Leaderboard

It'd be hilarious if someone straight up asked her "So Blond Ambition? ReInvention? Are we getting the tours on Bluray or what?" Just to be met with

I’ve finally managed to put together all my notes and thoughts about the show I saw on October 23rd at the Chicago Theatre. Hope no one minds another review. I got to the theatre around 9:30pm. The process of getting in was pretty smooth – you show your phone ticket, get a physical ticket with your seat number written on it, have your phone ticket scanned, have your phone sealed in a pouch, and then go through a security gate. Kudos to the personnel who were all extremely polite and professional. The theatre was already buzzing with people lined up to the bar and merchandise booth and just hanging and chatting. I have to add that the theatre inside is absolutely stunning. I had a seat next to a couple of gentlemen from Ohio, longtime fans and overall very nice people. Then a couple of ladies came in and took seats to my other side. They enthusiastically told us that after they had taken their original seats in the back of the balcony, a member of Madonna’s team came up to them and said that “Madonna wanted” them to be closer to the stage. So it looked like they were just moving fans to fill in the empty floor spots. Two more fans behind us were singing Madonna songs a capella. ? The no-phone policy definitely made the pre-show atmosphere more friendly and relaxed. Around 10:20-10:30pm four musicians from Madonna’s band walked up to the stage and took positions on its right edge. They played instrumental renditions of four Madonna songs (“Secret”, “Like a Virgin”, “Don’t Tell Me”, “Who’s That Girl”) as well as three or four pieces of what I assume was Portuguese music. Without exaggeration, her band is absolutely phenomenal. Classy, laid-back, super talented, and just cool. The audience sang along and gave them a deservedly warm welcome. They left the stage, and some jazz music was played from the speakers after. Shortly after 11pm a pre-recorded announcement from Madonna was broadcast throughout the theatre (“Welcome to the world of Madame X”, etc), and the show started. “God Control”, “Dark Ballet” and “Human Nature” are performed without a pause. The bit where she has a confrontation with the police at the end of “Dark Ballet” seemed rather trite, since she has done something very similar in the past during the Re-Invention Tour’s “Die Another Day” and “Lament”, and also for the “Secret Project” and her performance of “Between the Bars” with Rocco. “Human Nature” drew a lot of cheers, and her playing the drums with a band member was quite cute. During a speech after “Human Nature” she seemed to be in very good spirits, thanked us all, and said we were much better “than the Monday crowd”. Not sure if she says that at every show though. ? A short “Express Yourself” snippet that followed was definitely a hit among the audience. A vanity is then set up onstage and she does a costume/hair change behind it with help of two dancers and also a person in a doctor’s robe (there was some sort of joke behind it, which wasn’t particularly uproarious). Then there were the “Mozart from my pussy” bit and of course the small penis joke, which she said she never gets tired of telling. Answering the question (“What do you call a man with a small penis?”), an audience member in the front row yelled “Elton John”, presumably in reaction to news reports that he had called Madonna “nasty” after her “reductive” remark about Lady Gaga. Madonna either didn’t know about it (my guess) or simply chose to take the high road and said “Elton John? Interesting. His husband probably wouldn’t like that”. The spy persona is revealed and “Vogue” brings the house down. “I Don’t Search I Find” is a cool number with a nicely staged interrogation scene. Her auctioning off a Polaroid selfie, thankfully, wasn’t as painful and cringy this time as it has been reported at some earlier dates. She had trouble taking a picture with the original camera that was onstage, and, after several unsuccessful attempts, one of the dancers (still in his “Vogue” attire) ran out from backstage and brought her a replacement. Madonna wasn’t mad or anything and even playfully tried to take a selfie with the dancer but eventually changed her mind. Reports regarding this date’s auction itself seem to have been a bit contradictory, but to the best of my recollection, two sisters from Nashville, TN that were wearing matching “I’m a Bitch” T-shirts initially offered $3,400. Another person offered $4,000, but when Madonna saw it was Detox, she politely refused his bid, which was rather nice of her. After no one else offered more, she ask the sisters (who she first thought were a couple) if they had any more cash, and they produced another $75. Madonna said she didn’t like odd numbers, and someone (I think Detox) added another $25 for a total of $3,500. The already well-documented lyric change of “I’m not keeping my baby” in “Papa Don’t Preach” and the following abortion/women’s rights speech caused some bizarre yells from the audience’s straight men about straight men (I couldn’t make that out, unfortunately). It visibly ticked Madonna off and she half-angrily answered “What did you say??” No response followed (), and, luckily, it all ended immediately right there. To my surprise, the fans went pretty crazy about “American Life”, which I also personally love. She messed up a line in it and managed to squeeze in a remark about the theatre being too cold (it really wasn’t). As several dancers dressed as soldiers carry a coffin across the stage, a video is projected behind them highlighting different places on a map (all seem to be Portuguese speaking regions but I could be wrong), ending with Cabo Verde. “Batuka” starts and most batukadeiras come onstage from the floor aisles. Two elderly members appear from the back of the stage already seated. Unlike the previous shows, Madonna was no longer wearing a knee band throughout the fado segment. All in all, this was a great number definitely boosted by the batukadeiras’ authenticity and musicianship. To allow time for the stage to be turned into a Portuguese street, the projection sheet comes down, and Madonna gives her “moved to Lisbon/became a soccer mom/ate too much/got fat/got depressed/found new inspiration in Portuguese music” speech in front of it. It did drag on for a little too long, and here is where things turned sour. I couldn’t hear it very well, but someone on the main floor talking over her caused her to SNAP. “Can you shut the fuck up ‘cause I’m onstage talking?!?, she pretty much barked. Man, did that cool down the whole theatre. A lot of people of course cheered her on, and she tried to promptly recover by smiling and continuing with her story, but that little incident without a doubt left an unpleasant aftertaste. Moving on with her story, she invites onstage a member of her band named Gaspar, a Portuguese guitar player and the great-grandson of the late singer Celeste Rodrigues. He brings her a bottle of “beer” and she makes a salty joke about coming from a family of alcoholics. In a demonstration of her love/hate relationship with America’s Heartland, she half-condescendingly addressed us as “smart, sophisticated people of the Midwest” when she asked if we knew what “fado” meant (some did). She and Gaspar then perform a fado song which I don’t think many (including me) found particularly outstanding. The curtain is lifted and the Portuguese themed sets are revealed. She does “Killers Who Are Partying” and “Crazy”, which were both pretty amazing in my opinion. In “Killers”, she replaced “I’ll be Israel” with “I’ll be Palestine.” “Welcome to My Fado Club" and “Sodade” then follow with her sitting on top of a piano and playing the guitar. Now in all honesty the whole segment would have absolutely benefitted from omitting “Welcome to My Fado Club" and either of the two fado songs. The former is just one of those non-sensical ditties she tends to come up with (see “Lisa Come Undress Me”) in which she keeps saying over and over in a rather grating manner “One-two sha-sha-sha” (exactly). It does feature one “La Isla Bonita” chorus (where the “lullaby” is Portuguese this time), but that doesn’t really save it. A second fado song just slows things down way too much. And she again asked the “smart, sophisticated people of the Midwest” about the meaning of “sodade”. Still on top of the piano, she jokes about needing “years of sleep”, and then has the audience repeat “One-two cha-cha-cha” to make her get off it. “Medellin” was simply impeccable (you really get to see her fantastic dancers shine during the whole segment), and then came the beer chat… She came down to the orchestra pit from the right side, and after some chair mix-up (someone also said she could sit on their lap to which she quipped “I’m not gonna sit on your lap. You couldn’t bear the weight of me”), she settled by a guy whose name I sadly didn’t catch. The guy was very soft-spoken and was mostly giving one-word answers to her standard questions (star sign, etc). Drinking the beer, she again half-jokingly mentioned her “family of alcoholics” ancestry. She also kept asking the guy “Why do you like going to the theatre?” but didn’t seem to get an answer she would have liked. The whole bit was painfully awkward, and frankly she didn’t handle it very graciously. She wrapped it up quickly by saying “Maybe next time you can come up with better answers”. Those guys from Ohio sitting next to me were really taken aback by that as were many others in the theatre. “Extreme Occident” features some great staging with the stair cases moving around the stage. The line “I came from the Midwest” drew expected cheers from the crowd. One of the biggest surprises to me was the “Rescue Me” interlude. Just her dancers in front of a white sheet performing a very Pina Bausch-like number to Madonna’s reciting some of the song’s lyrics. I couldn’t figure out why but it was just mesmerizing. Everybody erupted in applause as soon as it was finished, and deservedly so. A lot has been said about “Frozen”, and it totally lived up to the hype – simple, beautiful, and very melancholy. “Come Alive” transformed the stage into a bustling African town full of song, dance, and celebration, and once again the batukadeiras elevated it greatly. “Madonna playing the piano” during “Future” is really an overstatement since all she does is play the same three notes throughout the song. The number’s message is great but I found the execution lacking something. Perhaps I just didn’t like her vocals that were way too processed even by this show’s standards. Now where do I start with “Crave”… I love the original version. However, I thought the remix used for the show didn’t do the song any justice, and the number itself was just a poor man’s “Deeper and Deeper” from the Girlie Show. Not to mention, it just felt out of place. I think if she dropped it completely, continued with “I Rise” instead, and finished with “Like a Prayer” as an encore, that would be perfect. Interestingly, during “Like a Prayer”, its original music video is projected as the backdrop. And of course it had the entire theatre on their feet and singing along to it. As things stand now, “I Rise” is the encore. The dancers contribute some great choreography, and at this show Madonna and company exited the stage through the middle aisle, which allowed me to catch a glimpse of her from just 3 feet away. ? “Thank you, Chicago. Good night!”

I love your thoughts on the show! interestingly your views match mine and that’s purely from bootlegs, as I don’t see the show until February. The second act is certainly where the show seems to sag, and the communication between her and the audience is the weak point in the show. I would hate to spend all that money for her to sit down next to me and be rude to me. I’d rather her entertain me on stage (as that’s what I’d be paying for) than have her sit next to me, and then bitch that she doesn’t like what I have to say because I’m probably way too mortified that Madonna is sat next to me, in a questionable mood, with a microphone. I wonder if she’s aware of the way her remarks and general attitude seems to impact on her audiences emotions and perception? It’s something you touch upon twice in your review. I seem to recall her I refractions in 2015/16 being really, really friendly. I wonder what’s happened? It’s like she’s trying to be a smart ass but maybe comes across more nasty than smart. We can all be a bit snarky at times but it costs nothing to be nice on the whole. I think I’m the only fan who LOVES the new remix of Crave! It’s AMAZING ah well, just a thought. Some fans would relish in that type of contact with Madonna but personally it wouldn’t do anything for me, I’d much sooner be ten rows back and out of her target range

Checking out the Erotica entry on Wikipeida, it seems the order could be more like: -Love Hurts -Erotica (Instrumental Demo) - prepared by Shep as one of four tracks he presented to Madonna -Erotica (Rough Mix - 1992.01.15) -Erotica (Final Demo 1 - 1992.01.16) -Erotica (Final Demo 2 - 1992.01.16) -Erotic (included on the SEX Book CD) -Erotica (Album Version / Pre-Final Mix) From Wikipedia: While they were mixing a song called "Erotic", which was released as promotional single on her Sex book, Pettibone recalled: "You have all these great stories in the book," I told her, "Why don't you use them in the song?" I knew that Madonna was developing a 1930s dominatrix look for Erotica, but I didn't realize how far she was willing to go before I saw Sex. It contained stories authored by her mysteriously dark alter [ego], Dita. Madonna took the book and walked out of the room and didn't come back until about half an hour later. Suddenly she was on the mic, speaking in this very dry voice. "My name is Dita," she said, "and I'll be your mistress tonight." I knew that the original "Erotica" would never be the same again, and it wasn't. The chorus and bridge were changed entirely and the whole psyche of the song became sexier, more to the point. It seemed as if Dita brought out the best in her, actually serving as a vehicle for the dangerous territory she was traveling. Actually, it was the same name Madonna used when she'd stay in hotels around the world. Not anymore.[6]

I think Erotic is the last one, released with Sex book, just an alternate version of Erotica with different lyrics. So it goes: Love hurts You thrill me Erotica/Erotic

I went to the show on the 27th (MNFL4L Seat 419). I saw the Batukadeiras before they marched to the stage to play Batuka and waved to them, and they acknowledged me and smiled. They couldn't wave because they started their cue. During I Rise, they marched out, and I waved again, and so did they. Madonna marched out, too, and I got to touch her shoulder/arm. I really didn't expect to see them up close, and I was so lucky to have a corner seat. I saw her on the 21st at a balcony seat and because no one bought my ticket. I don't regret paying twice to see her. I really liked her show. I won tickets for the Rebel Heart Tour, but I was busy taking pictures and videos that I really didn't get to enjoy it. The tour also seemed rushed, and it didn't help that she had to start her tour immediately after the release of her album due to it leaking way early. I was underwhelmed with the tour because it just lacked originality or creativity. I am glad she chose to get rid of phones and cameras this time around. I was really in the moment at her show. I really will cherish this moment.

It is an interesting turn of a phrase as the Erotica lyrics make it more about her being in control, what she wants to do to "you" whereas You Thrill Me puts it all on the unidentified "you" and what "you" do. Changes the whole context with just one phrase. I honestly love all versions in their own special way. Love Hurts fuckin' bops hard.

I love this review! It literally is the best description of the show we have thus far! I enjoyed reading it very much!

So there are quite a few different demos of the songs Erotica. What's the consensus on which one came before which? We have: - Love hurts - Erotic - You thrill me I think maybe it started as Love hurts and then she split if into two different songs? One became Erotic and one became You thrill me and later Erotica

I think that the correct order for Erotica demos is this: -Love Hurts -Erotica (Instrumental Demo) -Erotica (Rough Mix - 1992.01.15) -Erotica (Final Demo 1 - 1992.01.16) -Erotica (Final Demo 2 - 1992.01.16) -Erotica (Album Version / Pre-Final Mix) -Erotic (Erotica Final Mix included on the SEX Book CD) @L-U-V

Something to get us ready (if you haven't read it yet)..... Madonna’s artistic defiance makes her a San Francisco favorite One of the more niche testaments to my personal fandom is a spiral-bound, stainless steel art book, its title discreetly etched into the cover: “Sex.” Yes, Cicconephiles (a term meaning a superfan of Madonna, taken from the star’s last name, Ciccone), I own Madonna’s notorious 1992 photo book released in conjunction with her “Erotica” album, the one that scandalized the zeitgeist with its nudity and depictions of sexuality. Most shockingly for a pop star at the time, many of the most risqué photos featured the singer herself. It’s a project that pretty succinctly sums up key aspects of Madonna’s career. From the opening pages, it’s clear what Madonna and photographer Steven Meisel were taking inspiration from (Robert Mapplethorpe, Helmut Newton, Kenneth Anger, etc.) and then filtering through a Madonna-centric lens. At times, it reads like a marketing stunt that has some legitimately great material. But all these years later, it’s also still brave and at times a little brilliant, even if not entirely original. That’s also a good description for Madonna. When it was announced that the singer would be playing three dates at the 2,297-seat Golden Gate Theatre in San Francisco this November, there was much excitement among the Bay Area Madonna fan base. We are a Madonna-loving town with nights dedicated to her music at gay clubs and bars (most notably, Oasis does a yearly Mother show tribute to her) and there are even mentions of her in The Chronicle from early in her career in Herb Caen’s column in the 1980s. Her music and various personas from “Like a Virgin” to “Madame X” have stretched across a remarkable four decades. So why do Cicconephiles still stan the 61-year-old performer? I asked a few Bay Area superfans, and interestingly, everyone I spoke to frankly pointed out Madonna’s flaws: She’s not a perfect singer. She’s probably difficult to socialize with, based on her behavior on talk shows. She has maybe five good films, which isn’t terrible until you remember she’s made about 30. But they also say that the flaws are partially why they love her. Maybe she’s not artistically above reproach, but she’s really committed to her vision. She probably isn’t the most gracious person in the room, but does she need to be? Women, LGBT people and others at the margins are so often told to shut up and be pleasant that it’s always exciting when one of us defies that dictate. That defiance is part of her appeal, and San Francisco is a culturally defiant city. Then the fans quickly launch into passionate testimonials. Dancer Linda Gamino remembers her uncle, Rick, sneaking her a copy of Madonna’s “Virgin Tour” video as a child and how she would race home to dance with her idol. In high school, the first work Gamino choreographed for herself was to “Frozen,” a single off Madonna’s 1998 album “Ray of Light.” “I’ll always remember seeing her in ‘A League of Their Own’ in the theater,” Gamino recalls. “Her character is tying her shoe, she looks up and we see her for the first time, kind of smirking. The audience here went crazy.” Performer Terry McLaughlin has seen Madonna in concert four times and says part of why he’s spent as much as $500 to see her live is that she always brings A+ queer collaborators into her production, like fashion designer Jean Paul Gaultier. “She’s also been there with gay audiences as an advocate since way before it was popular,” says McLaughlin. Victoria Sutton has seen every Madonna tour since “Blond Ambition” in 1990 and will be there at the Golden Gate (the shows run Saturday, Nov. 2, as well as Nov. 4-5). She notes that Madonna frequently tours leading up to elections and isn’t shy about addressing social and political issues artistically. “I remember this one dance she did about gun violence that was really bloody and gripping,” says Sutton. “At 61, she’s not afraid to speak her mind, which makes it easier for me to do that at 53.” Excitingly, Madonna’s many personas and artistic eras have kept us guessing what’s next. My friend photographer Frederic Aranda and I once joked about how we can keep track of events in our own lives by remembering what phase Madonna was then going through. The woman is such a force in pop culture that you can actually keep time by her (the only other person I can think of that you can say that about is Jesus). Drag queen Venus D-Lite, a “RuPaul’s Drag Race” season three contestant, is well-known for her Madonna drag and says that San Francisco audiences even fawn over Madonna impersonators with enthusiasm. “Maybe people like her because she likes to prove people wrong,” says D-Lite, whose next performance as Madonna is scheduled for Monday, Nov. 4, at the Cafe in San Francisco. “She kind of gives me the courage not to give a s— what anyone else thinks.” My feelings about Madonna are best summed up by the “Sex” book. Like that tome, I admire that she has always had a completely committed artistic vision, even if that vision is sometimes flawed. And, yes, I also love her defiance. By the way, aside from all the social theory, the woman has also given us some pretty danceable music.

To me it seemed Love Hurts and You Thrill Me were demos that came together as Erotica. Maybe she noticed the pleasure and pain theme of both songs and correlated it with Erotic lyrics?

I wish they were utilized more in a louder capacity. They’re wonderful singers, it would be great if they were used as live backing vocals it in every song. I’m all for incredible live instruments and vocalists... Siedah Garret was her best in my opinion, her 2004 Like a Prayer solo blows any other solo on that song away.

I agree. I can't imagine seeing my face and body everywhere and scrutinized over the past almost 40 years. I don't think it is the nicest behavior but there are only a handful of people in the world in her unique position. Maybe she doesn't want people looking at her unless she is in full makeup and knows the lighting is right. Again, doesn't make it right but I can understand given there are people always waiting to take pictures of her looking her worst (ahem daily mail - "Madonna steps out with FLAWLESS skin in New York!" - and the picture is her in the most unflattering light or showing double chins etc)

Thank you guys! Believe it or not, I've never written reviews before which is why it took me almost a week to finish this one. I completely agree. I'd also prefer another well-staged number over a bizarre encounter. She might be catching wind of that as according to reports from a later Chicago date she was just sitting onstage near the orchestra pit chatting with a few fans (if I remember correctly) instead of coming down and picking out one.

Thank you thank you! You took us right there! I love all the details. Fantastic review! Thank you!!! ✨?????

I don't think a specific thread existed. Are you ready San Francisco? Are we ready? Performances: November 2, 4, and 5.

Starting to see the crew post from SF...

Anyone on here like Marleen Kane, Donna Summer etc ? The word 'Suite' on some of their records usually means a side long medley. Where one song ''sorta'' changes into another or actually does. Like on the MacArthur Park Suite. A V long winded way to ask if anyone has blended all the versions of this tune ? Side 1 of an imaginary album...anyone ? I may have a go myself. ?

It sure is!!! ??✨??????

Sorry and thanks, I just meant I couldn't wait generally ....for coverage, reviews, pics, etc. ( but, I was hoping personally to swing something for Vegas but I don't think it's going to be possible. )

I spoke to her team about it. That night where the guy gave awkward answers was the night that prompted her to sit on the stairs and do a few group chats the next couple of nights. When it goes well, it goes super well - Dave and I had her doing THAT laugh during our chats with her, and Chris Rock was amazing. I just think it depends on the person - everyone handles these kind of situations differently. When the fan is reacting well and being cheeky, she plays up to it and it flows. When people give yes/no answers or clam up, she gets frustrated (I was sat in the same area for four of the Chicago shows so saw all the chats close up; on 'my' night I was moved down to the chair) - she painfully and non-jokingly rolled her eyes during the Bobby/Barry chat. I felt for the guy and for her - he needed her to help him through it and she needed him to engage. But the variety makes it different I guess. I would have died if my chat hadn't lived up to all my hopes; and ive been lucky enough to meet her briefly a few times before it, so I absolutely get the pressure some people must be under especially if they're worried about saying the 'wrong' thing. I hope the segment stays and lots of other fans get 'their' moment for what its worth. Your review is Awesome BTW! Loved reading it!

And thanks to god she changed the chorus ???????? “you thrill me” only worked on the Confessions Tour

Whatever the case, I love them all and my fave is You Thrill Me especially.

As far as I'm aware, the song was never called You Thrill Me. The Rain Tapes always referred to it as Erotica. The chorus changed from the 'You thrill me' lyrics in the rough version to the 'Erotica' lyrics in the final version. And the chorus was clearly changed quite late on as the MAW remixes feature the line 'I'm so in love with you' from the original chorus.

I imagine some of them can't wait to get back to their washing lines lol

Madonna should do an album with Depeche Mode as her band and include a duet with Dave a guy can dream

I so agree. Bring them on even more and in the future too! I think personally they are good for her and her whole family too.

This is the song in most excited for on a professional release, I absolutely love this performance. It’s such a relevant song in this day and age. It’s crying out for Tori Amos to cover it on her next tour.

Awww I love that the Bakukadieras acknowledged you. They seem so loving and awesome. ...like grandmas. Thanks for sharing. Loved reading your thoughts!

Ok. I have it on good authority that the footage of her with curly hair - whether included or not, she’s not performing or lip synching. It was just a test shot.

I was thinking something similar. Can you imagine the weird things people have said to Madonna when they meet her? Remember the story Rosie O'Donnell told about the guy in the elevator saying he thought her hair "looked like shit"? And remember extremely scary stalker too?

The timeline of events would suggest this was not the case Dec 94 - Madonna writes a long ass letter to Alan Parker asking to be considered for the role of Evita Jan/Feb 95 - Talks were most likely in place, Liz Smith even stated Madonna might not tour and that was the reason for the Euro promo tour Mar 95 - Madonna is announced as Evita. She tells Kurt Loder at the MTV Pajama Party that she probably won't tour now she has to focus on Evita. I think this may have been the point when her management tried to convince her to do a smaller scale tour. May 95 - Films the Human Nature video and states during the Making Of, that she won't be touring, instead focusing on Evita. So it seems unlikely the tour opener with Human Nature in the squares was ever a thing. By the time they put the video together she had already decided to not tour. Another interesting fact - Apparently Jean-Baptiste didn't want to deal with heavy choreography for the Human Nature video, so he put everyone in the squares. So he didn't need to worry about complicated set ups. Makes me wonder if there were other concepts for the video before he came on board.

Britney has done it too where she's made other musicians turn around and not say a word to her (or someone on her team demands this) I love Madonna to death but it doesn't justify it especially given the user posting this information says there are other doors that lead directly to the backstage area directly. Whether she wants to engage with staff or not, it's simple to walk to A to B without needing people to turn around. You are human after all and that's why the whole "treat others as you want to be treated" thing she constantly promotes is hollow because of things like this. There's privacy and safety issues of course but she's always surrounded by her security so I find it hard to believe there's some deeper reason other than a star thinking mentality. If they can do, they'll do it. She's not the only celeb that has this before shows.

I love her dearly and always will ( like I know you do and everyone here), but this "elitism" thing with most (not all) celebrities is a turn off. At the same time, I think they are scared of someone hurting them or their family especially in such a violent age. So, they put up a lot of walls and security. Even still, that's no excuse for showing love for everyone and treating everyone like you'd want to be treated.

She definitely wasn’t filming these shows for any kind of dvd release. There was a small crew (2, maybe 3 people) filming stuff, but it was probably just for social media or behind the scenes/ archive footage

Ultra rare and partially covered

Or what? I also understood that the same 10 faces who went to every show so far said positive things about a mediocre low budget experience and I get it, are you gonna tell them to move on and go ahead too or is self expression only encouraged when it’s blind ass kissing?

Would be amazing to get the curly hair part

I thought back then iTunes had both mixed and unmixed...

Ha! She’s not the only one, my father has a drink problem. I can relate. Thankfully he doesn’t own a vineyard!

I really wish they would have though of doing Words in Madame X. It would have been perfectly placed before Like A Prayer. It also fits the Madame X typewriter theme. That demo of Actions Speak Louder Than Words is so good, especially that ending. It would have been total bliss on live in concert. Sorry if someone has already mentioned this.

If it is a live concert then music comes first in my opinion. This isn't always the case with Madonna tours. But if you can make a statement or do something that raises eyebrows then ok. However if you don't have anything new to say, anything new to prove, anything cool to show...then stick with a great music choices on your setlist. I love the intro, I didn't like the song that much (Iconic) just ain't working for me, wasn't even a single. Bitch I'm Madonna was cool, I didn't like the song but this performance was great (just DVD editing was over the top and very distracting). Burning up... ok, Holly water/Vogue - ok just I didn't get the transition from Asia to Nuns... Part two, bad choice for opening..Body shop...really queen? Papa don't preach would be better (the guy from the PDP video was a mechanic also) and then perfectly True Blue... the rest is ok actually. Part three - we allready had latin/etno/gipsy themes in her shows - Living for love REMIX?!?!?! it ruins the song - I think best version of LFL musicly was Brit Awards. La Isla ok just a little borring, would be great if she pulled Take a Bow/You'll see in that section would fit the matador theme... that megamix was musicly just poor and weak. Request section was fine. I support that. Part four - great start, but she lost me on Material Girl....looks tired, energy level down. Would be better if after Candy shop she just went on Holiday. And then as a bonus she finishes the show with Ghosttown and some meaningful message written on screens. But ok that's how I'd do it, but I'm not Madonna. LoL This show wasn't prepared as MDNA - backdrops were just a lighting for the stage, nothing memorable. Opening intro was great, the rest was rushed and not much work was made into it like on MDNA tour.

Lazy and cheap sounding "reinterpretations" of oldies Almost exclusively songs from Rebel Heart and the 80s...the 90s and 00s were ignored almost entirely yet she decided to dg out almost every fucking single from her worst 80s album (LAV). The show didn't match up to the intro at all...it was too cutesy and too light-hearted for a show that seemed to have been originally conceived as way darker and more political (like the album itself). The album was one of her best in a long time and had a great concept and story attached t it, the tour failed to transport any of that into the show and instead seemed like a mixed bag of rehashed ideas scrambled together into a show that was not cohesive in any way. The song selection within the sections was beyond terrible and random? Candy Shop was performed AGAIN. A lot of the tour versions sounded like watered down album versions and Holiday was the most bland, unnecessary version she has ever done of it. All in all, this show had exactly one purpose: to please casual fans and to have a DVD that would sell well (due to the amount of 80s songs in it).