Showing posts with label Music. Show all posts
Showing posts with label Music. Show all posts

Sunday, August 21, 2022

Madonna: Top 100 Songs

Madonna

Top 100 Songs

The dance-pop singer and record executive (Maverick Records) was born Madonna Louise Veronica Ciccone on August 16, 1958 in Bay City, Michigan. She was the third of six children born to an Italian-American. Her mother died of breast cancer when Madonna was only five. She was raised in a Catholic family in the Detroit suburbs and was a straight A-student who was on the cheerleading squad and studied ballet.

She went to the University of Michigan on a dance scholarship, but left in 1977 for New York, dreaming of being a ballet dancer. She performed with the Alvin Ailey dance troupe and studied with Martha Graham before forming the dance/po group the Breakfast Club. She signed to Sire Records as a solo artist in 1982.

She quickly established herself as a master of controlling “the media and the public with her music, her videos, her publicity, and her sexuality.” AMG She was “arguably…the first female pop star to have complete control of her music and image.” AMG She was named the most successful female recording artist of all time by Guinness World Records in 2000. She has sold an estimated 275 million albums worldwide and 75 million singles.

She was married to actor Sean Penn (1985-89) and British director Guy Ritchie (2000-08). She was also featured in movies such as Desperately Seeking Susan (1985), Dick Tracy (1990), A League of Their Own (1992), and Evita (1996), the latter of which won her a Golden Globe Award for Best Actress.

For a complete list of this act’s DMDB honors, check out the DMDB Music Maker Encyclopedia entry.

Click here to see other acts’ best-of lists.

Awards:


Top 100 Songs


Dave’s Music Database lists are determined by song’s appearances on best-of lists, appearances on compilations and live albums by the featured act, and songs’ chart success, sales, radio airplay, streaming, and awards. Songs which hit #1 on various charts are noted. (Click for codes to singles charts.)

DMDB Top 1%:

1. Like a Prayer (1989)
2. Like a Virgin (1984)
3. Vogue (1990)
4. Music (2000)
5. Into the Groove (1985)
6. Take a Bow (1994)

DMDB Top 2%:

7. Ray of Light (1998)
8. Hung Up (2005)
9. Crazy for You (1985)
10. Papa Don’t Preach (1986)

11. Holiday (1983)
12. 4 Minutes (with Justin Timberlake, 2008)

DMDB Top 5%:

13. Justify My Love (1990)
14. Don’t Cry for Me Argentina (1996)
15. Live to Tell (1986)
16. Borderline (1984)
17. Material Girl (1984)
18. Frozen (1998)
19. Express Yourself (1989)
20. I’ll Remember (1994)

21. American Pie (2000)
22. This Used to Be My Playground (1992)
23. Open Your Heart (1986)
24. Beautiful Stranger (1999)
25. Who’s That Girl? (1987)

DMDB Top 10%:

26. La Isla Bonita (1987)
27. Lucky Star (1984)
28. Die Another Day (2002)
29. Don’t Tell Me (2000)
30. Angel (1985)

31. Secret (1994)
32. True Blue (1986)
33. You Must Love Me (1996)
34. Sorry (2006)
35. Oh Father (1989)
36. Cherish (1989)
37. You’ll See (1995)

DMDB Top 20%:

38. Deeper and Deeper (1992)
39. Human Nature (1995)
40. Causing a Commotion (1987)

41. Dress You Up (1985)
42. Rain (1993)
43. Erotica (1992)
44. Me Against the Music (with Britney Spears, 2003)
45. Rescue Me (1990)
46. Give It 2 Me (2008)
47. What It Feels Like for a Girl (2001)
48. The Power of Goodbye (1998)
49. Hanky Panky (1990)
50. Celebration (2009)

51. Keep It Together (1990)
52. Bedtime Story (1994)
53. American Life (2003)
54. Love Don’t Live Here Anymore (1984)
55. Fever (1992)
56. Bad Girl (1992)

Beyond the DMDB Top 20%:

57. Give Me All Your Luvin’ (with Nicki Minaj & M.I.A., 2012)
58. Burning Up (1983)
59. Nothing Really Matters (1998)
60. Gambler (1985)

61. Santa Baby (1987)
62. Hollywood (2003)
63. Jump (2005)
64. Girl Gone Wild (2012)
65. Get Together (2005)
66. Love Profusion (2003)
67. Miles Away (2008)
68. Ghosttown (2015)
69. Living for Love (2014)
70. Bitch I’m Madonna (with Nicki Minaj, 2015)

71. Everybody (1982)
72. Sooner or Later (1990)
73. Dear Jessie (1989)
74. Drowned World/Substite for Love (1998)
75. One More Chance (1995)
76. Spotlight (1987)
77. Nothing Fails (2003)
78. Crave (with Swae Lee, 2019)
79. Now I’m Following You (with Warren Beatty, 1990)
80. The Look of Love (1987)

81. Where’s the Party? (1986)
82. I Want You (with Massive Attack, 1995)
83. Another Suitcase, Another Hall (1996)
84. Little Star (1998)
85. Medellin (with Maluma, 2019)
86. Something to Remember (1990)
87. Revolver (with Lil’ Wayne, 2009)
88. Bye Bye Baby (1992)
89. Masterpiece (2012)
90. Physical Attraction (1983)

91. Turn Up the Radio (2012)
92. Hey You (2007)
93. What Can You Lose (with Mandy Patinkin, 1990)
94. I Don’t Search I Find (2019)
95. I Rise (2019)
96. Love Song (with Prince, 1989)
97. Spanish Eyes (1989)
98. Impressive Instant (2000)
99. Hold Tight (2015)
100. More (1990)


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First posted 3/29/2012; updated 8/21/2022.

Saturday, August 31, 2013

Aural Fixation: Every Generation Got Its Own Moniker - Music in the iGeneration

Aural Fixation:

Every Generation Got Its Own Moniker: Music in the iGeneration

Aural Fixation” is a music-themed column I wrote for PopMatters.com from 2011-2013. They are no longer online there, but I have reformatted them here at the DMDB blog with additional videos, photos, and links, such as where to buy referenced albums. I have also used the title “Aural Fixation” for any essays I have written outside of PopMatters.com as well. To see the essays, check out the Dave’s Music Database Aural Fixation page. You can also purchase the essays in book format here.

Music geeks from my era might recall the song, “Every Generation Got Its Own Disease,” by Fury in the Slaughterhouse. It was a minor rock hit in 1994 – obscure enough, in fact, to make the granting of “one-hit wonder” status an iffy proposition.

When I first heard the tune, I had limited choices for accessing it again. I could plop down ten bucks or so for the entire album at a music store – if they had it in stock. I could watch endless hours of MTV or listen incessantly to my local alternative radio station and keep my fingers crossed that it might get played.

Today’s music fan can rip the song illegally, stream it, watch it on YouTube, hear it on a subscription music service, find it on satellite radio, or download it for 99 cents through from iTunes, Amazon, or any of a myriad of online stores. Oh, and they might stumble across some article or blog which has posted the song – you know, like here.

If nay-sayers are to be believed, the expectation that anything can be accessed anytime anywhere is at the heart of the disease plaguing the iGeneration. Blanche Clark and Catherine Lambert note that today’s tech-obsessed youth are ripped for their short attention spans, illiterate texting, and ignorance of privacy on social media. This is a group of young people who “choose YouTube over newspapers” and “smartphones over telephones” (Herald SunGlued to smartphones and YouTube, the oldest of the tech-obsessed iGeneration turn 18 this year”, 3 March 2013).

Before the teenage eUniverse launches a social media cyberspace attack upon me, let me attempt a feeble peace offering. There’s a long-established precedent of older generations lambasting “the youth of today.” In a Boise Weekly article, Ted Rall notes that Millenials were lambasted as narcissists. Generation X’ers were called “shallow, apolitical, unambitious shoe-gazers” (“Turn Up That Music: The Gen X-Millenial generation gap”, 12 June 2013). In fact, the article notes the Strauss & Howe book Generations which traces the tradition back to American colonial times.

I have no intention of trying to reach back 200 years. Some definitions may be in order. There’s surprisingly little consensus on when each generation ends and begins – or even how they should be labeled. For my purposes, I’m not going back any further than Baby Boomers (1946-64), the era which birthed rock and roll and many of the music trends we still see today. Then we have Generation X (1965-79), Millenials (1980-95), and the iGeneration (1995-2013).

So back to the problem with kids today. First of all, it is important to understand that iGeners never knew a life without electronic communication via the Internet, email, mobile phones, texting, blogging, laptops, tablets, Skype, YouTube, Facebook, Twitter, Pandora, Spotify, iTunes, iPods, iPads, and iTouch.

In his book, Rewired: Understanding the iGeneration and the Way They Learn. Larry Rosen identified a slew of characteristics of iGeners, including adeptness at multitasking, desire for immediacy, and the ability to use technology to create a vast array of content. He told Sharon Jayson in a USA Today interview (“Tech-savvy ‘iGeneration’ kids multi-task, connect”, 10 February 2010), that today’s young people “expect innovation.” Anything they want will “be tailored to their own needs and wishes and desires.” That also means, as child and adolescent psychologist Dave Verhaagen says in the USA Today article, that kids “know almost every piece of information they want is at their disposal whenever they need it.”

He identifies portability as key.

An article in Psychology Today (“Welcome to the iGeneration!”, 26 March 2010) noted that today’s typical teenager sends and receives more than 3000 texts per month, compared to 191 phone calls. The USA Today article cited a study by Rosen showing that more than half of 9 to 12 year olds have cellphones.

For those who can actually recall such antiquated devices as land-line-based telephones, pre-World Wide Web home computers, and televisions which only picked up a handful of channels, this new-fangled technology is often welcomed if not entirely understood.

With new technology comes change, both good and bad. On the plus side, who from my era didn’t appreciate the advent of remote controls to eliminate the need to keep getting off the couch to change channels? Who didn’t like when cordless technology eliminated the need to be tethered to the phone in the kitchen, where Mom and Dad could easily hear your conversations?

What, however, has technology done to how the iGeneration experiences music? What is their level of appreciation for it?

Perhaps the clearest change in behavior is that of multi-tasking. Today’s children will grow up in an attention deficit world which cannot carry on a five-minute conversation without an interruption from a chiming mobile phone to alert its user that some friend three-times removed has posted a new funny cat picture on Facebook.

This is a direct result of a world in which it is possible to ALWAYS be available. With a mobile device at their fingertips, today’s children are always accessible. That means music is ALWAYS available. As a teen, I saved my allowance so I could buy cassette tapes at the mall from chains like Musicland and Camelot. In my twenties, I made weekly excursions to the local CD store or department stores like Best Buy. Now new music is never more than a few clicks away.

I also had to “discover” music via the radio or MTV. Today’s kids send YouTube video links back and forth and can stream seemingly any music they want, anytime, anywhere.

In his own article in Neiman Reports for Harvard (“Understanding the iGeneration – Before the Next Mini-Generation Arrives”, Summer 2010), Rosen noted that even the pre-teen set average more than 1000 tweets per month.

Rosen identifies these characteristics of the iGeneration in the Harvard article:

  • increased media consumption
  • multitasking
  • e-communication (IMing, skyping, texting). A phone isn’t a phone but a computer
  • socializing
  • creativity
  • writing
  • motivation
On the ZD Net blog (“Defining the iGeneration: Not just a geeky bunch of kids”, 20 June 2010), Zack Whittaker says the iGeneration “represents a change in not only methods but attitudes and values.”

Whittaker would say one of the characteristics of the iGeneration is “isolated socialization” – meaning one can access people and their social lives from their desk or laptop. This group can also self publicize and be exposed like no other generation before it.

In Herald Sun article, social researcher Mark McCrindle notes that the generation is defined by how rapidly they integrate technology into their lives. He notes that baby boomers had vinyl while today’s teens have grown up with MP3 players, smartphones, and storing music in iCloud.

The article also notes that YouTube, with four million views per day, is second only to Google as search engines go. The iGeneration has grown up in a world of rapid social, culture, and economic change. They are adaptable and ready for change.

Being connected has become a huge part of their identity. Social networking allows teens to form surrogate extended families and work collaboratively and co-operatively. Psychologist and social researcher Professor Hugh Mackay notes that kids use their mobile devices “like an electronic security blanket.”


For more “Aural Fixation” essays, check out the Dave’s Music Database Aural Fixation page page.

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First posted 8/31/2013; updated 10/27/2023.

Saturday, September 16, 2000

Madonna landed her 12th #1 song with “Music”

Music

Madonna

Writer(s): Madonna, Mirwais Ahmadzaï (see lyrics here)


Released: August 18, 2000


First Charted: August 4, 2000


Peak: 14 BB, 2 GR, 2 RR, 16 A40, 11 UK, 19 CN, 14 AU (Click for codes to charts.)


Sales (in millions): 1.35 US, 0.42 UK, 2.51 world (includes US + UK)


Airplay/Streaming (in millions): 0.3 radio, 40.80 video, 80.37 streaming

Awards:

Click on award for more details.

About the Song:

As pop music’s reigning queen for the previous two decades, Madonna showed no signs of letting up in the new century. She “headed triumphantly into the new decade with this heavily electronic classic” AB’00 by tapping Mirwais Ahmadzaï, a French DJ and producer, “to craft stylish beats and update her sound for the ’00s.” CS The result was “one of Madge’s most rollicking songs of any decade.” CS It was “sparkling, witty, and more carefree than she had been since her downtown days of the mid’’80s.” TC

Lyrically, the song celebrates the power of musc to bring people together. She said the inspiration came from a Sting concert. When he played hits by his former band The Police, she noted that “Everyone was practically holding hands…I mean, it really moved me…And I thought, ‘That’s what music does to people.’” WK

“Music” was the second most successful dance single of the decade in the United States, only behind Madonna’s 2005 “Hung Up.” WK It was her twelfth chart-topper on the Billboard Hot 100 which, at the time put her only behind The Beatles, Mariah Carey, and Michael Jackson as the artist with the most #1 songs. It also hit the pinnacle in 24 other countries worldwide WK and was nominated for Grammys for Record of the Year and Best Female Pop Vocal Performance.

The video showed Madonna celebrating a plush lifestyle while riding around in a limo. The large fur coats she wore helped hide her four-month pregnancy with son Rocco. An animated section was also added to the video to substitute for live action shots that would have been too difficult to film.

The song also helped sound the death knell for Napster, which was at its peak of offering free digital downloads, when an unfinished version of “Music” was leaked months before its official release. She released a statement that the music “was stolen and illegally played on various websites.” WK The publicity elicited the support of many artists to join in lawsuits against Napster. In July of 2001, it closed its doors as a free service. SF


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First posted 4/23/2020; last updated 4/30/2024.