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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, 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 that format, on which Pioneer 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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