Clickbait is a disease. A virus distributing from self-professed arbiters of taste underneath the veneer details. According to the story of the most recent headlines related to Madonna’s Australian performances, M has become a “self-degrading alcoholic clown” because of an experimental, improvised and susceptible one-off, free performance in an intimate placing for her lover club users in Melbourne. Banal, mercenary, low-hanging headlines lacking context and nuances that demonstrate to be, more often than not, merely inaccurate. Dispensable trivia seated in the idea that the truth is a single course from one point to another without any ambiguity.
Life is kaleidoscopic without having event existing in singularity, yet for some reason we are present in a world where the labeling and pigeonholing in the narrow lens of one’s self-created social media feed is used to deflect by consuming bigger fodder. The rhetorical gadget of mental and situational irony requires a bit more space than the limits of sensationalist headlines geared towards generating online advertising revenue on the expense of accuracy will allow. References for the aforementioned fabricated “controversies” were made en masse the moment Madonna held court in Sydney, which marked the past stop of her globe-spanning Rebel Cardiovascular system world head to: A more two and a half hour long amazing extravaganza covering a 25-song career spanning set list and unparalled visual range ensued, which in turn seemingly has found inspiration in Chinese New Year celebrations and artistry Ã la Cirque de Soleil. Having been infamously late during previous excursions and more new shows in terra australis, Madonna practically descended in our midst in a parrot cage of swords as planned. Not inadequate the attention grabbing imagery and button pressing performances the rand name Madonna is now known for and despite staying the perfectionist and disciplinarian she is, M was in a playful feelings. Reveling inside the art of being Madonna, her recently trademarked “unapologetic bitchy” attitude and a myriad of outfit changes, the lady commanded the stage, that has been a long catwalk with a rounded stage at the center and a heart-shaped stage at the end: A hybrid of any heart, mix and an arrow permitting ample chances for communications with the target audience. Her crew of 20 dancers performed tightly choreographed themed theatrics faux ancient executions, make fun of martial art struggling with geishas, scantily clad post dancing nuns, a SM inspired orgiastic reenactment of the Last Supper and lab-created sex functions embedded within a multimedia melange of sound and light over a specifically designed kinetic stage, which allowed for acrobatic and scenic moments throughout the show.
In spite of the highly engaging and at times borderline frustrating feast to get the feelings, the more sensitive moments from the show would not lack impact, e. g. when Meters was single on stage playing a cover of Edith Piaf’s “La Strive en Rose” with a ukulele. With the smooth transition among staging, choreography, scenic props, performers, live musicians, lamps and video of a show like this it is not difficult to see Madonna has become a permanent fitting in the upper echelon of take music’s top notch over the last 3 decades. Her live performance naturalizes and complements her mediatized character and is an uncontrived extendable of her music videos. Madonna live is in essence about enjoying one self and a whole lot of fun. One of the few staying “one and only. “