Vanity Fair (1-year)

Magazines : Vanity Fair (1-year)

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Vanity Fair (1-year)

from: Conde' Nast Publications




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Availability: Usually ships in 1 to 3 months

List Price: $54.00
Your Price: $15.00
You Save: $39.00 (72%)
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Average Rating:  out of 5 stars
Sales Rank: 6







Binding: Magazine
First Issue Lead Time: 6-10 weeks
Format: Magazine Subscription, Print
Issues Per Year: 12
Label: Conde' Nast Publications
Magazine Type: Consumer magazine
Manufacturer: Conde' Nast Publications
Number Of Issues: 12
Publisher: Conde' Nast Publications
Sales Rank: 6
Studio: Conde' Nast Publications
Subscription Length: 365 days




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Editorial Review:

Product Description:
Vanity Fair covers the people, issues, and events that define our times. This chronicle of contemporary culture provides access to the movers and shakers in film, music, entertainment, sports, business, and politics. With articles by renowned writers and images by award-winning photographers, every issue of Vanity Fair is always fascinating, never ordinary.

Amazon.com Review:

Who Reads Vanity Fair?

Vanity Fair Hollywood Issue, 2008
Smart, stylish, and voraciously interested in the world, Vanity Fair readers have an extraordinary ability to discern what is truly worth their time, attention, and money. It is essential for Vanity Fair readers to be conversant in a wide range of topics—from global issues, economics, and travel, to beauty, fashion, and entertainment—and they pursue the knowledge of these subjects with an unusual intensity. Vanity Fair readers actively seek out friends and colleagues with whom they share ideas and experiences, creating a diverse and eclectic network of peers. Known for its ability to 'ignite a dinner party at 50 yards,' Vanity Fair is meant for readers who enjoy expert-level knowledge and lively, spirited debate.

What You Can Expect in Each Issue:
  • Fanfair: Vanity Fair’s monthly guide to truly unique and talked-about cultural events around the world, hot new CD’s, books, and films; groundbreaking art and design; exhibitions and theatrical events; fashion, beauty, and travel trends.
  • Fairground: The magazine brings its discriminating eye into the world’s most exclusive events, capturing candid snapshots of the culture’s rich, famous, and iconic. This pictorial feature goes around the world, one party at a time.
  • Columns: Insightful essays by distinguished writers, such as Dominick Dunne, James Wolcott, and Michael Wolff, cover the most relevant topics of the day. These investigations on crime, politics, business, society, the media, and current events are often touted on the cover and have a dedicated following.
  • Vanities: Short takes on today’s most compelling personalities, Vanities is a reader favorite, incorporating splashy graphics and quick wit.
  • Spotlight: Spotlight shines a light on the stars of the future. Former discoveries include Catherine Zeta-Jones, Jennifer Lopez, Leonardo DiCaprio, and Gwyneth Paltrow, all before they made it big.
  • Proust Questionnaire: An update of the 19th-century parlor game, this classic Q&A features a different celebrity subject every month.
  • Features: In-depth, award-winning stories about entertainment, the arts, business, politics, fashion, design, and more, are at the heart of the magazine each month.
Past Issues:

Contributors:
With every issue, Vanity Fair allows its contributors the freedom to indulge in extraordinary storytelling, making it a destination for the world’s most renowned photographers and award-winning journalists, such as Marie Brenner, Bryan Burrough, Bob Colacello, Amy Fine Collins, Dominick Dunne, Christopher Hitchens, Sebastian Junger, William Langewiesche, Maureen Orth, Todd Purdum, James Wolcott, and Michael Wolff; and photographers such as Jonathan Becker, Harry Benson, Patrick Demarchelier, Todd Eberle, Larry Fink, Jonas Karlsson, Annie Leibovitz, Tim Hetherington, Norman Jean Roy, Mark Seliger, Mario Testino, and Bruce Weber.

Magazine Layout:
With a dynamic combination of big pictures and big stories, Vanity Fair delivers both bold, beautiful photography and the very best thought-provoking journalism in a clean, bold design that is simple yet sophisticated, minimal yet full of restrained energy. When it comes to visually expressing the passions of its stable of photographers, illustrators, writers, and editors, the magazine must look as smart and powerful as the topics it covers.

Comparisons to Other Magazines:
Vanity Fair June 1997
With a broad range of interesting subjects, Vanity Fair is a general interest magazine that captures the best of the best, from world affairs to entertainment, business to style, design to society. Vanity Fair is unique in its ability to act as a cultural catalyst—a magazine that provokes and drives the popular dialogue. No other magazine can match Vanity Fair's unique mix of stunning photography, in-depth reportage, and social commentary. Each month, Vanity Fair accelerates ideas and images to center stage, creating an unrivaled media event that attracts millions of modern, sophisticated readers.

Advertising:
Vanity Fair's advertisers are as eclectic as the editorial content. Fashion and retail advertisers are responsible for the majority of Vanity Fair's ad pages, but other advertising partners stem from a wide array of consumer categories, including automotive, financial institutions, not-for-profits, corporate entities, beauty, travel, entertainment/media, home furnishings, food, and wine and spirits. On average, a little more than half of the pages in Vanity Fair are devoted to advertising (56%).

Awards:
  • The American Society of Magazine Editors has nominated Vanity Fair for 63 National Magazine Awards since 1984; the magazine has won 15 times
  • Winner of National Magazine Awards for Reporting and Photo Portfolio, 2008
  • Winner of National Magazine Award, Columns & Commentary 2007
  • Winner of National Magazine Award, Public Interest 2007
  • Winner of the 51st annual World Press Photo of the Year 2007
  • Gold Medal Award, Photography, Spread/Single Page, Society of Publication Designers’ 42nd Annual Competition 2007
  • Graydon Carter: The only two-time winner of Adweek magazine's Editor of the Year
  • 248 awards for design and photography since 1984
  • Included on Adweek’s Hot List nine times–more than any other magazine










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Customer Reviews
Average Rating:  out of 5 stars

Rating: 3 out of 5 stars - Vanity Fair
Don't know the history of this magazine. Thought we would try it for a year. Have been getting "The New Yorker".....so this is quite different. We think it's too heavily based on appealing to those who might want to aspire to the pictures. But it's name is true....vanity. Writing is ok....more self perpetuating....nothing that lifts beyond the realm of materialism.



Rating: 5 out of 5 stars - Informative Reading
* One of the best for topical information. Great articles on people and news of the day. ...



Rating: 5 out of 5 stars - Vanity Fair
One of the great values in magazines, great stories, interesting pix from cover to back it's one of the best buys in magazines you can make.



Rating: 5 out of 5 stars - Single a documentary film
* Vanity fair has remained fresh and relevent because of the quality of its writers and editing and expert insight into social issues.If you enjoy this magazine you may also enjoy \"Single a documentary film\" it features a cast of entertaining and thought provoking experts,comics,singer/songwriters,and \"real life\" people sharing their insights and observations about the complexities of relationships in todays crazy world.
Also available on Amazon.com ...



Rating: 5 out of 5 stars - fabulous
There is no other magazine with better coverage and articles than this.
It just doesn't get any better!

(1-year) Fair Vanity


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Toys Reviews





Alienware's flagship gaming laptop, the Area-51 m9750, has plenty of appeal for high-end gamers, but the alien head aesthetic seems dated, and newer components are right around the corner.

The rise and fall of muni-Fi (and rise again): Clearly, the largest story involving Wi-Fi in 2007 was the at-first continued growth in cities awarding contracts with no money involved on their part to have service providers build Wi-Fi networks--and the subsequent failure of these networks to be built. Starting quietly in late 2006, the market shifted for metro-scale Wi-Fi. During 2007, providers decided that bearing the full cost of a city-wide network without city contracts wasn't financially sensible.

The full scope of the low uptake rates in cities that had large portions of the network built out also became clear: rather than 15 to 35 percent of residents subscribing, just a few percentage points would put a network in the top tier. Revenue is apparently also pretty minimal even in cities like Taipei, Taiwan, the network provider for which was predicting 250,000 subscribers by the end of 2006, and had just 30,000 regular users each month at last public report in early 2007.

MetroFi started to tell cities that without an advance service commitment at a minimum level -- an anchor tenancy -- the company couldn't proceed on networks. In 2007, MetroFi lost half a dozen bids or saw contracts canceled due to this change. Its work in Portland, Ore., the biggest network it was building, won't be extended beyond current limited dimensions until additional capital or a city commitment is obtained; the city has said it won't commit to service fees, however.

Meanwhile, EarthLink lost its CEO Garry Betty in January due to cancer. A strong backer of new initiatives to change EarthLink's core business, his death was certainly one of the causes in a quick re-evaluation of the municipal wireless division. New CEO Rolla Huff pulled EarthLink out of new deals, suspended existing ones, laid off hundreds of employees while gutting the metro Wi-Fi division, and appears poised to leave currently built or underway networks, including their flagship Philadelphia effort. They may sell the division, but it's hard to see much worth in it given the current state.

In a smaller bit of news, Kite Networks, formerly known by various names, was sold by parent MobilePro to Gobility with conditions that according to SEC filings by MobilePro weren't met. Kite was once high flying, in the company of EarthLink and MetroFi as one of the major U.S. Wi-Fi network builders. Now it's still in that company, with work on its Arizona networks apparently halted. A suitor has emerged in the form of a regional telecom that specializes in the Hispanophone market (double entendre intended), and which thinks it could boost Tempe subscriptions from the current several hundred to about 300 times that number. Hope springs eternal.

And while AT&T was able to launch a Riverside, Calif., network with MetroFi handling the installation and operation, it backed out of St. Louis, Mo., due to a utility pole problem, and the bidding in Chicago, too. The Metro Connect consortiums in Sacramento and Silcion Valley were unable to raise financing despite the apparent blue-chip participation by Cisco, IBM, and Intel.

County-wide Wi-Fi was also hit again and again by providers who pulled out--CenturyTel in Pierce County, Wash., for instance--or problems with technology or utility poles. In a few scattered areas, Wi-Fi across counties has been built out, but it's not an idea whose time has yet come.

Muni-Fi isn't down for the count. While these high-profile networks in large cities and county-wide networks have mostly hit the skids, more modest networks with well-defined goals continue to be built with a focus on public safety and municipal uses in hundreds of small and medium-sized towns. Brookline, Mass., may be a good example, in which a public safety/public access network was built relatively quickly and with no reported problems.

And there's one big city success story: Minneapolis, Minn. While local provider US Internet wound up spending more than they'd intended, reports from the ground indicate that service works quite well, and subscriptions and interest are quite high. The company was able to respond almost instantly to the bridge collapse a few months ago by deploying additional mesh infrastructure to add network capacity in the area. And it says that it could reach positive cash flow in early 2008. One of their advantages? They secured a substantial commitment from the city for the services they built.

Other trends of the year gone by: Music and Wi-Fi are clearly more aligned, with the new Zune models and firmware from Microsoft allowing wireless sync (but not yet Wi-Fi purchases), and the introduction of both the Apple iPhone and iTunes touch, which allow music purchases over Wi-Fi but not synchronization. (While the MusicGremlin preceded both the Zune and iPhone/iPod options, it didn't seem to gain any market traction in 2007.)

Security continues to be a concern in 2007, although less of one as home users have clearly accepted WPA Personal, at long last, and networks are increasingly encrypted through better software from major hardware manufacturers. Wizards make encryption a no-brainer, when they work. Corporations stung by reports and by requirements from credit card issuers are also clearly protecting their networks better, although I'm sure we'll still see breaches at those firms that didn't cross every "t."

The 802.11n standard's emergence into an interim certified Wi-Fi state was also a significant milestone for faster wireless networking. Shipments of Draft 802.11n products in 2007 increased significantly, while prices dropped so much that it makes perfect sense to purchase a $50 to $80 Draft N router than a comparable G unit. Manufacturers made it clear as the year progressed that hardware sold today should generally be firmware upgradable to whatever the final, not much changed 802.11n standard is when approved in 2008.

Gadget-Fi continued on the rise, as an increasing array of devices included Wi-Fi as a connectivity option. Most notably, T-Mobile launched its HotSpot@Home service, the largest scale offering of converged cell/Wi-Fi calling. By year's end, they had four handsets for sale--two plain, a BlackBerry, and a clamshell--but subscriber numbers are unknown.

What's coming in 2008?

In-flight Internet (over Wi-Fi): 2008 is finally the year. It was supposed to be 2005. Or maybe 2002. But we should see a number of planes, mostly flying over the U.S., equipped with either in-flight Internet access or in-flight text messaging and text email. Connexion by Boeing's failure fortunately didn't discourage a half a dozen competitors who were in the R&D phase when Boeing wrote off its satellite-based Internet access venture.

AirCell, Row 44, OnAir, Aeromobile, Panasonic Avionics, and a T-Mobile consortium are among the announced or nearly announced firms with commitments or trials underway. AirCell and Row 44, focused on the U.S. market, plan to deliver Internet not voice to fuselages; OnAir and Aeromobile are working on mobile-based services, including voice, via existing cell phones and devices.

In 2008, American, Alaska, and Virgin America will launch trials over the U.S., and potentially move into production. OnAir should be expanding in Europe beyond the single French aircraft that's equipped in a trial now to RyanAir's fleet. And Aeromobile's Qantas trial could turn into real usage. There's likely action that will happen in Asia and the Middle East, too, that's not yet disclosed.

Other trends to watch

Wi-Fi in every smartphone with better integration. The iPhone was the leading edge, pun intended, offering 2.5G EDGE cell networking as part of the subscription price, along with seamless roaming to Wi-Fi networks. With RIM finally offering BlackBerry models with Wi-Fi, it's unlikely that any future smartphone model intended for serious users would lack the option.

Wi-Fi everywhere. Despite the setbacks in municipal Wi-Fi, wireless networks continue to expand, with better and better coverage found across larger areas and more locations. 2008 might be the year of hotspot saturation.

WiMax arrives. In 2008, we'll finally see production mobile WiMax in action in the U.S., and the questions about whether it works well enough and fast enough at the right price to beat current generation cell data networks, and make money for the disorganized Sprint Nextel will be answered. More certainly, Clearwire, with WiMax as its only option, will push aggressively to steal customers away from fixed, wired broadband, especially in markets with little competition.

Gadget-Fi a go-go. Wi-Fi will become an expected part of gaming consoles (already found in a few), cameras (found in crippled form in just a handful), regular cell phones (in dozens and dozens now), and music players (with more full functionality).







$22.99



Pirates of the Caribbean: At World's End is a rollicking voyage in the same spirit of the two earlier Pirates films, yet far darker in spots (and nearly three hours to boot). The action, largely revolving around a pirate alliance against the ruthless East India Trading Company, doesn't disappoint, though the violence is probably too harsh for young children. Through it all, the plucky cast (Keira Knightley, Orlando Bloom, Geoffrey Rush) are buffeted by battle, maelstroms, betrayal, treachery, a ferocious Caribbean weather goddess, and that gnarly voyage back from the world's end--but with their wit intact. As always, Johnny Depp's Jack Sparrow tosses off great lines ; he chastises "a woman scorned, like which hell hath no fury than!" He insults an opponent with a string of epithets, ending in "yeasty codpiece."!

In the previous The Curse of the Black Pearl, Sparrow was killed--sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow--but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions of himself on the deck of the Black Pearl. But Sparrow is needed in this world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. --A.T. Hurley

On the DVD
Here's something you can't say about just any DVD extras: There appears to be more of Keith Richards in the outtakes, interviews, and other special features on the At World's End disc than in the actual film. For those scenes alone, this special edition is well worth the price. Richards looks as woozy and gamey as all the rumors suggested, and answers questions he's not asked, with Johnny Depp sitting next to him, almost acting as a translator. Richards offers pithy comments like, "Everything I do is original, you better believe," and smiles when other cast members call him "Two-Take Richards" for supposedly nailing his scenes.

The packed second disc also includes a terrific mini-doc on how the filmmakers created the famous maelstrom, in an enormous hanger in Palmdale, California, with the ships floating 30 feet off the ground. "Just moving the Black Pearl was an enormous undertaking," says producer Jerry Bruckheimer with serious understatement. Other cool extras include "Tale of the Many Jacks," deleted scenes with great commentary, "The World of Chow Yun-Fat," a bio of composer Hans Zimmer, features on the set designers, a look at the impressive Brethren Court, and some hilarious bloopers. "You can't curse in a Disney film," deadpans Depp when a costar blurts out something blue. "See? I told him." The extras are truly as much of a rollicking adventure as the film. --A.T. Hurley

Beyond Pirates of the Caribbean: At World’s End


Our Pirates of the Caribbean Store

Pirates of the Caribbean: Curse of the Black Pearl

Pirates of the Caribbean: Dead Man’s Chest

Pirates of the Caribbean: At World’s End Soundtrack

Why We Love… Bill Nighy

Johnny Depp Essential DVDs
Stills from Pirates of the Caribbean: At World’s End (click for larger image)





$14.99



Pirates of the Caribbean: At World's End is a rollicking voyage in the same spirit of the two earlier Pirates films, yet far darker in spots (and nearly three hours to boot). The action, largely revolving around a pirate alliance against the ruthless East India Trading Company, doesn't disappoint, though the violence is probably too harsh for young children. Through it all, the plucky cast (Keira Knightley, Orlando Bloom, Geoffrey Rush) are buffeted by battle, maelstroms, betrayal, treachery, a ferocious Caribbean weather goddess, and that gnarly voyage back from the world's end--but with their wit intact. As always, Johnny Depp's Jack Sparrow tosses off great lines ; he chastises "a woman scorned, like which hell hath no fury than!" He insults an opponent with a string of epithets, ending in "yeasty codpiece."!

In the previous Dead Man's Chest, Sparrow was killed--sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow--but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions of himself on the deck of the Black Pearl. But Sparrow is needed in this world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. --A.T. Hurley

$19.99



Pirates of the Caribbean: At World's End is a rollicking voyage in the same spirit of the two earlier Pirates films, yet far darker in spots (and nearly three hours to boot). The action, largely revolving around a pirate alliance against the ruthless East India Trading Company, doesn't disappoint, though the violence is probably too harsh for young children. Through it all, the plucky cast (Keira Knightley, Orlando Bloom, Geoffrey Rush) are buffeted by battle, maelstroms, betrayal, treachery, a ferocious Caribbean weather goddess, and that gnarly voyage back from the world's end--but with their wit intact. As always, Johnny Depp's Jack Sparrow tosses off great lines ; he chastises "a woman scorned, like which hell hath no fury than!" He insults an opponent with a string of epithets, ending in "yeasty codpiece."!

In the previous Dead Man's Chest, Sparrow was killed--sent to Davy Jones' Locker. In the opening scenes, the viewer sees that death has not been kind to Sparrow--but that's not to say he hasn't found endless ways to amuse himself, cavorting with dozens of hallucinated versions of himself on the deck of the Black Pearl. But Sparrow is needed in this world, so a daring rescue brings him back. Keith Richards' much ballyhooed appearance as Jack's dad is little more than a cameo, though he does play a wistful guitar. But the action, as always, is more than satisfying, held together by Depp, who, outsmarting the far-better-armed British yet again, causes a bewigged commander to muse: "Do you think he plans it all out, or just makes it up as he goes along?" As far as fans are concerned, it matters not. --A.T. Hurley


by Rick Barba
$11.55

Average customer rating: 3.0 ISBN: 0744004292

by BradyGames
$13.59

Average customer rating: ISBN: 0744009332
$9.99



Thanks to a fortuitous intersection of talent and fate, 22-year-old Josh Groban hasn't finished his senior year in performing arts school but has already released his sophomore effort on a major major label. Fans of the young vocal phenom's debut will find much to enthrall them here, even if it nudges the singer closer to the center of producer/mentor David Foster's MOR pop sensibilities. Eschewing much of its predecessor's more overt classic-lite pretensions and pop-rock covers for a slate of dramatic, Eurocentric ballads that serve as a showcase for the singer's inviting baritone, Groban shrewdly positions himself as the American alternative to the Bocelli-Watson crossover axis. "Caruso" may find the singer falling short of its operatic inspiration, but "Oceano" and "My Confession" quickly showcase his true dramatic range (which seems to all but yearn for a bona fide Broadway musical challenge), while a vocal take of Bacalov's graceful "Il Postino" theme uses classical virtuoso Joshua Bell's violin flourishes to good effect. To his credit, Groban displays some promising efforts at songwriting collaboration on the bittersweet "Per Te" and "Remember When It Rains," while the ambient/ethnic soundscape of Deep Forest's "Never Let Go" offers a teasing alternative to the record's otherwise melodramatic production formula. Groban has found commercial triumph via Foster's mentoring, but there remains a nagging sense here that he hasn't truly pushed himself as an artist--yet. --Jerry McCulley
$23.99



The world can't get enough of Madonna, and with CD/DVD sets like The Confessions Tour dropping regularly, it's little wonder why. As a thrower of fantasy dance parties, she is peerless. As a physical role model for the 40-ish women who grew up on her music, she rules. And as an arbiter of what's going to sound shockingly original in any given decade--well, duh. The Confessions Tour rounds up songs from way back--"Ray of Light" and "La Isla Bonita" make the DVD, and "Lucky Star" and "Like a Virgin" are on the CD as well as the DVD--but this concert, filmed in 2006 at London's Wembley Arena, aims its sturdiest spotlight on Confessions on a Dance Floor, Madge's 2005 disco disc. You could argue, then, that unless you're in it for the sheer DVD spectacle (and what a spectacle it is), there's no sense in owning this package. Only you wouldn't be right. Because as any on-the-ball Madonna fan knows, what she's doing musically is telling a story--you may already know the characters, but that doesn't mean she hasn't completely reworked the plot. To that end, "I Love New York" gets its rock on, "Let It Will Be" has a musical temper tantrum, and "Hung Up" goes for the drama queen award. You've heard these songs before, but you've never heard them quite like this, to borrow a bad informercial phrase. As twisted and hopped-up as they've become, they're all worth getting to know again. --Tammy La Gorce
$10.97



Apparently there's nothing in Kabbalah that disallows sweaty, head-spinningly good dance music, because here comes a flame-haired Madonna hawking a dozen songs' worth: Confessions on a Dance Floor darts seamlessly from Madge's early days, when she emerged as the genre's enduring darling, through the political, kiddie, and acoustic pap that drove a wedge between her and early adopters of the fingerless glove look. Songs like the pop-leaning "Jump" and first single "Hung Up"--an adrenaline drip on high that, like many of these tracks, will inspire mild shame among those who've thrilled to the much thinner disco-dusted outpourings of younger divas recently--represent both a return to form and an unmistakable march into the future. "Get Together" is a sonic freak-out in the best sense; "Push" traffics in gut-level futuristic trance; and "Forbidden Love" loops in '80s blips and bleeps for a follow-me-into-the-past effect that's both neo and retro. For all the image-affirming innovations here, though, these confessions find Madonna framed in her share of reflective moments too. "Was it all worth it/How did I earn it?" she asks on "How High," a song featuring vocoder. "Nobody's perfect/I guess I deserve it," comes the answer. A later lyrical inquiry is left for the listener to judge: "Does this get any better?" Madonna wants to know. But that opens the door to a dizzying proposition. Few of us would have guessed, after all, that it got this good. --Tammy La Gorce
Vanity Fair (1-year)
Shopping  Created at Thu Dec 4 04:33:18 2008