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The Confessions Tour

By Stephen M. Deusner

Pop/R&B

Warner Bros.

February 23, 2007

Recorded at a 2006 show in London, The Confessions Tour is Madonna's second concert CD+DVD set in eight months. The first, I'm Going to Tell You a Secret, supported her American Life album and had the distinction of being both the first live album of her quarter-century career and her greatest musical fiasco. While similar in staging, this new set supports a much better album, 2005's stronger Confessions on a Dance Floor , and that alone makes it the better of the two. Viewed together-- their quick succession makes it impossible to assess them separately-- this pair of releases signals the beginning of a new stage in Madonna's career, one in which director Jonas Åkerlund has become more crucial than musical producer Stuart Price, and music has become secondary to the dizzying, dazzling, slightly nauseating spectacle of her live show.

That spectacle has eclipsed music in the Madonnaverse is readily apparent on the Confessions tracklists. The DVD contains a full concert, with 21 tracks running more than two long hours. The CD has a mere 13, including two versions of "Sorry" and several of Stuart Price's instrumental interludes, which demand visuals to explain what the hell is going on. Instead of "Live to Tell", the CD contains songs like "Confessions", during which Madge's dancers describe life-changing experiences. One tells of an abusive father, another of her belief in angels, the third of his "decision to gangbang." Without the performers' hyperactive and not unimpressive moves, the song sounds aimless and exploitive, group therapy set to music.

Instead of presenting herself as the art-school activist of Secret (which was recorded during an election year, after all), on Confessions Madonna plays the part of a self-help guru-- Tony Robbins with a Farrah 'do and an ugly leotard. The recurring theme is self-empowerment, which she means to be universal, but which ultimately is specific to Madonna. On the lively "Jump" she extols the virtues of self-motivation and sisterhood. She confidently masters the simplest guitar riffs on "I Love New York" and "Drowned World" and doesn't care what you think of her clumsy dances moves.

Granted, empowerment is easy when you've got thousands of fans applauding your at every turn. And why shouldn't they? Madonna has the power to put on a ludicrous, obscenely expensive stage show-cum-counseling session year after year, as well as the brand name to make Confessions one of the top-grossing tours of 2006. She has the body of her much younger self, so she can still rock a leotard or a feathered collar, no matter how ill-advised such wardrobe choices may be. And her voice has aged surprisingly well. She can't sell the girlish giggle of "Lucky Star" or "Like a Virgin", but she's got a deeper, heartier range that works best on ballads like "Drowned World/Substitute for Love" and "Paradise (Not for Me)". We are left, however, to imagine how commanding Madonna would sound on a good ballad, like "Oh Father" or "Something to Remember". "Live to Tell" might have fit the bill here, but she delivers it perched uncomfortably on a mirror-covered cross, which limits her breathing and phrasing as well as our ability to take her seriously.

Let's talk about that disco crucifixion. Nothing says "I've got a messiah complex" like performing on a cross, and this notorious routine, which begins as a comment on the travails of fame, sure enough turns into a plea to end AIDS in Africa. That's a serious issue, and it deserves better than this confused, self-aggrandizing pitch. Nevertheless, this segment will likely be a selling point for many fans and bystanders alike: It was cut from the original NBC broadcast of the show following the expected avalanche of Catholic uproar and outraged punditry.

But it's a polite curtsy compared to what happens when Madonna's politics go global. During "Forbidden Love" two male dancers appear with symbols of Islam and Judaism painted on their abdomens, locking arms stoically in a choreography that makes them look like two children fighting in the backseat. But that's just silly, not insulting. The show's nadir comes during "Isaac". Centerstage stands a giant cage in which a burqa-clad dancer twirls and gyrates. When the gate lifts, her cage dance becomes a striptease. From one oppression to another...

As always, Madonna is at her best when the stakes are low and the music frivolous, an approach that seems natural for the frothy disco of Confessions on a Dance Floor . The live show's best-- and consequently most meaningful-- moments come during the closing disco-kitsch set, which begins with a mash-up of her underrated single "Music" and the Trammps' "Disco Inferno" and closes with a medley of "Lucky Star" and "Hung Up". Despite the tacky travel-agency brochure vibe of "La Isla Bonita", these songs achieve the sort of gaudy pop transcendence that justifies the month's-pay ticket price.

Still, it's too little too late to salvage Confessions , which, with Secret , feels like a failure of imagination. Åkerlund gives you everything you don't want from a concert film: incessant quick cuts that you give you no sense of space or stage, overdubbed music and vocals that give you no sense of performance, and only a few shots of the audience to gauge their excitement. But Madonna herself is mostly to blame. On stage, she draws from a deep well of amazing pop songs and has the money and power to reinvent this sort of traveling circus. So why not try to break down the wall between performance and audience and hold a gigantic rave? Or, better yet, launch a small-club tour and share the spotlight with some musical collaborators. Work with Timbaland or even Xiu Xiu. Let other people write songs for you. Reinvent yourself for real this time. Until Madonna comes up with something completely new and makes her shows as exciting to watch as they are to perform, her spectacle will never be as fun or as world-changing as her music.

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Confessions Tour - Setlist

The setlist of the Confessions Tour promoted her Confessions On A Dance Floor album.

Equestrian Segment

Bedouin Segment

Never Mind The Bollocks Segment

Disco Segment

Essaying the pop culture that matters since 1999

Madonna: The Confessions Tour

Confessions on a Dance Floor (2005) was Madonna’s heralded return to club music. Not only did the album resuscitate her record sales, debuting at #1 on the Billboard 200 and topping charts worldwide, its singles (“Hung Up”, “Jump”, “Sorry”, and “Get Together”) were among the most infections club hits of Madonna’s 25-year career. Altogether, Confessions on a Dance Floor proved that Madonna, approaching 50 years-old, is a vital force in the ever-expansive landscape of popular music. Buy that album. Her latest release, however…

The Confessions Tour follows on the release of I’m Going to Tell You a Secret (2006), which was a documentary about Madonna’s “Re-Invention” tour. Like its predecessor, The Confessions Tour is a lavish CD/DVD package. Instead of a documentary, the DVD on this set presents a full-length concert directed by Jamie King from Madonna’s Wembley Arena date. The CD contains 13 highlights from the show. Aside from over-saturating the market with three Madonna releases in two years, there’s a fundamental problem with the release of The Confessions Tour .

Experiencing recorded dance music in a club and hearing it rendered live in concert on a CD constitutes two very different experiences. The 4/4 beat that stimulates the body to dance sounds less dense in such a massive space like Wembley. This works against the The Confessions Tour since most tracks have a fast beats-per-minute count. If the beat is a bone, so to speak, there isn’t a lot of muscle cushioning it. The aural clarity and seamlessness of the songs on Confessions on a Dance Floor are also butchered on The Confessions Tour by zealous audience reactions. Enjoying propulsive tracks like “Hung Up” and “I Love New York” is difficult because of interminable vamps that are dotted by annoying hoots and hollers. Just what is everyone yelling about at the 00:42 mark during “Sorry”?

Such curiosities are answered on the DVD of The Confessions Tour . Whereas the CD is a superfluous “value add”, the DVD is thrilling entertainment, particularly for Madonna fans. Since Madonna is among the few artists to successfully and consistently exploit the visual medium to her benefit, it should surprise no one that The Confessions Tour is a stellar visual experience. Each song is dramatized and choreographed to within an inch of its life; therein lies Madonna’s most indispensable and enduring talent — dancing. The limbs that gave birth to a million “Madonna Wannabe’s” are stronger and more sinewy than ever. On The Confessions Tour Madonna is joined by a dozen or so dancers who narrowly escape injury during remarkable acrobatic dance sequences. Even more amazing is that Madonna breathlessly keeps pace with every one of them.

The stage design of The Confessions Tour gives Madonna and her “children” a decadent playground to frolic about. The moment she enters the stage inside a gargantuan mirror ball, understatement ceases to exist. Most notorious among Madonna’s grandiose gestures is her entrance from the stage floor cuffed to a gigantic crucifix posed like Jesus Christ, replete with a crown of thorns. After singing “Live to Tell”, Madonna descends the cross and warbles “Forbidden Love”. Accompanying her are male dancers who stand side-by-side in two’s, intertwining their arms and hands in obvious defiance to the cross. It’s an effective tableau .

Following a static-fueled montage of vintage Madonna videos, a DJ announces, “All right boys and girls, it’s time to get your dance shoes on. You’re listening to K UNT. (Get it?) It’s all Madonna, all the time”. The familiar bass line of “Disco Inferno” by The Trammps explodes with a chorus-line’s worth of disco dancers and roller skaters. Madonna emerges in a three-piece white suite à la John Travolta and sings “Music” over the sampled track. It’s gloriously fun, feckless, and tacky.

Less so are Madonna’s cold rearrangements of “Like a Virgin” and “Lucky Star”. The soulless Eurodisco beat fails to match the charm of the originals. The melodies are basically sung over chord progressions that bear little resemblance to the original arrangements. “Lucky Star”, for example, is paired with the track to “Hung Up”, itself a sampling of ABBA’s “Gimmie! Gimmie! Gimmie! (A Man After Midnight)”. The match is not made in heaven, though Madonna’s skin-tight, ABBA-esque jump suit is an amusing intertextualization.

But even the most rabid anti-Madonna listener or cynical music lover would find elements of The Confessions Tour impressive, whether the jaw-dropping talent of Madonna’s B-boys and girls, the awe-inspiring diligence of her lighting and sound crew, her rock-chick pose on “I Love New York”, or the audacity of her massive “fuck you” to George W. Bush, Tony Blair, Osama Bin Laden, and Condoleezza Rice on “Sorry”.

The oversaturation of recent Madonna product is ultimately what precludes The Confessions Tour from being wholly satisfying to anyone but the die-hard Madonna fan. How many people actually care to hear Madonna lead the audience in a three-minute call-and-response contest to the “Time goes by so slowly” refrain from “Hung Up”? Clocking in just under four hours, Madonna might as well be referencing the The Confessions Tour package.

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The Confessions Tour - Live from London

(30 jan 2007).

• Future Lovers/I Feel Love Lyrics
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• Music Inferno Lyrics
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• Lucky Star Lyrics
• Hung Up Lyrics
• Get Together Lyrics
• Live To Tell (Live) Lyrics
• Forbidden Love Lyrics
• Like It or Not Lyrics
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• Drowned World/Substitute For Love Lyrics
• Paradise (Not For Me) Lyrics
• La Isla Bonita Lyrics

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Television Review | 'The Confessions Tour'

Listen for the Music, Look for the Muscles

By Ginia Bellafante

• Nov. 24, 2006

Will Madonna ever get old? She may acquire more gravitas, continue to mature emotionally and find greater meaning in her work with kabbalah, but will she ever come to look arthritic, puffy, menopausal? This increasingly seems doubtful. Madonna no longer reinvents, she maintains.

It is the sheer spectacularity of her physical form, the near menacing force of it, and largely that alone, that sustains your attention in “Madonna: The Confessions Tour, Live From London,” the two-hour film of a concert she gave at the Wembley Arena in London this past summer, which was broadcast on NBC Wednesday night and will be shown on Bravo next week.

With each tour Madonna has embarked on in recent years, her deltoids appear to have grown more regally expansive, robust and winglike. Toward the end of the Wembley show, part of a worldwide tour pegged to her album “Confessions on a Dance Floor,” Madonna sings one of the hits from it, “Hung Up,” a song about a woman who migrates between boredom and agony as she waits for a man to call. But who could this man possibly be? Unless Madonna is expecting a call from Wladimir Klitschko about meeting him in the ring, the sight of her singing a song like this, in a leotard no less, leaves you feeling as you might if you were forced to watch Ethel Merman trying to impersonate Chet Baker.

The show pays tribute to Madonna’s current and former selves and does so with dizzying jump cuts and all the spectacle — the acrobatics, playground sets, endless costume changes — that have become the hallmark of her concerts.

Today, Madonna, who is 48, is a concerned citizen of the world. She has made African AIDS orphans one of her causes and wants to adopt a child from Malawi, causing some controversy. At one point in the concert, she sings “Live to Tell” against the backdrop of images of children in Africa and a speeding tally of the number who have been left parentless. But here again, her perfect musculature produces a kind of dissonance. Madonna doesn’t have an altruist’s body, she has a denier’s. What you’re tallying in your head when you watch her dance with the strength and agility of a 19-year-old are the number of hours she spends each day practicing Ashtanga yoga, running hills and bench-pressing the weight of a Regency table. You are tallying all the calories that Madonna is not eating.

In addition to keeping up her legendary physical regimen, Madonna now also rides horses on her country estate in England. Some critics have seen this as another aspect of her Anglophilic pretensions, but what is really surprising is that it took her so long to cotton to a sport so steeped in the dynamic of submission and control. Madonna the equestrian seems the most inevitable Madonna of all. Perhaps realizing that on some level, she opened her Wembley show looking as if she were about to ride in a reimagining of Ascot. She danced around, directing men on all fours before she rode an apparatus meant to look like an electric horse.

Madonna travels backward in the show to the beginning of her career, the time before she was encumbered with the need to do good. The documentary “I’m Going to Tell You a Secret,” which follows her on her 2004 world tour, reveals a Madonna who wants to learn all the time, who hugs her assistant and dancers, who wishes she’d been nicer to people when she was young. Perhaps she knows that many in her audience miss the Madonna of so many Madonnas ago, the one who refused refinement and probably thought Oxford was just an insurance company.

“The Confessions Tour” gets deeper and deeper into her early disco years as it progresses, with Madonna getting in and out of a “Saturday Night Fever” tuxedo and Jane Fonda-esque aerobics gear before it’s all over, as if to tell us that sometimes, yes, she misses herself too.

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Thought The Stars Of Rebel Moon Looked Familiar? Here's Where You've Seen The Cast Before

The second part of Zack Snyder’s sci-fi epic Rebel Moon arrived on Netflix last week, and quickly soared to the top of the streaming service’s most-watched movies list.

Most of the all-star cast are reprising their roles in Part Two: The Scargiver, making for an impressive ensemble of acting legends, TV stars and promising up-and-comers. 

The second instalment picks up with Kora and the surviving warriors as they prepare for battle against the tyrannical Motherworld to defend their homeland.

Read on to find out where you’ve seen the cast of Rebel Moon – Part Two: The Scargiver before…

Sofia Boutella

Leading actor Sofia returns as the titular Scargiver Kora in part two. This follows her huge role as antagonist Ahmanet in 2017’s The Mummy reboot opposite Tom Cruise .

Her first major film role back in 2015 was also a big one, playing Samuel L Jackson ’s henchwoman Gazelle in Kingsman: The Secret Service, before she starred opposite Nicolas Cage in Prisoners Of The Ghostland.

More recently, she played Eve Mansour on SAS Rogue Heroes and appeared in an episode of Guillermo del Toro’s anthology series Cabinet Of Curiosities. Her other film roles include Argylle,  Star Trek Beyond, Prisoners of the Ghostland, Fahrenheit 451, Hotel Artemis and Atomic Blonde.

Music fans might recognise Sofia as a former dancer for Madonna – she performed on the Queen of Pop’s Confessions Tour and appeared in the music videos for Hung Up, Sorry and Celebration. She also went on to star opposite Dave Grohl in Foo Fighters ’ music video for Shame Shame in 2020.

Djimon Hounsou

The twice Oscar -nominated actor plays Titus in the Rebel Moon franchise and was initially best known for his roles in 2002’s In America and 2006’s Blood Diamond opposite Leonardo DiCaprio .

Since then, he’s joined the Marvel Cinematic Universe , playing Korath the Pursuer in Guardians Of The Galaxy and Captain Marvel. He’s also across the DC universe as The Wizard in Shazam! and Black Adam. 

Djimon’s other previous roles include Gladiator, Amistad, The King’s Men, A Quiet Place Part II, 2019’s Charlie’s Angels, Serenity, King Arthur: Legend Of The Sword, The Legend of Tarzan, Air, Fast & Furious 7 and Elephant White.

You might also recognise Djimon from his stint as a Calvin Klein underwear model back in the mid-2000s.

Anthony Hopkins

The Welsh acting legend, who voices Jimmy in the second Rebel Moon instalment, is best known for his Oscar-winning roles playing Hannibal Lecter in The Silence Of The Lambs. More recently, he won a second Academy Award thanks to his moving performance in The Father with Olivia Colman , which made him the oldest winner in an acting category at 83 back in 2021. 

You’ll also be familiar with his extensive filmography ranging from One Life, The Remains Of The Day, The Elephant Man, The Two Popes, Amistad, Hitchcock, Alexander and much more.

He also earned an Emmy nomination for his role as Dr. Robert Ford in HBO’s dystopian western series Westworld , before it was cancelled after four seasons.

You’ll probably know the London-born actor, who plays Atticus Noble in both Rebel Moon films, for playing Ajax in Deadpool opposite Ryan Reynolds , as well as a brief three-episode stint as Daario Naharis in Game Of Thrones ’ third season (after which he was replaced by Michiel Huisman, which he claimed at the time was due to “politics”)

Other past film roles of Ed’s include The Transporter Refuelled, Maleficent: Mistress Of Evil, Alita: Battle Angel and If Beale Street Could Talk.

Michiel Huisman

In a slightly awkward twist of casting fate, it was Michiel (aka Gunnar in Rebel Moon) who replaced Ed Skrein as Daenerys Targaryen’s love interest and advisor Daario Naharis in Game Of Thrones (don’t worry though, Michiel has insisted he “ got on really well” with his now co-star ).

You might have also seen him in shows like The Haunting Of Hill House, Nashville, Echo 3, Treme, Angela Black and The Flight Attendant.

Other past credits of Michiel’s include A Boy Called Christmas, The Other Lamb, The Last Right and The Guernsey Literary And Potato Peel Pie Society, Irreplaceable You, The Age Of Adaline, Wild, World War Z and The Young Victoria.

Along with playing Nemesis in Rebel Moon, the South Korean actor is known for movies like Cloud Atlas and Bong Joon Ho’s 2006 monster film The Host.

She was also in TV series Sense8 and Korean dramas like The Silent Sea, Kingdom and Bimilui Soop.

The US actor plays Bloodaxe in Rebel Moon, which saw him reunite with Zack Snyder once again after his roles as Cyborg in Justice League and Batman v Superman: Dawn of Justice.

He also played Henry Hays, the son of Mahershala Al i’s character, in season three of True Detective . 

Staz’s role as Tarak in the Rebel Moon series follows his previous turns as Dothraki warrior Qhono in Game Of Thrones.

He also played William Dey in the Supergirl series between 2019-2021 and Gordon in Humans. 

In 2016, Staz also played the titular “creature” in a new televised version of The Rocky Horror Picture Show.

As well as playing Balisarius in the Rebel Moon films, the Irish actor is best known for his role as Kazi in Marvel’ s Hawkeye.

His other on screen appearances include 2021’s Cinderella starring Camila Cabello , The Laureate, Pixie, Boys From County Hell and 2012’s Les Misérables. 

In 2022, Fra also took over the role of Emcee from Eddie Redmayne in the current West End production of Cabaret.

Cleopatra Coleman

Cleopatra’s Rebel Moon role as Devra follows her recent film appearances in Cobweb, Infinity Pool and A Lot of Nothing. Meanwhile, her TV roles include Dopesick, The Last Man On Earth, White Famous and one episode of Sorry For Your Loss. 

Like many Australian stars who eventually get their Hollywood break, she also put in a short stint on Neighbours back in 2006.

Ingvar Sigurðsson

The Icelandic actor plays Hagen in both Rebel Moon films, and has previously been in Everest, The Northman and A White, White Day.

You might remember him as Lars in three episodes of Killing Eve season four.

Alfonso Herrera

Along with starring as Cassius in both Rebel Moon instalments, the Mexican actor has been in TV shows like Ozark, Sense8 and 2016’s The Exorcist.

True fans will also know that he first shot to fame with his role in the Mexican telenovela Rebelde about private school teens who start a fictional band called RBD – before the members decided to form the group for real.

However, Alfonso did not join his former bandmates on their reunion tour last year.

The King in both Rebel Moon films also has a role on one of Netflix’s biggest ever TV shows – playing the mayor of Hawkins Larry Kline in Stranger Things .

He’s also been in Mission: Impossible – Dead Reckoning Part On, Billionaire Boys Club, Saw, The Princess Bride. Cary’s TV work includes The Art of More, Life In Pieces and The X Files.

Rebel Moon – Part Two: The Scargiver is available to watch on Netflix now.

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Os 10 maiores hits de Madonna em todos os tempos

Aproveite este aquecimento para o show histórico da rainha do pop em copacabana, que acontecerá no sábado (04.05).

30/04/2024 11h02 Atualizado 30/04/2024

Madonna , um ícone da música pop mundial, está prestes a iluminar o palco de Copacabana, no Rio de Janeiro, com sua energia vibrante e um repertório repleto de sucessos memoráveis. Com uma carreira que atravessa décadas, ela conquistou fãs ao redor do mundo com sua voz marcante e performances inesquecíveis. No próximo sábado (04.05), o público brasileiro terá a oportunidade única de vivenciar a presença marcante dessa lenda viva enquanto ela entoa clássicos como Like a Prayer , Ray Of Ligh t, Express Yourself e Hung Up .

Ao longo de sua jornada, Madonna não apenas criou hits que dominaram as paradas musicais, mas também desafiou limites e inspirou gerações. Sua capacidade de se reinventar e se adaptar às mudanças na indústria musical a mantiveram relevante ao longo dos anos, ao passo em que sua mensagem de autoexpressão e empoderamento continua a ressoar profundamente com seu público. Em Copacabana, Madonna promete uma noite emocionante, com muita dança e momentos memoráveis , celebrando não apenas sua própria trajetória mas também o legado duradouro que ela deixou no pop.

Like a Virgin

É bastante adequado que "Like a Virgin", o primeiro sucesso número 1 de Madonna, encabece nossa lista dos 40 maiores singles dela na parada Hot 100. A música título e primeiro single do álbum de 1984 ficou seis semanas no topo da parada e se tornou uma das canções mais emblemáticas da diva . Composta por Billy Steinberg e Tom Kelly, foi produzida por Nile Rodgers.

Like a Prayer

Quem poderia imaginar que "Like a Prayer" - que causou tanta controvérsia em 1989 quando foi lançada - acabaria sendo apresentada no show do intervalo do Super Bowl em 2012? Pois é, nós também não. A música estreou em um comercial de dois minutos da Pepsi durante o programa The Cosby Show em 2 de março de 1989. (A Pepsi estava prestes a patrocinar a próxima turnê de Madonna, a Blond Ambition Tour.) No dia seguinte, o vídeo de "Like a Prayer" estreou... você sabe, aquele com as cruzes em chamas, estigmas e tudo mais? Sim, bem, a Pepsi rapidamente se distanciou de Madonna e ela - mais uma vez - provocou indignação nas massas.

Inicialmente concebida como o lado B de "Keep It Together", a celebração de Madonna à energia do vogueing teve a sorte de ser lançada como um single próprio. O envolvente número de dança é tão emblemático quanto seu elegante vídeo em preto e branco, dirigido por David Fincher.

Madonna alcançou o primeiro lugar na parada Billboard Hot 100 com "Music", que reinou por quatro semanas consecutivas em setembro e outubro de 2000. Esta canção, que serviu como o principal single do álbum de mesmo nome, marcou mais uma colaboração bem-sucedida entre Madonna e William Orbit, o mesmo produtor de "Ray of Light". Além disso, tanto o single quanto uma considerável porção do álbum foram coescritos e coproduzidos pela própria Madonna em parceria com Mirwais.

Express Yourself

"Vamos lá, meninas, vocês acreditam no amor?" Pois bem, Madonna tinha algo a dizer sobre isso em 1989, quando "Express Yourself" foi lançada como o segundo single do álbum Like a Prayer. O vídeo do single foi dirigido por David Fincher, antes de ele se tornar uma superestrela, e foi o primeiro de quatro colaborações em vídeos entre os dois artistas.

O lançamento do single principal do álbum Ray Of Light representou um marco significativo na trajetória sonora de Madonna, impulsionado pela colaboração com o co-produtor William Orbit. Essa faixa foi notavelmente influenciada pelo estilo da música eletrônica de dança, introduzindo uma nova direção sonora em seu repertório. Além disso, alcançou uma posição de destaque, chegando ao segundo lugar na parada Hot 100, da Billboard, consolidando ainda mais sua relevância e impacto na cena musical.

O principal single do álbum Confessions on a Dance Floor de 2005 chegou ao sétimo lugar na parada Hot 100 em 2005 e foi o primeiro de dois sucessos do álbum com influências disco. (O segundo sucesso, "Sorry", alcançou a posição número 58.) "Hung Up" incluiu um sample acelerado de "Gimme! Gimme! Gimme! (A Man After Midnight)" do ABBA, enquanto seu vídeo mostrava Madonna capturando o espírito de Saturday Night Fever e desfrutando das baladas em clubes de Londres.

O primeiro hit de Madonna na parada Billboard Hot 100 (apesar de não ser seu primeiro single) estreou na posição 88 em 29 de outubro de 1983 - e desde então a parada nunca mais foi a mesma. A música eventualmente chegaria à posição 16 em 18 de janeiro de 1984 e foi o primeiro de três singles do álbum de estreia auto-intitulado de Madonna a alcançar o top 20 nos EUA. "Holiday" também é o terceiro e último sucesso fora do top 10 (nas posições 37, 39 e 40) nesta lista dos maiores sucessos de Madonna. Todas as outras músicas nesta lista alcançaram o top 10.

La Isla Bonita

A música com influências espanholas parece ser uma das preferidas de Madonna, pois tem sido parte dos setlists de muitas de suas turnês. Ela também a performou no show beneficente Live Earth de 2007 em Londres. "La Isla Bonita" foi o quinto e último single do álbum True Blue, de Madonna, e alcançou a quarta posição na parada Hot 100 da Billboard.

Ray Of Light

"Ray of Light" continua a ostentar o título de single de estreia mais alto de Madonna, estreando na quinta posição nos charts norte-americanos, datada de 11 de julho de 1998. A música foi o título do álbum de 1998 de Madonna e o segundo single do mesmo, recebendo, posteriormente, o prêmio Grammy de Melhor Gravação de Dança. O vídeo musical correspondente, dirigido por Jonas Akerlund, também recebeu um Grammy de Melhor Videoclipe de Curta Duração e conquistou cinco prêmios MTV Video Music Awards (incluindo Vídeo do Ano).

Fernanda Paes Leme mostra presente que ganhou de Giovanna Lancellotti e se derrete por Pilar

Amanda mirelles faz topless na europa, kristen stewart estrela em 'love lies bleeding - o amor sangra', empreendedora no divã: "como a meditação pode mudar as escolhas de quem empreende", descubra todo o luxo da suíte de madonna no copacabana palace: com mordomo e piscina privativa, adriane galisteu sobre morte de ayrton senna: "1º de maio é sempre um dia difícil".

Davi Brito curte passeio de jet ski no feriado: "Vivendo"

Campeão do BBB postou um registro nas redes socias

Mari Gonzalez e Pipo Marques posam para fotos no mesmo local e fãs vão à loucura: "Assumem logo"

O cantor e a ex-BBB compartilharam os registros nas redes sociais

Claudia Raia encanta a web ao mostrar Sophia com Luca se divertindo: "Eu amo"

Mari Gonzalez renova bronzeado em praia de Maceió: "Paraíso"

Ex-BBB compartilhou fotos em que aparece curtindo o momento

Horóscopo mensal: as previsões para cada signo em maio de 2024

Confira o que as previsões do astrólogo Emilyan Kali, da Astrocentro, te aguardam para maio de 2024

Dua Lipa surge com novo visual e fãs a comparam com Beatriz: "É Brasil do Brasil"

Cantora apostou nos fios curtos e loiros

Solange Frazão curte dia de sol: "Libertador é quando você descobre que não precisa ser perfeito"

Empresária postou um vídeo na web

Mulher encontra mensagem atrás de parede, escrita há mais de 50 anos

Texto foi elaborado por garota de Peoria, nos EUA, em 29 de setembro de 1975. Na época, ela tinha 14 anos

Belle Silva rebate críticas por pedir dinheiro para comprar bolsa de grife: "Tenho esse meu lado fútil"

Influenciadora postou um vídeo nos Stories e fez um pedido: "Vamos ter mais senso de humor?"