News
June 12, 2004
Music brings the people together for a special edition of Grapefruit
Grapefruit Promotions is pleased to present the Re - Invention Ball: the official Toronto launch party for Madonna's Re - Invention Tour and a fundraiser for Casey House.
The Ball starts spinning on Friday, July 16 at Tequila Lounge, located at 794 Bathurst Street (corner of Bloor and Bathurst). Doors open to media and special guests at 9 p.m., then to the public at 10 p.m.
DJ Aural and DJ Shane will take guests on a musical journey as they spin a career - spanning set packed full of hits, remixes, live tracks and classic album cuts. Grapefruit is also flying in Madiva - star of MTV, U.K. Television and peer of Madonna herself. New York's most infamous Madonna impersonator is sure to dazzle the crowd with some of her greatest numbers In addition to the theatrics, guests can also win posters, DVD's, gift certificates, clothing and an all - inclusive vacation package for two. Prizes for the event have been donated by Grapefruit's generous sponsors in support of Casey House.
Tickets can be purchased at Music Authority (95 Maitland St.) starting on June 18. Tickets are in advance and priced higher at the door. Tickets are very limited and are sold on a first - come first - serve basis.
For all the up - to - date information on tickets, sponsors, dates, Madiva and Madonna herself, please visit
http://www.shanepercy.com/madonna_event.htm
Grapefruit Promotions is pleased to present the Re - Invention Ball: the official Toronto launch party for Madonna's Re - Invention Tour and a fundraiser for Casey House.
The Ball starts spinning on Friday, July 16 at Tequila Lounge, located at 794 Bathurst Street (corner of Bloor and Bathurst). Doors open to media and special guests at 9 p.m., then to the public at 10 p.m.
DJ Aural and DJ Shane will take guests on a musical journey as they spin a career - spanning set packed full of hits, remixes, live tracks and classic album cuts. Grapefruit is also flying in Madiva - star of MTV, U.K. Television and peer of Madonna herself. New York's most infamous Madonna impersonator is sure to dazzle the crowd with some of her greatest numbers In addition to the theatrics, guests can also win posters, DVD's, gift certificates, clothing and an all - inclusive vacation package for two. Prizes for the event have been donated by Grapefruit's generous sponsors in support of Casey House.
Tickets can be purchased at Music Authority (95 Maitland St.) starting on June 18. Tickets are in advance and priced higher at the door. Tickets are very limited and are sold on a first - come first - serve basis.
For all the up - to - date information on tickets, sponsors, dates, Madiva and Madonna herself, please visit
http://www.shanepercy.com/madonna_event.htm
June 12, 2004
By Mark Guarino
The engine of Madonna's 21 - year career is reinvention. Look back and her lineage of videos and concert tours is lined with shifting selves - - from disco boy - toy all the way up to children's book author.
By naming her current tour "Re - Invention," the 45 - year - old is not so much trying anything new as she is, for the first time, collecting all her former selves and seeing if they can co - exist together.
Some call it nostalgia, but Madonna has never been that obvious. At the United Center Sunday, the first of four sold - out nights, she tried to make sense out of everything she's done in the past, but in the exhilarating collage, she demonstrated some previous lives live up to the present and a few do not.
Some reinvention was musical and on these songs, Madonna and her eight - piece band and core of dancers celebrated their durability. "Into the Groove," an early hit, was remixed with a more complex beat, rapping interludes from a recorded Missy Elliott and, strangely, a live bagpiper and drum corps. "Like a Prayer," part of her disco folk set, swelled with spiritual uplift with the help of a recorded gospel choir.
Unlike her dark and condensed "Drowned World" tour in 2001, this outing joyfully interchanged past with present. The best moments blurred images and toyed with mixed messages.
She and her dancers performed "Express Yourself," an infectious dance pop statement of individuality, dressed in military gear and twirling rifles. For "Burning Up," her earliest dance hit, and "Material Girl," Madonna posed as a serious guitar rocker, hitting chords and transforming the songs' adolescent whine into adult certitude.
The flow of imagery had its chinks when Madonna revisited weaker material - - notably "Hanky Panky," a vaudeville jazz send - up from "Dick Tracy." And no matter what you think of Andrew Lloyd Webber, his material ("Lament") doesn't sound good being sung when the singer is strapped to a fake electric chair.
Unlike the past, the show was not designed to provoke but was filled with more moments where she tried to present herself as a serious songwriter.
She slipped into that mode during the show's third act, a short acoustic set that ended with a cover of John Lennon's "Imagine." The choice may have been in protest, since Clear Channel Entertainment, her tour's producer and promoter, is the same company that banned the song from its 1,200 radio stations after Sept. 11.
But since she was singing in front of a backdrop of televised starving children, it's more likely she was using the song to signal her altruism. Her shrill rendition didn't do that. Instead, it felt like another reinvention, just that this one was empty and presumptuous.
The engine of Madonna's 21 - year career is reinvention. Look back and her lineage of videos and concert tours is lined with shifting selves - - from disco boy - toy all the way up to children's book author.
By naming her current tour "Re - Invention," the 45 - year - old is not so much trying anything new as she is, for the first time, collecting all her former selves and seeing if they can co - exist together.
Some call it nostalgia, but Madonna has never been that obvious. At the United Center Sunday, the first of four sold - out nights, she tried to make sense out of everything she's done in the past, but in the exhilarating collage, she demonstrated some previous lives live up to the present and a few do not.
Some reinvention was musical and on these songs, Madonna and her eight - piece band and core of dancers celebrated their durability. "Into the Groove," an early hit, was remixed with a more complex beat, rapping interludes from a recorded Missy Elliott and, strangely, a live bagpiper and drum corps. "Like a Prayer," part of her disco folk set, swelled with spiritual uplift with the help of a recorded gospel choir.
Unlike her dark and condensed "Drowned World" tour in 2001, this outing joyfully interchanged past with present. The best moments blurred images and toyed with mixed messages.
She and her dancers performed "Express Yourself," an infectious dance pop statement of individuality, dressed in military gear and twirling rifles. For "Burning Up," her earliest dance hit, and "Material Girl," Madonna posed as a serious guitar rocker, hitting chords and transforming the songs' adolescent whine into adult certitude.
The flow of imagery had its chinks when Madonna revisited weaker material - - notably "Hanky Panky," a vaudeville jazz send - up from "Dick Tracy." And no matter what you think of Andrew Lloyd Webber, his material ("Lament") doesn't sound good being sung when the singer is strapped to a fake electric chair.
Unlike the past, the show was not designed to provoke but was filled with more moments where she tried to present herself as a serious songwriter.
She slipped into that mode during the show's third act, a short acoustic set that ended with a cover of John Lennon's "Imagine." The choice may have been in protest, since Clear Channel Entertainment, her tour's producer and promoter, is the same company that banned the song from its 1,200 radio stations after Sept. 11.
But since she was singing in front of a backdrop of televised starving children, it's more likely she was using the song to signal her altruism. Her shrill rendition didn't do that. Instead, it felt like another reinvention, just that this one was empty and presumptuous.
June 12, 2004
We wanted to remind you about the release of Madonna's newest children's book, "Yakov and The Seven Thieves". The book, which is beautifully illustrated by Gennady Spirin, comes out June 21st, but you can pre - order ahead of time and have it shipped directly to your door. You can also buy an exclusive t - shirt featuring the cover art, in both youth and adult sizes.
CLICK HERE TO PRE - ORDER
Below is a Q & A with Gennady Spirin
What was it like working on Yakov and the Seven Thieves?
The book was completed amazingly quickly. The idea was clear. The style parameters were set. I was able to render the characters without much difficulty - very naturally. Everything came together well.
How is Yakov and the Seven Thieves different from other books you've illustrated?
This is the first time that I worked with a contemporary author. This is not a classic, world - renowned story, but the idea has deep roots.
What message do you hope children will glean from Yakov and the Seven Thieves?
I think that children and grown - ups should see this book as espousing the importance of compassion. It also puts forward the concept that often the prayers of some of the most seemingly "bad" people are dearer to God than the prayers of the seemingly "good" people. The thieves? Prayers demonstrate real openness before God, and stem from feelings of unworthiness.
What is your favorite part of Yakov and the Seven Thieves?
I must confess that I look at the book as a whole and, thus, I do not prefer one part of the book over another.
What is your favorite illustration in Yakov and the Seven Thieves?
I cannot select anything in particular and have never been able to admire my own work, even if I am satisfied with it overall. One's admiration for one's own work can only bring disdain from the great Masters.
What about your style do you feel lends itself to Yakov and the Seven Thieves?
The stylistic parameters for the book were discussed and set from the outset. This story takes place in Europe, in the 18th century. It could have been illustrated in any number of styles, but we decided on Baroque. It makes the book dressier, but at the same time preserves the dramatic element and the psychological characteristics of each of the characters.
What was your opinion of Madonna before and after reading Yakov and the Seven Thieves?
I had, of course, heard of the author before commencing work on the book, but I am not a fan of contemporary music. I like classical music and jazz. However, my children are familiar with Madonna, and, overhearing that I was working on this book, they told me of her accomplishments and career highlights. Overall, she is a giant, so I felt somewhat uncomfortable initially. Irrespective of the Hollywood hoopla surrounding Madonna, it is not lost on her to notice simple, human actions, which is the centralmoral principle of the story.
What inspired you to want to illustrate children's books?
I remember that as a child I absolutely loved to look at books with pictures. How delighted and excited my young soul was to see the elaborate letters and illustrations of a new story. I was drawn to stories by their illustrations. A whole world opened up to my youthful imagination. And to this day, that world beckons.
Which artists and illustrators have most influenced you and your work?
Unfortunately, I cannot name just one person. My interests and tastes are broad and my work is influenced not only by other artists (and there is a legion of them), but also by different cultures, architecture, period costumes, and a mass of minute details and elements that have filled my life at different times.
How did growing up in Russia influence your work?
Most positively. First and foremost, I am a Russian soul. I am Russian Orthodox. Russia is my Fatherland. The list of Russia's great leaders, religious icons, writers, composers, artists and entertainers is what inspires me, and I consider myself supremely fortunate to be a part of Russia's rich traditions.
What is the most valuable piece of advice you can pass on to young artists?
To the young and not - so - young artists I can wish only great love. Love inspires great art, as well as life itself. Love what you do.
Your illustrations feature an amazing amount of detail. How long does it usually take you to complete a piece? What is your process like?
In art we are not dependent on technology. It is the process itself that is most important, and the creative process cannot be timed. Sometimes, I can create an illustration in 2 - 3 days, but more often it takes a week or longer. About my creative process: I don't do sketches. That way, I am much more focused on the creative process and the final product, and, for me, this is more interesting, because I am not worried about the many changes that may be requested and the work then proceeds more naturally, by the grace of God. Of course, I draw on many types of cultural materials while I am working - books, architecture, interiors, furnishings, costumes, etc. Yes, it is true, I love detail - it is a necessary part of the whole.
How do your own children influence your illustrations?
I work at home and I love when my children are home while I am working. I love to hear their voices. They are the first to see what I am working
on and I can feel when they are not pleased with something I've created. I also know when they are very pleased - which is the best reward I can
hope for.
Madonna's third book for children, Yakov and the Seven Thieves, illustrated by Gennady Spirin, will be released worldwide on June 21, 2004.
Special thanks to Callaway Editions
CLICK HERE TO PRE - ORDER
Below is a Q & A with Gennady Spirin
What was it like working on Yakov and the Seven Thieves?
The book was completed amazingly quickly. The idea was clear. The style parameters were set. I was able to render the characters without much difficulty - very naturally. Everything came together well.
How is Yakov and the Seven Thieves different from other books you've illustrated?
This is the first time that I worked with a contemporary author. This is not a classic, world - renowned story, but the idea has deep roots.
What message do you hope children will glean from Yakov and the Seven Thieves?
I think that children and grown - ups should see this book as espousing the importance of compassion. It also puts forward the concept that often the prayers of some of the most seemingly "bad" people are dearer to God than the prayers of the seemingly "good" people. The thieves? Prayers demonstrate real openness before God, and stem from feelings of unworthiness.
What is your favorite part of Yakov and the Seven Thieves?
I must confess that I look at the book as a whole and, thus, I do not prefer one part of the book over another.
What is your favorite illustration in Yakov and the Seven Thieves?
I cannot select anything in particular and have never been able to admire my own work, even if I am satisfied with it overall. One's admiration for one's own work can only bring disdain from the great Masters.
What about your style do you feel lends itself to Yakov and the Seven Thieves?
The stylistic parameters for the book were discussed and set from the outset. This story takes place in Europe, in the 18th century. It could have been illustrated in any number of styles, but we decided on Baroque. It makes the book dressier, but at the same time preserves the dramatic element and the psychological characteristics of each of the characters.
What was your opinion of Madonna before and after reading Yakov and the Seven Thieves?
I had, of course, heard of the author before commencing work on the book, but I am not a fan of contemporary music. I like classical music and jazz. However, my children are familiar with Madonna, and, overhearing that I was working on this book, they told me of her accomplishments and career highlights. Overall, she is a giant, so I felt somewhat uncomfortable initially. Irrespective of the Hollywood hoopla surrounding Madonna, it is not lost on her to notice simple, human actions, which is the centralmoral principle of the story.
What inspired you to want to illustrate children's books?
I remember that as a child I absolutely loved to look at books with pictures. How delighted and excited my young soul was to see the elaborate letters and illustrations of a new story. I was drawn to stories by their illustrations. A whole world opened up to my youthful imagination. And to this day, that world beckons.
Which artists and illustrators have most influenced you and your work?
Unfortunately, I cannot name just one person. My interests and tastes are broad and my work is influenced not only by other artists (and there is a legion of them), but also by different cultures, architecture, period costumes, and a mass of minute details and elements that have filled my life at different times.
How did growing up in Russia influence your work?
Most positively. First and foremost, I am a Russian soul. I am Russian Orthodox. Russia is my Fatherland. The list of Russia's great leaders, religious icons, writers, composers, artists and entertainers is what inspires me, and I consider myself supremely fortunate to be a part of Russia's rich traditions.
What is the most valuable piece of advice you can pass on to young artists?
To the young and not - so - young artists I can wish only great love. Love inspires great art, as well as life itself. Love what you do.
Your illustrations feature an amazing amount of detail. How long does it usually take you to complete a piece? What is your process like?
In art we are not dependent on technology. It is the process itself that is most important, and the creative process cannot be timed. Sometimes, I can create an illustration in 2 - 3 days, but more often it takes a week or longer. About my creative process: I don't do sketches. That way, I am much more focused on the creative process and the final product, and, for me, this is more interesting, because I am not worried about the many changes that may be requested and the work then proceeds more naturally, by the grace of God. Of course, I draw on many types of cultural materials while I am working - books, architecture, interiors, furnishings, costumes, etc. Yes, it is true, I love detail - it is a necessary part of the whole.
How do your own children influence your illustrations?
I work at home and I love when my children are home while I am working. I love to hear their voices. They are the first to see what I am working
on and I can feel when they are not pleased with something I've created. I also know when they are very pleased - which is the best reward I can
hope for.
Madonna's third book for children, Yakov and the Seven Thieves, illustrated by Gennady Spirin, will be released worldwide on June 21, 2004.
Special thanks to Callaway Editions
June 11, 2004
The X - STaTIC PRO - CeSS exhibition has moved from a successful installation in Munich to Dusseldorf at the NRW Forum Kultur und Wirtschaft.
For more details on the exhibition which runs from 10 - 27 June visit the gallery website at
www.nrw - forum.de
Here is the official poster which is available to buy at the exhibition.
For more details on the exhibition which runs from 10 - 27 June visit the gallery website at
www.nrw - forum.de
Here is the official poster which is available to buy at the exhibition.
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June 07, 2004
On June 4th, Yahoo! Messenger,a popular instant messaging service, launched Madonna Audibles. Audibles are expressive verbal animations that you can send to your friends through Yahoo! Messenger. Madonna Audibles are the very first music Audibles to appear on Yahoo! Messenger.
These audibles are caricatures of the Material Girl that display two distinct and popular time periods for Madonna-- the 80's and 90's. When a user sends a Madonna audible, they have the option of sending song samples of either "Who's that Girl" or "Ray of Light."
Everyone can check out the Madonna audibles and send them to their friends by downloading the All-New Yahoo! Messenger at messenger.yahoo.com
These audibles are caricatures of the Material Girl that display two distinct and popular time periods for Madonna-- the 80's and 90's. When a user sends a Madonna audible, they have the option of sending song samples of either "Who's that Girl" or "Ray of Light."
Everyone can check out the Madonna audibles and send them to their friends by downloading the All-New Yahoo! Messenger at messenger.yahoo.com
June 07, 2004
Check out reviews of Madonna's concert at San Jose's HP Pavilion!
June 03, 2004
Click here to see pictures of Madonna on the Re-Invention Tour in the image gallery.
June 03, 2004
Clck here to Vote now on Madonna.com
June 01, 2004
The Madonna Arnhem show went on sale on Saturday and in fact sold out in 17 minutes!
As such, show #2 (September 9th) was also announced and it too sold out.
\
As such, show #2 (September 9th) was also announced and it too sold out.
\
May 27, 2004
http://www.vh1.com/artists/news/1487434/05252004/madonna.jhtml
by Cory Moss
So how does Madonna reinvent herself on her Re-Invention Tour? it's nearly impossible to count the ways.
Actually, "re-inflame" might be the better word, as seemingly every second of her extravagant two-hour performance features something rousing, whether in the elaborate sets, the stunning choreography, the massive video screens or the music itself.
One minute she's provocatively vogueing with her male dancers while homoerotic images flash behind her, the next she's in fatigues, twirling a rifle to the sounds of explosions and helicopters. In the blink of an eye she goes from being strapped in an electric chair to pulling up her kilt to spell the word "FREEDOM" with glitter letters on her and her dancers" underpants.
'There's a lot of mixed messages," Madonna admitted Monday backstage at the sold-out Great Western Forum, where she launched the tour. "It would take me hours to explain them. Come back and see the show again."
At 5 for a decent seat (plus to for parking, to for a T-shirt and to for a drink), that's a luxury few can afford, but There's certainly enough to the show that seeing it several times would make for different experiences. Like the "Lord of the Rings" trilogy with more sex.
Monday's show was divided into five segments, beginning with what resembled a Renaissance-era ball, until Madonna and her dancers walked on their hands and feet the arched-back way (ouch!) during a breakdown in the opening number, "Vogue."
The band, tucked away in the back corners for most of the show, seamlessly transitioned from "Nobody Knows Me" to "Frozen" before a giant catwalk lowered from the ceiling and a circular section of the stage turned to reveal stacks of TVs.
Dancers dressed as soldiers, as well as nuns and other religious figures, joined Madge for a rendition of "American Life" made extra stark by images of war flashing on the various screens.
Livening up the mood, Madonna asked, "Come on, boys, do you believe in love?" as she launched into "Express Yourself." After donning a guitar for "Burning Up," she segued into an almost hard-rock version of "Material Girl."
While Madonna exited for her third costume change, the stage turned again to reveal a circuslike atmosphere complete with a half-pipe and mohawked skateboarder. Various dancers, from a breakdancer to a tap dancer, strutted their stuff to the music of "Hollywood," setting the tone for lighthearted, showgirl-like performances of "Hanky Panky" and "Deeper and Deeper."
With Madonna still in her sexy corset, the mood suddenly turned for "Die Another Day," which included imagery of an old man on his deathbed and ended with Madonna singing on an electric chair as it raised high above the stage.
'That's my favorite part," Madonna said later. "I like the idea of being restrained. I'm singing about all the things I could have had, but my ego got in the way and I destroyed all my happiness."
Swings dropped from the ceiling and three acrobatic dancers got their slither on for the next transition, which found Madonna in a black Stella McCartney suit to sing "Nothing Fails" and a funked-up "don't Tell Me."
'That was just a warm-up," she announced. "I don't want to see anyone sitting down the rest of the show. I'm giving my all and that's what I want back."
With that, she launched into "Like a Prayer," accentuated by footage of a gospel choir. Images of Jesus and Mary faded away only to be replaced by impoverished kids. To accompany the heartbreaking photos, Madonna covered John Lennon's "Imagine."
'I wanted to make a statement," Madonna said after the show. "I feel like that song is the ultimate peace song....And it was important to have the stuff going on behind me, the pictures, and really hit home that children are involved in all this chaos and destruction. I don't think people remember that all the time."
As she sang the words "We can live as one," Madonna held up one finger and was lowered beneath the stage for her final costume change.
A bagpipe player and a drumline, all decked out in kilts, took the stage playing a beat that morphed into "Into the Groove." As Missy Elliott (also in Scottish attire) appeared on the screens to rap her part of the remix, Madonna and her dancers used wooden posts to enhance their hopscotch-style routine.
After donning a "Kabbalahists Do It Better" T-shirt for "Papa don't Preach" (a play off the "Italians Do It Better" shirt she wore in the 1986 video), she slowed it down with "Crazy for You." "This is for all my fans who've stuck by me the last 20 years," she said.
The stage made one last turn, this time revealing lighted staircases surrounding a DJ, who mixed and scratched through "Music" while Madonna and her dancers transformed the arena into a steamy nightclub.
For the finale, the catwalk lowered again and Madonna danced to the front, singing "Holiday" as confetti exploded from all corners of the building, covering the enthusiastic audience.
Christina Aguilera, who had watched quietly from her seat most of the show, even cheered. And why not? All that excitement and she didn't even have to make out with Madonna.
by Cory Moss
So how does Madonna reinvent herself on her Re-Invention Tour? it's nearly impossible to count the ways.
Actually, "re-inflame" might be the better word, as seemingly every second of her extravagant two-hour performance features something rousing, whether in the elaborate sets, the stunning choreography, the massive video screens or the music itself.
One minute she's provocatively vogueing with her male dancers while homoerotic images flash behind her, the next she's in fatigues, twirling a rifle to the sounds of explosions and helicopters. In the blink of an eye she goes from being strapped in an electric chair to pulling up her kilt to spell the word "FREEDOM" with glitter letters on her and her dancers" underpants.
'There's a lot of mixed messages," Madonna admitted Monday backstage at the sold-out Great Western Forum, where she launched the tour. "It would take me hours to explain them. Come back and see the show again."
At 5 for a decent seat (plus to for parking, to for a T-shirt and to for a drink), that's a luxury few can afford, but There's certainly enough to the show that seeing it several times would make for different experiences. Like the "Lord of the Rings" trilogy with more sex.
Monday's show was divided into five segments, beginning with what resembled a Renaissance-era ball, until Madonna and her dancers walked on their hands and feet the arched-back way (ouch!) during a breakdown in the opening number, "Vogue."
The band, tucked away in the back corners for most of the show, seamlessly transitioned from "Nobody Knows Me" to "Frozen" before a giant catwalk lowered from the ceiling and a circular section of the stage turned to reveal stacks of TVs.
Dancers dressed as soldiers, as well as nuns and other religious figures, joined Madge for a rendition of "American Life" made extra stark by images of war flashing on the various screens.
Livening up the mood, Madonna asked, "Come on, boys, do you believe in love?" as she launched into "Express Yourself." After donning a guitar for "Burning Up," she segued into an almost hard-rock version of "Material Girl."
While Madonna exited for her third costume change, the stage turned again to reveal a circuslike atmosphere complete with a half-pipe and mohawked skateboarder. Various dancers, from a breakdancer to a tap dancer, strutted their stuff to the music of "Hollywood," setting the tone for lighthearted, showgirl-like performances of "Hanky Panky" and "Deeper and Deeper."
With Madonna still in her sexy corset, the mood suddenly turned for "Die Another Day," which included imagery of an old man on his deathbed and ended with Madonna singing on an electric chair as it raised high above the stage.
'That's my favorite part," Madonna said later. "I like the idea of being restrained. I'm singing about all the things I could have had, but my ego got in the way and I destroyed all my happiness."
Swings dropped from the ceiling and three acrobatic dancers got their slither on for the next transition, which found Madonna in a black Stella McCartney suit to sing "Nothing Fails" and a funked-up "don't Tell Me."
'That was just a warm-up," she announced. "I don't want to see anyone sitting down the rest of the show. I'm giving my all and that's what I want back."
With that, she launched into "Like a Prayer," accentuated by footage of a gospel choir. Images of Jesus and Mary faded away only to be replaced by impoverished kids. To accompany the heartbreaking photos, Madonna covered John Lennon's "Imagine."
'I wanted to make a statement," Madonna said after the show. "I feel like that song is the ultimate peace song....And it was important to have the stuff going on behind me, the pictures, and really hit home that children are involved in all this chaos and destruction. I don't think people remember that all the time."
As she sang the words "We can live as one," Madonna held up one finger and was lowered beneath the stage for her final costume change.
A bagpipe player and a drumline, all decked out in kilts, took the stage playing a beat that morphed into "Into the Groove." As Missy Elliott (also in Scottish attire) appeared on the screens to rap her part of the remix, Madonna and her dancers used wooden posts to enhance their hopscotch-style routine.
After donning a "Kabbalahists Do It Better" T-shirt for "Papa don't Preach" (a play off the "Italians Do It Better" shirt she wore in the 1986 video), she slowed it down with "Crazy for You." "This is for all my fans who've stuck by me the last 20 years," she said.
The stage made one last turn, this time revealing lighted staircases surrounding a DJ, who mixed and scratched through "Music" while Madonna and her dancers transformed the arena into a steamy nightclub.
For the finale, the catwalk lowered again and Madonna danced to the front, singing "Holiday" as confetti exploded from all corners of the building, covering the enthusiastic audience.
Christina Aguilera, who had watched quietly from her seat most of the show, even cheered. And why not? All that excitement and she didn't even have to make out with Madonna.
May 26, 2004
Madonna is the mother of re-invention...just check out her tour!
May 26, 2004
Madonna's re-Invention tour is all about combining her many personas!
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