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The Madonna tour easily
remembered as her most controversial, started in Japan
during the rain season.
While the Who's That Girl tour established
Madonna as the leading female artist of the Eighties,
the Blond Ambition made her enter stardom
in the most complete way, with that mix of adoration
and extreme criticism that only true
Idols deserve.
Even hardcore Madonna fans show mixed feelings considering
the Blond Ambition tour either a pinnacle
in her live performance career, or a concentrate of excess
and useless eroticims anticipating the Sex
book experience that followed two years later.
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The main reason for controversy
came from the way religion and sexuality
were mixed in the show that Madonna herself described
as a theathrical presentation of her music.
Madonna lying on a red velvet bed with
two male dancers (Jose and Luis) on
her left and right, wearing long conical bras, sings
her classic "Like A Virgin"
in a Middle Eastern arrangement while she simulates
masturbation, is indeed very theatrical and a quite
strong image in itself.
When the climax arrives, the word "God"
is heard and it's suddently time for "Like
A Prayer" and spirituality.
Votive candles and black robed dancers come on stage
for this part of the show.
Some of the problems happened in Toronto,
Canada, where the police checked if the show was really
obscene as some complaining people were stating.
Madonna refused to alter the show and luckily no charges
were made.
The Like a virgin/masturbation scene was the main problem
there but the whole second section was the problem in
Italy, where a private association
of Roman Catholics called Famiglia Domani, (the same
one that protested in 1989 for the Like A Prayer video)
tried to boycott the show in Rome and Turin in July.
Many times it has been said that the Pope
himself called for a boycott of the Blond Ambition,
but it wasn't exactly like that.
The boycott was an initiave of "Famiglia Domani"
even if the Vatican's newspaper "L'osservatore
Romano" agreed that the show was a "complete
disgrace".
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The Blond Ambition Tour presents
a variety of incredible costumes by French designer
Jean Paul Gaultier who initially prepared almost
fifteen hundred sketches to help Madonna defining
the various looks of the show, but Madonna knew exactly
what she wanted.
"When I proposed my designs", said Gaultier
in an interview, "it was, that no, that yes, no,
yes, no". Gaultier who admired Madonna since the
early days of her career admitted that working with
her on the Blond Ambition Show was definitely one of
the highlights of his career.
"I love Madonna. That was one of the best times
of my career," he told the Observer.
But the chance to work with her for the first time on
this tour came up quite as a surprise, as he recalled
in an interview to the New York Times:
"When Madonna first called me in 1989, it was two
days before my ready-to-wear show, and I thought my
assistant was joking. I was a big fan. She asked me
if I would do the tour.
She knew what she wanted: a pinstripe suit, the feminine
corsetry. Madonna likes my clothes because they combine
the masculine and the feminine."
But how did Gaultier came up with the idea of the gold
conical bra?
Surpisingly it has somehow something to do with his
grandmother.
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"When I was a child, my grandmother
took me to an exhibition, and they had a corset on display.
I loved the flesh color, the salmon satin, the lace.
She explained that a corset was meant to help you, to
make you stand up.
It was a solution that I thought was beautiful. The
gold conical bra was just an extension of that idea",
explained the designer.
On this page you can find a selection of final sketches
by Jean Paul Gaultier of some of the most famous costumes
from the Blond Ambition Tour, from Express Yourself
and Like a Virgin to Material Girl and
Keep it Together.
While staging his retrospective in London at the V&A
museum in 2003 he told a local paper that "Madonna
is fabulous.
She is a fashion freak, un monstre de mode. I remember
the first time I saw her on the TV singing Holiday,
and I was thinking she was English."
"I couldn't think she was American to dress like
that. And when I met her in the flesh I was not disappointed.
She is not false.
She is like a little girl, truly enjoying, truly spontaneous
with her different looks."
On this page you can find a selection of final sketches
by Jean Paul Gaultier of some of the most famous costumes
from the Blond Ambition Tour, from Express Yourself
and Like a Virgin to Material Girl and Keep it Together.
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The tv broadcast
of the Blond Ambition was again co-produced
by RAI, the Italian national network that already worked
with Madonna on the previous tour's live broadcast.
One of the shows from Barcelona, Spain,
was the one produced by RAI that went live on tv in
many parts of Europe.
Another live broadcast from the last date of the tour
in Nice, in the South of France, was
the one produced by the HBO network
to be shown in the United States.
The latter became the concert that was released exclusively
on Laserdisc by Pioneer Entertainment,
the tour's sponsor, that had an exclusive contract with
Warner and Madonna for an initial release of the Blond
Ambition only on the new format, on which the company
had invested a lot to help establishing it on the market.
A different show from the beginning of the tour recorded
in Yokohama, Japan, became the Pioneer
Laserdisc released in that country
followed by a limited edition release on VHS.
The Blond Ambition Tour is also the
first Madonna's tour that has been featured on the big
screen. "Truth or Dare: On the
Road, Behind the Scenes, and In Bed With Madonna":
this was the original full lenght title of this engaging
behind the scenes look at Madonna's Blond Ambition tour
which became Truth or Dare in the Us
and In Bed With Madonna in Europe and
Japan.
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The film, two hours of black and white footage
interrupted time to time by live song segments in colour
from one the Blond Ambition dates filmed in Paris
Bercy, was directed by Alec Keshishian
and was presented at the Cannes Film Festival
in May 1991.
Critic Roger Ebert called the film "an
authorized invasion of privacy." because sometimes
it's hard to see what Madonna chooses
to reveal about herself and what she actually reveals
in the process.
The film became one of the most successful documentaries
in film history and
it was Australia's highest-grossing documentary until
last year, when "Bowling for Columbine" by Michael
Moore became the new highest grossing one.
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Talking
about the movie few years later, in March 1998, in an
interview to Uk's Q Magazine by Danny
Eccleston, Madonna was still
proud of this film.
"What's the point of making a documentary if you're
not going to show those sides? Then it wouldn't be a documentary,
right? Let's face it, the life of a... of whatever-you-wanna-call-me...
on the road, you've got to see all of that. It's a real
slice of life. It's of an era, of a time, and it's true
of the insanity of performing and the insanity of performing
and the insanity of travelling with this bunch of dysfunctional
people. Even in a movie, how can you be sympathetic towards
a fictional character if you don't see their warts?
I look at that movie and I think, My God how petulant
was I? And, Oh God, What a brat! But I'm not horrified
by it. That's where I was and I've grown up a lot since."
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