Madonna et Anna Wintour réunies pour promouvoir Confessions II !

@Gilles TONIC Oui tu as raison, je partais du principe que les titres bonus seraient mélangés comme Extreme Occident ou Looking for Mercy sur Madame X, mais ce ne seront peut-être que des ajouts (ce serait mieux, je trouve ça perturbant de ne pas avoir une tracklist de base qui se retrouve sur toutes les éditions).

IFSF est une ouverture parfaite, très atmosphérique, qui fait monter crescendo la tension, un peu comme Drowned World sur Ray of Light.

Tout à fait d'accord El GREGO ! Ce look mystique et sophistiqué lui va tellement bien et correspond à une part importante de son ADN... Mais comme celui du body ;)
Pour le coup l'ère Madame X a quand même apporté beaucoup de looks différents (je pense à Batuka ou à celui de Frozen lors du MXTour).
Pour en revenir à Confessions II, je me demande s'il y aura d'autres ponts avec les morceaux de 2005 comme celui qui existe entre "I Feel so Free" et "Future Lovers".
Les innombrables éditions m'intriguent aussi sur un point : il semble exister un "continuous mix" tant pour l'édition 12 pistes que pour la 16 pistes.
J'imagine donc que les transitions n'auront rien à voir et que cela donnera presque 2 œuvres différentes...
Vivement le 3 juillet !!

Le choix de personnage pour le Met Gala de Madonna tombe sous l'évidence quand les références au tableau sont expliquées...
C'est tellement elle, tellement artistique et cohérent ; explications provenant de Drownedmadonna :

Leonora Carrington (1917–2011) was a British-Mexican surrealist painter, novelist and mystic — one of the last surviving members of the original Surrealist movement of the 1930s. Her work fused Celtic mythology, medieval alchemy, Kabbalah, Jungian psychology and feminist mysticism into a completely unique visual language. She was, in many ways, the ultimate outsider: a woman who refused to be anyone’s muse, who escaped Nazis, survived a psychiatric asylum, and reinvented herself in Mexico, where she painted her most powerful work.
Carrington painted The Temptations of Saint Anthony shortly after arriving in Mexico, inspired by Hieronymus Bosch’s version at the Museo del Prado in Madrid — which she had seen in 1940 while fleeing the Nazi invasion of France. The painting was created for a competition for the film Bel-Ami (1947), where she competed against Salvador Dalí, Max Ernst, Dorothea Tanning and Paul Delvaux.
What makes Carrington’s version extraordinary is precisely what made it lose the competition: while the other artists painted tormented demons and horror, Carrington painted serenity. As the caption reads, she depicts “a serene anchorite, master of a hybrid community: demons transformed into angelic beings, a witch with a red cauldron, a goat pouring vital water, and the spiraling Queen of Sheba.” The alchemical fire and the faithful pig symbolise victory over temptation, merging Christianity, Celtic witchcraft and alchemy into a reflection of “resilience and cosmic harmony.”
Of all the figures in this painting, Madonna chose to be the Queen of Sheba: the spiraling, dark-haired figure at the centre of that enormous flowing veil, the one whose presence is the true engine of the entire scene.
In the Kabbalistic tradition — which Madonna has studied deeply since the late 1990s — the Queen of Sheba is not simply a historical monarch. In the Zohar, the core text of Kabbalah, the Queen of Sheba is identified as Lilith herself — Adam’s first wife, created from the same earth as Adam, not from his rib. She refused to be submissive, spoke the divine name, grew wings and flew out of Eden. She was cast out, demonised, erased from the official story — and she became the most powerful feminine archetype in the entire Western mystical tradition.
Lilith is the original woman who would not submit. The first feminist. The one who chose freedom over paradise.
And here is where the circle closes completely.
Twenty-eight years ago, Madonna filmed the video for Frozen in the Mojave Desert and she appeared dressed in black, long dark hair, hovering above the ground, surrounded by crows and a black dog. She transformed, levitated, dissolved into liquid and was reabsorbed by the earth.
Every symbol in that video — the dark birds, the black dog, the three versions of herself, the desert — points to the same archetype: Hecate, Lilith, the primordial dark feminine that stands at the threshold between life and death, that cannot be possessed, that transforms everything it touches.
Madonna herself said she was depicting “the embodiment of female angst” — a mystical creature, neither alive nor dead, neither human nor divine.
Saint Anthony withstood demons and monsters. But what truly threatened him was not horror. It was the spiraling Queen of Sheba — serene, magnetic, cosmic.

La version de BYL qu’on entendrait sur les plateformes aurait évoluée . Les voix seraient davantage mise en avant et moins compressées.
Plus claire

Ah ben voilà un beau final pour BYL pour encore moins se lasser et c'est M qui dit la dernière phrase.

https://youtu.be/APr914f9wkE?list=RDAPr914f9wkE

ah ok, au temps pour moi

https://www.youtube.com/watch?v=adFn3L4KbsE

M. au Met Gala 2026, avec un petit quelque chose de Frozen :o