Her school shooting message once again comes off as self-aggrandizing promo due to the inclusion of footage from a music video? The edit is also visibly fanmade for the occasion, and she just went "yeah, I'm going with this". The equivalent of this

when it shouldn't be about her at all.
Like, get her a PR team already, this is tiring.

You're probably going to get flak for this because of the PJ impulse to be overwhelmingly positive about any forum fave, but I find it tiring and irritating as well.

I think her message is coming from her heart so why even go there?

I have no doubt it's coming from her heart, but I wish it would come from her head.

I couldn't imagine Madonna working with British/Euro pop producers in the 80's; obviously she did in the late 90's and 00's.

PS - Supernatural - the single edit and the remix on Red, Hot and Dance - I love both mixes!

How do people on here rate Love Song with Prince, and Till Death Do Us Part?
I really like both.

Love Song is underrated. I'd easily take it over all of the album tracks from the previous three albums save maybe White Heat. I love how strange and anti-pop it is. The funk is so deep and the repetition of it is actually used to an interesting effect. It's a perfect reflection of the song's themes.

Till Death Do Us Part is a masterful deep cut. The extreme use of contrast, the incredibly vulnerable and heartfelt lyrics, the unexpected shifts the song takes. This is one song (along with Spanish Eyes and Promise to Try) that I would use to argue that Like A Prayer's album tracks are above and beyond the ones she created for her previous records.
I used to hate that song when I was younger, an immediate skip. Now, I think it's absolutely divine and those vocals ! Gorgeous.

Spanish Eyes and Oh Father are both very emblematic of how her vocals sounded during the era. The sob in her throat. I love it.

Spanish Eyes also features some of her best lyrics ever. They're on the cryptic side but that just adds to the intrigue of it.

True Blue shows evidence of her lyrical abilities when she puts in the effort (particularly in Live To Tell), but the Like A Prayer album really took things to the next level in that regard.
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Although I don't think it's her second best album overall, Madame X might just be my second favorite after Ray of Light. And really, the only reason I'm saying it's not her second best album is due to lyrics, which are very important to me (it's one reason I don't rate the debut as highly as other fans do). Sonically, it would be her very best if the vocals were just a bit better.

This is not to say that the vocals are not good. She got back to actually pushing her voice somewhat on Madame X. Not exactly in terms of power but just in terms of doing interesting things with it.

And, as I always say, Madame X is also quite a good lyrical package. The only real missteps in that regard are Future, which is lyrically hollow and smug, and Killers, which is still better than some of the "these cliches will do" wordsmithing on MDNA and Rebel Heart. It's of course more harmful in a societal sense because it's basically lyrical Colonialism, but Killers seems to at least be grasping at something even if the execution is really bad. Like, there's something to talk about with that song, even if the discourse is simply taking it to task. Whereas a song like Iconic is just so lyrically bland that it makes what is a very sonically appealing banger harder to listen to than it should be.

Madame X's melodies are also really underrated. A lot of fans think it's melodically weak but that's because they are looking at it from a purely Western perspective and not considering that Madame X has a greater focus on rhythm. This makes the melodies sound different and interesting IMO, even on some of the less experimental songs. I Rise, a song some fans have accused of being bland, has an interesting melodic twist in that it gets much more rhythmic and talky during the verses when you think it's about to settle into the usual melodicness of similarly-themed ballads.

Rebel Heart has excellent melodies, but Madonna had already mastered melody on such a profound level that that doesn't push her artistry forward. The less conventional melodies on Madame X do.
I Know It has kind of a weak sounding vocal and melody in the verses, but its chorus and post-chorus/bridge (not sure which it is, but I'm talking about the "take your love and run from me" part) slaps. I also really like the kind of cheesy saxphone (?) sounds of the intro.