Arts & Entertainment
Back with a ‘Bang’
New Madonna album is upbeat campy fun, but also packs emotional punch with deluxe cuts
It seems to take a few years to fully assess a new Madonna album. That may be true for many recording artists, but there’s always so much excitement and anticipation around a new Madge disc, it’s only after that’s died down a bit can one determine how it stands up to her best projects.
The downside to being such a consistent hitmaker is that she has no “Tapestry,” “Jagged Little Pill” or “Miseducation” to her name. All her albums have several great songs, but there’s always a dud or two — “Words” from “Erotica,” “Mer Girl” from “Ray of Light,” “I Love New York” from “Confessions” or “Spanish Lesson” from “Hard Candy” — that keep her from having a start-to-finish masterpiece. Even “Like a Prayer,” which many consider her most consistent effort, gets derailed slightly by the clunky “Love Song,” a Prince duet.
The new “MDNA,” out this week on new label Interscope after Madonna spent decades at Warner Bros., is refreshingly clunker free. Only a couple tracks — the throwaway “Turn Up the Radio” and nursery rhyme-ish “I’m a Sinner” — sound like they could have been B-sides. As expected, there are several killer batches of smoking dance songs — more on those in a sec — but the biggest surprise is the bonus material on the deluxe edition.
Get the no-frills version and you’re missing out on some mind-blowing stuff. “Beautiful Killer” is the most traditional bonus cut here, an old-fashioned pop song with a strings topcoat, but then things get really interesting. “I Fucked Up” sounds a little ho-hum at first, even though it’s a great idea for a song. It kicks into high gear with a killer middle section that slowly works up a nice lather. “B-day Song” is cute and silly with a late ‘60s vibe. The whole project simmers to a shattering climax with “Best Friend,” a mid-tempo barn burner that beautifully captures the mixed emotions of a shattered relationship courtesy of some of Madonna’s all-time most insightful lyrics and the Benassi production duo.
Madonna, acknowledging (presumably) the complicated relationship she shared with ex-husband Guy Ritchie, sums things up cleverly when she suggests they were “driving with two hands on the clutch.” She gets the anger out elsewhere — on the campy, crunchy “Gang Bang” and rap-doused “I Don’t Give A,” which veers into high drama with its “Carmina Burana”-esque outro. But once the anger subsides, “Friend” is the more cathartic experience, both musically and emotionally.
It didn’t take a genius to realize these two had a complicated marriage — fans sensed they were a mis-match from the “I’m Going To Tell You a Secret” documentary and the last album’s melancholy “Miles Away.” But it’s refreshing to hear the seemingly invincible Madonna address and assess her own disappointments. She’s never so much as acknowledged that her brother wrote an unflattering memoir; at least with her marriage, “MDNA” brings insight and closure. She can pose for glamorous photos, pull off tour acrobatics and craft mindless dance pop til the end of time, but all that resonates more when we have a sense of the woman behind the face, and “MDNA” brings us that.
Though more notable for its eye-popping video, album opener “Girl Gone Wild” is light, catchy fun as is “I’m Addicted,” first single “Give Me All Your Luvin’,” and the aforementioned “Killer.” The Golden Globe-winning ballad “Masterpiece,” the theme from the “W/E” movie Madonna directed, brings things to a lovely finish along with the refreshingly lush “Falling Free,” which doesn’t even have a rhythm track, giving the beat-heavy album a nice change of pace.
It’ll take awhile for all this to sink in, but regardless of whether U.S. radio gives its singles the time of day (though “Luvin” did briefly crack the U.S. top 10), “MDNA” is a resoundingly solid effort. Helmed by producers new (Martin Solveig) and old (William Orbit), “MDNA” is a more unified, less trend-influenced album than “Hard Candy” and that bodes well for its ultimate place in her increasingly vast canon.
Celebrity News
Silky Nutmeg Ganache talks sex and dating, gender, politics, weight loss journey
‘RuPaul’s Drag Race All Stars’ semifinalist grew up in Bible Belt
Uncloseted Media published this interview on July 7.
By SPENCER MACNAUGHTON, ISABEL STOKES, and BELLA SAYEGH | After appearing on the 11th season of “RuPaul’s Drag Race,” the first season of “Canada’s Drag Race: Canada vs. the World,” the sixth season of “RuPaul’s All Stars” and now the 11th season of “All Stars,” Silky Nutmeg Ganache, known by many as the Reverend, is undoubtedly a legend.
Born and raised in Moss Point, Miss., Ganache bears all in this episode of “UNCLOSETED with Spencer Macnaughton.” She speaks about her relationship with gender, her 100-pound weight loss, what it’s like living as a queer person of color in a red state and why she’s calling on allies to stand up for the trans community.
Patrons enjoyed a night out at the popular LGBTQ venue Crush Dance Bar on Friday, July 3.
(Washington Blade photos by Landon Shackelford)













Theater
‘My Favorite Sociopath’ debuts at Shepherdstown’s CATF
Gay playwright Aurin Squire’s take on D.C. journalism in the ‘90s
‘My Favorite Sociopath’
Contemporary American Theater Festival
July 10-Aug. 2
Shepherdstown, W.Va.
Catf.org
Discernment. It’s a thing some people have, explains playwright Aurin Squire, especially when you’re gay or Black in America (Squire is both).
“You instinctively know when the mob is teaming up for the best interests of the powers that be. You can feel it in the air.”
In his sharp new satire “My Favorite Sociopath,” Squire writes about life experiences but set in a different time and place: It’s the 1990s, early days of the 24-hour news cycle, and three ambitious journalism students are pursuing success in D.C.
And now, Squire’s play, along with other new works, are making their world premieres at the annual Contemporary American Theater Festival (CATF) at Shepherd University in historic, queer-friendly Shepherdstown, W.Va. (just a 90-minute drive from D.C.).
“All of my plays are queer in some way,” says Squire, 46. “This one touches on harmless and dangerous lies. The characters are on the spectrum sexually, and it’s interesting how all that falls out.”
And he’s given it a lot of thought.
“Already as a kid, it seemed to me that the rage against rap music and sex was coming from closeted people resisting their own urges and temptations. For me, it was interesting to see a witch hunt led by witches. Queer people can always call out a lie.”
Since September, Squire has also been working with a TV show about the tech industry set in Silicon Valley. He says, “It seems the general flow of the tech industry is that humanity and civilization is finished and it’s just about accumulating as many goods as possible before everything collapses. In fact, those who are profiting actually agree. But for those who disagree, they believe the solution is to build bigger gates, but activists believe we can stop this”
Yet, he’s learned from folks associated with the show. “Many say the quickest way to divorce yourself from any responsibility or regulations — smash and grab. Otherwise, you have to stop and think and regulate your desires for greed and power”
Squire possesses a penchant for pithy titles. He laughs, explaining the first thing he wrote as a student at Juilliard was “Obama-ology,” the comedy with contemporary message. While a lot of people liked the name, it didn’t necessarily vibe with the author. He concedes that he chooses names based on “easy to remember” and titles that won’t be easy to lose as a file.
Another is “Defacing Michael Jackson,” a coming-of-age dramedy set in rural Florida in 1984, specifically Squire’s native town Opa-locka, Miami, a fantastical place famed for its fanciful Moorish revival architecture.
Living in the shadow of exotic structures, he wasn’t particularly fazed. Squire says “It wasn’t until returning to visit after my freshman year at Northwestern University in Chicago that I realized how weird it was: When you grow up in a place, you take surroundings for granted no matter how over the top.”
Now based in New York (where for two happy years, 2017-2019, he shared digs with drag king Murry Hill), Squire returns frequently to Miami to be with family, but this summer has been filled with both work and travel.
Currently, he’s in Shepherdstown with CATF shaping up “My Favorite Sociopath.” Later this summer he will travel to South Africa for research, followed by a silent writing retreat in Santa Fe, N.M.
Much of Squire’s work reflects the Latino, African, Caribbean, African-American, and Jewish cultures he grew up around in South Florida.
When asked if today’s winds of anti-multiculturalism worry him, he replies, “No, because that’s going to pass. Most people don’t like, people are seeing the negative results of it, and the young people coming up despise it. White male gamers were tricked momentarily through the algorithms into voting against their own interests and they’re now seeing how it’s not working out for them.
“Conservatives always try to stop progress and eventually they always lose. It’s just a question of where we’ll be in the middle of the end of civilization before that happens. I’d like to hope we can turn the ship around before then.”
In addition to “My Favorite Sociopath,” CATF summer season features three other world premieres (Lisa D’Amour’s comedy “The Smoker,” “Refugee Rhapsody” by Yussef El Guindi, “Best Line Wins: A Play Inspired by the Improvised Lives of Elaine May & Mike Nichols” by Beth Kander) and “¡VOS!” by Christina Pumariega.
CATF runs from July 10-Aug. 2 in three venues on the Shepherd University campus: Frank Center, Marinoff Theater, and Studio 112.
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