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Britney Spears Gets a L e s b y Kiss On Her Mouth From the Juicy Lips of Madonna

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  • Britney Spears Gets a L e s b y Kiss On Her Mouth From the Juicy Lips of Madonna

    http://news.yahoo.com/news?tmpl=stor...l&e=7&ncid=707

  • #2
    http://news.yahoo.com/news?tmpl=stor...l&e=7&ncid=707

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    • #3
      Madonna snogs Spears and Aguilera
      _________________________________

      Madonna has stunned the audience at the 20th MTV Video Music Awards by giving open-mouthed kisses on stage to Britney Spears and Christina Aguilera. Coldplay and Radiohead were among the winners at the ceremony - Coldplay took the Breakthrough Video, Direction and Group Video awards for The Scientist, and Radiohead won the Art Direction accolade for There, There. Britney Spears and Christina Aguilera gave a gyrating tribute of Madonna's Like a Virgin to open the show, dressed in the same kind of white bustier wedding dress Madonna wore while performing the song during MTV's inaugural awards broadcast in 1984.

      Madonna also sang her new "Hollywood" in a masculine all-black outfit. There were no big winners -- Missy Elliott's Work It won two awards, including Video Of The Year, while Justin Timberlake, Coldplay and Beyonce had three apiece. Country legend Johnny Cash, 71, nominated seven times for Hurt, won once. Other performances included 50 Cent's pimp-a-licous performance of P.I.M.P. during which he was joined on stage by Snoop Dogg, the ubiquitous former pimp Bishop Don Magic Juan, members of his G-Unit posse - and a bevy of half-naked women. Beyonce's **** video Crazy In Love, featuring her boyfriend Jay-Z, won three awards. She gave a showstopping performance with dozens of dancers, garnering a standing ovation from the crowd.

      Nominated for seven awards was Justin Timberlake's Cry Me A River video, which takes a not-so-subtle dig at ex-girlfriend Spears the video features Timberlake exacting revenge on a cheating Spears lookalike. Timberlake won best pop video for Cry Me A River, and best male video, beating Cash. "This is a travesty! I demand a recount," he said, before paying tribute to Cash.



      http://www.ananova.com/news/story/sm_814068.html

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      • #4
        I for one have never doubted Madonna was a l.e.z.z.i.e (or bisexual to be correct)

        "Do we care what people think of us? No!"
        -- Madonna and her entourage address the camera in the film "Truth or Dare"

        What Madonna has given to American culture, and culture throughout the world, is not a collection of songs; rather, it is a collection of images. Madonna's images of herself, and increasingly of her own fans, have become popular shorthand for what gender and sexuality might look like for a whole generation coming of age in the 90s. Conservative public intellectual Camille Paglia has lauded Madonna's open flaunting of her "w.h.o.r.e's ancient rule over men", while academics in fields from theology to q.u.e.e.r studies have written literally volumes on what Madonna's stardom means for gender relations, for American culture, and for the future.

        Madonna is history. Her rise to fame during the 1980s with smash hit songs such as "Material Girl" and "Like a Virgin" culminated in the early 90s with her transformation into a self-conscious icon of gender confusion. The avant-garde documentary "Truth or Dare", which chronicles her "Blonde Ambition Tour," and the book "S.e.x", her self-proclaimed "aesthetic" representation of sexual fantasy, mark the moment at which Madonna ceased to be a hot commodity and became instead a comment upon herself as a star. If any individual or corporation desires to retain a power it has gained, it must answer to the desires of those who help to make it powerful in the first place. For Madonna, fans of her music and critics of her image are her most important consumers and promoters. In large part, her fans have been juveniles, mostly female; and her critics have been intellectuals, mostly involved in the study of gender, sexuality, and the mass media. Madonna has two -- mostly divergent -- target markets here. Her juvenile audience, called during the 80s "Madonna- wannabes," can be relied upon to purchase her CDs, fashion accessories, videos, and tickets to her latest feature film (although her films have, with the exception of "Desperately Seeking Susan", largely gone unnoticed).

        Madonna is, in the early 90s, a cross-over act -- those who legislate intellectual taste preferences have given her their stamp of approval, and furthermore, she has been lauded by one of the hippest (and most visible) "alternative" communities around: the homosexual community. Like the juvenile and intellectual target markets Madonna has reached, the "q.u.e.e.r" markets have also avidly consumed Madonna's image and claimed a part of it as their own. This is perhaps most noticeable in male-to-female t.r.a.n.s.v.e.s.t.i.t.e and l.e.s.b.i.a.n communities, where Madonna "dress up" is all the rage. But her popularity among homosexuals goes beyond their desire to imitate her style, for Madonna is one of the only powerful entertainment figures in America who celebrates and represents q.u.e.e.r sexualities in her work. "Truth or Dare" features Madonna's entourage of homosexual male dancers, and her videos "Justify My Love" and "Erotica" contain explicit references to l.e.s.b.i.a.n sexuality, as well as a few other kinds of minority sexualities like S/M.

        Madonna has become in recent years the idiosyncratic female icon of a "post-gender" q.u.e.e.r community and academic theory communities. The work she has done since the 1980s is not intended to be entirely comprehensible for a wide audience -- juveniles, not yet educated in film or art history, will not likely understand "subversive" references to Marlene Dietrich or l.e.s.b.i.a.n photography of fin-de-siecle France contained in Madonna's recent work, nor are they likely to care either. It is also important to recall that Madonna has not been reabsorbed into some sub-culture she occupied before her fame. She became famous as a pop icon, not as a marginal figure who 'sold out' or accidentally hit the big time. Madonna made herself over into a symbol for, and promoter of, minority sexual culture as a result of those culture having already responded to her as such. Is Madonna sacrificing her popularity for the good of q.u.e.e.r people everywhere? That's not the point.

        Madonna's rise to fame began in the 1980s, often remembered as The Reagan Era. The 80s were dominated by the image and leadership of conservative Republican President Ronald Reagan, another cross-over phenomenon who went from a mediocre career in the entertainment industry to a prosperous career in the political industry. It was, in fact, during the 1980s that it became commonplace for media commentators to remark upon the disturbing continuity of the two industries' power over American and global citizens. Moreover, during the 1980s, a new kind of sexual coming-to-consciousness was up quite unlike the so-called "sexual revolution" of the 1960s. While the 80s were a time when American political leadership advocated a return to "traditional family values" and neo-conservatism, it was also a time when q.u.e.e.r. communities were discovering new opportunities for organization and public outreach. Madonna, you might say, was born on MTV in 1984 with the release of her video "Lucky Star," which featured her as a young "post-punk" woman dressed in several rosaries, bangles, black mesh, a wrap-around mini skirt, and, most memorably, a bare belly. "Into the Groove" is a song associated with the height of her "boytoy" phase, coming as it did soon after her first Number One single "Like a Virgin," (a song, incidentally, originally written for a man). The 1985 film "Desperately Seeking Susan" included Madonna as a character who resembled Madonna in nearly every way, and the soundtrack featured "Into the Groove." It is one of the only critically-acclaimed films Madonna has ever done (with "A League of Their Own" being another), and interestingly, she appears only as a supporting character who fuels the romantic fantasies of Roberta, a middle-class suburban house-wife looking for adventure. Madonna, in this film, in this 'boytoy' phase, functions as an image of the repressed other half of the neo-traditional 1980s woman.

        During the early 90s, Madonna altered her image and identity once more. With the release of "Truth or Dare", the book "S.e.x", and the videos "Erotica," "Vogue," and even the recent "Deeper and Deeper," Madonna finally answered directly to her minority fans and critics in the homosexual and academic communities. She became, as it were, a self-conscious postmodern icon of gender and sexuality. Madonna acts out her phantasies: she becomes Marilyn Monroe, "military man," or "S/M l.e.s.b.i.a.n." We can look at her (or she can look at herself) and say, "She's doing Marilyn," or "She's doing her "fascist dictator *******" persona." But underneath our recognition of what Madonna is 'doing' is our recognition that she's still Madonna, that is, she's still one person who happens to be female and simply bisexual.

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        • #5
          her "fascist dictator *******" persona." = her "fascist dictator l.e.s.b.i.a.n" persona."

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          • #6
            I wonder what her husband thought of it. His knickers must be in a knot! Or perhaps it was a publicity stunt and he was in on it.

            He freaked out while directing the love scenes in "Swept Away." He kept shouting, "get off my wife!" What a schmuck. The reviews were bad, but I loved the movie. Madonna at her absolute ugliest.

            I hope she divorces him and comes home.

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            • #7
              Josephine Schmo I don't think he would much care -- and after all, they say he's g a y himself; on the other hand, if you think it through, just because Madonna kissed another woman (okay two) in the mouth it does not mean she's l e s b i a n -- after all that was scene life, not real life, artists can do things not ordinarily allowed to plain ole folks like us

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              • #8
                I never said anything about Madonna being a *******.

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                • #9
                  ******* = l e s b i a n

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                  • #10
                    It's unbelievable to see how even an explosive woman like Madonna does not find the courage to live her l.e.s.b.i.a.n.i.s.m openly; things are beginning to change, though...

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                    • #11
                      She's not a l e s b i a n, she's b i.

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                      • #12
                        Has she publicly admitted that, Josephine?

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                        • #13
                          "She refused to deny that she was having a ******* relationship with bisexual Sandra Bernhard, who was a close friend in the early 90s."
                          http://www.guardian.co.uk/netnotes/a...516701,00.html

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                          • #14
                            Now look what's happening with the newspapers:

                            ATLANTA - The Atlanta Journal-Constitution apologized to readers Monday for using a picture of Britney Spears (news) kissing Madonna on the front page. The picture, not much bigger than a postage stamp, was near the top of Friday's front page. It showed Spears and Madonna in an open-mouth kiss they shared at the MTV Video Music Awards the night before. A larger version of the picture was in the Living section. The sloppy kiss picture elicited a deluge of complaints to the newspaper. In Monday's editions, managing editor Hank Klibanoff apologized, saying the picture should have been inside but not on the front page. Klibanoff compared the Spears picture to graphic images from the war in Iraq. "We ran images we otherwise might not have run. But that was war, and war was news. The photo we ran Friday was neither, and I wish I had limited its display to the inside of the Living section," Klibanoff wrote in a response to letters on the opinions page.



                            http://story.news.yahoo.com/news?tmp...jc_spears_kiss

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