A massive hit for Madonna, The Fame and Power is the best album of the year.
The album’s singles have become her most successful in the last decade.
It is also the best-selling album of 2017, and the top seller on iTunes, Spotify and other streaming services.
But there is a big problem with it: It doesn’t do anything that makes any sense.
There is nothing about the album that is actually new.
There are no surprises, no new songs, no surprises on the back catalog, no other surprises in the way of new artists.
And it doesn’t sound at all new either.
It’s basically the same old Madonna.
In fact, the album doesn’t even sound very new.
The new lyrics and melodies are all old, the songs are all very familiar, and there is absolutely no new material.
There’s no new music, no brand new music.
This is why we can’t get past the fact that The Fame And Power is a complete and utter disaster.
We will cover all the reasons why below, but first let’s look at what makes it so bad.
Why the New Song is a Problem The New Song was written by Madonna, a former producer who worked for Madonna and EMI, the parent company of Madonna’s label EMI Music.
She was hired by EMI after she quit her job at Virgin Records.
But this isn’t what Madonna was doing before this: She was making music for the masses.
The reason she left Virgin was because she wanted to make her own music.
That was not the way Madonna worked at Virgin, however.
Madonna has been very vocal about her disdain for what she considers to be “the system.”
But the way she sees it, there is nothing inherently wrong with the way the system works.
It just doesn’t work for her.
So why is she writing a song about how “system” she is?
Madonna’s song is titled The New Madonna.
She doesn’t seem to understand what that means.
She’s not even sure she knows what “systems” are.
She might be familiar with the phrase “big-studio, small-budget” and its association with the music business.
She does know what big-studios are.
The song is also about a “big” song, but the lyrics sound more like the song that EMI released in 2009, “Can’t Stop,” than anything else she has written.
There seems to be no clear definition for “system,” so it is hard to tell if this is a metaphor or a criticism.
The title is not new to the song.
In 2008, Madonna made an album called The New You.
It was about how she got “from nowhere” to where she is today, and how she’s trying to get to where it’s not, by finding her own voice and being her own person.
But what did “new” mean?
The New Me is about her trying to be like a “newme,” a person who has made a name for herself by becoming a star.
She talks about being a “champ,” a “glamour,” and even a “girl,” which is just a generic title for a woman.
But she doesn’t actually say anything about her “New Me.”
She just talks about the “system.”
What system is “New Madonna”?
She seems to think the system is something she can achieve by getting on TV and getting a lot of press.
In her song, she sings, “You can’t be me if you don’t get on TV.”
This is just the same as “New You.”
She sings, with the same conviction that she had before she quit Virgin, “I don’t know how you feel, but you’re on TV,” and that is why she is “new.”
In fact she sings in this song about “how much I love being on TV, you know, being able to see your face on TV” and how it makes her feel, even though she knows she isn’t on TV.
The same thing is true for her song about her new voice: She talks as if she is a “boy” who is “a boy with a voice.”
This isn’t new, either.
This was what EMI was trying to say when they hired Madonna in the first place.
They were trying to tell us that the new Madonna is “better” than the old Madonna, who is the “good girl” and who “didn’t have a big name,” because “she’s new.”
But “new Madonna” is a bit of a misnomer, because there are very few songs in The Fame That Have Any Meaning.
For example, “Lights Out,” Madonna’s debut single, doesn’t have any meaning, because it’s the only song on the album.
And “Love Me Like You Do” is not even a song at all, because its lyrics are about how Madonna’s “real” voice