1 00:00:00,160 --> 00:00:02,920 Speaker 1: Welcome to five hundred Greatest Songs, a podcast based on 2 00:00:03,000 --> 00:00:07,840 Speaker 1: Rolling Stones hugely popular, influential, and sometimes controversial list. I'm 3 00:00:07,840 --> 00:00:08,920 Speaker 1: Britney Spanis and. 4 00:00:08,840 --> 00:00:10,880 Speaker 2: I'm Rob Sheffield and we're here to shed light on 5 00:00:10,960 --> 00:00:14,000 Speaker 2: the greatest songs ever made and talk about what makes 6 00:00:14,040 --> 00:00:14,920 Speaker 2: them so great. 7 00:00:15,360 --> 00:00:18,000 Speaker 1: So today we have a song by an artist we 8 00:00:18,680 --> 00:00:20,639 Speaker 1: have a lot to say about and we love and 9 00:00:21,200 --> 00:00:25,800 Speaker 1: recently both saw live Madonna. Into the Groove by Madonna. 10 00:00:25,920 --> 00:00:28,040 Speaker 1: This is one of three songs by Madonna on the list. 11 00:00:28,280 --> 00:00:30,520 Speaker 1: In the previous list, only Like a Prayer had made 12 00:00:30,840 --> 00:00:32,800 Speaker 1: the list before. I was at number three hundred in 13 00:00:32,880 --> 00:00:36,680 Speaker 1: the earlier versions. And in this list we have Into 14 00:00:36,720 --> 00:00:39,080 Speaker 1: the Groove at one six ' one. We have Vogue 15 00:00:39,120 --> 00:00:39,800 Speaker 1: on the list, and we. 16 00:00:39,840 --> 00:00:40,600 Speaker 3: Have Like a Prayer. 17 00:00:41,360 --> 00:00:43,600 Speaker 1: And today we're going to talk about Into the Groove, though, 18 00:00:43,680 --> 00:00:47,040 Speaker 1: which is a song from the Desperately Seeking Susan soundtrack, 19 00:00:47,280 --> 00:00:49,479 Speaker 1: great film. I don't even know where to begin with this. 20 00:00:49,640 --> 00:00:52,479 Speaker 1: I feel like we've been talking about Madonna even before this. 21 00:00:52,920 --> 00:00:56,080 Speaker 1: We're talking about Madonna constantly. I guess I want to know, like, 22 00:00:56,320 --> 00:00:58,160 Speaker 1: do you remember hearing the song for the first time? 23 00:00:58,240 --> 00:00:59,880 Speaker 1: Was it in the movie? Was it on the rat 24 00:01:00,840 --> 00:01:03,360 Speaker 1: What was your experience with Into the Groove. 25 00:01:03,760 --> 00:01:05,560 Speaker 2: On the radio before it was on the movie. It 26 00:01:05,640 --> 00:01:08,800 Speaker 2: was a song that was in the movie, which was brilliant. 27 00:01:09,000 --> 00:01:10,319 Speaker 3: Yeah, the greatest. 28 00:01:09,959 --> 00:01:15,240 Speaker 2: Film of the eighties in the Madonna cinematography department, except 29 00:01:15,280 --> 00:01:18,800 Speaker 2: Maybe Who's That Girl, which is also a brilliant eighties 30 00:01:18,840 --> 00:01:24,039 Speaker 2: Madonna movie. Into the Groove had a really different, lean, mean, 31 00:01:24,240 --> 00:01:27,160 Speaker 2: electric sound. It was very stripped down, it was very 32 00:01:27,200 --> 00:01:30,000 Speaker 2: low fi. It just sounded very punk rock. It was 33 00:01:30,080 --> 00:01:32,800 Speaker 2: very aggressive, just you know, a girl in a beat 34 00:01:32,840 --> 00:01:36,600 Speaker 2: box and everything about it. Even by the standards that 35 00:01:36,640 --> 00:01:40,800 Speaker 2: Madonna had already created as a pop star, this song 36 00:01:40,920 --> 00:01:46,760 Speaker 2: was absolute, absolutely electric, absolutely irresistible. Into the Groove is 37 00:01:46,800 --> 00:01:54,280 Speaker 2: really confrontational musically, vocally, in every way and completely impossible 38 00:01:54,280 --> 00:01:58,680 Speaker 2: to avoid. One of the best videos of the era 39 00:01:59,000 --> 00:02:03,280 Speaker 2: of videos where it's clips from a hit movie. And 40 00:02:03,920 --> 00:02:06,080 Speaker 2: you know, there were so many of those, so many 41 00:02:06,080 --> 00:02:09,320 Speaker 2: of those that made bad movies look fun. You know, 42 00:02:09,400 --> 00:02:11,720 Speaker 2: so many people went to see Flash Dance because the 43 00:02:11,760 --> 00:02:15,000 Speaker 2: maniac video was so much fun. Yeah, Flash Dance is 44 00:02:15,080 --> 00:02:18,880 Speaker 2: no fun. It's a terrible movie. Whereas you saw Into 45 00:02:18,919 --> 00:02:21,320 Speaker 2: the Groove and you saw Madonna in that club scene, 46 00:02:22,160 --> 00:02:25,200 Speaker 2: and that alone tells you everything that you want to 47 00:02:25,240 --> 00:02:27,560 Speaker 2: know about what makes this movie a classic. 48 00:02:27,720 --> 00:02:30,920 Speaker 1: Yeah yeah, I mean this was the song came after 49 00:02:31,080 --> 00:02:33,799 Speaker 1: Madonna's first two albums are self titled, and like a virgin. 50 00:02:34,400 --> 00:02:37,679 Speaker 1: I mean, it was already like Madonna fever was taking over. 51 00:02:37,760 --> 00:02:40,560 Speaker 1: There was like women were dressy as Madonna and like 52 00:02:40,600 --> 00:02:43,480 Speaker 1: wanting to like be Madonna. She was already becoming like 53 00:02:43,560 --> 00:02:46,400 Speaker 1: this massive, massive icon. She didn't even go on her 54 00:02:46,440 --> 00:02:49,320 Speaker 1: first tour until after Into the Groove came out, until 55 00:02:49,320 --> 00:02:51,720 Speaker 1: that summer was like a virgin tour. And I mean 56 00:02:51,800 --> 00:02:53,640 Speaker 1: just to even kind of like have that have that 57 00:02:53,760 --> 00:02:57,520 Speaker 1: kind of like phenomenon already exist from someone who in 58 00:02:57,600 --> 00:03:00,840 Speaker 1: pop history, no one has ever wanted to be a 59 00:03:00,840 --> 00:03:03,320 Speaker 1: pop star more than probably Madonna. Like she is, like 60 00:03:03,600 --> 00:03:05,160 Speaker 1: everyone thinks they want to be a pop star as 61 00:03:05,200 --> 00:03:07,120 Speaker 1: much as Madonna did, but I feel like it's like 62 00:03:07,800 --> 00:03:11,320 Speaker 1: unmatched in the level of like desiring kind of the 63 00:03:11,360 --> 00:03:14,560 Speaker 1: bigness of it that Madonna had. And she was very 64 00:03:14,600 --> 00:03:17,040 Speaker 1: good at being a pop star and becoming that pop star. 65 00:03:17,120 --> 00:03:19,560 Speaker 1: But I mean to think even just before this song 66 00:03:19,600 --> 00:03:22,000 Speaker 1: came out, before she isn't desperately seeking Susan, which was 67 00:03:22,080 --> 00:03:25,000 Speaker 1: a movie that like Diane Keaton and Mellie Griffiths wanted 68 00:03:25,080 --> 00:03:27,520 Speaker 1: the role of Susan in the film, and the director 69 00:03:27,560 --> 00:03:29,440 Speaker 1: gave it to Madonna because she was like, this girl 70 00:03:29,480 --> 00:03:33,480 Speaker 1: seems cool like and she does it so well. I mean, 71 00:03:33,520 --> 00:03:37,000 Speaker 1: it's kind of like a crazy kind of timeline to 72 00:03:37,080 --> 00:03:39,800 Speaker 1: think about now, I guess in the context of who 73 00:03:39,840 --> 00:03:42,360 Speaker 1: Madonna was and kind of how everything came together at 74 00:03:42,360 --> 00:03:42,760 Speaker 1: that time. 75 00:03:43,040 --> 00:03:47,800 Speaker 2: Absolutely, and her huge musical energy, which at that point 76 00:03:47,840 --> 00:03:51,440 Speaker 2: she was not really given credit for. She was very 77 00:03:51,480 --> 00:03:55,119 Speaker 2: widely dismissed as just someone who was just an anonymous, 78 00:03:55,160 --> 00:03:59,280 Speaker 2: replaceable pop starlett Into the Groove, that was really where 79 00:03:59,320 --> 00:04:02,120 Speaker 2: she put her personality front and center, not just her 80 00:04:02,200 --> 00:04:06,800 Speaker 2: vocal personality, and her personality is very demanding, pushy, impossible 81 00:04:06,800 --> 00:04:10,120 Speaker 2: to ignore in that song, but also her punk rock 82 00:04:10,240 --> 00:04:13,960 Speaker 2: energy and very much when she started she was cross 83 00:04:13,960 --> 00:04:17,480 Speaker 2: combination of different scenes in New York, the club scene, 84 00:04:17,720 --> 00:04:21,680 Speaker 2: the disco scene, the hip hop scene, and the new 85 00:04:21,720 --> 00:04:24,760 Speaker 2: wave dance scene, as well as the punk rock scene. Yeah, 86 00:04:24,760 --> 00:04:26,840 Speaker 2: you know was the Detroit she was from was very 87 00:04:26,920 --> 00:04:31,200 Speaker 2: much punk rock, sort of ground zero and Into the 88 00:04:31,240 --> 00:04:34,120 Speaker 2: Groove which was really just a stripped down punk rock 89 00:04:34,200 --> 00:04:37,640 Speaker 2: in your face approach to the pop and disco that 90 00:04:37,680 --> 00:04:41,440 Speaker 2: had made her famous. It really completely blew people's minds, 91 00:04:41,480 --> 00:04:42,960 Speaker 2: even people who already liked Madonna. 92 00:04:43,160 --> 00:04:46,400 Speaker 1: Yeah yeah, I think also, I mean, even to this day, 93 00:04:46,440 --> 00:04:49,120 Speaker 1: I feel like there's so much of her her writing 94 00:04:49,279 --> 00:04:51,400 Speaker 1: is so underrated. And this is a song that she 95 00:04:52,000 --> 00:04:54,800 Speaker 1: wrote with Stephen Bray. I mean, the Bridge is something 96 00:04:54,839 --> 00:04:57,599 Speaker 1: there's a great quote from Stephen Bray about just like 97 00:04:57,839 --> 00:05:00,599 Speaker 1: her just being on the microphone and suddenly having this 98 00:05:00,839 --> 00:05:03,320 Speaker 1: like live out your fantasy here with me, like on 99 00:05:03,400 --> 00:05:05,840 Speaker 1: the bridge and kind of making the song so much 100 00:05:05,880 --> 00:05:08,440 Speaker 1: better by just all this music pouring out of her. 101 00:05:08,520 --> 00:05:11,360 Speaker 1: Like her, her writing abilities are something that I feel 102 00:05:11,400 --> 00:05:14,960 Speaker 1: like goes so so uncredited in who she is as 103 00:05:15,040 --> 00:05:17,960 Speaker 1: a pop star, especially during this time, and really comes 104 00:05:17,960 --> 00:05:19,160 Speaker 1: across so much in the. 105 00:05:19,200 --> 00:05:23,039 Speaker 2: Song Absolutely Yeah. I mean. One of the things that 106 00:05:23,040 --> 00:05:28,320 Speaker 2: people always overlook most about Madonna is her musicality. And 107 00:05:28,320 --> 00:05:31,040 Speaker 2: it's funny that it's almost always the last thing people 108 00:05:31,080 --> 00:05:34,600 Speaker 2: talk about when they talk about Madonna. Her songwriting, her 109 00:05:34,640 --> 00:05:38,599 Speaker 2: musical imagination, which always came first with her and was 110 00:05:38,640 --> 00:05:41,800 Speaker 2: always very explicitly first. It's the part of her act 111 00:05:41,880 --> 00:05:45,159 Speaker 2: that people always took for granted and still take for granted. Yeah, 112 00:05:45,360 --> 00:05:48,000 Speaker 2: but Into the Groove sounded like nobody else had, sounded 113 00:05:48,040 --> 00:05:48,680 Speaker 2: like nothing else. 114 00:05:48,800 --> 00:05:49,280 Speaker 4: Yeah. 115 00:05:49,320 --> 00:05:52,240 Speaker 1: And it's also that thing of all of the kind 116 00:05:52,279 --> 00:05:55,280 Speaker 1: of like the stunts and the controversy, none of those 117 00:05:55,279 --> 00:05:58,640 Speaker 1: are effective without those songs being great. Like I mean, 118 00:05:58,680 --> 00:06:01,919 Speaker 1: even like the like a prayer video, that video and 119 00:06:01,960 --> 00:06:04,920 Speaker 1: the controversy that it made with the Catholic Church and 120 00:06:05,040 --> 00:06:06,960 Speaker 1: kind of having these burning crosses. I mean, just like 121 00:06:07,040 --> 00:06:11,040 Speaker 1: with that entire song would not be effective if that 122 00:06:11,120 --> 00:06:15,240 Speaker 1: song wasn't absolutely perfect, Like that's a great song, you know, 123 00:06:15,360 --> 00:06:17,640 Speaker 1: like a virgin too. I mean, just like the way 124 00:06:17,680 --> 00:06:19,440 Speaker 1: that she delivers that song, I mean, her kind of 125 00:06:19,440 --> 00:06:22,520 Speaker 1: writhing on the VMA floor is like it doesn't work 126 00:06:22,560 --> 00:06:25,239 Speaker 1: if that song's not good. And everything that she's done since, 127 00:06:25,279 --> 00:06:29,120 Speaker 1: you know, making comebacks in her forties and fifties and sixties, 128 00:06:29,160 --> 00:06:31,719 Speaker 1: like it's like making new music and making new kind 129 00:06:31,720 --> 00:06:33,920 Speaker 1: of risk with her music is like none of it's 130 00:06:33,920 --> 00:06:37,080 Speaker 1: effective without the fact that she has like such a 131 00:06:37,360 --> 00:06:41,599 Speaker 1: kind of brilliant mind and ear for you know, trying 132 00:06:41,640 --> 00:06:44,279 Speaker 1: out new things and being kind of willing to see 133 00:06:44,320 --> 00:06:46,440 Speaker 1: how she can sort of place herself in the context 134 00:06:46,480 --> 00:06:48,680 Speaker 1: of a scene or of a time in music. 135 00:06:48,800 --> 00:06:48,920 Speaker 4: You know. 136 00:06:48,960 --> 00:06:49,839 Speaker 3: Of course, we've talked. 137 00:06:49,720 --> 00:06:52,120 Speaker 1: About Ray of Light a lot in over over the 138 00:06:52,160 --> 00:06:53,960 Speaker 1: time that we've known each other, because we both love 139 00:06:54,480 --> 00:06:57,040 Speaker 1: that song and album. But like that is another great 140 00:06:57,080 --> 00:07:00,520 Speaker 1: example of like, there's this amazing kind of dance happy 141 00:07:00,560 --> 00:07:03,000 Speaker 1: in the late nineties, and Madonna fits right in and 142 00:07:03,040 --> 00:07:05,520 Speaker 1: she makes it work for herself and reinvents it and 143 00:07:05,560 --> 00:07:08,520 Speaker 1: like makes an album that comes to define the entire 144 00:07:08,560 --> 00:07:11,480 Speaker 1: era of music, you know, and continues to do that 145 00:07:11,520 --> 00:07:13,600 Speaker 1: over the course of her career. So it's always kind 146 00:07:13,600 --> 00:07:17,040 Speaker 1: of crazy when when people sort of downgrade how kind 147 00:07:17,080 --> 00:07:20,040 Speaker 1: of brilliantly musical she is in all those ways, because 148 00:07:20,320 --> 00:07:23,440 Speaker 1: none of those things will be effective without a great. 149 00:07:23,240 --> 00:07:26,720 Speaker 2: Song, absolutely, And it's something that, you know, because if 150 00:07:26,760 --> 00:07:30,400 Speaker 2: she was so controversial about every aspect of her pop stardom, 151 00:07:30,840 --> 00:07:34,200 Speaker 2: people tended to overlook how committed she was to music. 152 00:07:34,280 --> 00:07:36,680 Speaker 2: People assumed that that part of it she had no 153 00:07:36,760 --> 00:07:40,520 Speaker 2: interest in. Yeah, Shockingly, Rolling Stone magazine was not a 154 00:07:40,600 --> 00:07:43,240 Speaker 2: huge fan of Madonna when she showed up, And I 155 00:07:43,240 --> 00:07:46,680 Speaker 2: always remember a great line that one of Rolling Stone's 156 00:07:46,800 --> 00:07:49,520 Speaker 2: top music journalists at the time had to say about 157 00:07:49,520 --> 00:07:52,440 Speaker 2: her was maybe she'll move on to movies though anywhere 158 00:07:52,480 --> 00:07:55,760 Speaker 2: we'll do. That was a great line, right, great line. 159 00:07:55,960 --> 00:07:59,000 Speaker 2: So many people sincerely believe that about Madonna, even people 160 00:07:59,320 --> 00:08:02,280 Speaker 2: who really loved her music, assumed that she was just 161 00:08:02,800 --> 00:08:05,320 Speaker 2: in it to be a famous person. She'd move on 162 00:08:05,400 --> 00:08:08,080 Speaker 2: to movies, she'd move on to TV, she'd move on 163 00:08:08,120 --> 00:08:10,520 Speaker 2: to anything. And it turned out not just music, but 164 00:08:10,640 --> 00:08:13,640 Speaker 2: dance music was a lifelong passion for her. 165 00:08:14,120 --> 00:08:16,480 Speaker 1: Yeah, And the funniest thing is that some of her 166 00:08:16,480 --> 00:08:19,080 Speaker 1: greatest songs were just on the soundtracks for her movies, 167 00:08:19,160 --> 00:08:21,520 Speaker 1: Like thinking about Vogue being on the soundtrack to Dick. 168 00:08:21,360 --> 00:08:26,000 Speaker 2: Tracy, unbelievable, unbelievable. 169 00:08:25,280 --> 00:08:29,080 Speaker 1: Vogue, groundbreaking song in so many ways. Again on the list, 170 00:08:29,240 --> 00:08:31,960 Speaker 1: like that song is on the Dick Tracy soundtrack. It 171 00:08:31,960 --> 00:08:34,600 Speaker 1: was insane thing in the entire world of all the movies. 172 00:08:35,360 --> 00:08:37,160 Speaker 2: Unbelievable, unbelievable. 173 00:08:37,440 --> 00:08:38,760 Speaker 1: And I mean with into the Groove, I was reading 174 00:08:38,800 --> 00:08:40,240 Speaker 1: a little bit about the history of the song and 175 00:08:40,240 --> 00:08:42,960 Speaker 1: how she originally co wrote it with Stephen Bray for 176 00:08:43,120 --> 00:08:46,600 Speaker 1: another artist, and it was with the producer of Everybody 177 00:08:47,160 --> 00:08:49,080 Speaker 1: was going to buy the song and give it to 178 00:08:49,120 --> 00:08:51,440 Speaker 1: his fifteen year old proge and then Madonna took it back, 179 00:08:52,360 --> 00:08:54,160 Speaker 1: which is like kind of peak Madonna. She had a 180 00:08:54,160 --> 00:08:56,840 Speaker 1: great quote that I was reading about from a biographer 181 00:08:56,880 --> 00:08:59,000 Speaker 1: and like the early two thousands where she was just 182 00:08:59,040 --> 00:09:01,280 Speaker 1: like saying that I'm tough, I'm ambitious, and I know 183 00:09:01,360 --> 00:09:03,040 Speaker 1: exactly what I want. If that makes me a bitch, 184 00:09:03,080 --> 00:09:06,280 Speaker 1: that's okay, which is a very peak Madonna quotable. 185 00:09:07,240 --> 00:09:11,440 Speaker 2: She was so scary. Oh my gosh, she was really scary, 186 00:09:11,480 --> 00:09:13,880 Speaker 2: and she would say shit like that. I always remember 187 00:09:13,920 --> 00:09:17,880 Speaker 2: something she said about how she wanted to look the 188 00:09:17,920 --> 00:09:20,720 Speaker 2: way Ronnie Specter sounded yeah, and I was like, Wow, 189 00:09:20,720 --> 00:09:23,040 Speaker 2: what a thing to say. Yeah, she would just you know, 190 00:09:23,280 --> 00:09:26,800 Speaker 2: she always thought. She was always a scholar of pop history. 191 00:09:27,120 --> 00:09:30,880 Speaker 2: She was always somebody who knew all different types of 192 00:09:30,960 --> 00:09:33,320 Speaker 2: music and was willing to steal from all different types 193 00:09:33,360 --> 00:09:36,520 Speaker 2: of music. It came out in even the simplest songs 194 00:09:36,520 --> 00:09:39,679 Speaker 2: that she did. Yeah, and you know, like you said, 195 00:09:39,760 --> 00:09:42,080 Speaker 2: Into the Groove a very simple song in many ways. 196 00:09:42,240 --> 00:09:44,280 Speaker 1: Yeah, Yeah, I feel like Into the Groove is sort 197 00:09:44,280 --> 00:09:47,480 Speaker 1: of the I mean, maybe her first great dance record 198 00:09:47,520 --> 00:09:50,079 Speaker 1: before and kind of set the precedent for the rest 199 00:09:50,120 --> 00:09:52,600 Speaker 1: of her her career of kind of really kind of 200 00:09:52,640 --> 00:09:55,200 Speaker 1: reinventing and continuing to really hone in on her own 201 00:09:55,200 --> 00:09:59,000 Speaker 1: skills as like a great singer of amazing club tracks, 202 00:09:59,040 --> 00:10:01,360 Speaker 1: an amazing dance t but they. 203 00:10:01,360 --> 00:10:03,400 Speaker 2: Both all her, and it's funny to think of the 204 00:10:03,480 --> 00:10:07,520 Speaker 2: decades in between those songs, yeah, and that they're both 205 00:10:07,559 --> 00:10:11,840 Speaker 2: distinctly her specific musical and vocal personality. Madonna was the 206 00:10:11,880 --> 00:10:14,880 Speaker 2: type of eighties artist that people expected to fade away 207 00:10:15,000 --> 00:10:18,920 Speaker 2: very quickly, and for her staying power as an artist, 208 00:10:18,960 --> 00:10:21,760 Speaker 2: it's well to think that hung Up was her, you know, 209 00:10:22,320 --> 00:10:26,760 Speaker 2: thirty years after into the Groove, and yet this was, 210 00:10:26,840 --> 00:10:29,199 Speaker 2: you know, clearly the same artist, with the same sense 211 00:10:29,240 --> 00:10:32,400 Speaker 2: of fun, the same sense of mischief, and that kind 212 00:10:32,400 --> 00:10:36,240 Speaker 2: of continuity over the years is surprising, but it's it's 213 00:10:36,360 --> 00:10:36,959 Speaker 2: very Madonna. 214 00:10:37,160 --> 00:10:39,520 Speaker 1: Yeah, Like even with everything being so different over the 215 00:10:39,559 --> 00:10:42,199 Speaker 1: course of her career, like it's still she's able to 216 00:10:42,240 --> 00:10:45,160 Speaker 1: reinvent herself with kind of that still like ethos and 217 00:10:45,200 --> 00:10:47,800 Speaker 1: personality of who she is and every single thing. Like 218 00:10:48,080 --> 00:10:50,720 Speaker 1: she's able to really be so good at reinventing herself 219 00:10:50,760 --> 00:10:53,320 Speaker 1: while still like making sure it's like no one else 220 00:10:53,360 --> 00:10:55,480 Speaker 1: can really do this the way that I'm Madonna can 221 00:10:55,559 --> 00:11:00,000 Speaker 1: do this one of the Madonna songs that you feel 222 00:11:00,000 --> 00:11:02,240 Speaker 1: well should have or could have made the cut, or 223 00:11:02,240 --> 00:11:04,720 Speaker 1: do you think this is the perfect three songs that 224 00:11:04,760 --> 00:11:05,840 Speaker 1: made the list. 225 00:11:06,160 --> 00:11:09,840 Speaker 2: With Madonna, it's funny how many of her great songs 226 00:11:10,160 --> 00:11:12,600 Speaker 2: were hits, but also how many great ones she left 227 00:11:12,600 --> 00:11:16,680 Speaker 2: stranded on her albums. Promised to dry on Like a Prayer, 228 00:11:16,920 --> 00:11:19,000 Speaker 2: I see Like a Prayer is just a perfect album. 229 00:11:19,080 --> 00:11:21,360 Speaker 2: And it's why when you think of the songs that 230 00:11:21,480 --> 00:11:23,839 Speaker 2: become hits and the songs that don't. You mentioned The 231 00:11:23,880 --> 00:11:26,600 Speaker 2: Immaculate Collection, which is one of the most famous greatest 232 00:11:26,640 --> 00:11:30,600 Speaker 2: hits albums of all time perfect name Yes, coming at 233 00:11:30,640 --> 00:11:32,520 Speaker 2: the end of the eighties for her. It's funny you 234 00:11:32,559 --> 00:11:35,040 Speaker 2: look at that album and it leaves out so many 235 00:11:35,040 --> 00:11:38,520 Speaker 2: of her huge hits from the eighties. It skips Who's 236 00:11:38,559 --> 00:11:42,440 Speaker 2: That Girl, which was an actual number one hit from 237 00:11:42,440 --> 00:11:45,040 Speaker 2: eighty seven. It's really wild to think of Madonna in 238 00:11:45,040 --> 00:11:47,240 Speaker 2: that period with someone who who could leave a number 239 00:11:47,240 --> 00:11:50,960 Speaker 2: one hit off her greatest hits album, Angel, which is 240 00:11:51,000 --> 00:11:54,199 Speaker 2: one of my very favorites, and Dress You Up, another 241 00:11:54,240 --> 00:11:56,040 Speaker 2: one of my favorites. Those are both left off the 242 00:11:56,080 --> 00:11:59,600 Speaker 2: Immaculate Collection. Angel is a I mean it was a hit. 243 00:11:59,679 --> 00:12:00,360 Speaker 3: It a hit. 244 00:12:00,440 --> 00:12:03,520 Speaker 2: She had so many radio hits in that era, and 245 00:12:03,600 --> 00:12:05,480 Speaker 2: yet that one kind of falls by the wayside. But 246 00:12:05,640 --> 00:12:08,200 Speaker 2: I think that's just an unbelievably perfect song. 247 00:12:09,480 --> 00:12:09,680 Speaker 4: Yeah. 248 00:12:09,720 --> 00:12:12,040 Speaker 1: I mean we both went to the Celebration tour as 249 00:12:12,040 --> 00:12:14,000 Speaker 1: it came through. I went to the Brooklyn show. Did 250 00:12:14,000 --> 00:12:14,960 Speaker 1: you go to Massis Square Garden? 251 00:12:15,040 --> 00:12:15,240 Speaker 4: Yeah? 252 00:12:15,320 --> 00:12:17,800 Speaker 1: Yeah, I mean even in the time since I went 253 00:12:17,840 --> 00:12:20,800 Speaker 1: to that show. In early December, Ariana Grande drops a 254 00:12:20,800 --> 00:12:24,120 Speaker 1: song that is sampling and referencing Vogue. You know, it's 255 00:12:24,160 --> 00:12:27,400 Speaker 1: like so funny that that's like just something that's kind 256 00:12:27,400 --> 00:12:29,960 Speaker 1: of part of the cycle constantly. And of course that 257 00:12:30,040 --> 00:12:32,320 Speaker 1: song was a few years ago. Beyonce did a Break 258 00:12:32,320 --> 00:12:34,440 Speaker 1: My Soul remix with Vague. You know, it's like every 259 00:12:34,600 --> 00:12:38,679 Speaker 1: every artist is kind of referencing or nodding to Madonna constantly, 260 00:12:38,880 --> 00:12:40,760 Speaker 1: which is just like being able to see her in concert, 261 00:12:40,800 --> 00:12:42,719 Speaker 1: I was like, oh, yes, like this is truly. She 262 00:12:43,200 --> 00:12:45,439 Speaker 1: has such a blueprint for everything. 263 00:12:45,280 --> 00:12:49,880 Speaker 2: For everything, and such a huge emotional appetite. It's funny 264 00:12:49,920 --> 00:12:51,160 Speaker 2: that there are so many hits, you know, we're talking 265 00:12:51,160 --> 00:12:53,800 Speaker 2: about the hits that aren't just famous, but so many 266 00:12:53,880 --> 00:12:58,839 Speaker 2: of her really emotional sentimental, intense sort of ballads are 267 00:12:58,880 --> 00:13:01,480 Speaker 2: ones that often get lost in the shuffle again just 268 00:13:01,760 --> 00:13:04,079 Speaker 2: out of a sheer quantity of hits. But this used 269 00:13:04,120 --> 00:13:06,760 Speaker 2: to be My Playground was such a beautiful song and 270 00:13:06,800 --> 00:13:10,040 Speaker 2: for so many artists would be like a classic that 271 00:13:10,080 --> 00:13:13,240 Speaker 2: they would you know, model the rest of their career on. 272 00:13:13,720 --> 00:13:17,640 Speaker 2: And from Madonna, it was like just another smash hit 273 00:13:17,720 --> 00:13:20,360 Speaker 2: that was from a soundtrack that she moved on from 274 00:13:20,480 --> 00:13:22,920 Speaker 2: very quickly. Yeah, but she just left so many great 275 00:13:22,920 --> 00:13:25,120 Speaker 2: songs like that all over every phase of her career. 276 00:13:25,280 --> 00:13:25,520 Speaker 4: Yeah. 277 00:13:25,600 --> 00:13:27,319 Speaker 1: Well, maybe let's talk a little bit about Desperately Seeking 278 00:13:27,320 --> 00:13:29,679 Speaker 1: Season because we haven't talked about it enough, Which is 279 00:13:29,800 --> 00:13:31,360 Speaker 1: that I watched the film for the first time a 280 00:13:31,400 --> 00:13:33,839 Speaker 1: few years ago, just like again like the trajrectory of 281 00:13:33,960 --> 00:13:36,719 Speaker 1: like what is happening in those first few years of 282 00:13:36,760 --> 00:13:39,400 Speaker 1: Madonna's career. It's just like so funny to look back 283 00:13:39,480 --> 00:13:41,480 Speaker 1: on and like piece that timeline together and be like 284 00:13:42,080 --> 00:13:44,319 Speaker 1: how did this happen? And like how kind of like 285 00:13:44,920 --> 00:13:47,360 Speaker 1: cosmic and amazing that it was that this all kind 286 00:13:47,400 --> 00:13:49,560 Speaker 1: of happened at once. But I mean, she's like perfect 287 00:13:49,600 --> 00:13:52,000 Speaker 1: as this like bohemian drifter in the film, and with 288 00:13:52,160 --> 00:13:54,800 Speaker 1: Rosanna Archett. I think it's just like such a perfect 289 00:13:55,360 --> 00:13:57,600 Speaker 1: movie for her to kind of have out the. 290 00:13:57,600 --> 00:14:00,400 Speaker 2: Gate with this. Yes, and it's so funny that it's 291 00:14:00,440 --> 00:14:03,520 Speaker 2: a movie that's so saturated and hipster dumb in a 292 00:14:03,559 --> 00:14:05,839 Speaker 2: way that is so true to who Madonna is because 293 00:14:05,880 --> 00:14:09,080 Speaker 2: she really comes from that downtown scene. But it's also 294 00:14:09,480 --> 00:14:11,600 Speaker 2: really funny that, you know, it's the world's biggest pop 295 00:14:11,679 --> 00:14:14,160 Speaker 2: star at the time, which nobody expected when she was 296 00:14:14,160 --> 00:14:16,079 Speaker 2: actually making the movie. And she's in this movie and 297 00:14:16,080 --> 00:14:19,240 Speaker 2: there's bit parts for Richard Hell as the dead guy 298 00:14:19,280 --> 00:14:21,720 Speaker 2: she wakes up in bed with. You know, Arta Lindsay 299 00:14:21,840 --> 00:14:24,160 Speaker 2: is in the song, and Magnuson is in the song. 300 00:14:24,440 --> 00:14:27,640 Speaker 2: All these people who are really obscure New York bohemia 301 00:14:27,880 --> 00:14:32,160 Speaker 2: nightlife figures in the early eighties are in this movie. 302 00:14:32,440 --> 00:14:35,840 Speaker 2: The writing is so funny, way above like what people 303 00:14:35,880 --> 00:14:39,200 Speaker 2: were expecting. This wasn't a star vehicle. This movie is 304 00:14:39,280 --> 00:14:41,880 Speaker 2: always shocking how brilliant it is in every detail, on 305 00:14:41,960 --> 00:14:42,480 Speaker 2: every level. 306 00:14:42,720 --> 00:14:45,280 Speaker 1: I know, I love Rosanna Arcuat being like, let me 307 00:14:45,320 --> 00:14:48,040 Speaker 1: make a second after Hours, but this time with Madonna. 308 00:14:50,400 --> 00:14:53,880 Speaker 2: Who can forget the Rolling Stone cover with Madonna and 309 00:14:54,400 --> 00:14:58,640 Speaker 2: Rosanna Arquette from the moment when they were equivalently roughly 310 00:14:59,400 --> 00:15:01,600 Speaker 2: on the same level to co star in a movie 311 00:15:01,720 --> 00:15:05,080 Speaker 2: like this, And it's wild that in the movie, Rosanna 312 00:15:05,240 --> 00:15:11,720 Speaker 2: Arquette is so brilliant, so funny playing this really bored, frustrated, 313 00:15:12,200 --> 00:15:16,240 Speaker 2: annoyed person in this really horrible marriage. And there's this 314 00:15:16,320 --> 00:15:19,560 Speaker 2: great scene where Madonna is invading her house and reading 315 00:15:19,600 --> 00:15:22,200 Speaker 2: her diary. She says, it's got to be a code, 316 00:15:22,360 --> 00:15:24,680 Speaker 2: because nobody's life could really be this boring. 317 00:15:26,680 --> 00:15:28,920 Speaker 1: Yeah, she's so like, she's so charming and fun and 318 00:15:29,000 --> 00:15:30,880 Speaker 1: like it's such like a perfect kind of I know 319 00:15:31,160 --> 00:15:34,000 Speaker 1: all of these like multi hyphen it things of Madonna, 320 00:15:34,080 --> 00:15:35,920 Speaker 1: Like she really is like able to capture so much 321 00:15:35,960 --> 00:15:40,720 Speaker 1: of that in this movie where she's essentially playing herself. Yes, 322 00:15:40,760 --> 00:15:44,440 Speaker 1: it is essentially playing this like heightened Madonna who's not 323 00:15:44,520 --> 00:15:47,040 Speaker 1: a pop star, who in this universe Madonna also still 324 00:15:47,080 --> 00:15:49,680 Speaker 1: exists because she puts on the jukebox and into the 325 00:15:49,720 --> 00:15:50,320 Speaker 1: groove plays. 326 00:15:50,480 --> 00:15:55,280 Speaker 2: Yes, I you watch this scary New York from the eighties, 327 00:15:55,320 --> 00:15:58,440 Speaker 2: and it's really scary eighties New York. But it's wild 328 00:15:58,480 --> 00:16:00,560 Speaker 2: that there's this scene where Madonna's like, let's go to 329 00:16:00,640 --> 00:16:04,240 Speaker 2: the goth club and it's this totally improvised last minute scene. 330 00:16:04,480 --> 00:16:06,160 Speaker 2: They were like, wait a minute, we have this movie 331 00:16:06,240 --> 00:16:08,520 Speaker 2: coming out of comedy starring Madonna, and we don't have 332 00:16:08,600 --> 00:16:11,400 Speaker 2: a scene where she's actually in a club dancing. We 333 00:16:11,480 --> 00:16:14,480 Speaker 2: need to stick that in. And so, you know, those 334 00:16:14,520 --> 00:16:16,640 Speaker 2: were just the people who are hanging out in the club, 335 00:16:17,040 --> 00:16:20,440 Speaker 2: the goth guid doing the cobweb gathering dance. You know, 336 00:16:20,920 --> 00:16:24,080 Speaker 2: he alone is such a goth icon who inspired so 337 00:16:24,320 --> 00:16:26,720 Speaker 2: many goth kids over the years, just by being himself 338 00:16:27,080 --> 00:16:29,400 Speaker 2: dancing in the corner of this Madonna video and it 339 00:16:29,480 --> 00:16:32,680 Speaker 2: keeps cutting to him, and all the people on the 340 00:16:32,760 --> 00:16:35,400 Speaker 2: dance floor are stars in that scene. And Madonna's just 341 00:16:36,000 --> 00:16:40,720 Speaker 2: so brash, so brazen, even her dancing. Honestly, Like, who 342 00:16:40,800 --> 00:16:43,680 Speaker 2: goes into a public restroom in New York and does 343 00:16:43,760 --> 00:16:46,600 Speaker 2: not imagine what if I just turned on the hand 344 00:16:46,680 --> 00:16:50,960 Speaker 2: dryer and just dried my underarms in this public restroom. 345 00:16:51,400 --> 00:16:54,400 Speaker 2: What if people stare at me? Who cares? I'm Madonna, 346 00:16:54,400 --> 00:16:56,080 Speaker 2: I'm this cool. I can get away with this. Yeah, 347 00:16:56,480 --> 00:16:58,480 Speaker 2: at least once a year I walk into a restroom 348 00:16:58,480 --> 00:17:00,480 Speaker 2: and I think maybe this is the day I'll do it. 349 00:17:02,040 --> 00:17:03,560 Speaker 2: Who could be that fearless and brazen. 350 00:17:04,119 --> 00:17:07,160 Speaker 1: We're all striving to recreate Madonna's New York God. 351 00:17:07,240 --> 00:17:08,760 Speaker 2: We all are. Yes. 352 00:17:09,920 --> 00:17:11,960 Speaker 1: Well, when we get back, we will be joined by 353 00:17:12,040 --> 00:17:17,200 Speaker 1: Susi x Spasido to talk more Madonna. And we're back 354 00:17:17,240 --> 00:17:20,439 Speaker 1: with Susi x Spasito, a multi hyphenate of Madonna proportion. 355 00:17:20,680 --> 00:17:25,920 Speaker 1: She's a writer, editor, singer, DJ icon, legend, star. 356 00:17:26,320 --> 00:17:30,960 Speaker 2: Genius, queen of the universe, and huge hero to both 357 00:17:31,080 --> 00:17:31,680 Speaker 2: Brittany and me. 358 00:17:33,720 --> 00:17:39,080 Speaker 4: Oh my gosh, I really appreciate the fanfare, as you 359 00:17:39,160 --> 00:17:41,320 Speaker 4: both know, I'm huge fans of yours. 360 00:17:41,320 --> 00:17:44,040 Speaker 1: And we're very excited to talk about Madonna, who is 361 00:17:44,119 --> 00:17:46,000 Speaker 1: someone that we all have a lot of feelings and 362 00:17:46,160 --> 00:17:49,080 Speaker 1: opinions and favorite Madonnas. So, Susie, can you tell us 363 00:17:49,200 --> 00:17:53,160 Speaker 1: a little bit of your Madonna history, your personal history 364 00:17:53,160 --> 00:17:54,000 Speaker 1: with listening to Madonna. 365 00:17:54,119 --> 00:17:56,040 Speaker 3: Well, listen, it starts with my father. 366 00:17:56,720 --> 00:18:00,840 Speaker 4: He is a very loud Cuban American man born in 367 00:18:00,960 --> 00:18:03,760 Speaker 4: Jersey City, New Jersey, and he happened to be. 368 00:18:04,080 --> 00:18:06,639 Speaker 3: In New York City at the right place, at the 369 00:18:06,720 --> 00:18:07,240 Speaker 3: right time. 370 00:18:07,640 --> 00:18:10,520 Speaker 4: He told me that he met Madonna in nineteen eighty 371 00:18:10,560 --> 00:18:12,560 Speaker 4: two at the Palladium. 372 00:18:12,200 --> 00:18:16,439 Speaker 3: Wow in Manhattan. Oh Yeah, because she used to hang out. 373 00:18:16,480 --> 00:18:18,560 Speaker 4: I mean, she was part of the downtown scene, and 374 00:18:18,800 --> 00:18:20,640 Speaker 4: my dad was kind of a club kid. 375 00:18:20,760 --> 00:18:22,840 Speaker 3: You know, he would go to punk shows, you go 376 00:18:22,920 --> 00:18:23,680 Speaker 3: to dance Aityria. 377 00:18:24,440 --> 00:18:28,720 Speaker 4: He just has all these ridiculous stories. But my favorite 378 00:18:28,760 --> 00:18:32,280 Speaker 4: thing about his stories is he told me how much 379 00:18:32,560 --> 00:18:38,440 Speaker 4: Madonna absolutely loved Latino men. And I think, you know, 380 00:18:38,720 --> 00:18:44,160 Speaker 4: talking about Into the Groove, which was inspired by a Latino. 381 00:18:44,600 --> 00:18:47,760 Speaker 3: I think it's very fitting that I'm on this podcast. 382 00:18:48,800 --> 00:18:52,359 Speaker 4: Clearly Madonna made a huge impression on my dad, on 383 00:18:52,480 --> 00:18:53,000 Speaker 4: my family. 384 00:18:53,320 --> 00:18:54,800 Speaker 3: You know, I grew up listening to her. 385 00:18:55,119 --> 00:18:57,800 Speaker 4: My dad bought every single album of hers as it 386 00:18:57,880 --> 00:19:02,600 Speaker 4: came out, and so I yeah, she's left an indelible 387 00:19:02,680 --> 00:19:04,280 Speaker 4: mark on my psyche. Yeah. 388 00:19:04,600 --> 00:19:06,600 Speaker 1: And with Into the Groove, you talked about the origin 389 00:19:06,680 --> 00:19:08,520 Speaker 1: of it, which I think it's I was reading about 390 00:19:08,520 --> 00:19:11,600 Speaker 1: the story and it's like such like a I love 391 00:19:11,640 --> 00:19:14,360 Speaker 1: a good, like horny like origin story for a song, 392 00:19:14,440 --> 00:19:17,679 Speaker 1: which is like she was like seeing her neighbor dance 393 00:19:17,760 --> 00:19:20,080 Speaker 1: across the hall or something, and she said she finished 394 00:19:20,080 --> 00:19:22,000 Speaker 1: the song by the time they went on their last date. 395 00:19:22,280 --> 00:19:22,440 Speaker 2: Yeah. 396 00:19:22,480 --> 00:19:24,280 Speaker 1: I mean, it's just like a perfect kind of Madonna 397 00:19:24,400 --> 00:19:27,880 Speaker 1: eighties story. Origin of like how she wrote this even 398 00:19:27,920 --> 00:19:30,399 Speaker 1: before it found its home and desperately seeking Susan and 399 00:19:30,520 --> 00:19:33,439 Speaker 1: like where it was meant to be. But I love 400 00:19:33,520 --> 00:19:37,040 Speaker 1: a very kind of like peak Madonna horny origin story 401 00:19:37,119 --> 00:19:37,840 Speaker 1: for a song. 402 00:19:39,840 --> 00:19:42,600 Speaker 3: Yeah, I just I love how I feel like desperately 403 00:19:42,680 --> 00:19:43,399 Speaker 3: Seeking Susan. 404 00:19:43,960 --> 00:19:45,440 Speaker 4: I don't think it would have been the movie that 405 00:19:45,560 --> 00:19:48,040 Speaker 4: it was without her without that song. 406 00:19:48,119 --> 00:19:51,240 Speaker 3: I think that song really breathed life into it. 407 00:19:51,880 --> 00:19:53,879 Speaker 1: And where does Into the Groove land for you? In 408 00:19:54,119 --> 00:19:57,840 Speaker 1: like your sort of Madonna rankings of her music. 409 00:19:57,880 --> 00:20:01,560 Speaker 3: It's a forever classic. I feel like I don't know 410 00:20:01,720 --> 00:20:01,920 Speaker 3: I have. 411 00:20:02,280 --> 00:20:04,400 Speaker 4: It's like I have moods, and Madonna has a song 412 00:20:04,520 --> 00:20:07,040 Speaker 4: for every mood that I'm in and when I'm tearing 413 00:20:07,119 --> 00:20:09,800 Speaker 4: it up at karaoke, like Into the Groove is definitely 414 00:20:10,680 --> 00:20:14,560 Speaker 4: one of my one of my favorite like karaoke picks, 415 00:20:14,960 --> 00:20:17,440 Speaker 4: either either I sing it or somebody else. 416 00:20:17,560 --> 00:20:19,000 Speaker 3: Does you know it's a little. 417 00:20:18,920 --> 00:20:22,879 Speaker 4: High for me range wise, but yeah, it's like, you know, 418 00:20:23,000 --> 00:20:25,920 Speaker 4: it's the song that it was her biggest song. It 419 00:20:26,040 --> 00:20:28,920 Speaker 4: was the song she really made a splash with. I 420 00:20:29,040 --> 00:20:31,639 Speaker 4: think what's so wild to me is that she this 421 00:20:31,840 --> 00:20:35,399 Speaker 4: was like in nineteen eighty five, but she was. She 422 00:20:35,600 --> 00:20:36,840 Speaker 4: was like a downtown girl. 423 00:20:37,240 --> 00:20:39,560 Speaker 3: You know. She would kick it with the no Wave people. 424 00:20:39,720 --> 00:20:43,280 Speaker 3: That's how downtown she was, you know. So for her 425 00:20:43,480 --> 00:20:45,399 Speaker 3: to do a song like Into the Groove, I mean 426 00:20:45,920 --> 00:20:49,200 Speaker 3: she had range. Yeah. For me, I would definitely rank 427 00:20:49,240 --> 00:20:49,800 Speaker 3: it up high. 428 00:20:50,640 --> 00:20:54,720 Speaker 4: But I also, you know, I love the artie Madonna 429 00:20:55,119 --> 00:20:59,200 Speaker 4: as well, the really moody, like you know, low range singer. 430 00:21:00,440 --> 00:21:05,200 Speaker 4: When she gets into like her goss, when she gets 431 00:21:05,240 --> 00:21:07,880 Speaker 4: into her little goth vibes, or like her moody trip 432 00:21:07,960 --> 00:21:11,120 Speaker 4: hop Nellie Hooper vibes, I feel. 433 00:21:10,920 --> 00:21:13,720 Speaker 3: Like those rank higher than probably the rest of the 434 00:21:13,800 --> 00:21:16,800 Speaker 3: general public for me. But Into the Groove you can't 435 00:21:16,840 --> 00:21:17,160 Speaker 3: go wrong. 436 00:21:17,359 --> 00:21:19,680 Speaker 2: Yeah. Well, I wanted to ask you, as a goth 437 00:21:19,800 --> 00:21:23,359 Speaker 2: punk girl, how the gothness of the club scene in 438 00:21:23,600 --> 00:21:26,879 Speaker 2: Desperately Seeking Susan, which people saw because of the MTV 439 00:21:27,080 --> 00:21:30,720 Speaker 2: video and all the cobweb dancing in the video. Was 440 00:21:30,800 --> 00:21:34,400 Speaker 2: that a goth moment for you as a formative Madonna fan. 441 00:21:34,640 --> 00:21:34,840 Speaker 4: Yes. 442 00:21:35,440 --> 00:21:38,040 Speaker 3: I remember watching that movie with my dad and he's like, 443 00:21:38,080 --> 00:21:39,000 Speaker 3: look at this, look at this. 444 00:21:39,280 --> 00:21:41,520 Speaker 4: I was there, I was in this club, you know, 445 00:21:41,720 --> 00:21:45,639 Speaker 4: and at that time I was like, yeah, yeah, Dad, whatever, 446 00:21:46,040 --> 00:21:49,880 Speaker 4: probably making stuff up, but no I came to I mean, 447 00:21:50,000 --> 00:21:53,320 Speaker 4: it was definitely embedded in my mind, like, Okay, I 448 00:21:53,440 --> 00:21:55,879 Speaker 4: want to do that one day, And sure enough I 449 00:21:55,960 --> 00:21:58,920 Speaker 4: moved to New York at seventeen and looked for the 450 00:21:59,040 --> 00:22:01,960 Speaker 4: same thing. The only problem is it was two thousand 451 00:22:02,000 --> 00:22:05,040 Speaker 4: and seven and it was very recession core and everyone 452 00:22:05,240 --> 00:22:08,119 Speaker 4: was wearing neon, so it was a little different. 453 00:22:09,880 --> 00:22:13,200 Speaker 1: Be the gos Madonna you want to see in the world, yes, exactly. 454 00:22:14,920 --> 00:22:17,320 Speaker 1: You mentioned about singing her in karaoke, and I think, 455 00:22:17,400 --> 00:22:20,840 Speaker 1: especially as our queen vocalist, like I want to talk 456 00:22:20,840 --> 00:22:22,880 Speaker 1: about Madonna's voice a little bit because I think there's 457 00:22:23,680 --> 00:22:26,919 Speaker 1: it's so fascinating, like how there was so much critique 458 00:22:26,920 --> 00:22:28,840 Speaker 1: of it and so much of like the idea, and 459 00:22:29,160 --> 00:22:31,000 Speaker 1: there was even periods where she talked about the fact 460 00:22:31,040 --> 00:22:32,560 Speaker 1: that she didn't think that she was the greatest singer. 461 00:22:32,880 --> 00:22:35,080 Speaker 1: But I actually, like, I love so much of her 462 00:22:35,119 --> 00:22:37,480 Speaker 1: vocal performance on this song in particular. But there is 463 00:22:38,040 --> 00:22:40,080 Speaker 1: she has that sort of kind of like higher register 464 00:22:40,200 --> 00:22:43,359 Speaker 1: songs that make them sometimes pretty difficult to try to 465 00:22:43,600 --> 00:22:47,040 Speaker 1: tackle karaoke. But there is that on the bridge where 466 00:22:47,080 --> 00:22:49,239 Speaker 1: she kind of goes lower and does that like kind 467 00:22:49,280 --> 00:22:52,160 Speaker 1: of deep throated, like very throaty, like kind of yes 468 00:22:52,359 --> 00:22:55,720 Speaker 1: song and I love I Love like a throatier Madonna song. 469 00:22:56,000 --> 00:22:57,520 Speaker 1: I want to know a little bit about your sort 470 00:22:57,560 --> 00:23:00,479 Speaker 1: of analysis of Madonna's singing and how do you kind 471 00:23:00,480 --> 00:23:02,439 Speaker 1: of see her as a vocalist in the pop canon. 472 00:23:02,560 --> 00:23:04,720 Speaker 3: I think she was a powerhouse in her own right. 473 00:23:04,880 --> 00:23:07,959 Speaker 4: I feel like one of the things that gave her 474 00:23:08,080 --> 00:23:12,400 Speaker 4: the cool that she needed to succeed is her being, 475 00:23:12,560 --> 00:23:15,320 Speaker 4: you know, like a downtown scene kid who had a 476 00:23:15,359 --> 00:23:19,080 Speaker 4: little edge, who could push the boundaries a bit, especially 477 00:23:19,280 --> 00:23:20,000 Speaker 4: like lyrically. 478 00:23:20,440 --> 00:23:23,760 Speaker 3: And I think both she and Janet what they did 479 00:23:23,840 --> 00:23:24,960 Speaker 3: in the eighties. 480 00:23:24,960 --> 00:23:28,920 Speaker 4: When it came to really like being empowered and like 481 00:23:29,040 --> 00:23:35,120 Speaker 4: their sexuality and being like you know, encouraging of young 482 00:23:35,200 --> 00:23:38,480 Speaker 4: women to just talk about these things openly, to really 483 00:23:38,680 --> 00:23:40,719 Speaker 4: like be in tune with your body. 484 00:23:41,320 --> 00:23:43,520 Speaker 3: They're both like incredible dancers. 485 00:23:43,880 --> 00:23:46,480 Speaker 4: And I feel like Madonna, you know, she didn't give 486 00:23:46,480 --> 00:23:50,879 Speaker 4: herself enough credit for being the singer she is. Like 487 00:23:51,080 --> 00:23:53,720 Speaker 4: like I said earlier, she really has She has a 488 00:23:53,840 --> 00:23:57,000 Speaker 4: huge range for a singer. This was kind of it 489 00:23:57,119 --> 00:23:59,640 Speaker 4: was her her time to really like show it off, 490 00:24:00,080 --> 00:24:03,159 Speaker 4: want it. It's like the eleventh hour. She had to, 491 00:24:03,480 --> 00:24:05,320 Speaker 4: she had to write this song and stats so she 492 00:24:05,440 --> 00:24:08,719 Speaker 4: could go on this day with this hot quarry can 493 00:24:08,800 --> 00:24:11,879 Speaker 4: guy across the hall and come back like I don't know, 494 00:24:12,119 --> 00:24:17,800 Speaker 4: she sings it like she wants it, you know, and 495 00:24:18,240 --> 00:24:19,680 Speaker 4: I resuspect that so much. 496 00:24:20,040 --> 00:24:22,399 Speaker 1: There's so much urgency in her music. I feel like 497 00:24:22,520 --> 00:24:25,960 Speaker 1: the best Madonna songs have so much like like Borderline 498 00:24:26,080 --> 00:24:27,639 Speaker 1: is a big one for me. I think that's probably 499 00:24:27,680 --> 00:24:31,960 Speaker 1: that's probably like my my favorite of the of the 500 00:24:32,040 --> 00:24:34,720 Speaker 1: eighties era of Madonna and that song there's like so 501 00:24:34,840 --> 00:24:37,359 Speaker 1: much urgency in it, like and also just like this 502 00:24:37,480 --> 00:24:39,720 Speaker 1: like kind of like kind of I don't know, raw 503 00:24:39,840 --> 00:24:41,960 Speaker 1: anger almost and like it's like keep on pushing my 504 00:24:42,119 --> 00:24:45,119 Speaker 1: love over the borderline. Like it's just like but it's 505 00:24:45,119 --> 00:24:47,560 Speaker 1: also still such like euphour extol. I think like that's 506 00:24:47,560 --> 00:24:49,040 Speaker 1: why the Right of Light album and like a lot 507 00:24:49,040 --> 00:24:50,520 Speaker 1: of for he work with William Orbit works so well. 508 00:24:50,600 --> 00:24:52,960 Speaker 1: That's why you know, these kind of all these dance 509 00:24:53,320 --> 00:24:55,399 Speaker 1: records with her work so well, because there's like this 510 00:24:55,520 --> 00:24:58,520 Speaker 1: like real urgency that she's willing to give because sometimes 511 00:24:58,560 --> 00:24:59,960 Speaker 1: you just you gotta be urgent to get to the 512 00:25:00,119 --> 00:25:01,959 Speaker 1: dance floor, and you got to be urgent to win 513 00:25:02,040 --> 00:25:07,520 Speaker 1: over your hot neighbor you know well. Thank you so 514 00:25:07,720 --> 00:25:11,800 Speaker 1: much Susie for joining us today. Love talking Madonna, really 515 00:25:11,840 --> 00:25:12,399 Speaker 1: appreciate you. 516 00:25:12,800 --> 00:25:14,879 Speaker 3: Could not be more love talking about Madonna. 517 00:25:15,040 --> 00:25:18,920 Speaker 2: Listening to you to talk about Madonna is absolutely a 518 00:25:19,080 --> 00:25:20,040 Speaker 2: joy and education. 519 00:25:21,160 --> 00:25:24,480 Speaker 4: Thank you, Rob, Thank you Brittany. Always a fun time 520 00:25:24,560 --> 00:25:28,040 Speaker 4: with you. And yeah, until next time, Thanks. 521 00:25:27,880 --> 00:25:30,800 Speaker 1: So much for listening to Rolling Stone's five hundred Greatest Songs. 522 00:25:31,320 --> 00:25:34,720 Speaker 1: This podcast is brought to you by Rolling Stone and iHeartMedia. 523 00:25:35,280 --> 00:25:36,920 Speaker 1: Written hosted by Me, Britney. 524 00:25:36,600 --> 00:25:38,200 Speaker 2: Spanos and Rob Sheffield. 525 00:25:38,760 --> 00:25:42,760 Speaker 1: Executive produced by Jason Fine, Alex Dale, and Christian Horde, 526 00:25:42,960 --> 00:25:46,639 Speaker 1: and produced by Jesse Cannon, with music supervision by Eric Zeiler. 527 00:25:46,800 --> 00:25:48,280 Speaker 1: Thanks for watching and thanks for listening.