get bored during live concerts, LOL.
And I still regret missing Aretha at one of her last concerts when it had to be canceled due to an illness and of course never got to be rescheduled (that's one refund I could've done without). Ditto McCoy Tyner at my local Blues Alley club. Thankfully I was able to catch Tony Bennett a Wolf Trap before his recent retirement, but it was obvious he wasn't in perfect health as this was by far the shortest performance I've ever attended there (IIRC no more than 70-75 min). Dylan was somewhat more energetic (also at Wolf Trap), but the only "hit" he sang all nite was - I kid you not - the Joseph Kosma-penned "Autumn Leaves," and only a brief snippet at that. Not a single one from his earliest (and of course his most iconic) albums. I get that you don't care to belt out "Like a Rolling Stone" for the 1392478th time but still WTF.
So I don't wish to repeat that experience with another Queen.
Of course that was all before COVID, and I'm still a little squeamish about big crowds so hopefully Madge can wait a little bit.
*And a couple more at The Barn (yeah it really is a barn), which usually hosts less popular (read: classical, jazz and world) acts but I still have fond memories - and pictures! - of telling the lovely Suzanne Vega face to face that her music got moi thru some hard times and getting her autograph on my well-worn copy of her fine Retrospective compilation. Looking back I'm not as enamored of her English-major-ness as I used to be as a college kid, but I still dig her fetching tunes, including this one (which she didn't perform at that show, alas):
Admittedly it's no coincidence that her two biggest hits - "Luka" and of course "Tom's Diner" - largely eschewed highfalutin metaphors and adopted a folksy voice instead. Unlikely she'll ever duplicate that success again... but she's still my gal!
Diana is such a queen
skaj
Legend
I am not lying of course, you are not getting this, or are at least acting like you aren’t. Italics were pointing out the part you left out in your quote, the part which shows why was what you said ad hominem. I hope you got it now. You’re welcome.
Thanks for pointing out that what’s obvious for most here was not obvious to you, but there was no need for that, it’s obvious by now.
I am not trying to fool anyone, so naturally I am not fooling anyone either.
Another ad hominem and avoiding the topic by trying to take the discussion to a personal level. What you think of yourself and what ideas you have about me and my consuming habits is a topic for you and your therapist, so I suggest you talk about those with them.
Not sure what BB sentence is about, I guess another attempt of digression in lack of arguments.
The rooms you think I would be laughed out of for saying, or in your view “insisting” on(I merely replied to what you wrote...) the obvious, are again a topic for your therapy sessions. Same goes for your ideas about my logic and knowledge, mentioned in yet another ad hominem comment, which you are bringing up without any support(like most things you’ve been bringing up here).
