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Madonna Girlie Show Live Fukuoka 1993 Download

1993 concert bout by Madonna

The Girlie Bear witness
Tour by Madonna
Madonna - The Girlie Show (poster).png

Promotional poster for the Tokyo concerts
Location
  • Europe
  • Centre East
  • North America
  • Caribbean area
  • South America
  • Oceania
  • Asia
Associated album Erotica
Showtime date September 25, 1993 (1993-09-25)
Stop engagement December 19, 1993 (1993-12-19)
Legs 7
No. of shows 39
Box office US$seventy million[a]
Madonna concert chronology
  • Blond Ambition World Tour
    (1990)
  • The Girlie Show
    (1993)
  • Drowned World Tour
    (2001)

The Girlie Show was the fourth concert tour by American vocalist and songwriter Madonna, in support of her 5th studio anthology, Erotica (1992). In October 1992, Madonna simultaneously released Erotica and the coffee table volume Sex. The former concluded upward being Madonna's lowest selling album at the time, while the latter received extensive media attention, and backlash from fans and critics; nonetheless, it was commercially successful. After the critical and commercial failure of the erotic thriller Body of Evidence starring Madonna, the tour was announced in July 1993. According to some critics, information technology was the singer'south way to "revive" her music career following the negative reaction to the thriller. The bout took its name after an Edward Hopper painting titled "Girlie Show". Madonna'south blood brother, Christopher Ciccone, was appointed tour director.

Like her previous Blond Ambition Earth Tour (1990), the concert was divided into different thematic sections: Dominatrix, Studio 54, Weimar Cabaret, and an encore. Madonna opened the show dressed as a dominatrix surrounded past topless dancers, while lighter moments included her descending from the ceiling on a giant disco brawl wearing an Afro wig for "Limited Yourself" (1989), likewise as singing "Like a Virgin" (1984) in the guise of extra Marlene Dietrich. Information technology began in London on September 25, 1993, and ended in Tokyo on December xix of the same yr. The 39-date tour marked the commencement time the singer visited places such as Turkey, Israel, Mexico, Puerto Rico, Argentina, Brazil and Australia. The Girlie Evidence received generally positive reviews from critics, who agreed that despite the controversy surrounding the singer, she could still delight her audience. Upon completion, it was reported to have grossed Usa$lxx million.[a]

Several organizations in dissimilar countries protested to forcefulness the cancellation of the concerts, due to their explicit sexual nature. In Puerto Rico, Madonna passed the isle's flag between her legs on phase, resulting in outrage amongst Puerto Rican society. A number of concerts were recorded and broadcast, with the prove on Nov 19, 1993 in Sydney, Australia beingness aired equally a special on HBO; the post-obit yr, it was released on video under the title The Girlie Show: Alive Down Nether. The concerts in Fukuoka, Japan were too filmed, but broadcast exclusively on Japanese television set.

Background [edit]

In Oct 1992, Madonna released simultaneously her fifth studio anthology Erotica, and her java table book Sex. Consisting of sexually provocative and explicit images, photographed by Steven Meisel, the book was met with a strongly negative reaction from the media and the general public, but was commercially successful.[two] [3] The widespread backlash overshadowed Erotica which, despite positive reviews, concluded up every bit the vocalizer'southward lowest selling album at the time;[3] [iv] Madonna continued her provocative imagery in the 1993 erotic thriller Trunk of Bear witness, a film which contains scenes of sadomasochism and chains but it was critically panned and a commercial failure.[five] On July nine, 1993, The Philadelphia Inquirer announced that Madonna would embark on The Girlie Bear witness, a new concert bout.[6] Some critics suggested that the tour was every bit an attempt past the singer to "revive" her musical career later on Body of Show.[6] Madonna'due south inspiration for the tour was a painting by Edward Hopper of the same name, depicting a burlesque dancer.[seven]

The bout was ready to kick off at London's Wembley Stadium on September 25, 1993.[viii] Madonna then said she was "not interested in preaching to the converted", hence why she decided to begin The Girlie Prove in London; "I am going to the places where I have the virtually enemies", she explained.[8] Information technology was initially planned non to visit the United States, instead focusing on regions the vocaliser had never toured before, such equally Turkey, Israel, Mexico, Puerto Rico, Argentina, Brazil and Australia. Nevertheless, due to demand, some shows were booked in certain U.s.a. cities.[ix] A concert in Beijing'due south Workers' Gymnasium was also planned; the official China News Agency reported that she would be allowed to perform equally long as at that place wasn't include any "indecent exposure" in the show. Madonna allegedly agreed, since she was interested in visiting the country. However, said concert never happened.[10] A promotional extended play, titled The Girlie Show, containing all six singles from Erotica, was released in Brazil to commemorate the singer's visit.[11] Similarly, limited editions of Erotica and The Immaculate Collection (1990) were released exclusively in Australia.[12] [13] The tour was then chronicled in a photo book of the same proper noun, released in November 1994. This release included a CD with three live tracks: "Like a Virgin", "In This Life", and "Why's It So Hard". Madonna wrote in the book:

"When I finished the Blond Appetite bout, I swore on my life that I would never fifty-fifty call back of going on tour once again as long as I lived. I was spent. I was exhausted. I was sick of traveling. I wanted stability. So, I threw myself into making movies, recording a new album, and I besides put out a book chosen Sex. So much for stability.

Needless to say, as rewarding as all these artistic endeavors were to me, they could not take the place of performing live. Theater is my life--or is my life theater? I'k not sure and information technology actually doesn't thing. Being on stage is where I feel virtually live, and it's where I'm able to pull all of my creative energies into one outlet. It's the only place where I can combine all of my influences and all of my inspirations into i living, breathing animal. The stage is the only environment where cubist painting, caricatural, flamenco dancing and the circus can alive together under one cozy roof. Taking the adventure ane step farther is to play in forepart of a different audition every dark. dealing with different cultures, different expectations, different ways of expressing pleasure and cliffhanger--this to me is the ultimate thrill. The ultimate risk. And I love taking risks. Y'all may accept heard that nearly me. There'south no way this book could truly recapture the excitement of the "Girlie Show", simply it comes pretty damn close.

By the fashion, if you ever hear me say, "I'm never going on tour again", don't believe me."[xiv]

Evolution [edit]

A large illuminated sign reading "Girlie Show" was hung higher up the stage

In early 1993, Madonna contacted her brother Christopher Ciccone, who had worked on her previous Blond Ambition World Tour in 1990, and appointed him bout manager; besides directing, Ciccone was also in charge of supervising the coiffure, designing the phase set, and handling all the dancers.[15] Auditions for dancers took place in Los Angeles; an ad was displayed for "androgynous boyish girls with very curt hair".[16] The singer said almost the hiring process:

"First I had choreographed stuff I had them exercise. Then I asked them to dance and improvise, whatever the music moved them to practise. So I called back all the people who looked good and could really dance and I asked each of them to tell a joke or an amusing story. If they were really embarrassed and couldn't do information technology I didn't pick them. Then the ones that were left, I asked them if they would shave their heads. Non that I was going to shave their heads. I just wanted to see how far they were willing to go for me".[fourteen]

Madonna and Ciccone decided to work with five unlike choreographers, 1 of them beingness American histrion Gene Kelly, whom the singer wanted to choreograph the performance of single "Rain".[17] However, tension soon arose every bit Kelly was uncomfortable with the dancers; he believed they had been selected based on personality rather than for their abilities as dancers.[17] Feeling Kelly's position wasn't working out, Ciccone convinced the vocalizer to burn him; eventually, Madonna, "shamefaced at having single-handedly conceived of such a terrible fate for this venerable American icon", agreed with her brother and dismissed Kelly.[17] Alex Magno was then appointed one of The Girlie Show'due south main choreographers.[eighteen] For the testify'due south master theme, Madonna and her blood brother agreed on a "caricatural circus" and, for inspiration, would watch Bollywood films, Thai dance numbers, Carol Reed's Trapeze (1956), likewise as the piece of work of Marlene Dietrich and Louise Brooks.[17]

The wardrobe was in charge of fashion designer duo Dolce & Gabbana; Madonna gave them instructions to watch a number of films, including My Off-white Lady (1964) and Cabaret (1972), to bring to life the "striptease, Vegas blazon of show" she envisioned.[xix] 1,500 costumes were created for the tour's troupe, that ranged from dominatrix boots, a sequined bra, and a Victorian-inspired apparel to a unproblematic white tank-top and cut-off denim shorts.[20] Domenico Dolce recalled that "both Madonna and I share a Fellinian version of the circus, but we also similar those glamorous costumes that you can see in the movies from the '50s"; the duo agreed on "perfection" being the biggest challenge they encountered while working with the vocaliser.[21] The designers would "redo" the stuff that would rip or come apart during the tour; "We followed the tour this manner. From time, shorts and other things were missing. We followed the tour and assisted Madonna, despite being ever in Milan", they explained.[22]

The show had a more than complex phase than those from Madonna's previous tours; it included a catwalk that extended from the main stage and led out towards the audition, and two hydraulic risers that rose from beneath the stage to elevated platforms and several smaller balconies.[xviii] [23] A large illuminated sign reading "Girlie Show" was hung above the phase. 2 huge drawings, portraying the face of Madonna hidden behind a black mask, were placed on the sides.[24] [25] Two aircraft were needed to ferry the tour around Europe, including the largest Soviet transport plane ever fabricated; information technology took four full days and 100 employees to gather the stage, with one additional day for the setting upwardly of production.[26] [27] During MTV Australia's special Girlie Talk, Madonna commented about having her hair cutting earlier the bout: "my pilus was hot pinkish. I went through this Pippi Longstocking phase where I just had to take, like, pinkish cerise hair and braids [...] and when I dyed my hair of all these crazy colors [...] I tried to brand it blond once again, [simply it] started to intermission off everywhere and so I kind of gave myself a haircut whatever I like it or not. For the tour I wanted something clean and afterward I cut all the dancers' hairs I was trying to decide what I wanted to exercise with my hair and I thought of having it dark similar in my 'Rain' video, simply then I didn't want to have the same color hairs of all the dancers, so I shortened and kept this color."[28]

Concert synopsis [edit]

The concert was divided into four different thematic sections: Dominatrix, Studio 54, Weimar Cabaret and an encore.[29] It began with a calliope fanfare every bit a pierrot – who made several cameos later – appeared on phase. This was followed by a topless dancer sliding downwardly a twenty-human foot pole high above the stage. Then, Madonna emerged as a short-haired dominatrix, wearing a black sequined ensemble consisting of jacket, bra, hot pants, elbow-length gloves, knee-high boots, and domino mask while brandishing a crop to perform "Erotica"; her dancers posing suggestively in the background.[18] [30] [31] The adjacent number was "Fever", which Madonna performed alongside half-naked male dancers. Towards the stop, the singer and the 2 men disappeared in a flamed circle on the phase.[31] The 3rd song, "Vogue", featured Madonna wearing an elaborate Asian beaded headdress and engaging in a Thai-inspired choreography.[32] For "Rain", Madonna and back-up singers and dancers Niki Haris and Donna De Lory wore long run into-through black robes and sat on stools in the center of the stage.[33] An instrumental interlude airtight the act: the pierrot, forth with several dancers dressed in black and twirling umbrellas, did a choreography reminiscent of the 1952 musical film Singin' in the Pelting.[34]

The Studio 54 act began with "Limited Yourself"; a distorted phonation from off-stage claimed "I'one thousand gonna have you to a place you've never been earlier". Then, Madonna descended from the ceiling on a giant disco ball, wearing a blond afro wig, 1970's fashion halters and royal blueish Bell-bottom pants. She was joined past Haris and De Lory in like outfits.[30] [35] The cease of the operation was continued to the next song, "Deeper and Deeper", which featured a male member from the audience jumping onstage, seemingly trying to dance with a startled Madonna, ripping off his tearaway pants and revealing himself as one of the dancers from the show.[36] "Why'due south It And so Hard" saw Madonna simulating an orgy with all the dancers, while "In This Life", the human action'southward last vocal, saw her singing lone on the stage while being watched by the pierrot from distant.[31] The show's 2d interlude, "The Beast Within", featured two men doing an apocalyptic dance with sexual overtones every bit Madonna, from off-phase, recited the lyrics.[36] [37]

"Like a Virgin" opened the Weimar Cabaret segment: Madonna wore top hat and a tailcoat while singing in the guise of actress Marlene Dietrich, pronouncing the give-and-take "virgin" as "wirgin".[37] [38] [39] "Bye Bye Baby" saw Madonna, Haris, and De Lory performing with three scantily clad women in a choreographed, highly sexual routine.[xl] "I'chiliad Going Bananas" was then sung in "Judy Holliday/Betty Boop/Cyndi Lauper-ish vocals."[37] For the next number, "La Isla Bonita", Madonna removed the tailcoat, and performed in a blue and white striped shirt. She sang on peak of a rise platform while one of the musicians walked around bare-chested playing the acoustic guitar.[31] [36] The last song earlier the encore was "Holiday"; it featured Madonna and the dancers wearing long trenchcoats and doing a military parade while an American flag was hung in the background.[37] [41] The final numbers were "Justify My Love" and a mashup of Sly and the Family Stone's "Everybody Is a Star" (1969) and Madonna's ain "Everybody":[36] the old had the vocalizer and dancers wearing Victorian costumes and her holding a lorgnette, and the latter saw them change into white tops and denim shorts.[37] Afterward, equally a red curtain fell and carnival music played, the pierrot emerged yet again, merely to reveal its identity as Madonna herself. The vocalist closed the bear witness past singing the phrase "Everybody is a Star" as the curtain fell once more.[31]

Critical response [edit]

Studio 54, the second human action of the tour, featured performances such as "Why's It So Difficult" (left) and "Express Yourself" (correct); the latter one was performed past the singer atop a giant disco ball

The Girlie Bear witness was mostly well received by critics. In his book Madonna: An Intimate Biography, J. Randy Taraborrelli wrote: "While even so sexy, it was still more of an innocent burlesque rather than a blatant endeavour to shock [...] this concert had the feeling of a racy Barnum and Baileys circus", and praised information technology for revealing a "softer" side of the vocaliser.[42] On a similar notation, Gar Graff from the Detroit Free Printing noted the bout revealed a more personal side to Madonna than her previous tours; he called information technology a "stylish, theatrical [...] sophisticated, tightly scripted, two hour cabaret."[43] Thom Duffy from Billboard said the tour "transcended its ain playfully erotic hype and earned kudos as pure amusement", also noticing a "sense of humor and burlesque" that the Blond Appetite Globe Tour lacked. Duffy concluded that, despite the controversy surrounding Madonna at the time, she could still "confound and excite her audience."[44] Similarly, Richard Corliss, writing for Time, expressed that "Madonna, in one case the Harlow harlot and at present a perky harlequin, is the greatest evidence-off on world", and deemed the bout "at in one case a movie retrospective, a Ziegfeld revue, a living video, an R-rated take off on Cirque du Soleil."[45]

Paul Taylor from The Independent was positive on his review of the evidence's opening night at London; "her performance-which featured spanking, four-letter outbursts and suggestive references to oral sexual practice and the size of 1 dancer's manhood conspicuously delighted about of her fans."[46] As well of the opening night, Entertainment Weekly 's Tyler Brule commented that "Madonna may take lost some of her glitter lately. But equally she demonstrated in the starting time of her Girlie Show tour at London's Wembley Stadium, she hasn't forgotten the twin pillars of her success—how to put on a show, and how to brand a cadet."[26] Frances Hubbard from the Daily Express opined that the vocalist is "at her worst when she turns moody and pretentious" and that "if Madonna is on her way down, it's a gentle descent. The globe's best-marketed pop goddess will be around for a while nevertheless."[47] In his review at the show at New York'southward Madison Square Garden, Jon Pareles from The New York Times noted that "afterwards the proudly uningratiating "Blond Ambition" bout in 1990 [...] "The Girlie Bear witness" tweaks fewer taboos." Pareles pointed out that the singer "sings but enough solo parts to show she'southward not lip-synching" and ended that with the Blond Ambition Earth Tour she was "popular'south least flirtatious sex symbol", but was "likeable again" on The Girlie Show.[37] The Los Angeles Times 'due south Jeff Kaye wrote that "despite the scanty costumes adorning the star and her troupe of singers and dancers, and the liberal doses of group groping and gender-angle, at that place wasn't anything that could be called shocking [...] there was a sense that this adoring oversupply had seen and heard all this stuff before."[30]

However, non all reviews were positive. The British printing took what Kaye called a "mean-spirited stance" against the singer and the tour; subsequently she arrived in London, a British magazine proclaimed itself a "Madonna-Free Zone", refusing to publish or show any pictures of the concerts.[26] [30] Bruce Elder from The Sydney Morning Herald gave a mixed review; "the all-time that could be said [...] was that information technology was an upshot, an occasion, a place to exist seen at, but equally pure dance, pop or rock entertainment, it was nothing special." He also wondered if the singer was "actually committed to jubilant sexual liberation or [did she] simply hijacked sadomasochism and homosexuality in the name of good old American capitalism." Elder further noticed a "kind of coldness and distance" in the performances and pointed out "too many flat spots [...] to make this a truly memorable concert."[48] More negative was The Washington Post 'south Tom Shales, who wrote that "her attempts now to daze and titillate have go belabored self-parodies [...] Madonna'due south 'Girlie Testify' is featherbrained, not shocking."[49] On their rankings of Madonna's tours, The Abet 's Gina Vivinetto and VH1's Christopher Rosa placed The Girlie Testify in the fourth and fifth position, respectively.[23] [50] The Odyssey'south Rocco Papa considered it Madonna's all-time concert tour: "Not only did [The Girlie Show] feature some of the best staging of Madonna's career, information technology was also impeccable musically [...] She also displayed a happiness and warmth to the audition that made this show stand up out".[51]

Commercial reception [edit]

The Girlie Show proved to exist commercially successful. In London, fifteen,000 tickets were sold within two hours, while the opening night was attended by 72,000 people.[thirty] [52] Madonna's very kickoff concert in Israel attracted an audience of 50,000 people.[53] The 3 shows at New York Metropolis'south Madison Foursquare Garden grossed Usa$2,020,475 meg, while the 3 Mexican concerts grossed $8,927,703 million; prices ranged from $28.xiii to $125.[54] [55] The first bear witness at Argentina's River Plate Stadium saw the singer playing to an audition of 50,000.[56] In Brazil, she bankrupt attendance records: 98,000 and 120,000 people attended the concerts in São Paulo and Rio de Janeiro, respectively. Information technology remains the second largest crowd ever on Rio's Maracanã Stadium for a female person artist, behind Tina Turner's 1988 Break Every Rule World Bout (attended past 188,000 people).[57] The average ticket price for the shows was $15.[58]

In Australia, Madonna set the record for the biggest ticket sales with over 360,000 tickets sold; the outset date sold 52,000 tickets in an hour and 20 minutes, with prices ranging from $45 to $142.[59] The single concert at the Adelaide Oval attracted over 40,000 people, standing equally one of the most attended concerts in the venue's history.[60] [61] The dates in Melbourne and Sydney sold 147,241 and 135,000 tickets, respectively.[62] In Sydney, over 90,000 tickets were sold in an hour.[63] Billboard then reported that the viii Australian concerts had grossed over US$eighteen.5 one thousand thousand.[64] Upon completion, the tour was reported to have grossed a total of $70 million[a] from 39 concerts.[65]

Controversies [edit]

The Girlie Testify was controversial due to its highly sexual nature. The images testify the performances of "Similar a Virgin" (left) and "La Isla Bonita" (right), which were included on the concert's third deed, Weimar Cabaret

Like previous Madonna tours, The Girlie Show was subject area to controversy. One planned concert in Frankfurt was condemned by a German politician who declared it "exceeded the bounds of decency" and should be banned to those nether 16.[66] Norbert Geis, parliamentary spokesman for Chancellor Helmut Kohl'south party, had previously warned: "Either Madonna drops these obscenities... or she will not be immune to appear". The concert ended up existence cancelled, with the organizers citing "technical difficulties" as the reason.[66] Trouble in State of israel occurred when Orthodox Jews staged protests to force the cancellation of the singer'south first prove in the country; Avraham Ravitz, from the Torah Judaism Party, expressed that "this is a holy state [...] people from all over the world did non move here in order to see this human garbage".[59] Still, rallies were unsuccessful as the sold-out show went on as scheduled.[38]

In Puerto Rico, certain groups feared Madonna'southward influence over teenagers and demanded the concert'due south counterfoil.[67] During the show, Madonna held a pocket-sized Puerto Rican flag to her bosom and so slipped it slowly through her legs. This was met with backlash: the leader of the Independence Political party called the act "an infamy without parallel in the history of our state"; Governor Pedro Rosselló described information technology as "an unfortunate incident", and urged the people from the state to repudiate the singer.[68] [69] Senator Enrique Rodríguez Negrón filed a censure resolution, which was rejected past President of the legislature Roberto Rexach Benítez.[70] Representative David Noriega called Madonna "vulgar and insensitive", and accused her of abusing the country'southward hospitality.[69] Luis de Rosa, president of the Puerto Rican Bedroom of Commerce of South Florida, said Madonna "has no right to go to someone's homeland and pass their flag through her private parts".[71] The chamber and other Puerto Rican groups urged Hispanic citizens to assemble exterior the vocalist'southward Miami dwelling house to wave Puerto Rican flags and destroy her records; most xxx people showed upwardly.[71] [72] Madonna'south supporters claimed she meant no harm, and had simply put the flag there considering she couldn't notice her pocket.[69]

More controversy arose in Argentina; cardinal Antonio Quarracino, archbishop of Buenos Aires, chosen the vocalizer "cursing and pornographic" and asked then-president Carlos Menem non to receive her. Additionally, Bishop Osvaldo Musto called for a cancellation and recommended confession for any practicing Catholic who attended the concerts elsewise. Jorge María Storni, president of the organisation Tradición, Familia y Propiedad, supported the cancellation of the concerts, since according to his words, Madonna's main goal was to "undermine the foundations of social order". Alexander Molinas ―consultant of Menores due east Incapaces de la Cámara Civil― went as far every bit to ask civil guess Marcela Perez Pardo to ban the shows because they threatened "intimacy and religious censor"; the asking was dismissed simply the estimate did order that anyone nether thirteen exist accompanied by an adult.[56]

In Mexico, an anti-abortion organisation urged Interior Ministry officials to deny the singer'south entry to the land. A spokesman dismissed this request and explained that in that location was no reason to deny her a visa. Pro Life President Jorge Serrano Limón said Madonna was mocking the Cosmic people, and that those attending the concerts did not have "the right to publicly mock the moral and religious values of Catholics or the patriotic values of Mexicans".[69] Additionally, social communicologist Nino Canún presented a television receiver special called ¿Y usted qué opina? (English language: And so what'due south your opinion?), where the audience, among them a priest, presented their arguments as to why "this morally clueless vocaliser shouldn't be allowed to perform in the country".[73] A ministry official dismissed the controversy by proverb that "whoever likes it can go [to the concert] and whoever doesn't, well don't go".[69] Later, during the concert, Madonna wore a sombrero and imitation an orgy as response.[73]

Upon Madonna'south arrival in Australia, controversy aroused when she was given by Michael Gudinski, one of the promoters of the tour's Australian leg, a didgeridoo, a traditional instrument among the Aboriginals which is allowed to be played only past men;[74] "the fact [Madonna] is a Westerner and the didgeridoo equally a gift does not alter the fact she should not be conveying it effectually", said Badangthun Munmunyarrun, an Aboriginal elder.[75] Gudinski afterwards explained that he was working with Yothu Yindi at the time, and presented Madonna with the didgeridoo Yindi had given him, simply planned to get the instrument dorsum from her and replace it with a new one.[76] In 2015, Madonna confirmed she still had the didgeridoo.[74]

Broadcasts and recordings [edit]

Cashbox magazine reported on Nov 6, 1993 that one of the shows at the Sydney Cricket Ground stadium would be circulate through HBO on November 20; this marked the 2nd fourth dimension Madonna worked with the network following the Blond Ambition World Tour broadcast 3 years before.[77] Initially, Madonna intended to motion-picture show the tour in Argentine republic or United mexican states, but she ultimately chose Australia instead, as she liked the event being billed as "Madonna Down Under".[78] On November thirteen, 1993, Billboard reported Westwood One would do a simultaneous broadcast of the special; information technology officially aired on HBO as Madonna Live Down Nether: The Girlie Show. HBO started its broadcast from Club USA in New York City, leading to the concert itself.[18] [79] With a 17.0 rating and 27 share overall, it became the network's second most-watched original program of the year, following the George Foreman vs. Tommy Morrison fight.[80] [81]

On Apr 26, 1994, the special was released on LaserDisc and VHS under the title The Girlie Evidence: Alive Down Under.[82] It earned Madonna a nomination for Best Long Grade Music Video at the 37th Annual Grammy Awards and peaked at number 31 and 32 on Billboard 's Year-end Top Music Videos and Pinnacle Video Sales charts, respectively.[83] [84] In improver to the official release, British radio station BBC Radio 1 broadcast the London show on Dec 26, 1993. The concerts in Fukuoka, Japan were filmed and aired exclusively on Japanese television.[85] [86]

Set list [edit]

Set list and samples adjusted per Madonna's official website and the liner notes of The Girlie Show: Live Down Under.[87] [36]

Act 1: Dominatrix

  1. "The Girlie Show Theme" (fanfare introduction)
  2. "Erotica"
  3. "Fever"
  4. "Faddy"
  5. "Rain" (contains excerpts from "Just My Imagination (Running Abroad with Me)" along with elements of "Singin' in the Rain")

Act two: Studio 54

  2. "Express Yourself"
  3. "Deeper and Deeper"
  4. "Why's It So Difficult"
  5. "In This Life"
  6. "The Animal Within" (dancers' interlude)

Human activity 3: Weimar Cabaret

  2. "Like a Virgin" (contains excerpts from "Falling in Love Again (Can't Assist It)")
  3. "Bye Adieu Baby"
  4. "I'thousand Going Bananas"
  5. "La Isla Bonita"
  6. "Holiday" (contains excerpts from "Holiday for Calliope")

Act iv: Encore

  2. "Justify My Love"
  3. "Everybody Is a Star" / "Everybody" (contains elements of "Trip the light fantastic to the Music" and "Subsequently the Trip the light fantastic toe")

Bout dates [edit]

Cancelled dates [edit]

Personnel [edit]

Adapted from The Girlie Show programme.[94]

Ring [edit]

  • Madonna – creator, vocals
  • Niki Haris - vocals
  • Donna De Lory - vocals
  • Jai Winding - keyboards
  • Michael Bearden - keyboards
  • Paul Pesco - guitar
  • Victor Bailey - bass
  • Omar Hakim - drums
  • Luis Conte - percussion
  • Mike McKnight - boosted keyboards

Dancers [edit]

  • Ungela Brockman - dancer
  • Christopher Childers - dancer
  • Michael Gregory - dancer
  • Carrie Ann Inaba - dancer
  • Jill Nicklaus - dancer
  • Ruth Inchaustegui - dancer
  • Luca Tommassini - dancer
  • Carlton Wilborn - dancer

Choreographers [edit]

  • Alex Magno - choreographer
  • Keith Young - choreographer
  • Michelle Johnston - choreographer
  • Niki Haris - choreographer

Wardrobe and crew [edit]

  • Dolce & Gabbana - designers
  • Rob Saduski - designer
  • Christopher Ciccone - production designer
  • Jai Winding - musical director
  • Jeffrey Hornaday - phase manager
  • Peter Morse - lighting director

Notes [edit]

  1. ^ a b c $125.41 million in 2020 dollars[1]

References [edit]

Citations [edit]

  1. ^ 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Toll Index for Use every bit a Deflator of Money Values in the Economy of the U.s.: Addenda et Corrigenda (PDF). American Antique Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Existent Coin? A Historical Price Index for Employ as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–nowadays: Federal Reserve Banking concern of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved January 1, 2020.
  2. ^ Morton 2002, p. 54
  3. ^ a b Kirschling, Gregory (Oct 25, 1992). "The Naked Launch". Entertainment Weekly. Archived from the original on June 17, 2017. Retrieved February 9, 2021.
  4. ^ Erlewine, Stephen Thomas (October 20, 1992). "Erotica - Madonna". AllMusic. Retrieved March 8, 2021.
  5. ^ Metz & Benson 1999, pp. 17–xx
  6. ^ a b Logan, Joe (July 9, 1993). "Madonna'southward Got A Girlie Act To Bear witness Off To The Globe". The Philadelphia Inquirer. Archived from the original on September 19, 2015. Retrieved February nine, 2021.
  7. ^ Falconi 2017, pp. 77
  8. ^ a b Sholin, Dave (August 6, 1993). "That's Sho-Biz" (PDF). Gavin Study (1986): 9–ten. Retrieved February 9, 2021.
  9. ^ "The Validator". Icon. 13 (12): 28. 1993.
  10. ^ Cooper, Mike (May xiv, 1993). "Music Now!" (PDF). Hard Report (325): 53. Retrieved February nine, 2021.
  11. ^ The Girlie Show (Media notes). Madonna. Warner Music Brazil. 1993. CDP0893. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  12. ^ Erotica (Limited Australian Tour Edition) (Media notes). Madonna. Warner Music Commonwealth of australia. 1993. 9362450312. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
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Bibliography [edit]

  • Borzillo-Vrenna, Carrie (2008). Carmine Bomb: The Ultimate Guide to Becoming a Better Flirt, a Tougher Chick, and a Hotter Girlfriend--and to Living Life Like a Stone Star. Simon & Schuster. ISBN978-1416961161.
  • Ciccone, Christopher; Wendy, Leigh (2008). Life with My Sis Madonna. Simon & Schuster. ISBN978-ane-4165-8762-0.
  • Coupe, Stuart (2015). Gudinski: The Godfather of Australian Rock. Hachette. ISBN978-0733633102.
  • Falconi, Francesco (2017). Mad for Madonna: La Regina del Pop. Alberto Castelvecchi. ISBN978-8876155505.
  • Flores, Juan (2000). From Bomba to Hip-hop: Puerto Rican Culture and Latino Identity. Columbia University Press. ISBN9780231110778.
  • Fouz-Hernández, Santiago; Jarman-Ivens, Freya (2004). Madonna's Drowned Worlds . Ashgate Publishing. ISBN978-0-7546-3372-three.
  • Lenig, Stuart (2010). The Twisted Tale of Glam Rock. Greenwood Publishing Group. ISBN978-0-313-37986-4.
  • Metz, Allen; Benson, Carol (1999). The Madonna Companion: Two Decades of Commentary. Music Sales Group. ISBN978-0-8256-7194-iv.
  • Morgan, Michelle (2015). Madonna. Constable & Robinson. ISBN978-1472118868.
  • Morton, Andrew (2002). Madonna. Macmillan Publishers. ISBN978-0-312-98310-ix.
  • O'Brien, Lucy (2008). Madonna: Similar an Icon. Bantam Printing. ISBN978-0-593-05547-ii.
  • Robinson, Billy (2018). Madonna en xxx secondes: Sa vie, sa musique et son influence, expliquées en moins d'une minute. Hurtubise. ISBN9782897811723.
  • Strobel, Lee (1994). What Jesus Would Say to: Blitz Limbaugh, Madonna, Neb Clinton, Michael Jordan, Bart Simpson, Donald Trump, Murphy Dark-brown, Madalyn Murray O'Hair, Mother Teresa, David Letterman, & You. Zondervan. ISBN0310485118.
  • Taraborrelli, J. Randy (2002). Madonna: An Intimate Biography. Simon & Schuster. ISBN978-0-4251-8669-5.

External links [edit]

  • Madonna.com > Tours > The Girlie Show

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