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Tag: Madonna

  • Madonna’s Unwitting “Plastic Surgery Costume”: A Commentary on Class and Age

    Madonna’s Unwitting “Plastic Surgery Costume”: A Commentary on Class and Age

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    Just when you thought Madonna might not have any sense of self-awareness, she goes and does something all too meta: puts scar makeup all over her face as part of her Halloween costume. It’s unclear just what, exactly, she was trying to “be” with this look, apart from Someone Who Just Left the Plastic Surgeon’s Office. Unless, of course, she wants to say she’s going for a “scarecrow” aesthetic (some ageist areseholes would jibe, “Ha! More like scarecrone!”). Others have posited she was trying her hand at being a “sexy zombie.” In any case, maybe she actually didn’t know that putting scars on her face like that would draw the obvious remark from viewers that it looks as though she just got another touch-up at the clinic and didn’t bother to wait to show it off “casually,” better known as: acting like it never happened at all.

    Although making comments about people’s plastic surgery can be construed as a form of body shaming, the glaring spotlight on Madonna’s various procedures over the past decade have become difficult to ignore. Even in spite of the many filters she freely wields to make her face look somehow younger than it did when she was in her twenties (this being called “Madonna’s Face as Andy Warhol’s Philosophy”). And while some would say that her inability to “admit” her age by just “letting herself go” is part of the problem in terms of why women continue to remain obsessed with looking young by any means necessary (read: plastic surgery), what it really speaks to is the future of what “looking young at any age” will mean.

    Many will already take note that, since even as recent a time as a show like Golden Girls, when Bea Arthur was sixty-three playing a woman in her fifties, those in the same age bracket now presently look much younger. While certain researchers tend to offer the idea that, for women, this has become a phenomenon because more females are having children later in life or not at all—which means the youth and beauty sucked from them while nurturing that child in their womb is bypassed—a key factor is the more widespread ability of various beauty “procedures” and products. Especially expensive ones that only celebrities like Madonna can afford.

    Granted, Madonna likely wishes she hadn’t “needed” to start in the plastic surgery game until after the 90s, when even more modern advancements came along. Perhaps she would have preferred to wait for something less “invasive” like the vampire facial Kim Kardashian made notorious. Alas, Madonna received the pratfalls of being a baby boomer just as she received many of its benefits (e.g., the ease of climbing to the top without every pre-fame move being documented or, say, being positioned at a time in history when she could lay claim to doing everything “first”). And one of those cons, as it were, included subjecting herself to more “analog” beauty methods. Starting too soon, yet still seeking out nothing but the best money could buy (much like Elise Elliot [Goldie Hawn] in The First Wives Club, who famously stated, “It’s the 90s, plastic surgery is like good grooming”).

    And it served her well for quite a while, save for a strange awkward phase in 2001 (for the entirety of the Drowned World Tour) that magically disappeared in 2002. As though she’d “switched surgeons” or something. In any event, Madonna’s ever-changing face has long been a topic of discussion, often heated. Indeed, M was perhaps more called out than ever when she graced the cover of New York Magazine in 2008 with “The New New Face” as an accompanying title meant to refer to a plastic surgery procedure that was all the rage among celebrities at the time. But by and large, the discussion about her face is rather minimal considering how overt the changes to it have been. Maybe that’s just another aspect of being in the upper echelon financially: no one questions what you do to your body that much for fear of getting slapped on the wrist in some unexpected way. In Britney Spears’ case, that partially resulted in an all-out revolt against recording new music.

    While non-famous women have the advantage of looking younger for longer compared to their forebears thanks to a vastly increased quality of life (complete with regular dental care!), the fact remains that it is only celebrities and other assorted richies who will be able to truly buy their way out of the effects of time (and who knows, maybe even death at some point). Madonna might not be deemed the best example of this, but then, one can dredge up the insult-compliment, “You have to admit that she looks great…for her age.” And she certainly doesn’t look like Bea Arthur did in her sixties.  

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    Genna Rivieccio

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  • Madonna Takes ‘Sex’ Victory Lap, Disses Cardi B in the Process

    Madonna Takes ‘Sex’ Victory Lap, Disses Cardi B in the Process

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    Madonna, the Renaissance woman who changed pop culture forever, took a well-deserved victory lap on her Instagram stories, celebrating the 30th anniversary of her hardcover photography book Sex this weekend.

    The best-seller, which listed at $50 in 1992 dollars sold over 150,000 copies on its first day, made a total of $70 million, and, if you have an original with the accompanying CD in its original packaging, you can make a killing on eBay. The risqué volume featured musings on intimate acts and images of Madonna as well as Isabella Rossellini, Big Daddy Kane, Naomi Campbell, Udo Kier, Tatiana von Fürstenberg, and Vanilla Ice, and was called “morally intolerable” by the Vatican, while The New York Times called it “a cliched catalogue of what the middle class—her target audience, after all—is supposed to consider shocking.” It was discussed and deconstructed by everyone with a pen at the time, and parodied on late-night television and The Simpsons. This reporter clipped Michael Musto’s full page homage from the Village Voice and had it on his dorm room wall for all of Freshman year for some reason. 

    So it’s no wonder the pop sensation, currently developing an autobiographical film starring Julia Garner, would want to offer a self-gratulatory public fist pump. Her Instagram stories included part of an interview from 60 Minutes Australia, in which journalist Richard Carleton clutched his pearls and said the racy images gave him “a fright.”

    “You never read Playboy or Penthouse?” the performer fired back when Carleton said he had “never seen the likes of it.” 

    “Yes, but it was different with you,” he said. “The picture of you astride the mirror, masturbating? I thought that was horrible. It just strikes me as horrible.” 

    With poise, she responded, “I think people’s reactions to specific situations in the book is much more a reflection of that person than me.” She continued, “you were scared by that picture—what does that mean? Are you frightened of a woman who can turn herself on? Are you frightened of a woman who is not afraid to look at her genitals in the mirror?” In the interview, Madonna comes across as the far more mature and rational one. 

    Oh, if only we could end the story there! But we can’t. Alas, before these old clips, Madonna’s written preamble took what some feel was an unnecessary diversion.  

    After sharing that she was demonized in the press—“called a whore, a witch, a heretic, and the devil”—she positioned her trailblazing in what could be interpreted as a combative manner. 

    “Now Cardi B can sing about her WAP. Kim Kardashian can grace the cover of any magazine with her naked ass and Miley Cyrus can come in like a wrecking ball,” she wrote. “You’re welcome bitches …..” she added, punctuating with a clown emoji.

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    Jordan Hoffman

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  • Madonna Just Wore Highly Controversial Platform Crocs by Balenciaga—Thoughts?

    Madonna Just Wore Highly Controversial Platform Crocs by Balenciaga—Thoughts?

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    Lest we forget, Madonna reminded us once again that she is the quintessential Material Girl, and we are still living in a material world.The music icon has been experimenting with her personal style as of late, showing off different looks on her Instagram. Recently, Madonna was spotted wearing the controversial shoe of the moment: the Balenciaga Crocs.

    Madonna has been a trendsetter for decades, so we have no doubt this style is about to take off. Whether you’re all in on the Balenciaga x Crocs collab, or prefer to experiment with platforms heights in other recognizable styles, we’re here for it. Browse through other fun platforms below, and when you’re done, don’t forget to strike a pose in honor of the Queen of Pop and her ever-evolving style.

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    Drew Elovitz

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  • “Sunset” Video: Caroline Polachek Lives Her Best Life in Barcelona While Channeling Beth Orton and “La Isla Bonita”

    “Sunset” Video: Caroline Polachek Lives Her Best Life in Barcelona While Channeling Beth Orton and “La Isla Bonita”

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    When one is as well-traveled as Caroline Polachek, it’s probably hard to be “impressed” by much of any milieu. After all, this is the girl who lived in Tokyo during her early years—an influence that was perhaps obfuscated by then being relegated to Greenwich, CT. But, as those in the know are aware, all the faux rebellious girls live in Greenwich, dipping into NYC (where, like Lizzy Grant, Polachek was born—the day before her, in fact) to unleash some of that pent-up repression on the weekend and then go back to being a docile ducky when Monday arrives.

    Which is exactly what Polachek did when she went to concerts and got a taste of the “rock n’ roll” lifestyle long enough to know that she wanted to be part of it (hence, Chairlift). And yes, Polachek was obviously a rich girl, which is why she can talk about (with a straight face) things like how horseback riding taught her a lot about rhythm with regard to understanding music. Clearly, it must be true—for “Sunset” is yet another shining addition to her list of recently released singles (including “Bunny Is A Rider,” “Billions” and “Last Days: Non Voglio Mai Vedere Il Sole Tramontare”), all of which will likely comprise some of what turns out to be her second solo record (or fourth, if you want to count her work as Ramona Lisa and CEP, which many do).

    Unlike “Billions” and “Non Voglio Mai Vedere Il Sole Tramontare,” “Sunset” is filled with much more palpable levity—and, incidentally, acknowledges ultimately surrendering to what that Italian song title translates to: “I Never Want to See the Sun Set.” But, of course, it must. And what better time to release such a single than fall, when the sun starts to set ever earlier? Yet there is nothing “bleak” or “unhappy” about “Sunset,” with its up-tempo, jubilant notes accented by a Spanish flavor that automatically makes one think of “La Isla Bonita” (for Madonna is apparently not the only white girl with appropriative machinations when it comes to Spanish culture).

    And, as a Spanish-influenced track, Polachek, who co-directed the video with Matt Copson, favors a collage-oriented aesthetic that overlaps scenes and images mostly involving her walking through the streets of an ultra color-saturated Barcelona—evidently one of the cities that can still “charm” her despite what is sure to be an expected veneer of New York jadedness after having “seen the world, done it all.” Singing lyrics like, “So no regrets/‘Cause you’re my sunset, fiery red/Forever fearless/And in your arms a warm horizon/Don’t look back/Let’s ride away, let’s ride away [Bunny is, after all, a rider],” one can’t help but hear, in the same intonation, “Tropical the island breeze/All of nature wild and free/This is where I long to be/La isla bonita.” And that’s clearly where Polachek longs to be as well, also spending part of the day among the sandy beach (complete with a scene of a sand sculpture being perfected into a face). Just another perk of a rare breed of city like Barcelona, offering the beach life in addition to its metropolitan life.

    And while Polachek roams around it in a white crocheted beanie looking like an Amy Winehouse-ified (because Polachek’s heavy eyeliner is more manicured in precision) version of Beth Orton, we can automatically feel the transfer of her affinity for this place. As for the Orton comparison, it’s not just that Polachek looks so much like her, but that her acoustic vibe in this song harkens back to Orton’s 1999 hit, “Stolen Car.” And that’s how Polachek drives her own in the video—like it was stolen. Her elfin ears peeping out from behind her hair like she’s Grimes or some shit, Polachek barrels down the road as though she’s got nothing left to lose, Thelma and Louise-style. Bumper stickers also pay homage to certain of her song titles (e.g., Bunny Is A Driver), while other stickers are just an insight into her personality (e.g., I’d Rather Be Playing Magic the Gathering and Welcome to My Island—possibly also a future song title hint).

    Reminiscent in its own way of Giulia Y Los Tellarini’s “Barcelona” (which, alas, is best known for being constantly played in Woody Allen’s Vicky Cristina Barcelona), the upbeat and repetitive string instrumentations of her thin-body acoustic guitar are ironically contrasted against the depiction of a languid day that concludes with her tanning topless on her rooftop as she draws serenely in her notebook. For, you see, in a place like Spain, art is not deemed a “frivolous” “hobby” as it is in the U.S.

    At another point in the song, the exuberant flow is contrasted by a lyric like, “I’m wearing black to mourn the sudden loss of innocence.” This being perhaps a loose reference to the death of her father in 2020 from COVID-19. But where Polachek really cuts to the emotional core is with her series of repeated, high-pitched “ooo-ooo-ooo-ooos” toward the middle (and end) of the song as we see her walking amongst the street crowd as just another face in it. By the end of the video, however, it’s apparent she’s found her tribe, putting her clothes back on to join some revelers dancing as the sun sets.

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    Genna Rivieccio

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  • Madonna and Steven Klein Talk Mysticism, Horses, and Hot Sex

    Madonna and Steven Klein Talk Mysticism, Horses, and Hot Sex

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    One of Klein’s most fruitful collaborations has been with the queen of iconography herself: Madonna. “It is rare to meet another human who is tuned in to your frequency,” she tells VF of their partnership. “That is why our collaborations are often disturbing but always epic.” Their first project, the 2003 exhibition X-STaTIC Pro=CeSS, put a bizarro twist on her modern dance background; since then the pair has created magazine editorials, ad campaigns, and a series of films, including for her Re-Invention and Confessions world tours. “Twenty years later we’ve managed to do so many projects together,” Klein says. “We start out with the core idea and then we execute it in a big way.”

    One such project, a 43-image editorial series created early in their working relationship, began with what Madonna describes as “a mutual passion for horses, mysticism, great art, and hot sex.” Discussing 239 Madonna, Hollywood, CA, 2006, shown above, Klein describes the image of Madonna’s muscular back as a study not only of anatomy but of character: “We’re both very disciplined people, but there’s also freedom within the discipline.” In jumping a horse, he says, as in their shared artistic process, “there’s a lot of planning…and there’s a thrill also. I think we both like things that give you an adrenaline rush—and going to dangerous places.”

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    Madison Reid

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  • Watch: Thief steals whole cake – and nothing else

    Watch: Thief steals whole cake – and nothing else

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    Watch: Thief steals whole cake – and nothing else – CBS News


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    Caught on Tape: A thief enters the Madonna Inn in San Luis Obispo, Calif., steals a whole cake — and nothing else — and leaves.

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