EgoRod

I disagree , while Hard Candy the concept is as corny as a dad joke. With CODF the whole concept is dated and so 2000 amateur graphic designer job. I remember discussing it in the forum before and went down investigating and is the same guy that did I believe rebel Heart and MDNA design. Bedtime stories is far more interesting and better put together. The typefonts are an interesting choice, using a modern style font, with an attempt of neon effect (just go into layer styles and add glow) matching with a cursive handwritten. Adding a 3D element of a globe that suppose to look like a disco ball. But is not a disco ball is a globe. None of the typefonts represent 70s or disco. Background: an overlay gradient with pattern of circles that suppose to represent the disco ball reflecting, but they don't. They look like a weird circle pattern from the 50s Madonna cutout like a paper-doll and buttered up with a soft filter removing any shadows or lines and adding color over layers that make her hair and skin look like the coloured photos from the 20s. She even has a shadow over , from the title, because nothing cast more shadow than a neon light (?) It's a mess from a visual graphic point of view. The photoshoot with Klein has lots of great photos and they used the lights and reflection so good. Just to get them all wiped out and do that cover. One of the photos with some profesional editing, keeping the disco lights contrast and add some simple but retro typeface. Like from Studio 54. And you have a great, classy effective cover.

Dissing Hard Candy for looking like a blotched photshop job and putting CODF on the top. along the best, better designed and more photographic cover. That cover is whack. looks like a parody

That was'nt the question the question was if the interludes were opening or closing parts to the different sections. And if that was the case how. Let's say one was Interlude: Madonna NY or Madonna Club scene. Another Sex/Religion and so on and I don't believe there are such an interludes in this tour. The first interlude is : 'The Sacrifice' with the dancers doing Living For Love, after the LAP part and having Bob talking about the 90s. It makes sense after the first part being the 80s and the next part being the Erotica/Justitfy My love. After Bad Girl they go into the Ballroom without interlude. The next one is the Beast Within that is just a revisit to the ReInvention tour one. She started this after setting the stage on fire so that's the link and it goes into the Die another Day considering the bellic (American Life) concept of the previous part I guess it works but again its not an intro nor a closing from what we saw before.. Next interlude is the one with the screens showing the 'controversy' of Madonna during the decades, this again is about Madonna, not a theme, and cuts to Bedtime stories. The last one is the LAV/Billy Jean

I did. I don't think the interludes can be use as opening or closing acts to the rest of the show but only as segues that incorporate more elements to the whole collage.

You should note that the interludes in this tour serve to enrich the narrative about Madonna's history. They include songs she doesn't perform live, tributes to iconic moments in her career, and more. These interludes are integral to the show, seamlessly bridging different eras of her music during the transitions between the singing parts. In contrast to previous tours, where interludes varied in theme matching the different themes within a show. But the theme in this show is Madonna.

I actually like them

Looks like is just a recycled ad from last year

Jacqueline does'nt work there anymore thou, she went to Walmart after.

Turning every walk of shame into a music video

yeah currently eyeing one of the business suites for a weekend I have all of these thousands euros and I need to use them

I always though the reason they never put WTG in anything was because how close it was to La Isla Bonita. I think they tried to replicate the success of the sound to boost the movie, but the movie was a flop and so they ditch the song too. Causing a Commotion was more like a ITG. It worked well as single dancey pop radio friendly track.

Right, maybe the 'hotel' means an station or gate that advertises the hotel , maybe they divert traffic? what did they do in past concerts?

Even if they don't have tickets they might have measures to allocate a certain number of people? For security and control. So you might need a bracelet or something, or just use the hotel entrance as security gates.

The Girlie Show got lots of inspiration in the choreo and costumes from musicals: Vogue was based on the "Small House of Uncle Thomas" from The King and I I'm going Bananas/isla Bonita part was an homage to Genes Kelly's 'Anchors Aweigh' BBB/Like a Virgin she wears Marlene Dietrich costume from Morocco and makes a version and take of Falling in Love again from the Blue Angel. And Justify my love is taken from My Fairs Lady Ascot scene but also borrows choreo from Sweet charity's club scene.

She reference Brigitte Bardot in few ocassions: Sex Book, Vanity Fair with Meisel and Ritts Cherish shoot

This Red dress and shoot was based on Tina Turner's Acid Queen from Tommy:

Express Yourself gets inspiration from Fritz Lang's 'Metropolis"

After Fincher did Vogue without giving credit to Horst, you think Mondino will be more respectful about using Guy Bourdin's work without permission or mention. I think he said later than it was an homage and blah blah but it was a bit messy to do without attributing.

Bedtime Stories has lots of different references. The movie: The Colour of Pomegranates" you can see here with Vogue over it for whatever reason: Paintings: The Ends of the Earth (1949) by Leonor Fini L’Amitié (1958) by Leonor Fini Vision Roja (1984), by Leonor Fini Naked man,1991-92) by Lucien Freud Los Amantes, by Remedios Varo Nacer de Nuevo (1960) by Remedios Varo La Llamada (1961) by Remedios Varo Creación de las Aves (1958) by Remedios Varo The Giantess (1950), by Leonora Carrington Diego y Yo (1949). by Frida Kahlo

Vogue was inspired by photographers George Hurrels and Horst P. Horst

The photographer behind the glass idea is Erwing Blumenfeld, Mert & Marcus get heavily inspired but other great photographers. That chilean guy use the same reference.