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MDNA (album)

From Wikipedia, the free encyclopedia
MDNA Album Cover.png
Deluxe edition artwork
Studio album by Madonna
ReleasedMarch 23, 2012
Madonna chronology
Sticky & Sweet Tour
The Complete Studio Albums (1983 – 2008)
Singles from MDNA
  1. "Give Me All Your Luvin'"
    Released: February 3, 2012
  2. "Girl Gone Wild"
    Released: March 2, 2012
  3. "Masterpiece"
    Released: April 2, 2012
  4. "Turn Up the Radio"
    Released: June 29, 2012
MDNA is the twelfth studio album by American singer and songwriter Madonna. It was released on March 23, 2012, by Interscope Records. It is also Madonna's first album not to be associated with Warner Bros. Records, the label she was signed to since 1982. As well as Madonna producing the album she worked with a variety of producers such as Alle BenassiBenny Benassi, Demolition Crew, Free School, Michael Malih, Indiigo, William Orbit and Martin SolveigMDNA lyrically explores themes such as partying, the drug MDMA, love for music, infatuation, heartbreak, revenge and separation.
The album received generally positive reviews from music critics. Upon its release, it debuted at number one in many countries worldwide, becoming her eighth album to top the Billboard 200 chart and giving her a record for the most number-one albums by a solo artist in Australia and the United Kingdom. It became the world's twelfth best-selling album of 2012 and has since sold over two million copies worldwide. Madonna went on to win three trophies at the 2013 Billboard Music Awards.
"Give Me All Your Luvin'" was released as the album's lead single and became her record-extending 38th top-ten hit on the Billboard Hot 100. "Girl Gone Wild" and "Turn Up the Radio" were released internationally as its follow-up singles. All three singles have peaked at number one on Billboard Hot Dance Club Songs chart. "Masterpiece" was also released in the United Kingdom, while "Superstar" became a promotional single in Brazil. Prior to the album's release, Madonna performed at the Super Bowl XLVI halftime show on February 5, 2012. The album was further promoted by The MDNA Tour, which ended as the tenth highest-grossing tour of all time.




"It's amazing to be back in music. I like the intimacy of a recording studio and songwriting. I'm using a different part of my brain when I work on music versus when I'm directing a film. There are a billion more people on a film and I don't have that visceral outlet of being able to sing, scream... jump around. It's very different. I love doing both but it was nice to have the simplicity of songwriting after three years of writing a script and directing and editing and talking about my film, to sit down and play my guitar and sing a song. I almost cried."
—Madonna talking about her comeback in music after hiatus for directing her film W.E.[1]
In December 2010, Madonna posted a message on her Facebook page exclaiming: "Its official! I need to move. I need to sweat. I need to make new music! Music I can dance to. I'm on the lookout for the maddest, sickest, most badass people to collaborate with. I'm just saying [...]."[2] She reunited with producer William Orbit over a decade after their last collaboration. Madonna said: "With William, I didn't really have a discussion. We've worked on stuff for so many years that we kind of finish each other's sentences. He knows my taste and what I like."[3]
In July 2011, Martin Solveig was invited to a writing session in London. Originally Madonna had only acquired Solveig for an idea of one song which eventually turned into three: "Give Me All Your Luvin'", "I Don't Give A" and "Turn Up the Radio".[4] In an interview with Billboard Solveig felt the stature of Madonna's regular producers would be intimidating and so he chose to avoid "thinking about the legend, and do something that just makes sense".[4] Madonna then enlisted several other producers for the project, including Alle Benassi, Benny Benassi, The Demolition Crew, Michael Malih and Indiigo.[5] She also collaborated with female singer-rappers Nicki Minaj and M.I.A..[6]Madonna wished to collaborate with "women who [...] have a strong sense of themselves", she found the pair were "fun to be around" and were both self-possessed people, referring to M.I.A. Madonna said "I don't think she's impressed much by stars and celebrities, so we just got down to business. I loved her."[6]
On December 15, 2011, Madonna announced that the album will be released in the spring of 2012. Following her 360 deal with Live Nation Entertainment in 2007, Madonna signed a three-album deal with Interscope Records. Live Nation sold the contract to Insterscope "to recoup [their] record investment" since the company was never a record label.[7][8] In the 2011 year-end readers poll by Billboard, it was voted as the most anticipated album of 2012.[9][10]

Recording and composition[edit]

Martin Solveig is one of the main producers of the album.
On July 4, 2011, Madonna's manager Guy Oseary, announced that Madonna entered the studio to begin the recording sessions for the album.[11] In an interview with Channel V Australia, Martin Solveig commented on Madonna's involvement in the production of the album: "She is as involved as you can be in the recording process. This was a very good and big surprise for me! I was assuming that she would spend only an hour or two in the studio per day and come and see where we were and say, "Ok I like this, I don't like that. I'll sing this. Bye!" And absolutely not... I mean we co-produced the track and it's not just written on the credits "co-produced by Martin Solveig and Madonna", we literally co-produced the tracks. I mean, at some point she wanted to choose the sound of a snare drum or a synth and that kind of stuff. She was really in the session!"[12] He felt that he and Madonna had time to spend on the record which relieved pressure from the sessions, and he felt the pair enjoyed making music together which was the reason for which they continued past one song which had been the original concept.[4]
Solveig and Madonna "got along very well" and found common interests in music, cinema, food and wine.[4]Common interests in the French film Le Samouraï about a solitary killer became a discussion which led to Solveig drafting the song "Beautiful Killer" in reference to the film.[4] When discussing Solveig, Madonna found their common interests were what drove them to have successful collaborations, she liked his way of working saying "He's very organised and methodical in his thinking" and she found she was able to say "‘No, I don’t like that,’ and you’re not going to hurt [his] feelings".[6] Madonna also talked about producer William Orbit, she felt her European qualities were well suited to his production style, and with conversation during sessions being "essential" she felt "With William, we always get into discussions about philosophy or quantum physics".[6] When it came to working with Benny and Alle Benassi she found it difficult to communicate with Benny as he is not fluent in English, during their recording sessions she used his cousin Allessandro as an interpreter and whilst this originally proved frustrating they eventually found a way to communicate.[6]She had not worked with Benny Benassi before and found that the first-time meeting a producer was difficult as she would feel shy, but after they had solved the communication troubles Madonna found "I felt like I knew him very well".[6]
MDNA is a pop and EDM record.[13][14][15] Third track "I'm Addicted" was written and produced by Madonna, Alle Benassi and Benny Benassi.[16] It is an electro house song,[17] with synth sequences build into fizzing swells and stabs, bleeping and swooshing all the way.[18]According to Star Observer, the track builds from quiet verses into an ear-splitting ’90s house chorus.[17] While Michael Cragg of The Guardian wrote the song has "squiggly synth squelches and a beat that morphs into a fairly ridiculous Calvin Harris-esque breakdown."[19]According to Nick Levine of The National, it is a song that's like a post-Guetta take on her mid-Noughties work Confessions on a Dance Floor.[20] Lyrically, it talks about being addicted to love, comparing the rush of hormones with narcotics.[18]

Titling and artwork[edit]

The album's title was announced by Madonna during an interview on The Graham Norton Show on January 11, 2012.[21] Martin Solveig revealed that it was M.I.A. who suggested the album title to Madonna, noting "We were having a lot of fun with the initials. M.I.A. said, 'You should call your album MDNA because it would be a good abbreviation and spelling of your name.' Then we realized that there were actually many different possibilities of understanding for those initials—the most important being the DNA of Madonna."[22] When discussing the album on The Tonight Show with Jay Leno, Madonna explained that the album's title is a triple entendre, representing both her name and "Madonna DNA". She also implied that the title is a reference to the drug MDMA, or ecstasy, which provides "euphoric feelings of love".[23] It was condemned by Lucy Dawe, a spokesperson for the anti-drugs campaign group Cannabis Skunk Sense. She told The Sun newspaper that Madonna's choice of album title was "an ill advised decision."[24]
The album's artwork was shot by Mert and Marcus and directed by Giovanni Bianco.[25] Madonna wore a red dress by Antonio Berardi, with futuristic padded shoulders, along with fingerless gloves and red lipstick. Arianne Phillips, who worked with Madonna for her previous tours, styled the singer.[26] According to Jocelyn Vena of MTV News, in the deluxe edition artwork, the singer "cocks her head up, her curly hair pulled back... The photo has some kind of broken mirror filter over it, giving it a funky, dance-queen vibe."[27] Vena also commented that Madonna is "truly expressing herself in the glamorous, deconstructed photograph full of bouncing colors."[27] Robbie Daw of Idolator compared the artwork to the one of True Blue (1986).[28] Emily Hewett from Metro noted that both the deluxe edition and the standard edition artwork have "similar colours and the same blurred style", but the latter "features a close-up body shot of the American singer wearing a tight-fitting scarlet dress and fingerless gloves to match, rather than a head shot."[29] Dale Eisinger from Vibe magazine listed the cover as the eleventh best album artwork of the past five years, explaining: "Vaguely hallucinatory in color and presentation, the cover of [MDNA] is as vibrant as it was bold. Featuring the performer wearing a scarlet dress behind ribbed glass, she looks fragmented, deconstructed by the various lenses she's been put under throughout the years. In this case, it is through the lens of photographers Mert Alas and Marcus Piggott... Though they've done album covers for countless pop stars, Mert and Marcus achieve something truly eye-popping on this cover, even if that was through digital manipulation."[30]


Super Bowl[edit]

Madonna performing "Give Me All Your Luvin'" at the Super Bowl XLVI.
In December 2011, it was announced that Madonna would perform at the Super Bowl XLVI halftime show at the Lucas Oil Stadium in Indianapolis, Indiana. Madonna collaborated with Cirque du Soleil in producing the show, and was chosen in lieu of American recording artist Lady Gaga.[31] Rehearsal for the halftime performance accumulated to an estimated 320 hours.[32] The show was visualized by Cirque Du Soleil and Jamie King.[33][34]
Madonna performed at the Super Bowl XLVI during the Bridgestone Halftime Show which was broadcast on NBC on February 5, 2012, from Lucas Oil Stadium. The performance included twenty dancing dolls, seventeen main dancers, a two hundred membered church choir, and a drumline consisting of a hundred percussionists.[32] Thirty-six image projectors were utilized to create a spectacle of lights, while Madonna wore 120 individual prosthetic eyelashes.[32] The show began with Madonna being carried into the stadium by 150 bearers, who wore pairs of black underwear designed by Calvin Klein.[32] She arrived atop of a golden throne, which weighed over 1,200 pounds,[32] and sported a long golden cape designed by Givenchy; completion of the cape happened over an approximate period of 750 hours.[32]Madonna performed "Give Me All Your Luvin'" (joined by Nicki Minaj and M.I.A. dressed as cheerleaders), during a medley of her past hits "Vogue" and "Music" (performed with LMFAO along with excerpts from "Party Rock Anthem" and "Sexy and I Know It"), then an "Open Your Heart"/"Express Yourself" interlude followed by "Like a Prayer" (performed with Cee Lo Green).[35][36] Once the show concluded, a group of 250 volunteers dismantled the stage in six minutes.[32]
The performance gained widespread attention from the media, after M.I.A. extended the middle finger to the camera near the end of her verse of the song instead of singing the word "shit".[37][38] The incident prompted broadcaster NBC and the National Football League to issue apologies.[39][40] Madonna's performance broke a record as the most-watched Super Bowl halftime show in history, garnering 114 million viewers.[41] She also set a new record as the most tweeted about subject on the social network Twitter with 10,245 posts per second and was the most-searched term on Google during the event.[42][43] Madonna was not paid for the performance, as previous performers at the event have not been paid. However, a Forbes analysis said before the event that, with 30-second commercial spots commanding over $3 million apiece, the 12 minutes of free television exposure had a considerable promotional value to Madonna's multiple enterprises coming to market at the time of the event.[44]


Following her performance at the Super Bowl, the album received limited promotion and Madonna was basically off the radar.[45][46] She avoided major television appearances and live performances, instead focusing on rehearsals for her world tour.[46] On April 11, 2012, her manager Guy Oseary explained on his Twitter: "I wish we could have done TV last week but we were in rehearsals morning and night."[45]Madonna used social media to promote the album instead. Through her official Facebook, she published minute-long snippets of several album tracks, posted behind-the-scenes pictures of tour rehearsals and polled her fans about which back-catalog songs they'd like to hear when she hits the road.[47][48][49] On March 24, 2012, Madonna took a livestream chat on Facebook with Jimmy Fallon.[50] She later made a brief appearance on Ultra Music Festival 14 in Miami on March 2012, where she introduced Swedish DJ Avicii and his remix of her single, "Girl Gone Wild".[51] Upon the album's sales drop in its second week, critics and fans criticized the lack of promotion and poor singles choices for the album. Through his Facebook, producer William Orbit expressed his displeasure of the album's poor promotion, and said that they had little time to record the album because Madonna's schedule was packed full of other commitments, such as "perfume ranges and teen fashion contests."[52][53] Orbit later apologized for the statement.[54]


Main article: The MDNA Tour
Madonna announced her ninth concert tour on February 7, 2012.[55] The tour was launched on May 31 in Tel AvivIsrael and ended in South America in December 2012. It marked her biggest tour ever with 88 shows and included many markets she had never played before. This tour played 32 dates in 28 European markets, including LondonRomeMilanParisCopenhagenBarcelonaWarsawIstanbulMoscow and Berlin, before hitting North America with 45 shows. The tour was promoted by Live Nation Entertainment as part of a 360 deal.[56] On March 26, Madonna had confirmed the tour title, The MDNA Tour via Twitter. It became the highest-grossing tour of 2012 and 10th highest-grossing tour of all time, grossing $305.1 million in ticket sales for 88 sold-out shows.[57]


"Give Me All Your Luvin'" was released as the first single from the album on February 3, 2012.[5] It received mixed reception from critics, who complimented its "catchy" melodies, but felt that the musical composition is inferior to Madonna's previous singles.[58] Many reviewers noted the song as a weak lead single and not a proper representation of the album.[59][60] The song reached the top of the charts in Canada, Finland, Hungary, Israel, and Venezuela, and the top five in several European countries, Japan and South Korea.[61] It became Madonna's 38th top-ten hit on the Billboard Hot 100, extending her record as the artist with most top-ten singles in the chart history.[62] Its accompanying music video was directed by Megaforce and features football and cheerleader theme inspired by the Super Bowl.[63][unreliable source?] The album's second single, "Girl Gone Wild" was released digitally on March 2, 2012. It also was met with mixed critical reception, with critics praising the dance nature of the song, while some noting its similarities to songs from other mainstream artists.[64] The black-and-white music video for the song was directed by fashion photographers Mert and Marcus.[65]
"Masterpiece" was officially sent to radio stations in the United Kingdom on April 2, 2012.[66][67] The song also reached the top of the Russian Top 100 Airplay chart on December 2, 2012.[68] In Brazil, "Superstar" was released on December 3, 2012 only as a special edition free CD with Brazilian newspaper Folha de S. Paulo. The accompanying artwork for the single was created by Brazilian graffitist Simone Sapienza who won a contest sponsored by Johnnie Walker's Keep Walking Project in Brazil, she was chosen by Madonna after being among ten finalists.[69][70] "Turn Up the Radio" was released as the final single from the album,[71][72] on August 5, 2012 in the United Kingdom.[73]

Critical reception[edit]

Professional ratings
Aggregate scores
Review scores
Allmusic3.5/5 stars[13]
Robert ChristgauA–[76]
Entertainment WeeklyB–[77]
The Guardian3/5 stars[59]
Los Angeles Times2/4 stars[78]
Pitchfork Media4.5/10[79]
Q4/5 stars[80]
Rolling Stone3.5/5 stars[81]
Slant Magazine3.5/5 stars[82]
MDNA received generally positive reviews from music critics.[84] At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 64, based on 34 reviews.[75] Andy Gill of The Independent wrote that it "represents a determined, no-nonsense restatement of the Madonna brand following the lacklustre Hard Candy".[85] Rolling Stone writer Joe Levy called the album a "disco-fied divorce record" and wrote of its music, "there's lots of naughtiness for the DJ to bring back, and the music has depth that rewards repeated listening."[81] Priya Elan of NME called MDNA "a ridiculously enjoyable romp", citing its "psychotic, soul-bearing stuff" as "some of the most visceral stuff she's ever done."[86] Slant Magazine's Sal Cinquemani found the album "surprisingly cohesive despite its seven-plus producers" and stated, "it's obvious Madge and Billy Bubbles can still create magic together."[82] Enio Chiola of PopMatters wrote that she "deftly juggles the production variances" and called it "a welcome return to form in so many different ways."[87] Chicago Tribune writer Greg Kot called it her best album since Ray of Light (1998) and wrote that she "excels" on the William Orbit-produced tracks.[88] Caryn Ganz of Spin commented similarly, "if there's one producer who knows how to pluck Madonna's heartstrings, it's Ray of Light's Orbit."[83] Jon Pareles of The New York Times viewed that Madonna's "pop instinct, the one that hones catchiness above all [...] gets her through MDNA with hook after hook."[89]
However, Allmusic's Stephen Thomas Erlewine found the album "flinty" and "excessively lean" as a result of "cool calculations" aimed to reassert Madonna's preeminence in dance and pop.[13] Helen Brown of The Daily Telegraph panned its lyrics as "horribly cliched" and criticized Madonna's direction, stating "a woman who's putting so much visibly desperate energy into looking and sounding like a teenager is missing the point of pop, of parties ... of life."[90] Pitchfork Media's Matthew Perpetua found most of it "shockingly banal" and "particularly hollow, the dead-eyed result of obligations, deadlines, and hedged bets."[79] Maura Johnston of The Village Voice found Madonna's "move toward EDM [...] hamfisted" and found her voice to be a "nonpresence".[14] Los Angeles Times writer Randall Roberts viewed that its music suffers from "familiarity" and that the album "offers evidence that the singer has fallen behind, that she is no longer setting the conversation" in pop music.[78] Genevieve Koski of The A.V. Club criticized its "electronically manipulated" vocals and "big, generic Euro-dance beats", while calling MDNA "competent, but equally perfunctory."[91] Alexis Petridis of The Guardian viewed the album as "neither triumph nor disaster", writing that it "turns out to be just another Madonna album".[59]

Commercial performance[edit]

The album debuted at number one on the Billboard 200 with 359,000 copies sold in the United States, making it her biggest opening week sales since Music (2000). It became Madonna's eighth chart-topper and her fifth consecutive studio album to debut at number one.[92] The album's sales were aided by Madonna's tour audience, who had an option to get the album as part of their ticket purchase. Around 185,000 copies of first week sales reportedly came from that album-ticket bundling.[93] In its second week, the album descended to number eight with 48,000 copies or about 86.7% sales decrease, surpassing Lady Gaga's Born This Way (2011) for the biggest second-week percentage drop for a number-one debuting album in the Nielsen SoundScan era.[45] This drop was surpassed in April 2015 by Shawn MendesHandwritten with its 89% sales decrease.[94] On October 9, 2012, MDNA was certified gold by the Recording Industry Association of America (RIAA) for shipment of 500,000 copies.[95] As of June 2014, it has sold 539,000 copies in the United States, according to Nielsen SoundScan.[96] In Canada, MDNA debuted at number one in Canadian Albums Chart, selling 32,000 copies in its first week.[97]
In Australia, the album debuted at number one and was certified gold by the Australian Recording Industry Association (ARIA) for shipments of 35,000 copies during its first week.[98] It became Madonna's tenth album to top the chart, breaking her tie with Jimmy Barnes as the solo artist with the most number-one albums in Australian chart history, behind only U2 with eleven and The Beatles with fourteen.[99][100] In Japan, MDNA debuted at number four on the Oricon weekly albums chart with first week sales of 31,000 physical units. In the same week, her Warner Bros.-released box set, The Complete Studio Albums (1983 – 2008), also debuted at number nine, making Madonna the first international female artist in Japanese chart history to have two albums in the top ten simultaneously and the first international artist in 20 years to achieve such feat, since Bruce Springsteen in 1992. With those two releases, Madonna has accumulated 22 top-ten albums in Japan, more than any other international artist.[101] The album was certified gold by the Recording Industry Association of Japan for shipments of 100,000 units.[102] In India, the album shipped gold in its first week of release and became the country's fastest-selling international album of the year.[103] Madonna also set a record for a foreign album in Turkey as MDNA sold over 30,000 copies within four days, outselling all Turkish domestic albums.[104]
In the United Kingdom, the album debuted at the top of the UK Albums Chart with first week sales of 56,335 copies.[105] It became Madonna's twelfth album to top the chart, breaking the record previously held by Elvis Presley as the solo artist with the most number-one albums.[106] Only The Beatles have more number-one albums in British chart history with fifteen.[105] The album slipped to number seven in its second week and number 13 in its third week, making it the first Madonna studio album not to be in the top ten on its third week on the chart since 1984.[107] MDNA was certified gold by the British Phonographic Industry (BPI) for shipment of 100,000 copies.[108] As of March 2015, the album had sold 134,803 copies in the United Kingdom.[109] In Germany, the album debuted and peaked at number three on the Gfk charts, and became her first album since Bedtime Stories to not peak at number one.[110] In Russia, album debuted atop the chart with 26,000 units sold and eventually became the country's best-selling album of 2012 with seven times platinum certification.[111][112] According to the International Federation of the Phonographic Industry (IFPI), MDNA was the twelfth best-selling album of 2012 globally with sales of 1.8 million copies.[113] To date, the album has sold over two million copies worldwide.[114][115]

Track listing[edit]

MDNA – Standard edition
1."Girl Gone Wild" 3:43
2."Gang Bang"
  • Madonna
  • Orbit
  • The Demolition Crew
3."I'm Addicted"
  • Madonna
  • A. Benassi
  • M. Benassi
  • Madonna
  • B. Benassi
  • A. Benassi
  • The Demolition Crew[a]
4."Turn Up the Radio"
  • Madonna
  • Solveig
5."Give Me All Your Luvin'(featuring Nicki Minaj andM.I.A.)
  • Madonna
  • Solveig
6."Some Girls"
  • Madonna
  • Orbit
  • Åhlund[a]
  • Madonna
  • Hardy "Indiigo" Muanza
  • Michael Malih
  • Madonna
  • Muanza
  • Malih
8."I Don't Give A(featuring Nicki Minaj)
  • Madonna
  • Solveig
  • Maraj
  • Julien Jabre
  • Madonna
  • Solveig
9."I'm a Sinner"
  • Madonna
  • Orbit
  • Jean-Baptiste
  • Madonna
  • Orbit
10."Love Spent"
  • Madonna
  • Orbit
  • Free School[a]
  • Madonna
  • Orbit
  • Harry[b]
12."Falling Free"
  • Madonna
  • Orbit
Total length:50:47


  • Digital Nightlife edition – Smirnoff announced an exclusive album through their Facebook page. The album titled MDNA Nightlife Edition contains seven tracks from the album plus one exclusive remix of "Masterpiece", four remixes (one exclusive) of "Give Me All Your Luvin'" and two exclusive remixes of "Turn Up The Radio". Initially, the album was to be available worldwide but was then made exclusive to the United States, Smirnoff apologised that it was a technical error, thus making it available for download for $3.50 for a limited time only.[117]
  • Digital Nightlife UK Remix EP – Smirnoff also released on April 13, 2012, a free remix EP through their UK Facebook page which includes three remixes of "Give Me All Your Luvin'", one of "Masterpiece" and three remixes of "Turn Up the Radio" (one of which is exclusive to the UK).
  • Vinyl deluxe edition – 17 tracks; includes the deluxe version on two 12" vinyl discs to be released April 16, 2012.[118]
  • The clean editions of MDNA omit "Gang Bang" and "I Fucked Up".[119][120]


  • Madonna – songwriterproducerexecutive producervocalsacoustic guitar
  • Jill Dell Abate – contractor, production coordinator
  • Klas Åhlund – songwriter, co-producer, instrumentation, original vocoder
  • Graham Archer – recording
  • Maya Arulpragasam – songwriter, vocals
  • Mark Baechle – copyist
  • Jean-Baptiste – songwriter, additional vocals
  • Diane Barere – celli
  • Elena Barere – concertmaster
  • Quentin Belarbi – assistant engineer
  • Alle Benassi – songwriter, producer, co-producer
  • Benny Benassi – songwriter, producer, co-producer
  • Antonio Bernardi – wardrobe
  • Lise Berthaud – viola
  • Giovanni Bianco – art direction
  • Hahn-Bin – violin
  • David Braccini – violin
  • Christophe Briquet – viola, musicians contractor
  • Gina Brooke – makeup
  • Karen Brunon – violin
  • Ryan Buendia – songwriter, instrumentation
  • Bob Carlisle – French horn
  • Jeff Carney – bass
  • Don Juan Demo Casanova – songwriter
  • Demo Castellon – mixing, recording, drums, bass, engineering
  • Cecile Coutelier – live strings recording assistant
  • Stephanie Cummins – celli
  • Barbara Currie – French horn
  • Delfina Delettrez – wardrobe
  • The Demolition Crew – producer, co-producer
  • Dolce & Gabbana – wardrobe
  • Jason Metal Donkersgoed – additional editing, additional recording
  • Marlies Dwyer – legal
  • Desiree Elsevier – violin
  • Romain Faure – additional synths
  • Richard Feldstein – business management
  • Frank Filipetti – engineering
  • Akemi Fillon – violin
  • Tom Ford – wardrobe
  • Pierre Fouchenneret – violin
  • Free School – co-producer
  • Julie Frost – songwriter
  • Garren – hair
  • Dorothy Gaspar – wardrobe
  • Jean-Baptiste Gaudray – guitar
  • Chris Gehringer – mastering
  • Shari Goldschmidt – business management
  • Michael Goldsmith – legal
  • Anne Gravoin – violin
  • Grubman – legal
  • Gucci – wardrobe
  • Priscilla Hamilton – songwriter
  • Mary Hammann – violin
  • Keith Harris – songwriter
  • Jimmy Harry – songwriter, additional producer
  • Joe Henry – songwriter
  • Indiigo – songwriter, producer
  • Indursky – legal
  • Julien Jabre – songwriter, electric guitars, drums, synths
  • Gloria Kaba – assistant engineer
  • Ian Kagey – assistant engineer
  • Rob Katz – assistant engineer
  • Abel Korzeniowski – conductor
  • The Koz – editingvocoderkeyboard, synths, additional programing, additional editing
  • Stephen Kozmeniuk – songwriter
  • Paul Kremen – marketing
  • Raphael Lee – assistant engineer
  • Brad Leigh – assistant engineer
  • Lola Leon – background vocals
  • Diane Lesser – English horn
  • Vincent Lionti – violins
  • LMFAO – remix, additional producer
  • Markus Lupfer – wardrobe
  • Michael Malih – songwriter, producer
  • Brett Mayer – assistant engineer
  • Laurie Mayer – songwriter
  • Michael McHenry – songwriter
  • Mert and Marcus – photography
  • Mika – songwriter
  • Nelson Milburn – assistant engineer
  • Nicki Minaj – songwriter, vocals
  • Miu Miu – wardrobe
  • Kiki de Montparnasse – wardrobe
  • Christophe Morin – cello
  • Sarah Nemtanu – violin
  • William Orbit – songwriter, producer, instrumentation, orchestra arrangementorchestration
  • Guy Oseary – management
  • P.C. – legal
  • Joseph Penachio – legal
  • Arianne Phillips – styling
  • Jessica Phillips – clarinet
  • Prada – wardrobe
  • Stephane Reichart – live strings recording
  • Andros Rodrigues – engineering
  • Liz Rosenberg – publicity
  • Miwa Rosso – cello
  • Dov Scheindlin – violins
  • Stacey Shames – harp
  • Shire & Meiselas – legal
  • Fred Sladkey – assistant engineer
  • Martin Solveig – songwriter, producer, synths, drums, instruments, additional synths, additional drums
  • Sebastien Surel – violin
  • Ayako Tanaka – violin
  • Ron Taylor – protools editing, additional vocal editing
  • Natasha Tchitch – viola
  • Angie Teo – recording, mix assistant, additional editing, engineering, assistant engineers
  • Alan Tilston – assistant, drums, percussion, instrumentation
  • Michael Tordjman – songwriter, synths, guitars
  • Michael Turco – additional synths, outro music
  • Jenson Vaughan – songwriter
  • Alexandre Vauthier – wardrobe
  • Sarah Veihan – cello
  • David Wakefield – French horn
  • Dan Warner – guitars
  • Philippe Weiss – recording
  • Ellen Westermann – celli
  • Alain Whyte – songwriter, instrumentation
  • Jade Williams – songwriter
  • Peter Wolford – assistant engineer
  • Kenta Yonesaka – engineer
  • YSL – wardrobe
  • Sara Zambreno – management
  • Cathialine Zorzi – musicians contractor assistant
Credits adapted from the album's liner notes.[121]



RegionCertificationCertified units/Sales
Australia (ARIA)[98]Gold35,000^
Austria (IFPI Austria)[167]Gold10,000*
Brazil (Pro-Música Brasil)[168]2× Platinum80,000*
Denmark (IFPI Denmark)[169]Gold10,000^
Finland (Musiikkituottajat)[170]Gold10,908[153]
France (SNEP)[171]Platinum90,000[172]
Hungary (MAHASZ)[173]Platinum6,000^
India (IMI)[103]Gold4,000
Italy (FIMI)[174]Platinum60,000*
Japan (RIAJ)[102]Gold100,000^
Mexico (AMPROFON)[175]Platinum60,000^
Poland (ZPAV)[176]Platinum20,000*
Portugal (AFP)[177]Gold10,000^
Russia (NFPF)[112]7× Platinum70,000*
Spain (PROMUSICAE)[178]Gold20,000^
Sweden (GLF)[179]Gold20,000^
Turkey (Mü-Yap)30,000[104]
United Kingdom (BPI)[108]Gold134,803[109]
United States (RIAA)[95]Gold539,000[96]
*sales figures based on certification alone
^shipments figures based on certification alone

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