Madonna – “Give Me All Your Luvin” (LMFAO MIX) ft Nicki Minaj, LMFAO
LMFAO breathes life into Madonna’s dance floor dead on arrival single. They turn the “Hey Mickey”-esque track into pretty much a track you’d find on their last album–in other words a “party rocking” dance number. It definitely gives the track the MUCH needed boost from its flat original sound. And LMFAO were smart enough to leave Nicki Minaj on the track. The Party Rockers may just save the Material Girl’s troubled new song after all!
Music Monday: DJ Steve Sidewalk says Melanie Amaro, Havana Brown are on “PURE FIRE”
0Music Monday: DJ Steve Sidewalk sounds off on Madonna’s newest single
1If anyone knows me, they know I am a long time Madonna fan. She’s the queen. However, I LOVE Madonna but I don’t LUV her. This song disasterously leaked back in late fall. Madonna and company claimed it was just a demo, but really it was just the version without MIA or Nicki–who, by the way, sound poorly added in.
When this track leaked, both dance floors and the social media sites instantly were not having it. I was hoping a revamped version and the Madonna marketing team would be able to save it come February, but sadly no. If you ask me, she should have picked a new song all together.
Kelly Clarkson scores kudos for National Anthem Performance. Watch it here! [video]
1Kelly Clarkson scored lots of high marks for her rendition of the National Anthem during Sunday’s Superbowl.
In case you missed it, we’ll kick off Music Monday’s with this video of Kelly’s performance of the “Star Spangled Banner” here (until it’s yanked off of YouTube):
Theatre Review: “Porgy & Bess”
0by Jonathan Warman
I have never seen Porgy & Bess before this production, I’m only familiar with it through the songs from it that have become standards, as sung by the likes of Ella Fitzgerald, Louis Armstrong and Christine Ebersole. Many purists have been carping over how much smaller director Diane Paulus’s adaptation is than the full-blown version done by opera houses, but I just don’t have that to compare it to. Even if this version is diminished, the stunning ambition of composer George Gershwin’s musical vision still takes my breath away.
Based on a novel by DuBose Heyward (who also contributed to the opera’s libretto) Porgy & Bess is set in the run-down neighborhood of Catfish Row, Charleston, South Carolina, where the beautiful Bess struggles to live in a community that shuns her, and the only one who truly, selflessly loves her is the crippled but courageous Porgy.
As a matter of fact the biggest problem I have with the show doesn’t have anything to do with the music or the approach to the story, but with Riccardo Hernandez’s willfully ugly set. I’m a big fan of successful abstraction, but this is far from successful. It neglects the specifics of a poverty-stricken South Carolina neighborhood, for no good reason, replacing those specifics with nothing evocative or even artistically interesting. Just dreary and unwieldy.
As for those wonderful songs, they live all the more vibrantly when you hear them in context – when Norm Lewis, as Porgy, sings “I Got Plenty o’ Nuttin’” it’s like the sun coming out after a grimly cloudy day. Audra McDonald is a vocally thrilling Bess, though for some reason she plays much of the role tentatively. Lewis is a deeply humane Porgy, and David Alan Grier brings out all the colors, light and dark, in the seductively slick Sportin’ Life. This Porgy & Bess doesn’t succeed on every point, but it’s a strong representation of a fascinating, flawed, ambitious work of art. Worth seeing.
For tickets, click here.
For more reviews and interviews by Jonathan Warman, see his blog Drama Queen.

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