Category Archives: Madonna

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

 

WITH ALL THESE CURVES WE MIGHT NEED TO HAVE THE BRAKES LOOKED AT

SO POP THE HOOD, LET’S SEE WHAT’S GOOD, I NEED A TUNE-UP BAD

MY PRESSURE’S LOW, I’M ON A ROLL, BUT MY TRANSMISSION’S BLOWN

I HEARD A THUMP AND THEN A KNOCK…

I HEAR YOU WORK AT A BODY SHOP, I HEAR YOU WORK AT A BODY SHOP

At the dawn of a millennium, the car speeds through the midnight hour of a summer’s night. Opening the passenger-side window, I reach my hand into the rush of air, reminded after all that there are molecules floating around us, and when propelled they have force and power and speed. We are on a back road in upstate New York, and Andy is driving us to his house. We only met a few weeks ago, and neither of us is sure where we are headed.

He looks over at me and gives a mischievous smile that I will soon come to love. He steps on the gas pedal and the car rockets forward. (I may have asked if he could get the car to 100 miles per hour, or he may have volunteered the information – either way, he was nearing that goal.) The thrill of a speeding car, the heat of a summer night, and the excitement of a burgeoning romance came together in that one moment. As I dared to hold my hand in the heady onslaught of wind, I watched us clock 100 MPH and felt the exhilaration of it all in one deliciously exhilarating moment.

YOU CAN KEEP IT OVERNIGHT, YOU CAN DO WHATEVER YOU LIKE

WORKING OVERTIME, WORKING ON THE LINE…

This is one of the Madonna songs that reminds me of my husband, and whenever he goes on one of the WRPI Car Radio marathons I insist that they play it. It’s ‘Body Shop’, from Madonna’s latest album ‘Rebel Heart’. Much as I did with Andy, I loved it the first time I heard it. With all the cynicism and cruelty of our modern-day world, it is the ultimate escape song -“ a perfect accompaniment to a road trip, or any other car moment for that matter. The automobile double-entendres coming non-stop threaten to derail the proceedings, but the music grounds it in folky simplicity. It’s a unique one in the Madonna canon, both for its topic and its sonics. Along the lines of ‘Cherish‘, ‘True Blue’ and ‘X-Static Process‘, this is an effervescent bit of pop gorgeousness, a lithe little love song pared down to camp-fire-sing-along sweetness, but Madonna’s casual delivery lends it a surprising twist even this late in her career.

It was used to great effect on her ‘Rebel Heart Tour‘, beginning the Rockabilly Romance section of the show and leading into a sweet ukulele-rendition of ‘True Blue’. Only Madonna, and perhaps Herb Ritts, could make a garage into such a sexy scene.

YOU CAN POLISH THE HEADLIGHTS, YOU CAN SMOOTH OUT THE FENDER

YOU CAN START THE IGNITION, WE CAN GO ON A BENDER.

STUCK TO THE SEAT, OUR BODY HEAT, WHAT WILL YOU DO WITH ALL THIS ASS

LET’S SHIFT THE GEARS, GET OUTTA HERE, WE’RE STEPPING ON THE GAS

WE GOTTA BOUNCE, WE’RE GOING FAST, LET’S LET THE SEAT GO BACK

YOU TAKE THE WHEEL, I’LL SIT ON TOP

I HEAR YOU WORK AT A BODY SHOP,

I HEAR YOU WORK AT A BODY SHOP…

As for that night my future husband and I sped down the backroads of upstate New York, I remember it quite well, and the memory always brings a smile to my face. Once, we were young together. Seventeen years later my heart still sings for him.

I WOULD DRIVE TO THE ENDS OF THE EARTH FOR YOU

JUMPSTART MY HEART YOU KNOW WHAT YOU GOTTA DO

I WOULD DRIVE TO THE ENDS OF THE EARTH FOR YOU

CROSS MY HEART AND HOPE TO DIE IT’S TRUE…

SONG #141 ~ ‘Body Shop’ – Summer 2000/2015

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

COME ON GIRLS!

DO YOU BELIEVE IN LOVE?

CAUSE I GOT SOMETHING TO SAY ABOUT IT

AND IT GOES SOMETHING LIKE THIS…

The time is right now.

The moment is at hand.

In a world where a madman runs the most powerful nation on earth, the only thing left to do is resist.

We can no longer rely upon the Democrats or the Republicans to put our country first.

It will be up to We the People to save America.

It’s what our Founding Fathers did, and it’s up to us to preserve our legacy and define our future.

In a makeshift protest gathering to that very end, Madonna recently performed an acoustic version of one of her most iconic anthems – ‘Express Yourself’ – and almost thirty years after its inception the words ring with just as much import and power as they did back then.

It was the Women’s March, and what had happened to bring it about had left many of us, including Madonna, feeling helpless and concerned. She knew that we had just given our country over to the tiny hands and inept care of a traitor. She went on to say a few disparaging remarks about our illegitimate President and his increasingly shady and lying White House. But underneath it all was her perennial message of self-empowerment, shaded with a newly-realized reliance on all of us working together for something better.

“Can you hear me? Are you ready to shake up the world? Welcome to the revolution of love. To the rebellion, to our refusal as women to accept this new age of tyranny. Where not just women are in danger, but all marginalized people. It took this horrific moment of darkness to wake us the fuck up. It seems as though we all slipped into a false sense of comfort, that justice would prevail and that good would prevail in the end. Well, good did not win this election. But good will win in the end. So what today means is that we are far from the end. Today marks the beginning; the beginning of our story. The revolution starts here.”

DON’T GO FOR SECOND BEST BABY, PUT YOUR LOVE TO THE TEST

YOU KNOW, YOU KNOW, YOU’VE GOT TO MAKE HIM EXPRESS HOW HE FEELS

AND MAYBE THEN YOU’LL KNOW YOUR LOVE IS REAL.

The power of a good pop song lies in its ability to endure. To inspire copycats. To become a rallying cry for whatever emotion or event is on hand. Madonna channeled the greatness of this country’s most enduring freedom, and expressed her disdain for our current Clown-in-Chief in her own way. It’s been her way of life for the last three decades.

This is one of the Top 5 Madonna songs of all time in my humble estimation, joining the elite of the elite such as ‘Like A Prayer‘, ‘Vogue’, and my personal fave ‘Drowned World/Substitute For Love‘. It is Madonna’s greatest clarion call to emotional arms, a defiant anthem for self-empowerment, and a celebration of the love that we all deserve to so demand.

YOU DON’T NEED DIAMOND RINGS OR 18 KARAT GOLD

FANCY CARS THAT GO VERY FAST, YOU KNOW THEY NEVER LAST, NO, NO

WHAT YOU NEED IS A BIG STRONG HAND TO LIFT YOU TO YOUR HIGHER GROUND

MAKE YOU FEEL LIKE A QUEEN ON A THRONE, MAKE HIM LOVE YOU TIL YOU CAN’T CALM DOWN.

Summer 2012: The last time Madonna performed this song in a proper way was on her anger-fueled ‘MDNA Tour‘ – it was the first ray of light in that dark night of majesty. Following a demon-filled hell-set of flames and fury, she suddenly appeared as a cheerleader, pom-poms and all, with a flying marching band above her head. As cartoon images of working women appeared behind her, she sang out her signature hit and seamlessly slipped into a bit of Lady Gaga’s ‘Born This Way’ in the slyest shading of shade. Using the controversial rip-off as a way of reinventing her own song was genius; tacking on a bit of ‘She’s Not Me‘ was the icing on an icy cake. Look it up, indeed.

I’d not really listened to the song in a while, but given this new context it fit into the proceedings quite well, coming as it did on the tour that supported her divorce-laden MDNA album. (Interesting to note that the original ‘Express Yourself’ was from her first divorce album, ‘Like A Prayer’.) It was clear that after all this time, Madonna’s main credo was still to be found in this 1989 classic, perhaps her most glaring antidote to the ‘Material Girl‘ manifesto that had previously defined her early career.

DON’T GO FOR SECOND BEST BABY, PUT YOUR LOVE TO THE TEST

YOU KNOW, YOU KNOW, YOU’VE GOT TO MAKE HIM EXPRESS HOW HE FEELS

AND MAYBE THEN YOU’LL KNOW YOUR LOVE IS REAL.

Summer 2004: Madonna made ‘Express Yourself’ a military exercise in arms during the ‘American Life’ segment of 2004’s Reinvention Tour. Barking orders to her troop of gun-slinging gentlemen, she switched out the intro to ‘Come on boys, do you believe in love?’ and the gay guys saluted in screams and sing-a-longs. I was glad to see her resurrect the song from a too-long dry-spell, and it definitely deserved to be on one of Madonna’s more hit-heavy tours.

I have a distinct memory of strutting down the streets of Manhattan after this concert. Suzie and I had just parted ways at the subway stop, and with a sense of inspiration and empowerment I walked in the direction of my hotel. An insignificant moment: a moment alone in the city, feeling like I was on top of the world. I didn’t realize how young I still was. We never realize how young we are. On that night, the metropolis sparkled in hazy summer form, and the loneliness that sometimes accompanies a walk in New York had dissipated like the summer storm that struck right before the concert. In many ways I was still just a boy who believed in love, and at that high of a moment I wanted to sing about it too.

LONG-STEM ROSES ARE THE WAY TO YOUR HEART BUT HE NEEDS TO START WITH YOUR HEAD

SATIN SHEETS ARE VERY ROMANTIC, WHAT HAPPENS WHEN YOU’RE NOT IN BED?

YOU DESERVE THE BEST IN LIFE, SO IF THE TIME ISN’T RIGHT THEN MOVE ON

SECOND-BEST IS NEVER ENOUGH, YOU’LL DO MUCH BETTER BABY ON YOUR OWN.

DON’T GO FOR SECOND BEST BABY, PUT YOUR LOVE TO THE TEST

YOU KNOW, YOU KNOW, YOU’VE GOT TO MAKE HIM EXPRESS HOW HE FEELS

AND MAYBE THEN YOU’LL KNOW YOUR LOVE IS REAL.

Fall 1993: “I’m gonna take you to a place you’ve never been before!” We go back in time further, to a moment when the world was a circus and Madonna was on her Girlie Show tour. I was in-between girlfriends. (Told you the world was a circus.) Madonna’s place in it was shifting too. Following the tumultuous ‘Sex’ book release and ‘Erotica’ album, she had been shaken off her pedestal by a fickle atmosphere that had been waiting for such a stumble since the ‘Like A Virgin‘ days. We have never been shy about our blood-thirst that way. The insanity of being Madonna came through on that tour, and in ‘Express Yourself’ it found disco glory and dance release. She descended from a giant disco ball, a future peek at ‘Future Lovers‘, then brought back the first of many disco infernos in a blonde afro wig, platform shoes and glammed-up sparkle. She was a showgirl no matter what, and at all costs.

As I made my way through the circus of my life, trying to make sense of my sexuality, trying to make everyone happy, trying to figure out how best to navigate the world of relationships and messy romances, I wanted to scream. When the world threatened to overwhelm like that, I found strange solace and release in that silly Girlie Show performance. She threw her hands up at the end of it, dancing with abandon on the end of the catwalk as longtime companions Niki Harris and Donna DeLory twirled behind her. “Cause you know they always do! (Every time!)”

AND WHEN YOU’RE GONE HE MIGHT REGRET IT

THINK ABOUT THE LOVE HE ONCE HAD

TRY TO CARRY ON BUT HE JUST WON’T GET IT

HE’LL BE BACK ON HIS KNEES, SO PLEASE…

It was too soon to ask, “Have I said too much?” and at various points in our lives we said more than we should have. When taken to an extreme, expressing yourself is bound to get you in trouble. For all the times I felt my heart break, there were one or two others I had broken along the way. I didn’t see that then. It was better to be bold and brash and bitter, to banish the love before it stood a chance of turning to hate. There’s no denying that Madonna stomped on a few hearts along her rocky romantic journey. Taking that as license to do the same, I turned any hurt I had into rage.

I walked to the beat of the bridge of this song, gleefully imagining the regret those who passed me by would one day feel, stamping out all my anger and disappointment onto the sidewalks, defying anyone to get in my way, staring out at the world with a vicious and potent gaze of fierce vehemence, of battle-worn heartbreak, of the kind of madness that comes only from being denied love. Love was a battlefield and this was my battle cry.

DON’T GO FOR SECOND BEST BABY, PUT YOUR LOVE TO THE TEST

YOU KNOW, YOU KNOW, YOU’VE GOT TO MAKE HIM EXPRESS HOW HE FEELS

AND MAYBE THEN YOU’LL KNOW YOUR LOVE IS REAL.

Summer 1990: The Blond Ambition Tour.

A sweaty mass of oiled-up shirtless men.

The spinning cogs of a rainy metropolis.

A gold-chained monocle.

A pin-striped suit.

Jean-Paul Gaultier’s cone bra.

She opened the legendary Blond Ambition Tour with ‘Express Yourself’ – an extension of the original video for the song, brought to thrilling life with her soon-to-be-iconic back-up dancers. It would be captured for posterity in ‘Truth or Dare‘, and like any good gay-guy-in-training, I promptly learned every choreographed step of the performance, and even found a monocle to make it legit down to the accessories. My stage-fright and shyness and social anxiety would never allow me to get very far, but behind the door of my bedroom – where no one else can see – I never tired of dancing there all by myself. Maybe one day I’d dance with someone else, but if the lesson of this song was anything, it was that I might be happy dancing alone. I might have to be.

{A fascinating side-note: the origins of that Blond Ambition performance actually run back to the MTV Video Music Awards in the fall of 1989. It was there where she first grabbed her crotch and, less-acknowledged, introduced a bit of voguing into the mix.}

Summer 1989: The follow-up to the ‘Like A Prayer’ single is released, along with the video.

The silky chartreuse dress.

The muscular dirty men.

The teasing lingerie peep-show.

The cat and the milk.

The monocle and the chains.

It was classic Madonna. All the elements that she would play with over the years were on full-display, all the kinks and giggles, the winks and nods, the tease and please. Above all else, it was a piece of pop art, the very best sort of video the medium could provide. With a few deft images, she pulled the gaze of men, women, and all of us in-between, marrying those Metropolis-fueled fantasies to a song and instantly creating a pop culture anthem that we’d be discussing decades later.

The original video was directed by David Fincher (who would later go on to direct ‘Vogue’ and the cinematic ‘Bad Girl’ along with an impressive body of films). It called out to my growing gay lexicon, resonating with something deep within me, something I could not name or categorize, but that I understood in a way that I’d never understand football or spitting or beer.

This was a world filled with beautiful men, commanding women, and an art-deco atmosphere that favored freedom above all else. The freedom to live, the freedom to love, the freedom to express yourself. It was a world captured by Herb Ritts, drawn by Keith Haring, and choreographed by Vincent Paterson. Informed by visionary gay sensibilities and the shirtless male models whose job it was to support and strut behind her, Madonna has always been at her best when surrounded by great gay men and women. Yet rather than emasculating those around her, it made everyone a little more powerful. Far from chaining herself, Madonna had found the ultimate freedom. “A lot of people don’t say what they want. That’s why they don’t get what they want.” For all those reasons, ‘Express Yourself’ was and remains a monumental signature song for Madonna – mantra and lifestyle and credo in one.

A kaleidoscope of memories is the gift of many a classic Madonna song, and the memory of ‘Express Yourself’ that may mean more to me than anything was made in the summer of its release. It is my first memory of the song. My brother and I were in the family station wagon, on one of the last vacations of our youth, heading to Cape Cod. Already we were growing apart – my brother and I, and all of my family from me, it seemed. Yet we stayed together that trip. I made a bet with my brother that Mo Vaughn, a famous baseball player at the time, was in this song. He knew the song, and knew that Vaughn wasn’t in it anywhere, so he challenged me and took the bait. I waited and sang/talked my way through the part in which he appeared: “So if the time isn’t right, then Mo Vaughn!” He cracked up laughing. There was, and there is, no happier moment than cracking my brother’s exhausted veneer of dealing with my zaniness and making him genuinely bust up laughing.

The wind rushed through the windows in that fourteenth August of my life, the splendid sea-scented wilderness of the Cape washed over us, and the sun drenched the inside of the station wagon. We were enjoying the final days of a summer and a childhood that would be gone too soon. Madonna had unwittingly charted of course for my adult life. No longer would I be a shy scared child, but I didn’t know that then. All I knew was that the sun was warm. My brother and I were laughing in the backseat of the station wagon. The rest of the season stretched out, school felt a far way off, and the funk-fortified groove of a Madonna song made my world happy for a little while longer.

“WITHOUT THE HEART,

THERE CAN BE

NO UNDERSTANDING

BETWEEN THE HAND

AND THE MIND.”

SONG #140 – ‘Express Yourself’ – Summer 1989, and ever since

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

A LONG, LONG TIME AGO

I CAN STILL REMEMBER HOW THAT MUSIC USED TO MAKE ME SMILE

AND I KNEW THAT IF I HAD MY CHANCE, I COULD MAKE THOSE PEOPLE DANCE

AND MAYBE THEY’D BE HAPPY FOR A WHILE…

Chicago: April 2000

A new millennium had broken, and now my heart was following suit.

At the tail-end of my most serious relationship to date, I found myself about to depart Chicago, where I’d moved to make a life with my boyfriend. We’d been there almost a year ~ arriving at the end of summer, kicking leaves through that bright burning fall, and breaking up like patches of ice at the end of a difficult winter ~ but as I packed to leave one final time, I felt a tug at my heart at leaving the sprawling city where I hadn’t quite put down roots. Mostly, though, I felt the pinch of having to leave a man I still loved, even if I knew it would never work.

DID YOU WRITE THE BOOK OF LOVE

AND DO YOU HAVE FAITH IN GOD ABOVE?

IF THE BIBLE TELLS YOU SO…

NOW DO YOU BELIEVE IN ROCK ‘N’ ROLL,

AND CAN MUSIC SAVE YOUR MORTAL SOUL

AND CAN YOU TEACH ME HOW TO DANCE REAL SLOW?

He had started sleeping in his own bed. There’s nothing lonelier than having someone sleep in another bed in the same house. Even being alone is less lonely than that.

I knew he’d made the right decision. In my heart of hearts I knew. But that didn’t make the hurt any less. That didn’t offer much consolation. Being right isn’t the best way to feel better about yourself.

I would hear him weeping quietly some nights after the decision was made. It made me feel better, that I wasn’t the only one in pain. ‘Good,’ I thought to my eternal shame. ‘Good.’

Would it have been better if there had been someone else?

I wondered.

Once, a couple of weeks after we’d already broken up, I caught him looking back at a guy on the street and smiling. Filled with a rage I’d never known, and simultaneously shot through with the knowledge that this was really over, I almost fell to the ground, paralyzed by the sudden sting of it. Instead, I calmly said I’d see him later, then ducked into a store to collect myself. I never let on. He never noticed. We might have gone through life that way if he hadn’t been brave.

WELL, I KNOW THAT YOU’RE IN LOVE WITH HIM CAUSE I SAW YOU DANCIN’ IN THE GYM

YOU BOTH KICKED OFF YOUR SHOES, MAN, I DIG THOSE RHYTHM AND BLUES

I WAS A LONELY TEENAGE BRONCIN’ BUCK WITH A PINK CARNATION AND A PICK-UP TRUCK

BUT I KNEW THAT I WAS OUT OF LUCK THE DAY THE MUSIC DIED

I STARTED SINGING…

BYE, BYE, MISS AMERICAN PIE

DROVE MY CHEVY TO THE LEVEE BUT THE LEVEE WAS DRY

AND GOOD OLD BOYS WERE DRINKIN’ WHISKEY AND RYE

SINGING THIS’LL BE THE DAY THAT I DIE… THIS’LL BE THE DAY THAT I DIE

This was a death for me. This would be the last time I’d ever give my heart so completely, the last time I’d ever enter into anything without a fortress strong, and a barricade. That time of innocence, that beautifully tender time of optimism and hopeful belief ~ I let it die. Maybe all my tears and sorrow were for that, and not just for him. Sadly, pain is pain, no matter what the reason or source, no matter how much one tries to talk or rationalize a way out of it.

Even today, I retain sole rights to the innermost chambers of my heart. Just in case.

I MET A GIRL WHO SANG THE BLUES

AND I ASKED HER FOR SOME HAPPY NEWS

BUT SHE JUST SMILED AND TURNED AWAY

I WENT DOWN TO THE SACRED STORE

WHERE I’D HEARD THE MUSIC YEARS BEFORE

BUT THE MAN THERE SAID THE MUSIC WOULDN’T PLAY

Suzie picked me up to drive all my stuff back to Boston. I showed her around Chicago briefly, but my heart wasn’t in it. There was nothing happy about this visit. As I brought her to various landmarks, I remembered how I had visited them myself, mostly alone, but sometimes with him. We had once watched the beluga whales at the aquarium, right after the break-up, and I remember wanting to cry in the blue-aqua light, peering in at such sadly-captive creatures, ghost-like in beauty and longing. Their perpetual smiles were the cruel masks of nature, and I remember reading something that said the corresponding alchemy of laughing and crying were quite similar in make-up. Again, understanding something does not always make it easier. If anything, you’re at a greater loss.

WELL NOW, IN THE STREETS THE CHILDREN SCREAMED

THE LOVERS CRIED, AND THE POETS DREAMED

BUT NOT A WORD WAS SPOKEN

THO CHURCH BELLS ALL WERE BROKEN

AND THE THREE MEN I ADMIRE THE MOST

THE FATHER, SON AND THE HOLY GHOST

THEY CAUGHT THE LAST TRAIN FOR THE COAST

THE DAY THE MUSIC DIED

We rented a truck and somehow found our way back to the apartment in the days prior to GPS and cel phones. I ran up and down the three flights of stairs a number of times with Suzie and him, and when the last item was loaded Suzie got into the truck and waited. I went back one final time. There was nothing much to say. It had been my longest and most serious relationship. It had been the one I thought would last. It had been… the one. I had no contingency plan, no other way to go.

We hugged. He said we did good. In the kitchen by the back door, we stood beside one another. I had made him dinner there. On chilly nights when the heat wasn’t enough I’d stood in front of the oven trying to get warm. Nothing very momentous had happened in that spot. Until now.

Somehow, by the grace of MapQuest or Suzie, we found our way out. Chicago was entering my rear-view mirror, a vestige of the past, and I didn’t look back until we were well beyond me being able to see anything.

WE STARTED SINGIN’

BYE, BYE, MISS AMERICAN PIE

DROVE MY CHEVY TO THE LEVEE BUT THE LEVEE WAS DRY

AND GOOD OLD BOYS WERE DRINKIN’ WHISKEY AND RYE

SINGING THIS’LL BE THE DAY THAT I DIE

THIS’LL BE THE DAY THAT I DIE

As for this cover of the classic Don McLean song (reportedly written in nearby Saratoga Springs, NY) Madonna did reasonably well at least according to some critics (and McLean himself, who gave her version glowing remarks). It didn’t catch on with the public, but the beautiful video, William Orbit’s luscious production work, and Madonna’s own creamy vocals (backed by Rupert Everett no less, when they were still on speaking terms) worked to create a reprise of musical Americana. The second of her movie-music bridge songs between ‘Ray of Light‘ and ‘Music‘ (the first being ‘Beautiful Stranger’), ‘American Pie’ was a rare non-event in Madonna’s lexicon. Intended to cross-promote her appearance in ‘The Next Best Thing’ (whose brilliant soundtrack had her prints ~ and two songs ~ all over it) ‘Pie’ found her biding her time until Mirwais arrived on the scene.

I was waiting for something else.

Sadness to pass…

Forgiveness to come…

Healing to happen.

BYE, BYE, MISS AMERICAN PIE

DROVE MY CHEVY TO THE LEVEE

BUT THE LEVEE WAS DRY

AND GOOD OLD BOYS WERE DRINKIN’ WHISKEY AND RYE

SINGING THIS’LL BE THE DAY THAT I DIE

THIS’LL BE THE DAY THAT I DIE

WE STARTED SINGIN’

WE STARTED SINGIN’

WE STARTED SINGIN’

WE STARTED SINGIN’

SONG #139: ‘American Pie’ ~ Spring 2000

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

If it seems like we’ve just had a Madonna Timeline entry, it’s because we have. For songs such as this 2003 album cut, however, it’s not worth the hype or build-up. Despite my lifelong standom, I do not love absolutely each and every Madonna song. That would be crazy. Almost every album has at least one clunker in the bunch, and ‘I’m So Stupid’ is the weakest link of 2003’s ‘American Life’ opus. In fact, much of the malignment of that otherwise-promising album should be sourced to ‘Stupid’ – it really is that bad. At the time it was released, I was just so happy for new Madonna music that I found some redeeming bits in ‘ISS’, but time has not proven them worthy of redemption. Anyway, here’s a filler moment, and a filler post, to tide us over until the next moment of greatness. 

‘CAUSE I USED TO LIVE

IN A FUZZY DREAM

AND I WANTED TO BE

LIKE ALL THE PRETTY PEOPLE

 

I’M SO STUPID

‘CAUSE I USED TO LIVE

IN A FUZZY DREAM

AND I USED TO BELIEVE

IN A PRETTY PICTURES

THAT WERE ALL AROUND ME

BUT NOW I KNOW FOR SURE

THAT I WAS STUPID

SONG #138: ‘I’m So Stupid’ – Spring 2003

{Note: The Madonna Timeline is an ongoing feature, where I put the iPod on shuffle, and write a little anecdote on whatever was going on in my life when that Madonna song was released and/or came to prominence in my mind.}

PUT YOUR HEAD ON MY SHOULDER BABY

THINGS CAN’T GET ANY WORSE

NIGHT IS GETTING COLDER SOMETIMES

LIFE FEELS LIKE IT’S A CURSE

Water. It’s a natural element that Madonna has employed as a motif in various manners over the years. For her ‘Cherish’ video she went all wet and beachy-keen cavorting on the California coast to a trio of mermen brought to life by the magnificent Herb Ritts. A few years later she got even wetter, in lyrical and literal form, for the ‘Rain’ song and video off her “wet and a mess” ‘Erotica’ album.

Water is life, and Madonna turned to it when she needed to bathe in forgiveness and redemption. The ‘Secret’ video featured a baptism of sorts, while ‘Take A Bow‘ showed her as font of sadness, pouring forth salty tears from mascara-stained eyes. Water flowed through her gorgeous and dream-like ‘Bedtime Story’ video, yet all of this was but a hint of the flood to come.

I CAN’T CARRY THESE SINS ON MY BACK

DON’T WANT TO CARRY ANY MORE

I’M GONNA CARRY THIS TRAIN OFF THE TRACK

I’M GONNA SWIM TO THE OCEAN FLOOR

CRASH TO THE OTHER SHORE

SWIM TO THE OCEAN FLOOR

1998’s ‘Ray of Light’ album was drenched in the stuff. From opening track ‘Drowned World: Substitute for Love‘ (and the similarly-monikered tour that later followed) to the rain-matted finale ‘Mer Girl’, Madonna said she only realized in retrospect how much water imagery there was on the album. It’s there in ‘The Power of Goodbye‘ video, in the salty tears of her eyes or the salty water of a devouring ocean. William Orbit’s production also had a very liquid feel to it, with Madonna nicknaming him ‘Billy Bubbles’ for the various sound effects that he produced, lending everything a lusciously shimmering quality, reverberating with fullness and bubble-like beauty. It held dangers too, like water itself. A life-giving force, it could also take as much away.

CHILDREN KILLING CHILDREN WHILE THE

STUDENTS RAPE THEIR TEACHERS

COMETS FLY ACROSS THE SKY

WHILE THE CHURCHES BURN THEIR PREACHERS

WE CAN’T CARRY THESE SINS ON OUR BACK

DON’T WANT TO CARRY ANYMORE

WE’RE GONNA CARRY THIS TRAIN OFF THE TRACK

WE’RE GONNA SWIM TO THE OCEAN FLOOR

CRASH TO THE OTHER SHORE

SWIM TO THE OCEAN FLOOR

“Tell the rain not drop,” she pleaded in ‘Don’t Tell Me’, the last water reference she made for a few years, but soon it returned, like a spring rain. It played a part in her ‘Sticky & Sweet Tour‘ performance of ‘Devil Wouldn’t Recognize You‘ and the ‘Here Comes the Rain Again/Rain’ intro. Even as recently as her last album (‘Rebel Heart’) Madonna has invoked the multiple meanings of H2O, particularly in ‘Holy Water’ and ‘Wash All Over Me’. In ‘Devil Pray’ she laments, “I’ve been swimming in the ocean, til I almost drowned.” It’s fertile artistic ground, and she’ll likely keep going to that well until it runs dry.

LET THE WATER WASH OVER YOU

WASH ALL OVER YOU

SWIM TO THE OCEAN FLOOR

SO THAT WE CAN BEGIN AGAIN

WASH AWAY ALL OUR SINS

CRASH TO THE OTHER SHORE

I CAN’T CARRY THESE SINS ON MY BACK

DON’T WANT TO CARRY ANY MORE

I’M GONNA CARRY THIS TRAIN OFF THE TRACK

I’M GONNA SWIM TO THE OCEAN FLOOR

CRASH TO THE OTHER SHORE

SWIM TO THE OCEAN FLOOR

SONG #137 â€“ ‘Swim’ – Spring/Summer 1998