While even Barbra Streisand managed to get a nod from the Grammys (for Best Traditional Pop Vocal Album thanks to Walls), noticeably lacking from the OG gay icon list was Madonna. Lost amid “fresher” competitors like Billie Eilish, Ariana Grande, Lana Del Rey and, somehow, Vampire Weekend. Very strange indeed considering that Madame X was one of the most daring and memorable records released in 2019. Challenging norms and defying convention both sonically and with accompanying videos that included “Medellin,” “Dark Ballet,” “Crave,” “I Rise,” “God Control” and “Batuka.”
Recorded while in Lisbon for the benefit of her son, David Banda, joining the Benfica soccer team, the experimental nature of the album (going well-beyond anything Madonna did on Ray of Light or American Life, the two records consistently deemed her most avant-garde) is unapologetic and relentless throughout, with producer credits from Mirwais Ahmadzaï, Mike Dean, Diplo, Billboard, Jason Evigan and Jeff Bhasker.
Which is perhaps why the Grammys didn’t know what to do with it, Billie Eilish being just the right amount of “experimental” in the present climate. On that note, Eilish’s debut was given six nods (Best Solo Performance, Best New Artist, Record of the Year, Album of the Year, Song of the Year and Best Pop Vocal Album) for her debut, When We All Fall Asleep, Where Do We Go?. Mind you, Madonna’s self-titled first record received no award nominations, setting something of a precedent for being overlooked throughout her entire career, save for that Ray of Light moment at the 1999 Grammys. Because yes, out of twenty-eight nominations in the past thirty-plus years, she’s only won seven times. A head-scratching anomaly if ever there was one, and more than somewhat proving that to be acknowledged by “major” institutions with clearly no taste is more insult than compliment.
Even so, her label, Interscope, reportedly submitted Madame X for Album of the Year, “Medellin” for Best Pop Duo Performance and “Crave” for Record of the Year. The Recording Academy could not be bothered. For, more than anything, it seems Madonna continues to represent to “real” musicians that she is all raw ambition and no talent. The shadowy judgment that has cast a pall throughout the success of her fourteen studio albums, each offering at least one chart-topping single. But charts are of no concern to the Grammys, who want to see “true” singers shine. And yet, they seem to forget that show(wo)manship and artistry are key components to putting out a record that will endure (David Bowie certainly knew something about that).
As though seemingly punished for this ability to interweave all aspects of art into her career–a multimedia genius–Madonna has somehow been ignored. Then again, she has always rebelled against the establishment rather than seeking to be recognized by it. In this way, it is as she says on Madame X’s “Extreme Occident,” “Life is a circle”–and it will circuitously repeat the same pattern of Madonna being snubbed.
That is so typical of the Grammys to ignore a powerhouse such as Madonna . She is the type STAR that only comes around in a blue moon , her and a small handful of others who have remained relevant and yes, she will always be relevant, true stars like this who are able to keep their footing don’t need the coveted Grammy to show their status in the music industry. Mainstream had never been a label that M has been attached to . Why do you think there is no Star for Madonna in Hollywood. She did not want one . Several times she has refused the traditional Star . The person who is receiving the star pays for it themselves which I think is odd Thats Hollywood for you !
Her most avangarde albums are Ray of Light and Music. Not American Life. And no matter if grammies are avoiding her work all these years she is the biggest and will be the most remembered pop artist in the history. Influencing many other artists to imitate and try to repeat her strategy in the music and her work over the years. Not to mention she also left some of the best videos in the history of music.
I’ve been a huge Madonna fan for most of my 37 years of existence. When I was 8 years old I recorded Madonna’s “Rescue Me” and “Open Your Heart” off the radio onto a cassette tape and played/rewound/played it over and over. From that moment on I was obsessed and everything Madonna created to me was absolutely brilliant. Most noteworthy in her career (in my book) are the album’s “Something To Remember” (ballad compilation) and “Ray of Light.” However, after her incredibly genius album Confession On a Dancefloor (her finest disco/dance moment) Madonna began heading down a musical path that she’d never taken before. Not only did she begin chasing the trends, instead of creating them, she started becoming more desperate and bizarre in her obvious attempts to remain relevant and youthful. The Madame X album is a perfect example of a Megastar’s inability to evolve past their ego. With 5 flopped singles and total album sales under 100,000 total, I think the majority of the world agrees. I personally miss the sophistication of Ray Of Light and the genius behind all of her previous (and timeless) greatest hits of the 80s, 90s, and early 2000’s.