Y&RWorldTurner

Love Song had a purpose on the album, as it was her post-divorce album.

Not a favourite of mine, but it plays well into the theme of the album - which is still her most raw and vulnerable album.

Oh Father will always be a highlight for me, and the David Fincher directed video is a masterpiece.

Though the song wasn't really commercial and broke her string of top 10 singles when it peaked at #20.

I'm Breathless only sold well because it had Vogue slapped on it. She never really promoted it.

Hanky Panky was also a top 10 hit with no video and it wasn't radio friendly.

Sooner or Later won the Oscar for Best Original Song, and she performed it that night. Michael Jackson was her date to the Oscar's that year, lol.

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Ray of Light was the most important album in her career.

It came after a long gap between studio albums, her first since motherhood, and was the album that proved she still had "it".

It revitalized her pop career in a different way, and gave her the acceptance that she'd hadn't ever had within the music industry (as she was considered an outsider in that circle for most her career).

Ray of Light was her best selling studio album since Like A Prayer, and it was an even bigger hit in Europe and Latin America.

After Like A Prayer, it's also her most critically acclaimed album.

Kylie's big markets are the UK and Australia, though her commercial career has been on a wane in both markets in recent years.

Kylie worked with one of Madonna's old producers, Stephen Bray, on her 1990 Rhythm of Love album.

Here's the two songs they did together.

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Probably not, but he continued to remix her stuff, without her blessing.

The one time she gave her blessing (even though it wasn't on any single/maxi-singer) was when Donatella Versace personally appealed to her to have Junior remix Hollywood for one of her fashion shows.

http://nymag.com/nymetro/news/people/columns/intelligencer/n_8821/

Madonna’s rep, Liz Rosenberg, didn’t mince words when asked about the possibility of reconciliation. “Madonna did it as a personal favor,” she said. “I can assure you that Madonna will never work with Junior again.”

I'm not referring to that song in particular.

Junior's unofficially remixed Madonna's songs, without her or Warner authorizing him to do so. That's part of the reason she and him haven't been able to repair their relationship.

Junior also went on to unofficially remix some of her songs, which pissed her off more, since he wasn't commissioned to do so.

Madonna has never forgotten her club roots, no matter where she's gone and what she's experimented with musically. It's part of the reason why she dominates this particular area.

The Dance/Club Play Chart is very diva focused, since a lot of the club culture in America is largely dominated by the gay community.

It's looking more and more to me that Bryan and Kathleen were fired rather than leaving on their own accord. It's just the impression I get.

It looks like the rest of the year will be a "revamp" year for the show.

I don't think so.

Barbara's always said that even though she's glad they didn't kill Peggy off, she'll never return because she wants to enjoy life now, as EastEnders was a lot of hard work that took up most of her time.

Ratings...

Oprah got exactly what she set out for with this...

I wonder who else has to die for Oprah to land an interview with the family for a ratings boost.

I don't know if Oprah anticipated that OWN's failure would hurt her integrity and make her look so...desperate.

She's Tweeting about Kirkwood leaving, but hasn't mentioned anything about herself:

http://twitter.com/#!/KittyBeed

I wonder why they won't just promote Lorraine permanently, since she's been there for over a decade already.

EastEnders has always been a dumping ground for the BBC to test out producers and writers it seems.

Kirkwood's firing/leaving must have been abrupt, or else they would have had someone already lined up to take his place permanently.

I wonder if Sharon's return story is already planned, or if it will be by Newman or the new permanent producer.

^^^Oh, definitely, it was very bizarre.

Anyone who had Whitney's best interests at heart would never allow her to do an infomercial. Unless it's Proactiv, that's extremely hasbeen territory, especially for a candle of all things.

Oprah needed something to give her failing network a ratings boost, and since the Whitney special last month was their highest rated special programming in some time, she concocted this edition of Oprah's Next Chapter to strike while the iron was still hot.

Gary and Pat played into it for their own interests.

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Jennifer's [live] version is a lot more forceful and overly emotional. Barbra's original version is more sensual and subtle. Their takes on the song are very unique.

Barbra is the only artist to have had at least one #1 album in the 60's, 70's, 80's, 90, and 00's. If she scores another #1 album this decade, she'll keep the record in tact.

That's an amazing feat, since many aging divas find it hard to keep a recording contract past a certain age and release albums that actually chart.

Something seems very off about Bobbi Kristina.

I don't know her personally, so I have no idea of her real personality. But I get the sense that she puts on this "wise beyond her years" act while she really has no clue about how to deal with all that's happening in her life. That's what stuck out to me during her time with Oprah on the interview today. It's like she thinks she's a mature woman full of wisdom, but she's still a teenager.

My guess is they wanted someone younger and with a more powerful voice. Barbra said years later that she was too "young" for the part, but of course, stopped short of calling it a career blunder.

A lot of people, fairly or unfairly, credit Hello, Dolly! as the undoing of the movie-musical in Hollywood.

Anyway, as the popular disco version was posted earlier, here is the ballad version of The Main Event.

Her [gay] son Jason was the reason she recorded those few disco songs and duetted with Donna Summer, as he was a huge fan of Donna's.

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Another cover from the Stoney End album.

Many singer-songwriters I would imagine hated Barbra interpreting their music. LOL!

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Her version of Where You Lead isn't bad either:

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Didn't she feud with James Caan?

She's feuded with several male co-stars, thought I haven't heard too much about her and Cann.

Barbra and Walter Matthau hated each other on the set of the ill-fated Hello! Dolly though. They rubbed one another completely the wrong way.

By the 70's, Barbra had to embrace contemporary popular music and trends if she wanted her career to survive. Apparently, Clive Davis, who was at Columbia at the time, was a big reason why she switched to more of a contemporary outlook during that period.

The 60's were really the last era where the movie musical was still relevant, and with Funny Girl, she was really the last of the people to come from that genre when it was still a commercially viable form in Hollywood.

The Broadway Album was Barbra's big "return" to her musical roots after a decade of doing a mixed bag of pop/modern adult contemporary albums.

Barbra hated doing Funny Lady, she only did it because she was contractually obligated to do a sequel to Funny Girl if it was a success.

Think of Me was always my favourite off her debut album. Too bad it was never a single (then again, most songs on the album were singles).

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