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2015 single by Madonna

2015 single by Madonna featuring Nicki Minaj

"Bitch I'grand Madonna"
The remixes cover showing Madonna in a blue top and pink highlights in her hair, with both her hands up. She is standing against a colorful haloed background.
Single by Madonna featuring Nicki Minaj
from the anthology Rebel Heart
Released June fifteen, 2015 (2015-06-15)
Recorded December i, 2014
Genre
  • EDM
  • trap
  • electro
  • dubstep
  • electropop
Length iii:47
Label Interscope
Songwriter(s)
  • Madonna Ciccone
  • Thomas Pentz
  • Ariel Rechtshaid
  • Maureen McDonald
  • Toby Gad
  • Onika Maraj
  • Sophie Xeon
Producer(s)
  • Madonna
  • Diplo
Madonna singles chronology
"Ghosttown"
(2015) 		"Bitch I'm Madonna"
(2015) 		"Hold Tight"
(2015)
Nicki Minaj singles chronology
"The Night Is Notwithstanding Young"
(2015) 		"Bowwow I'1000 Madonna"
(2015) 		"All Eyes on You"
(2015)
Music video
"Bowwow I'm Madonna" on YouTube

"Bitch I'k Madonna" is a vocal by American singer Madonna from her thirteenth studio album, Rebel Heart (2015), featuring guest vocals from rapper Nicki Minaj. The artists co-wrote the song with MoZella, Toby Gad, Ariel Rechtshaid, Diplo, and Sophie. It was released as the third unmarried from the anthology by Interscope Records on June xv, 2015, forth with a number of remixes deputed. Produced by Madonna and Diplo, it is an EDM song with lyrics most Madonna having continuous fun because she is Madonna.

The vocal divided music critics, as some called it "energetic", applauding Minaj'south rap verse and its unusual composition, while others criticized it for being "desperate to stupor". In the United States, "Bitch I'k Madonna" became the first Madonna song to enter the Billboard Hot 100 in three years, peaking at number 84. The song became Minaj's 63rd and Madonna's 57th Hot 100 entry, placing them at positions three and four on the list of women with the most entries on the chart. It also reached number-one on the Hot Dance Social club Songs chart, extending Madonna's lead as the artist with the virtually number-ones on the US dance chart. Worldwide, the song has reached the top-thirty in Hungary, and the digital charts of Republic of finland and Sweden.

The song's accompanying video, directed by Jonas Åkerlund, has Minaj and Diplo appearing aslope Madonna. The video also contains cameos from Diplo, Rita Ora, Chris Rock, Jon Kortajarena, Miley Cyrus, Alexander Wang, Beyoncé, Katy Perry, Kanye West, and Madonna's two sons, Rocco and David. It was shot at the Standard Hotel in New York City and shows Madonna and her entourage having a party throughout the building, ending at the rooftop. The release of the video to the streaming service Tidal was plagued past technical difficulties and was met with a mixed response. Critics complimented the craziness of the prune but panned the absence of the invitee stars from the set. Additionally, comparisons ensued with so recently released music video for singer-songwriter Taylor Swift'due south single "Bad Claret", which had featured similar guest stars. In guild to farther promote the vocal, Madonna performed "Bitch I'm Madonna" during her appearance on The Tonight Prove Starring Jimmy Fallon, which was received positively. Information technology was as well performed every bit the second vocal of the Insubordinate Middle Tour (2015–2016).

Background and evolution [edit]

American DJ Diplo co-wrote and co-produced "Bowwow I'm Madonna".

In Feb 2014, Madonna appear that she had begun working on her thirteenth studio album, maxim "I'k right at present in the process of talking to various co-writers and producers and talking about where I want to go with my music".[ane] By the next month she started posting a number of images on social media website Instagram, where she hinted at possible songwriters and collaborators with hashtag captions. Two months later, Madonna posted a selfie where she talked about working with American DJ Diplo.[2] Madonna had invited him to her annual Oscar party, just he was unable to attend. They eventually started talking nearly music through texts and decided to collaborate on the anthology.[3] In an interview with Idolator, Diplo explained that Madonna had asked him to provide his "craziest record" for the album. Together they wrote and recorded 7 songs and Diplo added that "[Madonna] was up for annihilation. I love when an creative person gives a producer the confidence he needs to piece of work with them, and [she] was very open up-minded to my ideas. Those records are gonna be crazy-sounding. We actually pushed the envelope with some of the stuff we were doing."[four]

One of the tracks recorded was confirmed by Diplo as titled "Bitch I'm Madonna", which he believed would push his boundaries of songwriting.[5] [half dozen] Madonna explained that the phrase was new to her and was introduced by Diplo, who explained that anyone who could remain cool when faced with criticism was appropriating Madonna, hence it was not just a unique reference to the vocalizer. The origin of the song's idea was traced back to rapper Lil B's 2010 vocal, "Pretty Male child Anthem", which presented the lyrics "I look like Madonna / Bitch, I'm a farmer". Diplo took this idea to Madonna and adult a song which addressed the singer's detractors, who spoke negatively near her longevity in the music industry, adding "We made this record about, 'Fuck information technology, bowwow, we're all Madonna'". He also insisted that they recruit Trinidadian rapper Nicki Minaj, who had previously worked with Madonna on two songs, "Give Me All Your Luvin'" and "I Don't Give A", from her MDNA album.[vii]

Diplo explained to Interview magazine that the song'southward composition happened while they were drinking one night in the studio. There he played Madonna a Japanese pizzicato tune and a driblet, which she liked. Since Madonna preferred to start her compositions on guitar, Diplo added guitar sounds over the melody and then progressed with the writing.[8] Another Instagram post by Madonna confirmed Minaj'south involvement in the rail, with the photo caption "We go hard or we go domicile we gon' do this all night long! #werk".[9] Madonna commented nearly her method working with Minaj:

Whenever nosotros work together she always sits with me and listens to the vocal, and says "tell me what this vocal is about to you lot." She's very methodical in her thinking. We talk virtually it, she writes down words that I say describing what the vocal'due south well-nigh and the sentiment that I'd like her to get out at that place, and so she goes away and she works on information technology. She writes information technology, she comes dorsum. She does a version of it, we talk nigh it. It's a back and forth until she gets it correct. Information technology's a total collaboration.[x]

Release [edit]

On December 17, 2014, Billboard reported that the demo version of "Bitch I'k Madonna" had leaked onto the Cyberspace, alongside the other twelve demo recordings for Madonna's then untitled thirteenth studio album.[11] An aggravated Madonna clarified that the songs were demo versions from earlier recordings; she compared the leak to that of "artistic rape".[12] [13] She was subsequently criticized for referring to the hack as "terrorism" in the wake of the Peshawar school attack and Sydney earnest crisis.[fourteen] On Dec xx, 2014, the anthology became available for pre-lodge on iTunes Store. When ordered, 6 tracks including "Bowwow I'1000 Madonna" were available for digital download. Madonna stated that the songs were meant to be "an early on Christmas souvenir" with the final release in March 2015.[fifteen]

Following "Living for Love" and "Ghosttown", "Bitch I'm Madonna" was confirmed as the 3rd single from Rebel Heart by Madonna on her Instagram. She also released three remixes of the song on her YouTube and Tidal accounts for streaming. The cover art of the vocal was also released forth with the remixes; it was created from i of her images on Instagram. The bulk of firm remixes of "Bitch I'm Madonna" were produced by Rosabel, Sander Kleinenberg and Oscar One thousand, who posted a bulletin on his Facebook account about the collaboration, "When Madonna calls y'all, yous do exactly what she asks. I am very grateful for this opportunity!"[16] Another remix past Sick Individuals, which consist of Dutch duo Rinze "Ray" Hofstee and Joep "Jim" Smeele, was released exclusively to Billboard.[17] The remixes were first released on June fifteen, 2015, in Australia and Deutschland, and the next twenty-four hours in other nations.[18]

Composition and remixes [edit]

"Bowwow I'm Madonna" was co-written and co-produced by Madonna and Diplo, with other writers including Sophie, MoZella, Toby Gad, Ariel Rechtshaid and Minaj.[19] [20] Demacio "Demo" Castellon was the audio engineer for the track and also did the audio mixing and recording. Other engineers who worked on the rail included Nick Rowe and Aubrey "Big Juice" Delaine, with Zeke Mishanec helping with additional recording and Angie Teo working on additional mixing.[twenty] The vocal was the first time that PC Music, which generally catered to hush-hush music and artists, was working with a mainstream artist like Madonna. Sophie recalled that information technology was Madonna who was "calling the concluding shots" for recording the song and noted that there was no label representative who dictated the process.[21] [22]

"Bitch I'thousand Madonna" has similarities to DJ Snake and Lil Jon's "Reject for What" (2013) with Madonna'south vocals reminiscent of vocaliser Miley Cyrus' autotuned rapping.[23] The song has a "berserk", "bleepy" and "churning" EDM,[24] [25] trap,[24] [26] electro,[27] dubstep[27] and electropop[28] sound. It begins with the sound of acoustic guitar reminiscent of Avicii'due south unmarried "Wake Me Up" (2012), equally Madonna coos in the background, "Yous're gonna love this", just quickly transitions "past stadium-filling EDM into a genre that more commonly fills the headphones of kids surfing obscure music blogs late at dark", every bit noted by Sasha Geffen, who also compared the sound to the vaporwave genre. The track deviates from a traditional song structure and hook, instead featuring harsh cuts, synths and Madonna singing in a nasal tone.[29] Minaj raps in the track, request everybody to "go hard or go home", while Madonna shouts lyrics similar, "I merely wanna have fun this evening, I wanna blow upwardly this house tonight",[30] [31] "alternate betwixt pitch-shifted shrieks of 'Who do y'all think you lot are??' and the sing-songy title taunt."[32] Regarding her profuse usage of the word "bitch" in the song (along with some other song "Unapologetic Bitch" from Rebel Heart), Madonna dedicated her decision to Billboard, saying:

I call up that'southward bullshit. The word police can fuck off. I don't want to be policed! I'm not interested in political correctness. The word "bitch" ways a lot of dissimilar things. Everything is virtually context. When I offset moved to England and heard the word "cunt", I was horrified. People were calling each other cunts! Then I realized that, in that culture, it was different—they slapped each other on the back and said, "Who's the cunt, right, you're my best mate!" The word "fuck" doesn't just hateful sexual intercourse. I mean, "You're a stupid fuck", "Are you going to fuck with me?" "Fuck off!"... Sexual activity has zip to do with any of those expressions, and the same goes for "bitch". If I say to you, "I'g a badass bitch", I'm owning myself, I'one thousand saying, "I'grand stiff, I'grand tough, and don't mess with me." If I say, "Why are y'all beingness such a bitch to me?", well, that ways something else.[33]

Since Madonna had to rush-release the commencement six songs from Rebel Centre due to the hack and leaks, Diplo clarified that the released version on the anthology was not his final mixing of the runway; he after posted his intended cut on his SoundCloud account.[vii] Three of the business firm remixes of "Bitch I'grand Madonna" were released as dub versions of the vocal, with a long drawn-out trounce section and minimal vocals from Madonna, as noted by Robbie Daw from Idolator. Kleinenberg'due south remix had a completely different sound from the business firm mixes, although Daw believed all of them to be "cheap" sounding in comparing to the original.[34] According to Ill Individuals, their remix of the song had "difficult-hitting" beats and it was also an energetic version, catering to the dance floors.[17] Fedde Le Grand'due south remix of the song did non use any of the effects nowadays in the anthology version, and was created as an electro house track with metallic sounds.[35]

Critical reception [edit]

The vocal divided music critics. Sasha Geffen from the Chicago Reader gave a positive review of the track, complimenting it for bringing the secret PC Music to the mainstream, adding that "betwixt Diplo's blocky breakdowns and Sophie'southward slippery arpeggios, [the song i]due south a provocative piece of work [...] The shift from SoundCloud to superstars was always coming—information technology just so happens that Madonna is the 1 who carried it over."[29] Another positive review came from Neil McCormick of The Daily Telegraph, who elaborated: "[T]he rail in question fizzes with brilliant energy, a clap rave canticle powered by a fantastically wonky synth line that sounds like a vintage arcade game played on an electronic kazoo, and topped off with a snappy Nicki Minaj rap. Madonna delivers the melody similar a playground nursery rhyme, chanting nigh bad behavior in a butter-wouldn't-melt sing-song voice."[36]

Nicki Minaj's (pictured) verse was praised past most critics

Dan Weiss from Spin observed that the "most surprising affair about a song that's actually chosen 'Bitch, I'k Madonna' is that it doesn't take whatever surprises".[23] In contrast, Andrew Unterberger of the same publication enjoyed the track, claiming that "it might not be your favorite Madonna, only information technology'due south unquestionably her, and it's far more compelling than the anonymous EDM enthusiast she played on MDNA (2012)". Unterberger also praised the addition of PC Music "ping-ponging oddball freneticism" and "Diplo's block-dropping beats".[32] Caryn Ganz of Rolling Stone was besides positive, calling it "frenetic", and praised Minaj'south poesy for beingness "pure fire",[37] while Anna Zelaski of The A.V. Club appreciated the song for being "the right kind of [track]... that'southward mindless fun and impossible to take seriously".[38] In the same vein, Andy Gill of The Independent chosen it "amusingly abrasive" and praised Minaj for "repris[ing] her role equally Madge's rapping henchgirl".[39]

In spite of noting that Diplo makes Madonna sound fun on the vocal, Gavin Haynes of NME commented that the song's composition "showed the gulf between [Madonna'south] life and her music is at present incommunicable to ignore".[40] Calling it "amiss", Alexis Petridis of The Guardian claimed that "Bitch I'm Madonna" is "a fantastic championship in search of a vocal. In lieu of ane, producer Diplo comes upwards with a kind of hybrid of EDM and happy hardcore and throws Nicki Minaj at her about hyperactive into the mix; the effect genuinely sets your teeth on border."[41] Criticizing Rebel Middle for being "overworked", Sal Cinquemani of Camber Mag found that "the duality of its title [is] muddled by the inclusion of garish political party jams like the infuriatingly tricky only lyrically cringe-inducing 'Bitch I'grand Madonna'".[42] John Murphy of musicOMH remarked that the song "never quite lives up to its fantastic title, and just sounds a scrap of a mess, trying to cram in Diplo-produced dance-hall rhythms, a dubstep breakdown and the seemingly at present obligatory Nicki Minaj guest rap".[43] Evan Sawdey of PopMatters opined that the song—and another Rebel Heart rails, "Illuminati"—"absolutely reek of agony, wanting so badly to daze and offend listeners that they fail to resolve every bit satisfying songs first and foremost".[44]

In their retrospective list of 2015'south "song of the summer" contenders, Pitchfork stated that "In an alternate (but) universe, 'Bitch I'chiliad Madonna' became the hit song every summertime needs, a celebration that asserts its own right to celebrate."[45] In their year end ranking of the best songs from 2015, Entertainment Weekly listed "Bitch I'm Madonna" at number 27, saying "She get hard or she go home, she gon do this all dark long—[Madonna]'s standout from Insubordinate Heart has everything you honey about her music: hooks, humor, attitude for days".[46] In 2018, the same mag listed it equally Madonna's 60th best single. Chuck Arnold called it "much better than 'Give Me All Your Luvin'' [...] this Diplo-produced banger is campy fun that throws a fierce side center".[47] Similarly, while ranking the vocalist's singles in honor of her 60th birthday, Jude Rogers from The Guardian placed the track at number 67, calling it "energetic, only exhausting".[48]

Commercial performance [edit]

In the United states, "Bowwow I'm Madonna" debuted on Billboard 's Trip the light fantastic/Electronic Songs chart dated January iii, 2015, at number 14 with sales of 12,000 copies.[49] The song started fluctuating downward the chart and exited after four weeks, but following her appearance on The This evening Evidence Starring Jimmy Fallon in April 2015, the sales surged by 748% to 9,000 copies, making the vocal re-enter the chart at number 21.[50] [51] The song once more started a downwards trajectory on the chart until June 2015, when the music video was released. Sales for that week increased to xiii,000 copies, enabling the vocal to achieve a peak of number 5 on the chart, condign Madonna's 2d tiptop-10 single there post-obit "Living for Love".[52] The song debuted at number 26 on the Hot Dance Order Songs nautical chart and reached a peak of number-one, her record-extending 46th in full; it was likewise Minaj's 5th number-one.[53] [54] "Bowwow I'thousand Madonna" debuted on the Billboard Hot 100 nautical chart week of July 4, 2015, at number 84, becoming her first entry on the nautical chart since "Give Me All Your Luvin'" (2012). The entry was aided by a 1,454% gain in streaming action for the rails, with a total of 2.half-dozen million US streams up to the week ending June 21, 2015. The rail became Minaj's 63rd and Madonna's 57th Hot 100 entry, placing them at positions 3 and four on the list of women with the most entries on the chart.[55] The following calendar week, the vocal brutal down past 11 places on the Hot 100, landing at number 95, which was its final appearance in that location.[56]

In the United kingdom of great britain and northern ireland, Alan Jones from Music Week reported that following the release of the music video, there was a sales surge for "Bowwow I'thou Madonna", which sold one,667 copies (up from 148 copies of previous calendar week); still, it was not able to chart within the tiptop 200 positions of the United kingdom Singles Chart.[57] In France, the song debuted at number 90 on the French Singles Nautical chart the week of December 27, 2014, following the avant-garde release of the album's six tracks for pre-order on iTunes. Later, it barbarous to number 135, before dropping off the chart. The song re-entered at number 104 when the music video was released, and cruel to number 149 the post-obit week.[58] In Spain, the song besides debuted with the avant-garde release, reaching number 49.[59]

Music video [edit]

Background and development [edit]

Along with announcing "Bitch I'm Madonna" as the third unmarried, Madonna also confirmed the release of a music video for the song. She teased in a mail on Instagram saying that the video would have many "surprise" guests.[sixty] A number of people were tagged in the Instagram postal service, including singers Beyoncé, Katy Perry, Miley Cyrus, and Rita Ora, as well equally Minaj and Diplo. Other personnel tagged included costume designer Arianne Phillips, hair stylist Andy Lecompte and fashion designer Jeremy Scott.[61] Comparisons ensued with the recently released music video for vocalist-songwriter Taylor Swift's single "Bad Blood" which had featured similar guest stars.[62] Madonna had too released images from the set previously, showing her with pink hair and in provocative clothing. Another preview came from the Flaming Lips lead singer Wayne Coyne, who had visited the set and uploaded a brusque video of the shooting.[63] [64] Filming took place on the top floors of the Standard Hotel in New York City, and was directed by Jonas Åkerlund, who explained how he landed the project as follows:

'Madonna called me about 'Ghosttown'. We hadn't worked for a while considering of different circumstances so when I heard all the songs [on Insubordinate Heart], I was very excited about 'Ghosttown'. I connected to information technology creatively. And, aye, we enjoyed working together. I was supposed to commencement something else correct later and that got pushed and she asked me to practise 'Bitch I'yard Madonna'. I saw information technology existence then completely different from 'Ghosttown', something a little flake less serious, just fun and crazy.[65]

The team had a short fourth dimension for finalizing the unlike aspects of the shoot, including rehearsing the whole sequence. They also had but one dark to complete shooting and due to the coincidental nature of the song, decided to invite Madonna'southward shut friends and family to be in it. Reverse to normal shooting schedules, the team had to work fast before the sunday came up, since they were portraying a party at night. Following the choreography, every person on set had cues about their position and where their role would come in the shooting.[65] A number of designers contributed clothing for the singer to wearable, including Moschino, Discount Universe, SSUR, Chanel, Majesty Black and shoes past Giuseppe Zanotti.[66] According to Bister Kallor from Way.com, various gimmicky mode trends appeared in the video, including candy-colored hairs, black lips, white bows and glitter eye makeup.[67]

Release [edit]

The video was confirmed to be released on June 16, 2015; Madonna besides released a teaser of information technology, which showed the aftermath of a party, every bit the song played slowly in the background. On the release day, a poster was uploaded on Madonna'south Instagram which confirmed that along with the same personnel, vocalizer Beyoncé would also appear in information technology.[68] [69] Joe Lynch from Billboard compared the affiche to those uploaded during the release of "Bad Blood" but nevertheless believed, "it's likely that Madge had this project in the works before becoming aware of Taylor's plans".[70] Nevertheless, the video did non make it on June 16, instead a second teaser was released, showing Madonna twerking in jeans shorts and high heels, with multi-colored graphics.[71] It ultimately premiered the next mean solar day on Tidal, along with a behind-the-scenes clip. It was an exclusive release to the streaming site for the beginning 24 hours, following which it was released on Madonna'south Vevo folio.[72] [73] The full list of guest appearances in the video included Beyoncé, Perry, Cyrus, Minaj, Ora, and Diplo along with rapper Kanye Due west, actor and comedian Chris Rock, designer Alexander Wang, model Jon Kortajarena and Madonna's sons Rocco and David.[66] [74] However, the video faced problems in Tidal with error messages and freezing in-between, resulting in the company releasing an amends on Twitter: "Nosotros repent to all the fans excited to watch the #BitchImMadonna video, we're working on a prepare. We'll have it up and running before long."[75]

Synopsis [edit]

A screenshot from the video showing Madonna (left) abreast a video screen, where Minaj is shown performing her lines. The absence of the guest stars from the set was negatively received.

The video begins with four young girls in outfits inspired past Madonna's iconic "Like a Virgin" functioning at the 1984 MTV Video Music Awards, who mime the opening lines of the vocal. Madonna is shown exercising alongside, wearing an fauna print dress and a studded, pink motorcycle jacket.[76] She finishes and comes out in a colorful hallway, drinks water, kisses a homo and walks through the corridor, crossing Diplo at i point. Every bit the chorus starts the scene cuts to four Japanese dancers making choreographed moves in a bathtub and inside a bar as Madonna joins them. Ora and Rock appears mouthing the phrase "Bitch I'm Madonna". The second verse starts with Madonna itch along the hallway, getting entangled in balloons, meeting Diplo over again and finally the photographic camera pans away to reveal a number of sock puppets in neon glow swaying together to the song.

During the second chorus, Madonna and her dancers get from the hallway to a bar where the singer forcefully makes Kortajarena drink a beverage, dry humps a dancer and continues dancing. The guest appearances start with Cyrus pointing her middle fingers towards the camera wearing glitter around her optics, followed past Wang, Diplo and Rocco in the bar, Beyoncé posing like Madonna's music video for "Vogue" (1990),[77] Perry moving around to the vocal, and David dancing while Madonna and the others cheer him; all of them mouth the song proper noun while they appear onscreen. As the chorus ends, a dancer brings a video screen behind them where Minaj appears rapping her part, interspersed by shots of W auspicious. Madonna and her dancers go along moving through the room with falling confetti and reach a dance pole. She climbs through a ready of dimly lit stairs and reaches the rooftop where the party is taking identify. The song nears to an end and Madonna is shown surrounded by her dancers and some partygoers while she lies downwards; interspersed scenes prove her twerking and dancing alone in a room wearing a cap with Hebrew word " שלום " ("Shalom") written on information technology. The video ends with a far away shot of the Standard Hotel's brightly lit rooftop where the political party continues.

An alternate catastrophe was present in the behind-the-scenes video, showing an wearied Madonna leaving the party with a male model, also as aftermath scenes of the political party which were released in the first teaser trailer. The parting shot showed Madonna running around the room and posing in forepart of the windows overlooking New York. Other scenes included Madonna chatting with Ora and Rock in-between takes, sitting in the hallways, plunging towards the neon sock puppets multiple times every bit well as singing the song with the picayune girls from the get-go of the video.[78] Another video set up to Kleinenberg's remix featured further footage of Madonna dancing and more coincidental scenes featuring the guest stars.[79]

Reception and analysis [edit]

Jason Lipshutz from Billboard wrote an article well-nigh why the video was an of import release for Madonna. He felt that although the Insubordinate Middle era had received more promotion than the previous MDNA era, the commercial returns had been diminishing. The first ii singles, "Living for Dearest" and "Ghosttown", failed to chart on the Billboard Hot 100, making information technology the first Madonna album without a Hot 100 single, until "Bitch I'm Madonna" debuted at number 84. The video, Lipshutz theorized, was Madonna's attempt to bring back an audience for the whole era.[80] Joe Lynch from the same mag called the video an "embarrassment of star power", adding that it "has everything: Miley'due south middle fingers, Madonna kissing a shirtless hunk, topless women in a bathtub, suspension-dancing, sock puppets singing, Moschino fashion and much more than".[66] Brennan Carly from Spin believed that the "grandeur and appetite" of the prune fabricated information technology comparable to Madonna'southward music videos for "Hung Upwardly" (2005) and "Living for Love".[81]

Kevin O'Donnell from Entertainment Weekly said that although "[a]nytime Madonna announces a new video, it'southward a global event. And it's no different with ['Bitch I'm Madonna']", he chosen it "her most bonkers video in years".[65] Hicks from the San Jose Mercury News was impressed with the video, but felt Madonna could accept done information technology without the guest appearances.[82] Emilee Linder from MTV News observed that the video was completely different from the ane released by Swift, only described information technology as "activity-packed" in a different way, that of portraying a party.[83] Daniel Kreps from Rolling Rock declared that, with the release of "Bowwow I'm Madonna", "the age of blockbuster all-star music videos are upon us".[84] Both Nolan Feeney from Time and August Brown from the Los Angeles Times noted that Madonna was able to successfully bring together her music manufacture peers in one video.[85] [86]

Christopher Rosa from VH1 criticized the fact that none of the female singers apart from Rita Ora were actually present on set during shooting of the video; their parts were filmed separately. He added that it was "pretty hilarious. Madge'due south clip is called, 'Bowwow I'm Madonna', simply why couldn't she go these youths to show the eff upwardly?"[87] Writing for Life & Style magazine, Chantal Waldholtz was disappointed with the prune, calling it "lackluster" due to the short cameo appearances.[88] Kevin Fallon from The Daily Beast called the video "pathetic and deplorable" and questioned the inclusion of guest stars like Swift's video, ultimately describing the whole thing as "absolutely pointless. At worst, it's desperate. At all-time, it's just dumb... [The video] is a fascinating mix of impressive and sad, both aggressively relevant and therefore wholly irrelevant at the same time." He ended the review with one compliment near the single take in which the video was shot, comparing it to the 2014 black comedy moving picture Birdman.[89]

Bernard Zuel from The Sydney Morning Herald spoke most the problems with the release to Tidal, saying "Apologies, embarrassment and another social media fail: is this already a new low water mark for Madonna and Tidal only weeks after it began operating?" He criticized Madonna's squad for not being able to release the video smoothly, while also noting that negative feedback given to the video included "Madonna's age, sexually charged performances, [and] need to shock".[75] Tshepo Mokoena from The Guardian considered the cameos equally more of "slapdash than slick", appearing as "flat and glossily discrete".[ninety] Time magazine listed the music video at number 8 on their ranking of the "Top x Popular Music Videos of 2015", describing it as "nuts as its croaking bass drop".[91]

Live performances [edit]

Madonna performed "Bitch I'm Madonna" during her appearance on The Tonight Prove Starring Jimmy Fallon on April 9, 2015. She adorned herself in a black jacket covered with gold dollar symbols and a number of gold chains around her neck.[92] The performance began with Madonna in the backstage where she put finishing touches to her make-up, then entered Diplo's dressing room where he was having a party surrounded past women. Madonna did a trip the light fantastic routine in the hallway where her son Rocco appeared mouthing the chorus. The singer and her troupe then moved into the studio surface area where the audience was nowadays. Energetic dancing continued with Madonna straddling i member of the audition at one point. Still photos of Minaj were projected on video screens with Diplo DJing on a console. Madonna too climbed atop Fallon's desk and fabricated him sing the chorus line. The performance ended with another energetic trip the light fantastic routine and crumping.[93] [94]

Madonna and her dancers perform the track on the Rebel Eye Bout, displaying the Geisha inspired costumes and the Japanese war fans.

Biance Gracie from Idolator gave a positive review to the performance, proverb that "Instead of doing her usual bit of either singing 'Living for Honey' or the current single 'Ghosttown', the entertainer decided to switch things up a bit—and we're so glad [she] did! Madge did a wild and super-fun version of 'Bowwow I'grand Madonna'."[95] The Hollywood Reporter listed the operation as one of the top v shocking moments past Madonna in 2015.[96] Stereogum 'south Caitlin White was amazed by Madonna's performance, saying that "the fact that she can dance like... this at 56 is practically a superhuman feat, and I was surprised past how much I enjoyed the functioning."[97] Bradley Stern likewise wrote a similar review for MuuMuse, describing the performance as "i of the most all-out insane television performances of the entire Insubordinate Centre era... This was no bones stage performance: Instead, Madonna brought her noisy, bratty and utterly #Unapologetic banger to life."[98]

On the Rebel Middle Tour (2015–xvi), the song was the second performance on the set list, during the first segment. For the first section, inspired past the Rebel Centre anthology cover art and Joan of Arc, costume designer Arianne Phillips had created a series of costumes referencing liturgical fabrics and a contemporary exhibition of samurai armor at the Los Angeles County Museum of Art.[99] As the theatrical performance of opening number "Iconic" concluded, Madonna was joined onstage by her female dancers wearing geisha-inspired costumes. They started performing the song while holding Japanese state of war fans. Minaj appeared on the backdrops rapping her verses, aided by "shuddering" bass sounds.[100] The functioning of the song at the March xix–20, 2016 shows in Sydney's Allphones Arena was recorded and released in Madonna'south 5th live anthology, Rebel Eye Tour.[101] On Dec 6, 2016, Madonna performed the vocal during the Carpool Karaoke segment of The Late Late Bear witness with James Corden.[102]

Rails list [edit]

Digital download / streaming [103]

  1. "Bitch I'thousand Madonna" (featuring Nicki Minaj) – 3:47

Digital download / streaming – Clean version [104]

  1. "B**** I'm Madonna" (featuring Nicki Minaj) – iii:47

Digital download / streaming – Remixes [18]

  1. "Bitch I'm Madonna" (Fedde le Grand remix) – three:55
  2. "Bitch I'm Madonna" (Rosabel'due south Bowwow Move mix) – 7:05
  3. "Bitch I'm Madonna" (Sander Kleinenberg remix) – four:58
  4. "Bitch I'grand Madonna" (Inferior Sanchez remix) – 5:10
  5. "Bitch I'1000 Madonna" (Oscar Grand 305 dub) – viii:44
  6. "Bitch I'm Madonna" (Ill Individuals remix) – 5:07
  7. "Bowwow I'm Madonna" (Muddied Popular remix) – five:11
  8. "Bitch I'm Madonna" (Flechette remix) – iii:21
  9. "Bitch I'thousand Madonna" (Oscar G Bitch Beats) – viii:44
  10. "Bitch I'g Madonna" (Rosabel's Bowwow Move dub) – 7:35

Credits and personnel [edit]

Personnel adjusted from Madonna's official website.[20]

Management [edit]

  • Webo Girl Publishing, Inc. (ASCAP) / Songs Music Publishing, LLC on behalf of "I Like Turtles" Music
  • Songs of SMP (ASCAP) / Lion of God Publishing Co. (ASCAP) c/o Kobalt Songs Music Publishing / EMI Apr Music, Inc. and MoZella Mo Music (ASCAP) / Atlas Music Publishing on behalf of itself and Gadfly Songs (ASCAP)
  • Songs of Universal, Inc. (BMI) on behalf of itself and Harajuku Barbie Music (BMI) / Brill Building Songs (ASCAP) c/o Kobalt Songs Music Publishing
  • Nicki Minaj appears courtesy of Young Money Entertainment / Cash Money Records

Personnel [edit]

  • Madonna – vocals, songwriter, producer
  • Diplo – songwriter, producer
  • Nicki Minaj – songwriter, invitee vocals
  • Sophie – songwriter, co-producer
  • MoZella – songwriter
  • Toby Gad – songwriter
  • Ariel Rechtshaid – songwriter
  • Demacio "Demo" Castellon – engineer, mixer, recording
  • Nick Rowe – engineer
  • Aubrey "Large Juice" Delaine – engineer
  • Zeke Mishanec – additional recording
  • Angie Teo – boosted mixing

Charts and certifications [edit]

Release history [edit]

See also [edit]

  • Artists with the nearly number-ones on the U.S. Dance Order Songs chart
  • List of number-one dance singles of 2015 (U.South.)

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External links [edit]

  • "Bitch I'thousand Madonna" (sound) on YouTube

fleggtromphe.blogspot.com

Source: https://en.wikipedia.org/wiki/Bitch_I%27m_Madonna

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