Podbit · The Megyn Kelly Show
Madonna, 68, is now crawling on all fours at venues, simulating sex acts, and reportedly smoking what looks like a cigarillo on stage — all while the once straight-edge superstar moves like someone in active addiction. Maureen Callahan observes this is what happens when a black hole of neediness never gets filled.
Where this was said
At 56:40 · chapter starts 50:50
Kelly introduces Barry Manilow at 83 and Smokey Robinson at 86 as cautionary tales of legends who cannot step away from the stage. Both are visibly mouthing lyrics to pre-recorded tracks, with Robinson adding an unsettling slow gyration. Kelly invokes the Tina Turner standard — sexy and physically striking into her later years but never simulating sex acts on stage [2] — Megyn Kelly "Tina Turner is the gold standard. Showed those legs, the shortest skirts, and she rocked it. The arms with the guns. The sexy dancing, but …" 59:13 . Madonna, at 68, then provides the episode's most disturbing exhibit: twerking on all fours, appearing to smoke on stage, in behavior that Callahan says looks like active drug addiction. Kelly reflects on how differently she imagined Madonna aging, recalling her disciplined 'straight edge' phase during the Guy Ritchie marriage. Both agree Madonna could have been 'a really cool, iconic elder stateswoman of rock' and is instead squandering her legacy [1] — Megyn Kelly "Madonna, 68, is now crawling on all fours at venues, simulating sex acts, and reportedly smoking what looks like a cigarillo on stage — all…" 56:40 .
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Before hip-hop existed, Jamaican DJs were already doing it. Electricity spreading across Jamaica enabled mobile 'sound systems,' and DJs developed toasting — speaking and singing over recorded music — a tradition that DJ Kool Herc brought from Kingston to the Bronx at age 12.
Joe Higgs is reggae's great unsung hero. This Kingston musician took teenage Bob Marley, Peter Tosh, and Bunny Wailer under his wing and taught them how to sing, write songs, and make music — at a time when most artists would have focused on their own careers. Without him, the Wailers probably just would have sucked.
Reggae archivist Roger Steffens' analogy says it all: Bob Marley was reggae's Martin Luther King Jr., making the music universally palatable; Peter Tosh was its Malcolm X, inserting fierce militant political energy. Together, they gave the Wailers a depth no single voice could achieve alone.
King Tubby built his own hardware from cast-off recording gear to strip vocals and create dubbed-out instrumental reggae — essentially inventing electronic music in Kingston before Kraftwerk did it in Germany. The dubplate he created became the raw material for DJs to toast over, seeding hip-hop.
Two days before the 1976 Smile Jamaica anti-violence concert, gunmen shot Bob Marley in the chest and shoulder, shot Rita Marley, and wounded two others. He showed up and played anyway. The concert had already drawn accusations that Marley was a tool of the PNP government — a charge that frustrated him deeply.
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