Although the old way of marketing an album is still valid for emerging artists slowly building up an audience, the dragged-out promotional rollout for any pop star with millions of followers on social media seems silly, even counterintuitive.
These are buoyant, happy times, and as much as I loved spending my teens in the 80s, I am just as thrilled to be living out my 40s in the 'teens. And at the end of this decade, when I do turn 50, I will know that it's going to be even better than I could have imagined.
Stefani's take on Fiddler on the Roof's "If I Was a Rich Man" was the jumping off point for her solo career. I don't think the writers of Fiddler could have foreseen their tale of a humble, Jewish man's mid-life crisis inspiring a bleach-blonde Japanophile.
As a teenager in the 1980s, I amassed a large, eclectic collection of that decade's vinyl. In going through it all, I find myself listening more often to the hits less travelled, and after some research, I discovered an array of brilliant singles that failed altogether to grace Casey Kasem's countdown.
Truth or dare: What gives you more energy? Someone admits as a truth they secretly admired you. It feels nice and warm? Or they be daring and walk u...
Groups like the American Family Association are not honest. Their interpretation of religious freedom and freedom of speech depend on the speaker. They abhor "political correctness" when Phil Robertson is suspended for bashing gays, but when it's any of dozens of other pop culture stars that they don't agree with, it's a different story.
Despite my critical acclaim for the album itself, I feel the discussion about her "non-marketing" must be revisited. To the media and fans alike who have been praising the superstar for her ability to release an album with no marketing at all must not have been living in 2013.
In my tweens, teens and twenties, dancing and music were the nucleus of my existence. Together, they fed my soul and heart, and were the outlet for my self-expression (along with hairpieces and eyeliner).
Kurt Vonnegut taught me a lot. Joe Heller, too. They taught me the value of friendship by sharing their hearts when they offered me the opportunity to...
There are definitely a few tracks on the album that are praiseworthy but on the whole the album seems to be missing some essential ingredient.
Have a dinner party and only invite rabid Madonna fans and Gaga's "little monsters." Innocently toss out the question, "Who is the fiercest pop diva of all time?" and watch the bitches throw down. Meeeouwwwch!
On the first listen Matangi, is like one of those books that you wanna stay up and read. With Matangi M.I.A. is the tenured cool professor, doling out lessons and earworms.
Lots of others are doing the same thing, if not worse. So why am I picking on you? On your birthday, no less! Well, I don't want to see you crash and burn. It's getting harder for me to separate the turnoff from your talent, and I fear the blur will be an unfavorable tipping point.
I don't see the progress in this conversation about whether it's feminist or anti-feminist for a women to use sex or nudity to sell her pop music. So I would skip that debate and ask whether the multi-millionaire in question is adding anything critical to her product, or using her sex-plated platform for some good end.
Generations after generation have been awestruck by her, her beauty, and her immortal public persona. Behind the glitz, glamour and glimmer, there was one woman to whom Marilyn Monroe owed it all: Lois Weber Smith.
In 1899, theatre critic Edwin Royle wrote, "Vaudeville may be a kind of lunch-counter art, but then art is so vague and lunch is so real." Fast forward to 2013 where vaudeville is very much alive and well in Madonnalogues.