News
June 28, 2004
Madge dedicates "Crazy for you" to her adoring fans!
June 28, 2004
From the Boston Globe By Joan Anderman
Even before the mohawked skateboarder began riding the half - pipe during 'Hollywood,' interest in the thin red string circling Madonna's left wrist had vanished. As well it should have. With a two - hour show this gorgeous and this artful, Madonna hardly needed to rely on a spiritual stunt to generate the sort of excitement that, 20 years into her iconic pop career, she's still capable of conceiving brilliantly and executing it masterfully.
That said, she takes pleasure in keeping us guessing. Or maybe she's just an equal - opportunity disciple, happy to give props to Hebrew script and Jesus on the cross, which were both featured prominently on video screens.
More to the point - this is a concert, not a celebrity inquest - in the era of over - the - top arena spectacles, Madonna has taken the concept to a new level. Without a unifying thread and in defiance of every aesthetic law known to man, she wove elements of burlesque, extreme sports, rock concerts, Cirque du Soleil, military drills, art installations, dance theater, yoga, and antiwar rallies into a whole. And seamlessness was merely the icing.
The 'Re - Invention' tour, which sounded so desperately self - referential on paper, turns out to be impossibly accurate. Madonna manages to reinvent her reinventions. She gilded 'Vogue' with a French court twist, delivered an irony - free 'Material Girl,' deepened 'Into the Groove' with bagpipes and kilts, and redefined 'Express Yourself' as a drummer boy's march into battle.
The latter tune featured the fatigues and rifles from the proceeding number 'American Life,' but the jarring image neatly summed up what Madonna's career has been about: Mindful confrontation, artful provocation, and the use of every part of her body and mind to spark her own little culture wars.
She's never sounded better. The treated chirp of her early years, which morphed into the dreadful earnestness of the 'Evita' era, has matured into a strong, clear singing voice. A few years ago the idea of Madonna standing alone at a microphone singing 'Frozen' would have been a dubious one. Last night she commanded her spectacle and her music with equal clarity.
Describing the breath of the pageantry during 'American Life,' her most blatant political statements, images of firestorms, screaming helicopters, and wounded children flashed on video screens while dancers dressed in religious frocks (this being a Madonna show, the habits and burkas were minis) traversed a massive V - shaped catwalk above the audience. Sure it was preachy. Timely, too.
She's traded in her bullet bra for spangled hot pants, disco beats for finger popping, and transformed 'Hanky Panky' and 'Deeper and Deeper' into noir numbers. Likewise, the abstract ballroom choreography of 'Die Another Day' was an elegant antidote to the rote gyrations favored by the next generation of pop stars.
A blipping, bloated take on John Lennon's 'Imagine' was the evening's one misstep. But her heart was in the right place. And for the first time in a long time, so were all the artistic pieces.
Even before the mohawked skateboarder began riding the half - pipe during 'Hollywood,' interest in the thin red string circling Madonna's left wrist had vanished. As well it should have. With a two - hour show this gorgeous and this artful, Madonna hardly needed to rely on a spiritual stunt to generate the sort of excitement that, 20 years into her iconic pop career, she's still capable of conceiving brilliantly and executing it masterfully.
That said, she takes pleasure in keeping us guessing. Or maybe she's just an equal - opportunity disciple, happy to give props to Hebrew script and Jesus on the cross, which were both featured prominently on video screens.
More to the point - this is a concert, not a celebrity inquest - in the era of over - the - top arena spectacles, Madonna has taken the concept to a new level. Without a unifying thread and in defiance of every aesthetic law known to man, she wove elements of burlesque, extreme sports, rock concerts, Cirque du Soleil, military drills, art installations, dance theater, yoga, and antiwar rallies into a whole. And seamlessness was merely the icing.
The 'Re - Invention' tour, which sounded so desperately self - referential on paper, turns out to be impossibly accurate. Madonna manages to reinvent her reinventions. She gilded 'Vogue' with a French court twist, delivered an irony - free 'Material Girl,' deepened 'Into the Groove' with bagpipes and kilts, and redefined 'Express Yourself' as a drummer boy's march into battle.
The latter tune featured the fatigues and rifles from the proceeding number 'American Life,' but the jarring image neatly summed up what Madonna's career has been about: Mindful confrontation, artful provocation, and the use of every part of her body and mind to spark her own little culture wars.
She's never sounded better. The treated chirp of her early years, which morphed into the dreadful earnestness of the 'Evita' era, has matured into a strong, clear singing voice. A few years ago the idea of Madonna standing alone at a microphone singing 'Frozen' would have been a dubious one. Last night she commanded her spectacle and her music with equal clarity.
Describing the breath of the pageantry during 'American Life,' her most blatant political statements, images of firestorms, screaming helicopters, and wounded children flashed on video screens while dancers dressed in religious frocks (this being a Madonna show, the habits and burkas were minis) traversed a massive V - shaped catwalk above the audience. Sure it was preachy. Timely, too.
She's traded in her bullet bra for spangled hot pants, disco beats for finger popping, and transformed 'Hanky Panky' and 'Deeper and Deeper' into noir numbers. Likewise, the abstract ballroom choreography of 'Die Another Day' was an elegant antidote to the rote gyrations favored by the next generation of pop stars.
A blipping, bloated take on John Lennon's 'Imagine' was the evening's one misstep. But her heart was in the right place. And for the first time in a long time, so were all the artistic pieces.
June 28, 2004
From the Providence Journal By Rick Massimo
Madonna's Re - Invention Tour rolled into the Worcester Centrum for the first of four performances last night, and while there were new touches on several songs, the set - list emphasis was still on dance - floor thumpers, mostly from her last album, American Life. And the visual element was at least a co - star of the show.
The sheer scope was exhausting - costume changes after every few songs, a troupe of 10 backup dancers, a five - piece band, two backup singers, and four giant video screens showing different projections (as well as two more trained on the star of the show).
Heck, some of the interludes that covered Madonna's costume changes were more opulent than many bands' tours. Some were borderline offensive, as when beefy background dancers made war look like a particularly strenuous dance number, while the video screens showed graphic war footage, all to cover Madonna's change into faux Che - gear for 'American Life.'
The next interlude, with a belly dancer, break dancer, tap dancer, skateboarder and guitar soloist, on the other hand, made interesting connections between seemingly unrelated disciplines.
The near - sensory overload veered between moments of interesting juxtaposition and semiotic incoherence. The Weimar - style black - and - white 'set' for the acoustic guitar - driven 'Don't Tell Me' was lovely, but what 'American Life' was trying to say is anyone's guess. it's rare when an artist onstage gives an upturned middle finger, and you're not sure whom it's directed at. (The song also incorporated some of the video footage that was excised from the song's video.)
Similarly, 'Express Yourself' followed 'American Life,' with the martially - dressed Madonna doing rifle tricks while singing 'Don't settle for second - best/ Put your love to the test.' Huh?
And so it went: The sequence of a gently swinging 'Hanky Panky' and a hushed 'Deeper and Deeper' gave something to hang onto, but then there were images of x - rays and the elderly on the too - slight 'Die Another Day,' Hebrew letters and stigmata on 'Mother and Father' (which featured some of Madonna's best singing of the night).
Many of the songs worked as individual production numbers, but after a while the images became gimmicky - There she is with an electric guitar! There she is in an electric chair! - and detracted from each other.
Madonna's voice has never been the world's strongest (as she has said herself), but it was as strong as ever last night. There was some lip - synching, particularly on the first couple of songs.
As has been widely noted, 'Get Into the Groove' began with an interlude of bagpipes and martial drums, and broke down to bagpipes on the bridge, but the effect was inconsequential - indeed, by the end of the show, nothing was a shock.
There's something about the widely varied looks and images that works in aradio or video context - it's a shot of variety and the unexpected, and in small doses it's invigorating. In a live setting, with the condensed, cascading effect of so many numbers in a row, it's easy to appreciate, even be wowed by, the sheer scope and the energy being expended. But to what end?
As a collection of dance - floor thumpers, the show had more than its share of moments - 'Nobody Knows Me,' 'Vogue,' the early 'Burning Up.' But if the gaudy show business was intended to make a deeper point, it's not immediately clear what it was.
The tour continues with shows tonight, Wednesday and Thursday.
Madonna's Re - Invention Tour rolled into the Worcester Centrum for the first of four performances last night, and while there were new touches on several songs, the set - list emphasis was still on dance - floor thumpers, mostly from her last album, American Life. And the visual element was at least a co - star of the show.
The sheer scope was exhausting - costume changes after every few songs, a troupe of 10 backup dancers, a five - piece band, two backup singers, and four giant video screens showing different projections (as well as two more trained on the star of the show).
Heck, some of the interludes that covered Madonna's costume changes were more opulent than many bands' tours. Some were borderline offensive, as when beefy background dancers made war look like a particularly strenuous dance number, while the video screens showed graphic war footage, all to cover Madonna's change into faux Che - gear for 'American Life.'
The next interlude, with a belly dancer, break dancer, tap dancer, skateboarder and guitar soloist, on the other hand, made interesting connections between seemingly unrelated disciplines.
The near - sensory overload veered between moments of interesting juxtaposition and semiotic incoherence. The Weimar - style black - and - white 'set' for the acoustic guitar - driven 'Don't Tell Me' was lovely, but what 'American Life' was trying to say is anyone's guess. it's rare when an artist onstage gives an upturned middle finger, and you're not sure whom it's directed at. (The song also incorporated some of the video footage that was excised from the song's video.)
Similarly, 'Express Yourself' followed 'American Life,' with the martially - dressed Madonna doing rifle tricks while singing 'Don't settle for second - best/ Put your love to the test.' Huh?
And so it went: The sequence of a gently swinging 'Hanky Panky' and a hushed 'Deeper and Deeper' gave something to hang onto, but then there were images of x - rays and the elderly on the too - slight 'Die Another Day,' Hebrew letters and stigmata on 'Mother and Father' (which featured some of Madonna's best singing of the night).
Many of the songs worked as individual production numbers, but after a while the images became gimmicky - There she is with an electric guitar! There she is in an electric chair! - and detracted from each other.
Madonna's voice has never been the world's strongest (as she has said herself), but it was as strong as ever last night. There was some lip - synching, particularly on the first couple of songs.
As has been widely noted, 'Get Into the Groove' began with an interlude of bagpipes and martial drums, and broke down to bagpipes on the bridge, but the effect was inconsequential - indeed, by the end of the show, nothing was a shock.
There's something about the widely varied looks and images that works in aradio or video context - it's a shot of variety and the unexpected, and in small doses it's invigorating. In a live setting, with the condensed, cascading effect of so many numbers in a row, it's easy to appreciate, even be wowed by, the sheer scope and the energy being expended. But to what end?
As a collection of dance - floor thumpers, the show had more than its share of moments - 'Nobody Knows Me,' 'Vogue,' the early 'Burning Up.' But if the gaudy show business was intended to make a deeper point, it's not immediately clear what it was.
The tour continues with shows tonight, Wednesday and Thursday.
June 24, 2004
Fans in the UK should tune into TOTP this Friday at 7.30pm on BBC1 (Euro 2004 football schedule permitting) to enter a very exciting Madonna competition....
June 21, 2004
Madonna's new children's book "Yakov and the Seven Thieves" comes out today, June 21st. If you have not order your copy of the book already, do so at the Madonna Store:
Yakov & The Seven Thieves Book
14.49
ORDER NOW
Seven slippery scoundrels.
One tricky lock.
An unlikely solution...
Yakov, the kindly cobbler, and his wife, Olga, are heartbroken because their son, Mikhail, is very ill. They seek advice from a wise old man, who enlists the help of seven thieves and proves that miracles can occur if we do good deeds.
Written by Madonna and beautifully illustrated by Gennady Spirin.
Yakov & The Seven Thieves Book
14.49
ORDER NOW
Seven slippery scoundrels.
One tricky lock.
An unlikely solution...
Yakov, the kindly cobbler, and his wife, Olga, are heartbroken because their son, Mikhail, is very ill. They seek advice from a wise old man, who enlists the help of seven thieves and proves that miracles can occur if we do good deeds.
Written by Madonna and beautifully illustrated by Gennady Spirin.
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June 20, 2004
From the NY Times
Who can a star rely on to create a spiritually enlightened, Pilates - inspired, military - saluting, career - extending international road show? Jamie King has created pop spectaculars for Prince, Ricky Martin, Britney Spears and Jennifer Lopez. Still, directing and choreographing Madonna's Reinvention Tour, which opened here late last month, made all his previous assignments look easy. By the time it completes its three - month run, with 55 concerts in the United States, Canada and Europe, it is expected to gross 0 million.
Mr. King, 32, has worked with Madonna since she asked him to choreograph her video for 'Human Nature' in 1996. He recently talked with Valerie Gladstone.
VALERIE GLADSTONE Describe how you and she come up with ideas.
JAMIE KING We've been working together for a long time, so we don't have to go through the whole introductory process. it's more like 'Jamie, I saw this Ninja movie, and it was cool, and it might be cool to do something like that on tour.' Or, 'My kids have been watching 'Chitty Chitty Bang Bang,' maybe we could do something like the dance with bamboo sticks from that as a transition into 'Get Into the Groove.' '
GLADSTONE What happens when you disagree?
KING We had one major disagreement. Only a few weeks ago, I told her I thought she should replace a song she had already relearned with "Material Girl." She'd spent a lot of time learning the other song on the guitar. She'd also said publicly that she would never sing "Material Girl" again. So I had to convince her that it was a bigger hit and worked much better at the end of a particular sequence.
GLADSTONE Were you worried that the song wouldn't go over?
KING If the audience hadn't responded enthusiastically, I'd never have heard the end of it.
GLADSTONE What did you do after choosing the 12 dancers?
KING I set up four rooms in the Culver City Studios: the band room where Madonna worked on the songs with the musical director and the musicians; the choreography room where we developed the dances; the technical room, where I had the theatrical props, like the swings for the acrobatic dances. That's also where we rehearsed the fire handling and rifle choreography and skateboarding.
In another room, I had the entire stage taped out to scale with mock screens and elements of the set, all made of wood. Madonna wants to know exactly what everything will actually look like in materials as close to the finals as possible.
GLADSTONE The show has a variety of dance styles: tango, popping, a Scottish bagpipe procession and something called the krump. What's the krump?
KING Madonna likes me to bring her the newest thing. The krump is very in - your - face, very angry and confrontational, with the arms spread wide in a threatening manner. My dancers told me about it. It looks like you're fighting. it's a way for kids in tough neighborhoods to express their aggression, without really fighting. That's what she and I like about it.
Who can a star rely on to create a spiritually enlightened, Pilates - inspired, military - saluting, career - extending international road show? Jamie King has created pop spectaculars for Prince, Ricky Martin, Britney Spears and Jennifer Lopez. Still, directing and choreographing Madonna's Reinvention Tour, which opened here late last month, made all his previous assignments look easy. By the time it completes its three - month run, with 55 concerts in the United States, Canada and Europe, it is expected to gross 0 million.
Mr. King, 32, has worked with Madonna since she asked him to choreograph her video for 'Human Nature' in 1996. He recently talked with Valerie Gladstone.
VALERIE GLADSTONE Describe how you and she come up with ideas.
JAMIE KING We've been working together for a long time, so we don't have to go through the whole introductory process. it's more like 'Jamie, I saw this Ninja movie, and it was cool, and it might be cool to do something like that on tour.' Or, 'My kids have been watching 'Chitty Chitty Bang Bang,' maybe we could do something like the dance with bamboo sticks from that as a transition into 'Get Into the Groove.' '
GLADSTONE What happens when you disagree?
KING We had one major disagreement. Only a few weeks ago, I told her I thought she should replace a song she had already relearned with "Material Girl." She'd spent a lot of time learning the other song on the guitar. She'd also said publicly that she would never sing "Material Girl" again. So I had to convince her that it was a bigger hit and worked much better at the end of a particular sequence.
GLADSTONE Were you worried that the song wouldn't go over?
KING If the audience hadn't responded enthusiastically, I'd never have heard the end of it.
GLADSTONE What did you do after choosing the 12 dancers?
KING I set up four rooms in the Culver City Studios: the band room where Madonna worked on the songs with the musical director and the musicians; the choreography room where we developed the dances; the technical room, where I had the theatrical props, like the swings for the acrobatic dances. That's also where we rehearsed the fire handling and rifle choreography and skateboarding.
In another room, I had the entire stage taped out to scale with mock screens and elements of the set, all made of wood. Madonna wants to know exactly what everything will actually look like in materials as close to the finals as possible.
GLADSTONE The show has a variety of dance styles: tango, popping, a Scottish bagpipe procession and something called the krump. What's the krump?
KING Madonna likes me to bring her the newest thing. The krump is very in - your - face, very angry and confrontational, with the arms spread wide in a threatening manner. My dancers told me about it. It looks like you're fighting. it's a way for kids in tough neighborhoods to express their aggression, without really fighting. That's what she and I like about it.
June 18, 2004
BY JAY LUSTIG
Star - Ledger Staff
NEW YORK - - Bagpipers and skateboarders. Yoga poses and a T - shirt reading "Kabbalists do it better." Rap and country music. Angry political statements and giddy party anthems.
Madonna's Wednesday night show at Madison Square Garden had all of the above, and more. A Madonna tour is, by definition, a spectacle. But she has never presented anything quite as dizzying and dazzling as her current "re - Invention Tour," which has four more dates at the Garden, as well as two at the Continental Airlines Arena.
Dancers turned into acrobats, spinning on swings high above the stage. They also breakdanced and tap - danced as images of Tarot cards flashed behind them. At two points in the show, a V - shaped ramp descended from the rafters and Madonna and the dancers ran out to the middle of the arena floor.
Without an album of new material to draw from, Madonna added new twists to some of her old songs. "Material Girl" and "Burning Up" took on a new - wave rock feel, and "Deeper and Deeper" became a jazzy ballad. Bagpipes and a filmed Missy Elliott rap were added to "Into the Groove," while "Don't Tell Me" had a strange country - techno interlude.
Madonna sang "Lament," from the rock opera "Evita," from an electric chair and added video footage of a gospel choir to "Like a Prayer." Artful film of entwined, slow - moving, near - naked bodies enhanced the yearning sentiment of the ballad "Frozen."
In general, though, sexual content was kept to a minimum. Madonna seems more interested these days in spirituality and the state of the world.
One of the show's low points came during "Express Yourself." Dancers dressed in military uniforms marched and twirled rifles with projections of tanks and planes behind them. Madonna herself held a rifle above her head as she sang the line, "What you need is a big strong hand to lift you to your higher ground."
One imagines she was making an anti - war statement, but the theatrics didn't make much sense accompanying a song about personal empowerment.
Better to be inscrutable, though, than heavy - handed.
"American Life" was accompanied by a video that showed, among other things, footage of a President Bush lookalike kissing a Saddam Hussein lookalike, and lovingly laying his head on the dictator's shoulder.
Shots of children suffering from malnutrition or violence were projected behind Madonna during her earnest cover of John Lennon's "Imagine." Toward the end of the song, though, happy children were shown, and a Jewish boy and an Arab boy walked off together, arm in arm.
Madonna made her longest speech of the night before this number, encouraging fans to see Michael Moore's upcoming documentary, "Fahrenheit 9/11," which explores links between the families of President Bush and Osama bin Laden.
"I don't think I ever cried so hard at a movie in my life," she said before thanking Moore, who was in the audience.
Later, she offered a more conventional thank - you, dedicating "Crazy for You" to the fans who have stuck by her through her entire career. She then sang a warm, relaxed version of the song. This was the concert's calmest moment, by far.
Then it was back to business as usual, with a manic "Music," featuring hip - hop record scratching, dancers gliding around the stage on conveyor belts, and the word F - R - E - E - D - O - M spelled out on the dancers' butts. The show ended with "Holiday," a celebratory dance - pop tune with prancing on the V - ramp, a blast of confetti, and a final video message: "Reinvent Yourself."
Star - Ledger Staff
NEW YORK - - Bagpipers and skateboarders. Yoga poses and a T - shirt reading "Kabbalists do it better." Rap and country music. Angry political statements and giddy party anthems.
Madonna's Wednesday night show at Madison Square Garden had all of the above, and more. A Madonna tour is, by definition, a spectacle. But she has never presented anything quite as dizzying and dazzling as her current "re - Invention Tour," which has four more dates at the Garden, as well as two at the Continental Airlines Arena.
Dancers turned into acrobats, spinning on swings high above the stage. They also breakdanced and tap - danced as images of Tarot cards flashed behind them. At two points in the show, a V - shaped ramp descended from the rafters and Madonna and the dancers ran out to the middle of the arena floor.
Without an album of new material to draw from, Madonna added new twists to some of her old songs. "Material Girl" and "Burning Up" took on a new - wave rock feel, and "Deeper and Deeper" became a jazzy ballad. Bagpipes and a filmed Missy Elliott rap were added to "Into the Groove," while "Don't Tell Me" had a strange country - techno interlude.
Madonna sang "Lament," from the rock opera "Evita," from an electric chair and added video footage of a gospel choir to "Like a Prayer." Artful film of entwined, slow - moving, near - naked bodies enhanced the yearning sentiment of the ballad "Frozen."
In general, though, sexual content was kept to a minimum. Madonna seems more interested these days in spirituality and the state of the world.
One of the show's low points came during "Express Yourself." Dancers dressed in military uniforms marched and twirled rifles with projections of tanks and planes behind them. Madonna herself held a rifle above her head as she sang the line, "What you need is a big strong hand to lift you to your higher ground."
One imagines she was making an anti - war statement, but the theatrics didn't make much sense accompanying a song about personal empowerment.
Better to be inscrutable, though, than heavy - handed.
"American Life" was accompanied by a video that showed, among other things, footage of a President Bush lookalike kissing a Saddam Hussein lookalike, and lovingly laying his head on the dictator's shoulder.
Shots of children suffering from malnutrition or violence were projected behind Madonna during her earnest cover of John Lennon's "Imagine." Toward the end of the song, though, happy children were shown, and a Jewish boy and an Arab boy walked off together, arm in arm.
Madonna made her longest speech of the night before this number, encouraging fans to see Michael Moore's upcoming documentary, "Fahrenheit 9/11," which explores links between the families of President Bush and Osama bin Laden.
"I don't think I ever cried so hard at a movie in my life," she said before thanking Moore, who was in the audience.
Later, she offered a more conventional thank - you, dedicating "Crazy for You" to the fans who have stuck by her through her entire career. She then sang a warm, relaxed version of the song. This was the concert's calmest moment, by far.
Then it was back to business as usual, with a manic "Music," featuring hip - hop record scratching, dancers gliding around the stage on conveyor belts, and the word F - R - E - E - D - O - M spelled out on the dancers' butts. The show ended with "Holiday," a celebratory dance - pop tune with prancing on the V - ramp, a blast of confetti, and a final video message: "Reinvent Yourself."
June 18, 2004
See the Material Girl in concert in the city of your choice! Party in the pit and be front and center for Madonna's shocking new tour. Enter now!
June 17, 2004
By GLENN GAMBOA
Staff Writer
For Madonna, necessity is the mother of "Re - Invention."
Super - savvy culture vulture that she is, the Material Mom knows that if she doesn't re - assert her relevance soon, she could quickly become a fringe best known for writing children's books and being Britney's gal - pal.
On the heels of disappointing sales for her "American Life" album and a hostile reception to her last movie, "Swept Away," the 45 - year - old entertainer has her back against the wall for the first time in her career.
"The Re - Invention Tour" is her way of proving she is not ready to retire to the London mansion with hubby Guy Ritchie and the kids just yet. At Madison Square Garden last night, the first of eight sold - out shows in New York in the next two weeks, she definitely made that point.
Many sing better. Others write better songs. But no one performs better than Madonna especially when she has something to prove.
In the nearly two - hour set, Madonna takes the audience on a whirlwind tour through her 20 - year career. Some songs get shaken up the disco jam "Deeper and Deeper" gets jazzy, "Like a Prayer" gets an electro - country twang and "Material Girl" becomes a pop - punk rave - up. But what is even more impressive is how her elaborate performance art pieces enhance many of the songs. The athletic swinging of her dancers during "Bedtime Story" provides the song a grace that it never would have seen in a straight performance. The intricate moves of her 16 - member dance troupe turned "Into the Groove" into a powerful dance piece instead of simply a dance - pop trifle. "Papa Don't Preach" was filled with playfulness and innocence, even including a ring - around - the - rosie dance.
This is a side of Madonna that she hasn't shown very often, the one that has fun, the one that enjoys the roar of the crowd. She offered genuine appreciation for the cheers much like her decision to bring back songs from her past that she has tired of.
Making peace with her past doesn't mean she's ready to give up on the interests of her present. Kabbala is present in the Hebrew letters that swirl on the big screens behind her and she even sports a t - shirt that says "Kabbalists Do It Better." Her anti - war, anti - Bush beliefs are clearly on display during "American Life," as well as her overwhelming endorsement of Michael Moore's "Fahrenheit 9/11," which she said had her in tears. With this tour, Madonna can give the song her full support unlike last year, when she yanked the video to avoid controversy about complaining about Middle East policies in the middle of the Iraqi war. She was rightfully worried about getting Dixie - Chicked if she proceeded, but as it turned out, her album was basically blacklisted anyway.
If anyone could have waged a successful media campaign to get her anti - war, pro - troops point across, it would be Team Madonna. The Material Mom, however, plays things a little safer, which is also evident on "The Re - Invention Tour."
When Madonna dedicated her ballad "Crazy For You" to all her fans who have "stuck with me through thick and thin for the past 20 years," she short - circuited all the critiques of her 2001 "Drowned World" tour, which was high on drama and production but low on fun and any sort of crowd interaction.
Madonna's latest reinvention may be her best one yet. She has not only become a champion of the underdogs but somehow an underdog herself. And as long as she offers amazing performances like this one, she will have an army of fans backing her up.
Staff Writer
For Madonna, necessity is the mother of "Re - Invention."
Super - savvy culture vulture that she is, the Material Mom knows that if she doesn't re - assert her relevance soon, she could quickly become a fringe best known for writing children's books and being Britney's gal - pal.
On the heels of disappointing sales for her "American Life" album and a hostile reception to her last movie, "Swept Away," the 45 - year - old entertainer has her back against the wall for the first time in her career.
"The Re - Invention Tour" is her way of proving she is not ready to retire to the London mansion with hubby Guy Ritchie and the kids just yet. At Madison Square Garden last night, the first of eight sold - out shows in New York in the next two weeks, she definitely made that point.
Many sing better. Others write better songs. But no one performs better than Madonna especially when she has something to prove.
In the nearly two - hour set, Madonna takes the audience on a whirlwind tour through her 20 - year career. Some songs get shaken up the disco jam "Deeper and Deeper" gets jazzy, "Like a Prayer" gets an electro - country twang and "Material Girl" becomes a pop - punk rave - up. But what is even more impressive is how her elaborate performance art pieces enhance many of the songs. The athletic swinging of her dancers during "Bedtime Story" provides the song a grace that it never would have seen in a straight performance. The intricate moves of her 16 - member dance troupe turned "Into the Groove" into a powerful dance piece instead of simply a dance - pop trifle. "Papa Don't Preach" was filled with playfulness and innocence, even including a ring - around - the - rosie dance.
This is a side of Madonna that she hasn't shown very often, the one that has fun, the one that enjoys the roar of the crowd. She offered genuine appreciation for the cheers much like her decision to bring back songs from her past that she has tired of.
Making peace with her past doesn't mean she's ready to give up on the interests of her present. Kabbala is present in the Hebrew letters that swirl on the big screens behind her and she even sports a t - shirt that says "Kabbalists Do It Better." Her anti - war, anti - Bush beliefs are clearly on display during "American Life," as well as her overwhelming endorsement of Michael Moore's "Fahrenheit 9/11," which she said had her in tears. With this tour, Madonna can give the song her full support unlike last year, when she yanked the video to avoid controversy about complaining about Middle East policies in the middle of the Iraqi war. She was rightfully worried about getting Dixie - Chicked if she proceeded, but as it turned out, her album was basically blacklisted anyway.
If anyone could have waged a successful media campaign to get her anti - war, pro - troops point across, it would be Team Madonna. The Material Mom, however, plays things a little safer, which is also evident on "The Re - Invention Tour."
When Madonna dedicated her ballad "Crazy For You" to all her fans who have "stuck with me through thick and thin for the past 20 years," she short - circuited all the critiques of her 2001 "Drowned World" tour, which was high on drama and production but low on fun and any sort of crowd interaction.
Madonna's latest reinvention may be her best one yet. She has not only become a champion of the underdogs but somehow an underdog herself. And as long as she offers amazing performances like this one, she will have an army of fans backing her up.
June 17, 2004
By DAN AQUILANTE
June 17, 2004 - - SHE may have adopted the new name Esther, but it was the same old Madonna electrifying Madison Square Garden last night.
In a barrage of video imagery, campy dance routines and hit songs, last night's opening concert of Madonna's six - show Garden series was more artistic regurgitation than reinvention - despite the title of this tour.
That isn't saying the tightly wrapped "Re - Invention" extravaganza wasn't fun eyeball candy. But in most ways, this show seemed to be the old Madonna in a new bustier.
While the lightning bolt of musical greatness didn't strike the stage during the nearly two - hour concert, Madonna razzle - dazzled her way into the hearts of the devoted audience with an entertaining theatrical revue that was elaborately staged, costumed and cast with a full dance troupe that included acrobats and even a Mohawked skateboard boy.
The 45 - year - old pop legend sang well and looked great. And when it came to her dance - oriented pieces, she was certainly at her most compelling.
Yet, she was at her best when she performed her bare - bones strum 'n' hum "Like a Prayer." Madonna accompanied herself on acoustic guitar, and it was the one song where a feeling of soul came across.
An unfortunate cover of John Lennon's "Imagine," the low point of the night, followed that. She complicated it by playing it beneath images of desperately ill and dying children. "Imagine," one of Lennon's best tunes, was such a downer, it felt as if Madonna pulled the plug on the show.
With all that's been made of her new - found Kabbalist leanings - which inspired her new name - and shadowy spiritualism, it was surprising how little of that made its way into this concert. She took a lesson from her own song "Papa Don't Preach." and didn't gab about finding higher ground. Yes, video images of Hebrew letters and pictures of the Sacred Heart Jesus popped up, but the projections were more graphic design than evangelism.
In fact, that was one of the biggest problems with this concert. The songs and the staging often had little to do with one another.
There was an anti - Republican undercurrent here, but Madonna smartly voiced no criticism of the president or his foreign policy in words. Instead, she let videos featuring the ravages of war convey her why - can't - we - just - get - along message.
As for the notion that Madonna couldn't sell out the Garden anymore, the reports of the demise of her career were greatly exaggerated. There wasn't an empty seat in sight.
June 17, 2004 - - SHE may have adopted the new name Esther, but it was the same old Madonna electrifying Madison Square Garden last night.
In a barrage of video imagery, campy dance routines and hit songs, last night's opening concert of Madonna's six - show Garden series was more artistic regurgitation than reinvention - despite the title of this tour.
That isn't saying the tightly wrapped "Re - Invention" extravaganza wasn't fun eyeball candy. But in most ways, this show seemed to be the old Madonna in a new bustier.
While the lightning bolt of musical greatness didn't strike the stage during the nearly two - hour concert, Madonna razzle - dazzled her way into the hearts of the devoted audience with an entertaining theatrical revue that was elaborately staged, costumed and cast with a full dance troupe that included acrobats and even a Mohawked skateboard boy.
The 45 - year - old pop legend sang well and looked great. And when it came to her dance - oriented pieces, she was certainly at her most compelling.
Yet, she was at her best when she performed her bare - bones strum 'n' hum "Like a Prayer." Madonna accompanied herself on acoustic guitar, and it was the one song where a feeling of soul came across.
An unfortunate cover of John Lennon's "Imagine," the low point of the night, followed that. She complicated it by playing it beneath images of desperately ill and dying children. "Imagine," one of Lennon's best tunes, was such a downer, it felt as if Madonna pulled the plug on the show.
With all that's been made of her new - found Kabbalist leanings - which inspired her new name - and shadowy spiritualism, it was surprising how little of that made its way into this concert. She took a lesson from her own song "Papa Don't Preach." and didn't gab about finding higher ground. Yes, video images of Hebrew letters and pictures of the Sacred Heart Jesus popped up, but the projections were more graphic design than evangelism.
In fact, that was one of the biggest problems with this concert. The songs and the staging often had little to do with one another.
There was an anti - Republican undercurrent here, but Madonna smartly voiced no criticism of the president or his foreign policy in words. Instead, she let videos featuring the ravages of war convey her why - can't - we - just - get - along message.
As for the notion that Madonna couldn't sell out the Garden anymore, the reports of the demise of her career were greatly exaggerated. There wasn't an empty seat in sight.
June 16, 2004
Madonna is getting the hang of this kiddie book thing.
Yakov and the Seven Thieves (Callaway Editions) is the third instalment of Madonna's five - book series for the publisher and it's the best, mostly because there is nothing Material Girl - ish about it. (Her first book, the rather boring The English Roses, focused on a catty group of girls illustrated in a very fashion - forward manner.)
The fairy - tale artwork in Yakov, by Russian painter Gennady Spirin, brings authenticity to the story about a sick boy, desperate dad and wise old man in an eastern European village in the 18th century.
Madonna, who cites the influence of Kabbalah, or Jewish mysticism, in all her books, says Yakov was inspired by the Baal Shem Tov, a Ukrainian teacher.
"It's a story about how all of us have the ability to unlock the gates of heaven - - no matter how unworthy we think we are. For when we go against our selfish natures, we make miracles happen, in our lives and in the lives of others," Madonna writes on the cover jacket.
While that's an exaggeration of how important and symbolic this book really is, the story moves along nicely and gets its message about redemption across without being too preachy. it's also appropriately written for its target audience of six - year - olds.
Yakov is the father of Mikhail, who is literally on his death bed. With few options left, Yakov goes to visit the mysterious old man who lives on the outskirts of the village and is rumoured to perform miracles. Unfortunately, the old man's first attempt to help the boy fails. He has an idea, though, to ask all the town's thieves, pickpockets and criminals to put their rather unusual talents toward a good cause.
Of course, being a children's picture book, there is a happy ending with a healthy Mikhail and reformed rascals.
And, it's worth noting that the only female scoundrel, Petra the Pickpocket, bears a striking resemblance to Madonna herself.
Yakov and the Seven Thieves (Callaway Editions) is the third instalment of Madonna's five - book series for the publisher and it's the best, mostly because there is nothing Material Girl - ish about it. (Her first book, the rather boring The English Roses, focused on a catty group of girls illustrated in a very fashion - forward manner.)
The fairy - tale artwork in Yakov, by Russian painter Gennady Spirin, brings authenticity to the story about a sick boy, desperate dad and wise old man in an eastern European village in the 18th century.
Madonna, who cites the influence of Kabbalah, or Jewish mysticism, in all her books, says Yakov was inspired by the Baal Shem Tov, a Ukrainian teacher.
"It's a story about how all of us have the ability to unlock the gates of heaven - - no matter how unworthy we think we are. For when we go against our selfish natures, we make miracles happen, in our lives and in the lives of others," Madonna writes on the cover jacket.
While that's an exaggeration of how important and symbolic this book really is, the story moves along nicely and gets its message about redemption across without being too preachy. it's also appropriately written for its target audience of six - year - olds.
Yakov is the father of Mikhail, who is literally on his death bed. With few options left, Yakov goes to visit the mysterious old man who lives on the outskirts of the village and is rumoured to perform miracles. Unfortunately, the old man's first attempt to help the boy fails. He has an idea, though, to ask all the town's thieves, pickpockets and criminals to put their rather unusual talents toward a good cause.
Of course, being a children's picture book, there is a happy ending with a healthy Mikhail and reformed rascals.
And, it's worth noting that the only female scoundrel, Petra the Pickpocket, bears a striking resemblance to Madonna herself.
June 16, 2004
Watch Cynthia McFadden's exclusive interview with Madonna on 20/20 Friday night at 10 p.m.
Madonna's latest makeover - - motherhood and mysticism
Madonna talks with 20/20 about motherhood, mysticism, her latest children's book and her new concert tour. (ABCNEWS.com)
By ABCNEWS.com
June 16, 2004 Madonna, the master of self - invention, has come a long way since her "Material Girl" days. While she has no regrets about her moves on her climb to pop diva status, she tells ABC News' 20/20, "I brought a lot of chaos to people's lives, because of my selfish behavior."
In her latest incarnation, the wife, mother, children's book author and still - touring pop star says the ruling philosophy in her home is "pick up your s - - t."
Madonna may have made a career on rebellion, irreverence and sexually charged performance, but when it comes to her children, manners are important. "Even my children have to clean up their mess, clean up their rooms. Manners, thank you, please, take your dishes to the sink. I mean gratitude, being grateful, that is, that has to happen If it's traditional to be a decent human being, then I'm traditional," she told ABC News' Cynthia McFadden.
Madonna married film director Guy Ritchie in 2000. They have a son together, 4 - year - old Rocco, and Madonna has a 7 - year - old daughter, Lourdes, whose father is Madonna's former personal trainer, Carlos Leon.
Madonna says her favorite aspect of getting older is "getting smarter" and gives a rare glimpse of her private life with Ritchie. She tells McFadden she believes the key step to a successful marriage is "learning to apologize." She also shares one of the couple's daily rituals, saying that after her grueling performances, she goes in the tub and her husband talks to her about the day.
Call Me Esther
Madonna also speaks candidly with McFadden about her study of Jewish mysticism known as Kabbala, which she believes is "incredibly punk rock" and anti - establishment.
"Kabbalists believe in immortality. They believe that you can overcome death, overcome illness, whatever, so, it's incredibly good to be a rebel," she said.
Madonna also reveals that she has also taken on the Hebrew name of Esther, explaining that, "I was named after my mother. My mother died when she was very young, of cancer, and I wanted to attach myself to another name.
This is in no way a negation of who my mother is. I wanted to attach myself to the energy of a different name."
To Naughty Children Everywhere
Madonna also discusses her third and latest foray into children's literature, Yakov and the Seven Thieves, which hits bookstores June 21.
Madonna has dedicated the book to "naughty children everywhere," saying that, "Even the naughtiest person in the world, big or small, has the capability to do something good in the world."
Describing herself as "naughty child, number one," she espouses the power of prayer. "I pray every day and I believe that it is a very powerful way to communicate, to heal, to affect change."
20/20 will also air exclusive footage from Madonna's Reinvention tour, which comes to New York City's Madison Square Garden today.
Madonna's latest makeover - - motherhood and mysticism
Madonna talks with 20/20 about motherhood, mysticism, her latest children's book and her new concert tour. (ABCNEWS.com)
By ABCNEWS.com
June 16, 2004 Madonna, the master of self - invention, has come a long way since her "Material Girl" days. While she has no regrets about her moves on her climb to pop diva status, she tells ABC News' 20/20, "I brought a lot of chaos to people's lives, because of my selfish behavior."
In her latest incarnation, the wife, mother, children's book author and still - touring pop star says the ruling philosophy in her home is "pick up your s - - t."
Madonna may have made a career on rebellion, irreverence and sexually charged performance, but when it comes to her children, manners are important. "Even my children have to clean up their mess, clean up their rooms. Manners, thank you, please, take your dishes to the sink. I mean gratitude, being grateful, that is, that has to happen If it's traditional to be a decent human being, then I'm traditional," she told ABC News' Cynthia McFadden.
Madonna married film director Guy Ritchie in 2000. They have a son together, 4 - year - old Rocco, and Madonna has a 7 - year - old daughter, Lourdes, whose father is Madonna's former personal trainer, Carlos Leon.
Madonna says her favorite aspect of getting older is "getting smarter" and gives a rare glimpse of her private life with Ritchie. She tells McFadden she believes the key step to a successful marriage is "learning to apologize." She also shares one of the couple's daily rituals, saying that after her grueling performances, she goes in the tub and her husband talks to her about the day.
Call Me Esther
Madonna also speaks candidly with McFadden about her study of Jewish mysticism known as Kabbala, which she believes is "incredibly punk rock" and anti - establishment.
"Kabbalists believe in immortality. They believe that you can overcome death, overcome illness, whatever, so, it's incredibly good to be a rebel," she said.
Madonna also reveals that she has also taken on the Hebrew name of Esther, explaining that, "I was named after my mother. My mother died when she was very young, of cancer, and I wanted to attach myself to another name.
This is in no way a negation of who my mother is. I wanted to attach myself to the energy of a different name."
To Naughty Children Everywhere
Madonna also discusses her third and latest foray into children's literature, Yakov and the Seven Thieves, which hits bookstores June 21.
Madonna has dedicated the book to "naughty children everywhere," saying that, "Even the naughtiest person in the world, big or small, has the capability to do something good in the world."
Describing herself as "naughty child, number one," she espouses the power of prayer. "I pray every day and I believe that it is a very powerful way to communicate, to heal, to affect change."
20/20 will also air exclusive footage from Madonna's Reinvention tour, which comes to New York City's Madison Square Garden today.
June 12, 2004
After reigning over the hearts of millions for quite some time, pop queen Madonna, has added another feather to her cap.
The 45 - year - old mom of two has been voted the best dressed woman by the Good Housekeeping magazine.
The homemaker's bible declared Madonna the leading fashion icon for women over 40.
"The great thing about Madonna is that she constantly looks good and constantly reinvents herself and sets trends," editor Lindsay Nicholson is quoted as saying by news.com.
Absolutely Fabulous star Joanna Lumley was highly commended while fellow actors Helen Mirren and Judi Dench and model Jerry Hall were on the short list.
Hall's one - time partner, crooner Bryan Ferry, was named Britain's best - dressed man, relegating soccer star David Beckham to second place.
Trinny Woodall and Susannah Constantine, the austere hosts of the television series "What Not To Wear" reproduced for an Australian audience recently by Channel 7 - were judged worst - dressed women. (ANI)
The 45 - year - old mom of two has been voted the best dressed woman by the Good Housekeeping magazine.
The homemaker's bible declared Madonna the leading fashion icon for women over 40.
"The great thing about Madonna is that she constantly looks good and constantly reinvents herself and sets trends," editor Lindsay Nicholson is quoted as saying by news.com.
Absolutely Fabulous star Joanna Lumley was highly commended while fellow actors Helen Mirren and Judi Dench and model Jerry Hall were on the short list.
Hall's one - time partner, crooner Bryan Ferry, was named Britain's best - dressed man, relegating soccer star David Beckham to second place.
Trinny Woodall and Susannah Constantine, the austere hosts of the television series "What Not To Wear" reproduced for an Australian audience recently by Channel 7 - were judged worst - dressed women. (ANI)
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