SHOCKER! Madonna courts controversy

Life is a mystery. Madonna not so much.

Everyone was expecting some sort of controversy as she launched her “Sticky and Sweet” tour in Wales last week. It was just a matter of finding out what it would be.

This time, she chose politics — including John McCain’s picture in a montage of Adolf Hitler and Robert Mugabe, then including Barack Obama’s picture in a montage with Gandhi and John Lennon.

Sure, it got Madge some headlines, but that’s not going to last until Oct. 4 when the tour hits America and the other current gripe with her is that the massive tour has a huge carbon footprint. Well, yeah.

Madonna’s gonna need some fresher controversies so we thought we’d help out – and not just because the new single “Beat Goes On” is too good to go unnoticed.

She should try:
– Gay marriage support: Whether her marriage to Guy Ritchie is on the rocks or not, they sound like they need a break. Maybe they could put things on hold as a “protest” for gay marriage, vowing not to retie the knot until all people who want to marry can.
– Michael Phelps affair: That would give her the cover to have a quick, torrid, paparazzi-covered affair with the Olympic hero. Of course, she may have to wait in line. Maybe John Mayer can pencil her in.
– Britney reunion: With the MTV Video Music Awards set for next week, isn’t it time she and Britney Spears, um, buried the hatchet again?

Hip hits for mainstream movies

M.I.A., “Paper Planes”

When the folks behind the new Will Ferrell comedy “Step Brothers” wanted to make their upcoming movie seem a bit edgier, they turned to LCD Soundsystem’s “North American Scum,” one of last year’s best, yet undiscovered, songs, as their anthem. When the “Pineapple Express” guys looked to reach a hipper audience for the Seth Rogen film opening Aug. 6, they picked up M.I.A.’s great “Paper Planes” single for their campaign.

It’s a matchmaking trend born from Apple’s iPod commercials’ successes and the failures of commercial radio and major labels. When big advertising campaigns can generate unexpected hits for the likes of Yael Naim and the Ting Tings, it becomes pretty clear that what those songs (and so many others) needed was exposure for success, not different music. And exposure is supposed to be the one thing major labels can bring to new artists, with the help of their relationships in commercial radio, that the Internet distribution companies can’t.

The success of these indie-leaning songs points out an even bigger problem with commercial radio, though. What does it say about their folks who are supposed to be finding great new music for their listeners when it turns out that advertising folks and marketers often have better ears for mainstream hits than them?