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Erika Hilton reúne empresários que já adotaram e defendem o fim da escala 6x1 e afirmam: “Na prática, sabemos que o fim da escala 6x1 traz mais lucratividade para as empresas e mais qualidade de vida para os trabalhadores.”

Oi, Eduardo Bolsonaro. Temos novos prints e documentos que achamos que você vai querer ler.

Isso não é um treinamento!!!!!!! Madonna começou a seguir Kylie Minogue no Instagram

We are updating our earlier report with all the additional details that have since emerged from Lucy O’Brien’s playback session — and they are well worth the read. Lucy O’Brien today attended a Madonna playback event at Lost in London where she heard 6 tracks from Confessions II, four of which had not yet been released. Stuart Price was present and confirmed the tracks were crafted like a DJ mix — blending continuously into each other. O’Brien also confirmed there was another playback session scheduled immediately after hers. Overall Sound & Format The album is a continuous mix — not separate standalone tracks. The overall sound is house with nu-disco influences, Detroit techno touches, and what O’Brien calls “good old dance pop.” It has elements of 80s house rooted in personal memory rather than pure nostalgia — O’Brien described it as “plugged into memories, not just NY but Menjo’s as a teenager in Detroit.” Despite the retro touchstones, the lyrics are so original it doesn’t feel like a throwback. It’s personal, but still reaches outward — danceable and uptempo. O’Brien’s overall framing: think of it like Confessions with further depth and insight. She was also clear that compared to Madame X, this is a more accessible record: “More ‘I Don’t Search I Find’ than ‘Batuka’.” And despite the sequel framing, it is not simply a reprise: “Before hearing any tracks I did wonder if it would be just a reprise of Confessions 1, but I’m struck by how, even though it’s still centred on the dance floor, she’s exploring new directions.” Tracks run around 3–4 minutes each. When asked to rank all six from favourite to least, O’Brien placed Fragile and Danceteria as her clear top two, with I Feel So Free a close third — followed by Love Sensation, Good for the Soul, and Bring Your Love. On Madonna’s vocals, O’Brien described them as “intimate, up close to the mic — also soaring in places,” with no significant vocoder use. Her voice was treated and pitched low on Love Sensation to match the track’s bassy vibe, but otherwise left relatively natural. Stuart Price revealed that for Danceteria, Madonna recorded using an old microphone from her early career days — held together with sellotape. For those concerned about an overabundance of spoken word material, O’Brien was reassuring: the spoken word elements are limited, and there is plenty of singing throughout the album. Track-by-Track Details Danceteria — An incredible spoken word track about Madonna’s stories from her early clubland years in New York. O’Brien compared it to the rap section of “Vogue” but grittier, and rather than referencing Hollywood icons, it namechecks her NY friends. It received a massive round of applause when heard at the session and is described as funny. When asked if there are any “Hung Up”-level moments on the album, O’Brien noted that Madonna is at a completely different and far more mature stage of her career — and that Danceteria is the closest equivalent: not a repeat of what came before, but a track that carries the same landmark weight with greater depth. Fragile — A slightly slower track confirmed to be about her brother Christopher Ciccone, who passed away from cancer. Madonna had already revealed the song’s existence and subject matter in her Jay Shetty podcast appearance months earlier, so this playback effectively confirming its place on the album. It has an icy production feel with synth strings reminiscent of “Frozen.” O’Brien called it very moving — “one of those songs with a sense of yearning, like she’s grasping something out of reach.” Love Sensation — One of the two tracks previewed at the Club Confessions party at The Abbey in West Hollywood. O’Brien noted that the version heard at this London session was essentially the same. It has a big-room chug with Madonna’s voice pitched quite low — sonically in the territory of Get Together — and when it was played at the session, the room hit the strobe lights. CONTINUES…