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Krt Madonna Knight Ridder/Tribune
FOLIO LINE FOLIO LINE FOLIO LINE “Music” “Ray of Light” “Something to Remember” “Bedtime Stories” “Erotica” “The Immaculate “I’m Breathless” “Like a Prayer” “You Can Dance” (2000; Maverick) (1998; Maverick) (1995; Maverick) (1994; Maverick) (1992; Maverick) Collection”(1990; Sire) (1990; Sire) (1989; Sire) (1987; Sire) BY CHUCK MYERS Knight Ridder/Tribune Information Services hether a virgin, vamp or techno wrangler, Madon- na has mastered the public- image makeover. With a keen sense of what will sell, she reinvents herself Who’s That Girl? and transforms her music in Madonna Louise Veronica Ciccone was ways that mystify critics and generate fan interest. born on Aug. 16, 1958, in Bay City, Mich. Madonna staked her claim to the public eye by challenging social norms. Her public persona has Oh Father evolved over the years, from campy vixen to full- Madonna’s father, Sylvio, was a design en- figured screen siren to platinum bombshell to gineer for Chrysler/General Dynamics. Her leather-clad femme fatale. Crucifixes, outerwear mother, Madonna, died of breast cancer in undies and erotic fetishes punctuated her act and 1963. Her father later married Joan Gustafson, riled critics. a woman who had worked as the Ciccone Part of Madonna’s secret to success has been family housekeeper. her ability to ride the music video train to stardom. The onetime self-professed “Boy Toy” burst onto I’ve Learned My Lesson Well the pop music scene with a string of successful Madonna was an honor roll student at music video hits on MTV during the 1980s. With Adams High School in Rochester, Mich. -
A Cultural Exploration Via the Mediums of Music and Poetry
The University of Maine DigitalCommons@UMaine Honors College 5-2012 A Cultural Exploration Via the Mediums of Music and Poetry Colin S. Kolmar Follow this and additional works at: https://digitalcommons.library.umaine.edu/honors Part of the International and Area Studies Commons, and the Music Commons Recommended Citation Kolmar, Colin S., "A Cultural Exploration Via the Mediums of Music and Poetry" (2012). Honors College. 63. https://digitalcommons.library.umaine.edu/honors/63 This Honors Thesis is brought to you for free and open access by DigitalCommons@UMaine. It has been accepted for inclusion in Honors College by an authorized administrator of DigitalCommons@UMaine. For more information, please contact [email protected]. A CULTURAL EXPLORATION VIA THE MEDIUMS OF MUSIC AND POETRY by Colin S. Kolmar A Thesis Submitted in Partial Fulfillment of the Requirements for a Degree with Honors (International Affairs) The Honors College University of Maine May 2012 Advisory Committee: Laura Artesani, D.M.A., Associate Professor of Music, Advisor Amy Fried, Ph.D., Professor of Political Science James Artesani, Ed.D., Associate Professor of Special Education Mimi Killinger, Ph.D., Honors College Rezendes Preceptor for the Arts Mr. Daniel Williams, M.A., University of Maine Foundation Planned Giving Officer Abstract In order to prove the effectiveness of educational explorations conducted in extra- institutional settings, this thesis focuses on information collected in unconventional learning environments. The information gathered during these experiences was subsequently synthesized and conveyed via non-traditional scholastic mediums. This particular extra-institutional learning experience involved the investigation into jazz and hip hop music styles through cultural immersion. -
Madonna: Like a Crone
ROCK ON: WOMEN, AGEING AND POPULAR MUSIC MADONNA: LIKE A CRONE Reaching fifty in 2008 was a watershed year not just for Madonna, but also for her millions of fans. She is a vital figure for women across generations: through her performances she has popularised feminist politics and debate, and promoted a message of sexual empowerment. Much of her career has hinged on this concept of self-liberation and sexual expressiveness. As a young star she was powerfully seductive - one of the first female performers in the pop mainstream to capitalise on video as a marketing tool, and to make that nexus between sex, pop and commerce so explicit. She also challenged notions of the male/female gaze with her book Sex, and videos like 'Justify My Love'. Much of her allure was centred around her visual image, and her ability to combine an inclusive sexuality with compelling costume changes and personae. Female stars in her wake, from Britney Spears to Lady Gaga, have been clearly influenced by her ideas on performance and sexuality However, becoming a mature woman and a mother has presented her with a dilemma. She is fiercely competitive and it is a matter of personal pride to 'stay on top' in the singles market. But in having to compete with younger women, she is subject to the same pressures to look young, slim and beautiful. As a result, she has to continually sculpt and resculpt her body through rigorous workouts and diet regimes. The sculpted body first emerged when she shed the voluptuous 'Toy Boy' look of her early career for her 'Open Your Heart' video. -
Madonna's Postmodern Revolution
Journal of Literature and Art Studies, January 2021, Vol. 11, No. 1, 26-32 doi: 10.17265/2159-5836/2021.01.004 D DAVID PUBLISHING The Rebel Madame: Madonna’s Postmodern Revolution Diego Santos Vieira de Jesus ESPM-Rio, Rio de Janeiro, Brazil The aim is to examine Madonna’s revolution regarding gender, sexuality, politics, and religion with the focus on her songs, videos, and live performances. The main argument indicates that Madonna has used postmodern strategies of representation to challenge the foundational truths of sex and gender, promote gender deconstruction and sexual multiplicity, create political sites of resistance, question the Catholic dissociation between the physical and the divine, and bring visual and musical influences from multiple cultures and marginalized identities. Keywords: Madonna, postmodernism, pop culture, sex, gender, sexuality, politics, religion, spirituality Introduction Madonna is not only the world’s highest earning female entertainer, but a pop culture icon. Her career is based on an overall direction that incorporates vision, customer and industry insight, leveraging competences and weaknesses, consistent implementation, and a drive towards continuous renewal. She constructed herself often rewriting her past, organized her own cult borrowing from multiple subaltern subcultures, and targeted different audiences. As a postmodern icon, Madonna also reflects social contradictions and attitudes toward sexuality and religion and addresses the complexities of race and gender. Her use of multiple media—music, concert tours, films, and videos—shows how images and symbols associated with multiracial, LGBT, and feminist groups were inserted into the mainstream. She gave voice to political interventions in mass popular culture, although many critics argue that subaltern voices were co-opted to provide maximum profit. -
![[2005] EWHC 449 (Ch) [2005] E.C.D.R](https://docslib.b-cdn.net/cover/3477/2005-ewhc-449-ch-2005-e-c-d-r-2903477.webp)
[2005] EWHC 449 (Ch) [2005] E.C.D.R
[2006] E.M.L.R. 2 Page 1 [2005] EWHC 449 (Ch) [2005] E.C.D.R. 21 [2006] E.M.L.R. 2 [2005] F.S.R. 34 (2005) 28(6) I.P.D. 28046 Official Transcript [2005] EWHC 449 (Ch) [2005] E.C.D.R. 21 [2006] E.M.L.R. 2 [2005] F.S.R. 34 (2005) 28(6) I.P.D. 28046 Official Transcript (Cite as: [2006] E.M.L.R. 2) to be regarded as the relevant work for copyright [2005] EWHC 449 (Ch) purposes. The claimant indicated that, if this was right, she would not seek to amend her claim by *21 Coffey v Warner/ Chappell Music Ltd pleading reliance on the song “Forever After” as a whole. High Court, Chancery Division H4 HELD, dismissing the claim: J. (Blackburne H5 1. It was not open to a claimant to pick and March 18, 20051 choose the elements of a work upon which he relied in order to make the question of whether a substan- Copyright; Musical works; Originality; Striking tial part had been copied more likely to be out; answered in his favour.IPC Media Ltd v Highbury Leisure Publishing Ltd [2004] EWHC 2985; [2005] H1 Copyright in a musical work—work alleged to F.S.R. 20 followed. be infringed was the combination of vocal charac- teristics in and around a single lyrical line of a H6 2. What the copyright work was in any given song—features claimed were not sufficiently separ- case was not governed by what the claimant chose able from the rest of the song as to constitute a mu- to say that it was. -
Universidade Do Algarve Bodybuilders: A
UNIVERSIDADE DO ALGARVE BODYBUILDERS: A CONSTRUÇÃO DO CORPO, DO SUJEITO E DA ALTERIDADE ENQUANTO OBJECTO ARTÍSTICO Rafael Alvarez Dissertação Doutoramento em Artes, Comunicação e Património (Especialidade em Comunicação, Cultura e Artes) 2016 UNIVERSIDADE DO ALGARVE BODYBUILDERS: A CONSTRUÇÃO DO CORPO, DO SUJEITO E DA ALTERIDADE ENQUANTO OBJECTO ARTÍSTICO Rafael Alvarez Dissertação Doutoramento em Artes, Comunicação e Património (Especialidade em Comunicação, Cultura e Artes) Trabalho efectuado sob a orientação de: Professora Doutora Eugénia Vasques e co-orientação de: Professor António Branco 2016 BODYBUILDERS: A CONSTRUÇÃO DO CORPO, DO SUJEITO E DA ALTERIDADE ENQUANTO OBJECTO ARTÍSTICO Rafael Alvarez RESUMO PALAVRAS-CHAVE: corpo, identidade, sujeito, self, outro, espelho, performance, género, pós-modernidade, pós-colonialismo, liberdade, pluralismo, pop. BODYBUILDERS, incide na análise e reflexão em torno de um conjunto de obras e criadores cujo discurso e prática autoral se foca no corpo enquanto matéria, forma e objecto, através da sua espectacularização/especulação. A auto- representação do corpo e a construção de identidade(s)/subjectividade(s) e do lugar do outro, surgem como problemáticas centrais desta investigação, Falamos de artistas e obras que vivem de imagens construídas, coladas, esculpidas, materializadas, subtraídas, travestidas e inscritas no corpo – o corpo do artista/criador/autor, ele mesmo, corporalizadas na primeira pessoa do singular. O corpo funciona aqui como canvas, como folha em branco, palco vazio, cenário -
When Jacolby Satterwhite Was Eleven, He Was Diagnosed with Cancer
Jacolby Satterwhite. Room for Demoiselle Two, 2019. C-Print; 45 x 60 inches. © Jacolby Satterwhite. Courtesy of the artist and Mitchell-Innes Nash. When Jacolby Satterwhite was eleven, he was diagnosed with cancer. While laid up in the hospital, he played a lot of videogames. His mother Patricia dreamed up inventions, recorded in glittery crayon, that might one day be sold on the Home Shopping Network. Satterwhite lost the use of one arm following a surgery that removed parts of his shoulder bone and the surrounding muscles. He underwent years of chemotherapy, successfully putting the cancer in remission. He went to art school and trained as a painter, using his left arm to support his right. He attended the Skowhegan residency, experimented with various computer processes, and eventually jettisoned painting—and its weighty, Eurocentric history—in favor of video and a multilayered, rococo style of 3D animation. Jacolby Satterwhite’s Reifying Desire 5,(2013). Production still from the New York Close Upepisode, Jacolby Satterwhite Dances with His Self. © Art21, Inc. 2013. It’s hard to be a queer Black painter without being interpreted as acting in opposition to several centuries of hegemonic whiteness. Working with new media allowed Satterwhite a certain freedom: the ability to extend the body into space without having to contend with a whole lot of conceptual baggage. However, he didn’t leave painting behind so much as transpose its compositional logic, saying in a June 2019 phone conversation: “Sometimes you can take time off to deal with other materials, to interrogate the formal relationships that are between some of the things paint interrogates. -
Madonna – 'Mdna'
MADONNA – ‘MDNA’ ‐ ALBUM REVIEW BY ALAN BENNETT ILAGAN Leave it to a current zeitgeist lightning rod like Nicki Minaj to proclaim, “There’s only one queen, and that’s Madonna.” It’s a pretty accurate summation of the latest album from our reigning royalty. Like its prismatic cover art, MDNA is a kaleidoscopic view into the mental and musical psyche of Madonna, thirty years into her unprecedented career. Rich, complex, and thrillingly diverse, this album, perhaps more than any other Madonna album, offers the most varied vocal styling she has ever exhibited – literally and figuratively. She’s almost unrecognizable in some spots, and it’s a powerful indication of her powers of reinvention and phoenix‐like abilities that she can still summon such surprising sounds. The dark, twisted, sometimes tumultuous collection of tracks is as revealing as it is catchy. She has yet to lyrically match the majestic heights and musical cohesiveness she mastered with an album like Ray of Light, but this comes closer to the revelatory confessional aspect of Like A Prayer that serious fans have been clamoring for (both were crafted in the aftermath of ruined marriages). This time around, she finds salvation and strength in the music, using it as her guide, her escape, and her inspiration. Fleshed out with the genius combination of Martin Solveig, Benny Benassi, and William Orbit (one of her greatest collaborators, and the genius behind Ray of Light) MDNA offers compelling evidence that Madonna is very much at the top of her game. Opening with the Act of Contrition (the same prayer that closed out Like A Prayer), ‘Girl Gone Wild’ starts things off with a gleeful sense of abandon. -
Madonna: Feminist Or Antifeminist? Domination of Sex in Her Music Videos and Live Performances from the 20Th Century to the Present Day
Received: July 6, 2015 Accepted: July 10, 2015 Original scholarly paper UDC: 78.071.2 Мадона:141.72 Katarina Mitić musicologist, music supervisor in record label Mascom Records, Serbia [email protected] Madonna: Feminist or Antifeminist? Domination of Sex in Her Music Videos and Live Performances From the 20th Century to the Present Day Abstract: After a nearly four-decade career, Madonna has not stopped with a modernist/pos- tmodernist strategy of shock, which provides the reader or viewer the possibility of different interpretations of her art. While some art theorists condemn her as a ‘total antifeminist’, others praise Madonna’s work and point out her feminist side, through which she represents the ideal of a strong, independent and successful womanconfirming her own power and sexuality. Brea- king conventional stereotypes through her videos and concert performances, the ‘Queen of Pop’ constantly demonstrates sexual dominance over both genders. In this paper, based on the con- temporary research of Douglas Kellner and other theorists, I will analyze music videos and live performances from the 1990suntil the recent video for the song Bitch, I’m Madonna and consider why Madonna can be interpreted in two ways – as someone who ‘undermines her own feminism’ or as someone who is transparently presented as a feminist in the world of pop culture. Key words: strategy of shock, feminist, antifeminist, video, live performance In today’s pop culture the element of shock is successfully implemented only by the most experienced and most cunning artists, or those backed by marketing machinery that is ready to come up with a new strategy to win the audience. -
Mémoire Présenté Comme Exigence Partielle De La Maîtrise En Études Littéraires
UNIVERSITÉ DU QUÉBEC À MONTRÉAL MADONNA : (AUTO)CITATION, POLITIQUE & PROPHÉTISME MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ÉTUDES LITTÉRAIRES PAR LUCAS PRUD’HOMME-RHEAULT AVRIL 2020 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 – Rév.10-2015). Cette autorisation stipule que «conformément à l’article 11 du Règlement no 8 des études de cycles supérieurs, [l’auteur] concède à l’Université du Québec à Montréal une licence non exclusive d’utilisation et de publication de la totalité ou d’une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l’auteur] autorise l’Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l’Internet. Cette licence et cette autorisation n’entraînent pas une renonciation de [la] part [de l’auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l’auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire.» REMERCIEMENTS Merci à Johanne Prud’homme et Michel Rheault, enfants de tous les siècles – grandes chambres d’échos où les paroles et les images s’entremêlent, se mélangent et se percutent – qui ont façonné pour moi et mon frère une maison à jamais marquée par le sceau de la transmission, par les mots des autres qui arrivaient, flottants, portés par leurs voix chaudes : l’histoire de l’art, toute réunie sous un seul et même toit. -
Salvatore Bartolotta UNED Showgirl, Cantautora, Directora De Cine
Mas igualdad. Redes para la igualdad MDNA forever Salvatore Bartolotta UNED Showgirl, cantautora, directora de cine, autora de libros, Madonna en el nuevo milenio no para. El marido Guy Ritchie la dirige en Swept Away 1, remake de la película de 1974 de Lina Wertmüller Travolti da un insolito destino nell’azzurro mare d’agosto. La actriz interpreta el mismo papel que Mariangela Melato con Adriano Giannini, cuyo padre, Giancarlo, también se metió en la piel del mismo personaje. La película fue rodada en Cerdeña durante el verano del 2002. En octubre del mismo año Madonna publica Die Another Day, tema portante de la banda sonora de la homónima película de Lee Tamahori que anticipa la salida de su noveno álbum grabado en estudio. En este film Madonna recita un breve cammeo, el role de una monitora de esgrima. En abril del 2003 sale American Life2, disco con sonoridades electrónico- acústicas y con textos de naturaleza política y espiritual. Según Stephen Thomas Erlewine (2012): American Life is an album performed by a vocalist who has abandoned the U.S. for the U.K. and co-produced by a French techno mastermind, recorded during a time of strife in America, and released just after the country completed a war. Given that context and given that the vocalist is arguably the biggest star in the world, the title can’t help but carry some import, carry the weight of social commentary. And it follows through on that promise, sometimes explicitly and sometimes implicitly, but either way, American Life winds up as the first Madonna record with ambitions as serious as a textbook. -
Madonna Lyrics Trivia Quiz
MADONNA LYRICS TRIVIA QUIZ ( www.TriviaChamp.com ) 1> Some boys kiss me, some boys hug me. I think they're O.K... a. Like A Virgin b. Take a Bow c. Material Girl d. Live To Tell 2> Papa I know you're going to be upset 'cause I was always your little girl, but you should know by now I'm not a baby... a. Oh Father b. Papa Don't Preach c. Dress You Up d. Angel 3> I'm talking, I'm talking. I believe in the power of love. I'm singing, I'm singing... a. Justify My Love b. Frozen c. Don't Tell Me d. Rescue Me 4> Life is a mystery, everyone must stand alone. I hear you call my name and it feels like home... a. You'll See b. Borderline c. Keep It Together d. Like a Prayer 5> I see you on the street and you walk on by. You make me wanna hang my head down and cry... a. Keep It Together b. Open Your Heart c. Rain d. Deeper And Deeper 6> Look around everywhere you turn is heartache. It's everywhere that you go (look around) ... a. Holiday b. Don't Cry For Me Argentina c. This Used To Be My Playground d. Vogue 7> You must be my Lucky Star 'cause you shine on me wherever you are. I just think of you and I start to glow... a. Into the Groove b. Lucky Star c. Hanky Panky d. Hung Up 8> Surely whoever speaks to me in the right voice, him or her I shall follow.