The Virgin Tour

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The Virgin Tour
Tour by Madonna
Promotional poster for the San Francisco concert
Location
  • North America
Associated album
Start dateApril 10, 1985 (1985-04-10)
End dateJune 11, 1985 (1985-06-11)
Legs1
No. of shows40 in North America
Box officeUS$5 million[a]
Madonna concert chronology

The Virgin Tour was the debut

Warner Bros. Records decided to send Madonna on tour after Like a Virgin became a success. After an official announcement on March 15, 1985, Madonna and her team began production plans. She wanted the tour to be a reflection of her own self and collaborated with designer Maripol
for the costumes.

Beastie Boys were signed as the opening act, while record producer Patrick Leonard was the music director. The stage was triangular, with walkways and ramps around it, with lighting arrangements hanging about 30 feet above. Four giant screens lined three sides of the stage's outer perimeter. The setlist consisted of songs from her first two records, Madonna and Like a Virgin. Madonna was backed by two male dancers as she moved energetically across the stage. The show ended with her in a wedding dress, performing "Like a Virgin" and "Material Girl".

The tour received a mixed reception from critics, but was a commercial success, with many newly-obsessed Madonna fans in attendance. As soon as it was announced, tickets were sold out nearly everywhere. Macy's New York department store created a “Madonna department”, where shoppers could find not only official tour merchandise, but also clothing, jewelry, and accessories to replicate what was considered (at the time) to be the Madonna “style”. The store was flooded with fans, who bought everything from chunky bracelets and bangles, scrunchies and headbands, to pearl necklaces and rings. The store also carried shoes, shirts, denim jackets, large sunglasses, and Madonna’s “signature” accessories: rosary-style necklaces, crucifix earrings, fingerless gloves, and even a replica of her iconic belt, with the metal buckle carved to say “BOY” in all capital letters. On its end, the tour was reported to have grossed over $5 million ($14.16 million in 2023 dollars[1]), with Billboard Boxscore reporting a gross of $3.3 million ($9.35 million in 2023 dollars[1]).

The tour was recorded and released on VHS, Betamax and LaserDisc, as Madonna Live: The Virgin Tour, which received a gold certification by the Recording Industry Association of America (RIAA). With the commencement of the Virgin Tour, a wide-ranging audience—especially young women—thronged to attend, all nearly decked-out in Madonna-inspired outfits. This frenzy surrounding Madonna gave rise to a new term called Madonna wannabe—a reference to her obsessive followers (during the mid-1980s) that would be officially recognized by the Webster's Dictionary in May 1991.

Background

The Virgin Tour began at Seattle's Paramount Theatre (left) and ended at New York City's Madison Square Garden (right).

The Virgin Tour was officially announced on March 15, 1985, by Warner Bros. Records.[2] Prior to the tour, Madonna's only live performances were limited to evening shows at Danceteria, CBGB and Mudd Club, and only the 1984 MTV Video Music Awards, where she performed her song "Like a Virgin".[3] Following the success of the Like a Virgin album, the record label wanted to milk-in the success of the album by sending Madonna on a worldwide tour. However, the tour was restricted within United States and Canada. It did not visit Europe, Asia or other continents.[3] Early on there were plans to schedule dates in Australia and Japan due to Madonna's large fan bases in both countries; however, the final schedule did not reflect the idea. In the end several more U.S. dates were added and the tour was moved to larger concert venues due to overwhelmingly strong ticket sales.[4] Madonna was quite nervous to perform in front of a huge audience, and singing with a live band for the first time.[5] During a 2009 interview with Rolling Stone, interviewer Austin Scaggs asked Madonna regarding her feelings and emotions during the tour, since it was the first time she was playing in arenas. Madonna replied saying,

"That whole tour was crazy, because I went from playing CBGB and the Mudd Club to playing sporting arenas. I played a small theater in Seattle, and the girls had flap skirts on and the tights cut off below their knees and lace gloves and rosaries and bows in their hair and big hoop earrings. I was like, 'This is insane!' After Seattle, all of the shows were moved to arenas. I've never done a bus tour. Everyone says they are really fun."[6]

Development

After the tour was confirmed, Madonna and her troupe started working on it. Madonna wanted it to be "loud and brazen, and a reflection of my street-style and DGAF attitude."

Victory Tour by The Jackson 5.[9] At first Leonard said no, feeling exhausted from the Victory Tour, but after he spoke to Madonna on the phone, he found her charming, and agreed to sign for the tour.[9]

"They were very bad boys—they said 'fuck' all the time on the stage. The audience always booed them and they always told everyone to fuck off. I just loved them for that. I couldn't understand why everyone hated them—I thought they were so adorable."[10]

—Madonna reminiscing her experience with the Beastie Boys on the tour.

Run–D.M.C.?" But they were too expensive according to DeMann, and hence ultimately Beastie Boys were chosen.[10] Adam "Ad-Rock" Horovitz from the band commented: "It's not like any of us knew Madonna that much, but we all used to hang out at Danceteria [club] so we knew about each other. I don't know why she thought it would be a good idea [to open for her tour], though. It was a terrible idea. But it was great for her in a way because we were so awful that by the time she came onstage, the audience had to be happy."[10] The circular stage for the tour, consisted of three ramps around the perimeter, which were connected with each other. A long line of stairs descended to the main stage from the central ramp; it was flanked by the band.[4] About 30 ft (9.1 m) above the stage, the speakers were suspended from a circular beam. Four giant screens lined the outer perimeter of the stage, on three sides.[11]

Concert synopsis

Beastie Boys were the opening act for the tour.

The show opened with Beastie Boys performing six of their songs for 30 minutes.[11] They were accompanied by their DJ, Rick Rubin, who scratched the music, with The Beastie Boys prancing around the stage, making lewd gestures towards the audience.[11] As they finished their performance, the backdrops started displaying Madonna's images from her music videos.[11] The band—consisting of guitarists, bassists, a drummer and three synthesizer players—came into focus, and the music started.[11] Madonna's voice was heard, saying: "Don't be afraid... it's gonna be alright." Then, Madonna's silhouette appeared behind a white screen on top of the stairs as the first beats kicked in. The white screen lifted and she is finally seen, wearing a psychedelic denim jacket, a blue see-through crop-top and her characteristic green bra. She also had lacy leggings and crucifixes around her ear and her neck. She posed on the stairs before reaching the microphone to sing "Dress You Up".[12] After dancing to the last note of the music, Madonna and the two male back-up dancers went to the back of the stage, as the music of "Holiday" began.[12] Taking a moment to ask the audience how they are feeling, Madonna declared, "I was never elected homecoming queen, but I sure feel like one now", and started the performance of "Into the Groove", playing a tambourine.[13] A boombox was present on the stage during the performance, Madonna sitting and playing with it, and addressing it as her "box".[14] She continued with "Everybody", while asking the audience to clap along with her.[14] As she finished the vigorous performance of "Everybody", the lights were dimmed and the introduction music of "Angel" started. Rotating lights fell on the stage. Madonna appeared sitting on top of the stairs and gradually descended. During the intermediate bridge, she and her dancers moved energetically around the whole stage, as white balloons fell on them from above.[12] Madonna continued singing as the lights were dimmed again. She finished the performance and disappeared behind the wings for a costume change.[12] She appeared on the stage wearing a black, fringed micro-top and similar skirt, with her belly-button exposed, and a number of crucifixes in different sizes, hanging from different parts of her body.[15]

As the guitar intro of "

curtsey.[12]

Critical reception

The tour received generally mixed reviews from critics.[18] Jason Stratley from The Philadelphia Inquirer said that "On stage, wiggling and writhing, a rock-video vision of messy, bleached- blond hair, bare skin, sequined paisley and dime store diamonds was the flash-and-trash rock queen Madonna. Behold the Madonna clones—she is turning into one fine legend."[19] Jeff Sewald from the Pittsburgh Post-Gazette felt that "the modus operandi [of the tour] was clear. Madonna was not only selling her music to throngs of teen-agers and adults alike, but she was selling herself and the entire package proved to be a joy for the 14,500 screaming fans. [...] Madonna's 'Virgin Tour' had torn the cover off Pittsburgh's sexuality."[11] Rachel Lee from The Sacramento Bee felt that "more than any pop star in recent memory, even Boy George and Prince, Madonna is an image. Her hour-long concert here Tuesday night, as professionally performed and well-choreographed as it was, did nothing to give her more dimension than the two already bestowed on her."[20] Arthur Daniels from Lexington Herald-Leader felt that "Madonna looked grim, but the fans were delighted when the blond rock star made her first major concert appearance to kick off her 'Virgin Tour'. [...] She looked blank and did not look up as she passed fans who gathered by the stage door before the show."[21]

Madonna closing the concert with performances of "Like a Virgin" (left) and "Material Girl" (right).

Robert Hilburn from the Los Angeles Times commented: "Madonna represents a contemporary fantasy figure that revives the glamour, innocence and raw sexuality of many of Madonna's own teen heroes, including Marilyn Monroe and James Dean. Like the early Monroe, Madonna may portray a bimbo, but there she's clearly no pushover. Though the audience was on its feet throughout, it often seemed that Madonna was operating beneath her potential in this pop format. It's important to demonstrate that she can handle herself live, but the simplicity of pop concerts doesn't begin to tax her ambition or talent. In fact, she has so little to do other than express this aggressive, sexy attitude that the show seemed long at just over an hour".[22] Heidi Sherman from Spin commented, "The Virgin Tour was Madonna's first, yet it put her in the same league as Prince and Bruce Springsteen. It proved that Madonna was beyond real. And if her stage presence indicated she was more showgirl than musician, at least she knew how to gussy up her act for the postfeminist MTV age. Boy Toy? Not exactly. She was a bonafide pop star in the process of becoming a cultural icon."[23]

Laura Fissinger from

The Odyssey's Rocco Papa placed it in the eight position of his ranking, calling it "a mere preview of what Madonna had in store for the rest of her career".[32]

Commercial reception

As soon as the tour was announced, tickets were sold out almost everywhere.[33] In San Francisco, tour shirts were selling at a clocked rate of one every six seconds. All 17,672 tickets for Madonna's show at New York City's

UIC Pavilion were sold in a single day with a record-breaking 18,000 tickets being sold.[34] In Philadelphia, a record-breaking 31,000 tickets were sold in under four hours.[34] Along with ticket sales, merchandise associated with the tour also sold rapidly. T-shirts, posters and promo-magazines featuring Madonna's image were picked up by the fans, even though most them were overpriced compared to the market value.[35] After its end, the Virgin Tour was reported to have grossed over $5 million ($14.16 million in 2023 dollars[1]), with Billboard Boxscore reporting a gross of $3.3 million ($9.35 million in 2023 dollars[1]).[35]

Recordings

Main article: Madonna Live: The Virgin Tour

The 1985 Madonna Live: The Virgin Tour VHS and LaserDisc documents a Detroit stop on the tour. "Angel"and "Borderline" were part of the tour set list but were not included on the official VHS and LaserDisc releases. It was certified gold by the Recording Industry Association of America (RIAA) for shipment of 50,000 copies and received a "Video Software Dealers Award" for the Most Popular Music Video in September 1986.[36] The video received mixed reviews from critics. Annie Temple from Philadelphia Daily News said that the release was "not so flattering" and "was a sloppy job".[37] Dennis Hunt from the Los Angeles Times said that "the video is sometimes distracting and blurry, wonder what went wrong during recording. The angles are awkward, especially when the audience members are shown touching Madonna's hand. Was it really necessary to show a fan coming unannounced on the stage?"[38] Terry Atkinson from the same paper said, "This follows the typical concert video format of putting you in the best seat in the hall and letting the aura of a superior performer encaptivate your senses."[39] Joe Logan and Gail Shister from The Wichita Eagle said that "seeing Madonna live in an arena and seeing her up, close and personal in the tour cassette is totally different. The energy, the movements, the provocation—all captures you more."[40]

The release debuted at 14 on Billboard's Top Music Videocassettes chart, on December 7, 1985, and reached a peak of 11, the next week.[41] The video started a slow climb on the chart, and on the issue dated January 18, 1986, it reached the top of the chart, replacing Prince & The Revolution: Live by The Revolution.[42] On May 24, 1986, the video again climbed back in the top ten of the chart, at position two. It was present on the chart for a total of 65 weeks.[43] Live – The Virgin Tour was the top selling music videocassette for 1986.[44] The video was certified two-times platinum by the Recording Industry Association of America (RIAA) for shipment of 200,000 copies and received a "Video Software Dealers Award" for the Most Popular Music Video, in September 1986.[45]

Legacy

Madonna, at the center, seen with her band members from the tour. Her clothing style inspired women who emulated it.

When the tour first started, people—especially women—thronged to see it wearing clothes inspired by Madonna.[16] Debbi Voller, author of Madonna: The Style Book, observed that "Hundreds of thousands of young girls came to the concert dressed like her, with bleached and tousled hair, see-through tops, bras, fingerless gloves and crucifixes. Magazines and TV shows ran lookalike competitions."[16] This frenzy regarding Madonna gave rise to a new term called Madonna wannabe—a word that was ultimately officially recognized by the Webster's Dictionary in May 1991.[16] Madonna was mystified as to why all the women would want to copy her look. She commented,

"I never set out to be a role model. I am a strong woman, a successful woman, and I don't conform to a stereotype. For so long women have been told that there are certain ways they mustn't look if they want to get ahead in life. And there I was dressing in a forbidden way and yet obviously in charge of my life. It was then I realized why all of them were out there in their seats, dressing like me."[16]

While the tour was going on, the American lingerie industry reported that their turnover was suddenly up by 40 percent and that Madonna's image was responsible for this underwear revival.[7] Sam Gower from Rolling Stone commented, "In the sixties, women burned their bras, now they wear five at a time, and bare their belly buttons. Madonna has done for the corset and crucifix what punk did for the safety pin. Macy's New York department store was flooded with buyers, who bought the tour merchandise like the crucifix earrings and fingerless gloves."[7] The demand was so huge that Macy's had to refill the merchandise time again.[7] Madonna's subversive antics on the tour provoked fiery and antics among the press. Rolling Stone said: "Like Marilyn Monroe, Madonna is bent on epitomizing and championing a vision of female sexuality, and like Monroe she is often dismissed as an artist for doing so."[7] Suzanne Ferriss, author of On Fashion said that "Virgin Tour exemplified Madonna's extended desire to treat boys as toys and her chastity belt coming off at her own whim and desire. Her dance numbers with men during the tour shows them as her underlings, accessories that she toys with and totally dominates."[46]

Set list

Set list and samples per Madonna's official website and the notes and track listing of Madonna Live: The Virgin Tour.[47][48]

  1. "Dress You Up"
  2. "Holiday"
  3. "Into the Groove"
  4. "Everybody"
  5. "Angel"
  6. "Gambler"
  7. "Borderline"
  8. "Lucky Star"
  9. "Crazy for You"
  10. "Over and Over"
  11. "Burning Up"
  12. "Like a Virgin" (Contains an excerpt from "Billie Jean")
  13. "Material Girl"

Shows

List of North American concerts[47][49]
Date (1985) City Country Venue Opening act Attendance Revenue
April 10 Seattle United States Paramount Theatre Beastie Boys 8,934 / 8,934 —
April 12
April 13
April 15 Portland Arlene Schnitzer Concert Hall —
April 16
April 19 San Diego SDSU Open Air Theatre 8,696 / 8,696 $124,773
April 20
April 21 Costa Mesa Pacific Amphitheatre 18,765 / 18,765 $297,473
April 23 San Francisco San Francisco Civic Auditorium 8,500 / 8,500 $127,500
April 26 Los Angeles Universal Amphitheatre — —
April 27
April 28
April 30 Tempe ASU Activity Center 10,013 / 10,013 $133,427
May 3 Dallas Dallas Convention Center 8,717 / 8,717 $130,735
May 4 Houston Hofheinz Pavilion 7,300 / 7,300 $101,880
May 5 Austin Frank Erwin Center 14,639 / 14,639 $208,005
May 7 New Orleans UNO Lakefront Arena — —
May 9 Tampa USF Sun Dome 8,400 / 8,400 $125,415
May 10 Orlando Orange County Convention Center 10,596 / 10,596 $154,275
May 11 Pembroke Pines Hollywood Sportatorium — —
May 14 Atlanta Omni Coliseum 14,843 / 14,843 $215,760
May 16 Cleveland Public Auditorium — —
May 17 Cincinnati Cincinnati Gardens 9,941 / 9,941
May 18 Chicago UIC Pavilion 18,000 / 18,000[34] —
May 20
May 21 Saint Paul St. Paul Civic Center 16,799 / 16,799
May 23 Toronto Canada Maple Leaf Gardens 16,000 / 16,000 $238,264
May 25 Detroit United States Cobo Arena 24,382 / 24,382 $332,780
May 26
May 28 Pittsburgh Civic Arena 15,600 / 15,600 $219,210
May 29 Philadelphia The Spectrum 15,543 / 15,543 $207,547
May 30 Hampton Hampton Coliseum — —
June 1 Columbia Merriweather Post Pavilion
June 2 Worcester Worcester Centrum 11,981 / 11,981 $177,515
June 3 New Haven New Haven Coliseum 10,190 / 10,190 $153,856
June 6 New York City Radio City Music Hall 17,538 / 17,538 $294,050
June 7
June 8
June 10 Madison Square Garden — —
June 11
Total 239,703 / 239,703 (100%) $3,272,084

Personnel

Adapted from The Virgin Tour program.[50]

  • Madonna – creator, vocals, tambourine
  • Patrick Leonard – keyboards
  • Bill Meyers – keyboards
  • Jonathan P. Moffet – drums
  • Bill Lanphier – bass guitar, synth bass
  • James Harrah – guitars
  • Paul Pesco – guitars
  • Michael Perea - dancer
  • Lyndon B. Johnson - dancer
  • Brad Jeffries – choreographer, staging
  • Maripol - costume designer
  • Ian Knight – set designer
  • Freddy DeMann – personal management
  • Dave Kob – audio mixer
  • Rick Coberly - monitor mixer

Notes

  1. ^ US$14.16 million in 2023 dollars.[1]

References

  1. ^ a b c d e 1634–1699: McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. "Consumer Price Index (estimate) 1800–". Retrieved February 29, 2024.
  2. ISSN 0006-2510. Archived
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  3. ^ a b c d Taraborrelli 2002, p. 21
  4. ^ a b c d Morton 2002, p. 67
  5. ^ Rosenberg, Liz (April 11, 1985). "Madonna A Hit". Daily Record. Retrieved July 1, 2010.
  6. ^ Scaggs, Austin (October 29, 2009). "Madonna Looks Back: The Rolling Stone Interview". Rolling Stone. Archived from the original on February 28, 2015. Retrieved March 9, 2015.
  7. ^ a b c d e Voller 1999, p. 22
  8. ^ Rourke, Mary (May 31, 1985). "A Mad, Mad World of 'Madonnas'". Los Angeles Times. Archived from the original on April 2, 2015. Retrieved July 2, 2010.
  9. ^ a b Bronson 2003, p. 637
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    ISSN 0886-3032. Archived
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  11. ^ a b c d e f Sewald, Jeff (May 29, 1985). "Rock Star Madonna Drives Big, Young Crowd Into A Frenzy". Pittsburgh Post-Gazette. Archived from the original on September 25, 2022. Retrieved January 7, 2010.
  12. ^ a b c d e f g Clerk 2002, p. 41
  13. ^ a b Holden, Stephen (December 8, 1985). "From Screen Farce To Holiday Songs". The New York Times. Archived from the original on December 24, 2014. Retrieved July 2, 2010.
  14. ^ a b c d Metz & Benson 1999, p. 5
  15. ^ a b Clerk 2002, p. 49
  16. ^ a b c d e Voller 1999, p. 21
  17. ^ a b Kellner 1995, p. 272
  18. ISBN 9780791023303. Retrieved January 16, 2022. {{cite book}}: |work= ignored (help
    )
  19. ^ Stratley, Jason (May 3, 1985). "Madonna: Virgin Tour: Review". The Philadelphia Inquirer. Archived from the original on June 9, 2011. Retrieved January 7, 2010.
  20. ^ Lee, Rachel (April 25, 1985). "'Virgin Tour' No Coy Affair Madonna Flexes Her Flash". The Sacramento Bee. Archived from the original on June 9, 2011. Retrieved July 1, 2010.
  21. ^ Daniels, Arthur (April 12, 1985). "Stone-Faced Madonna Kicks Off Her First Tour". Lexington Herald-Leader. Archived from the original on June 9, 2011. Retrieved July 1, 2010.
  22. ^ Hilburn, Robert (April 22, 1985). "Pop Review: Madonna Makes A Hot Topic". Los Angeles Times. Archived from the original on June 19, 2012. Retrieved July 1, 2010.
  23. ISSN 0886-3032
    . Retrieved July 2, 2010.
  24. South Florida Sun-Sentinel. Archived
    from the original on June 22, 2012. Retrieved July 1, 2010.
  25. ^ O'Reilly, David (May 30, 1985). "Madonna: Lucky Star Lives It Up". Philadelphia Daily News. Archived from the original on October 24, 2012. Retrieved July 1, 2010.
  26. ^ Defendorf, Richard (May 5, 1985). "Madonna Puts Video Charms In To Live Act". Orlando Sentinel. Archived from the original on June 19, 2012. Retrieved July 1, 2010.
  27. The Miami Herald. Archived
    from the original on June 9, 2011. Retrieved July 1, 2010.
  28. ^ Smith, Mary Allen (May 14, 1985). "America's sweetheart sets the fashion trend of the 1980s". The Atlanta Journal-Constitution. Archived from the original on June 9, 2011. Retrieved July 2, 2010.
  29. ISSN 0006-2510. Archived
    from the original on September 25, 2022. Retrieved September 29, 2009.
  30. The Advocate. Archived from the original
    on May 1, 2017. Retrieved August 28, 2021.
  31. ^ Rosa, Christopher (September 4, 2015). "Ranking 30 years of Madonna's tours: Which one is the greatest?". VH1. Archived from the original on March 6, 2021. Retrieved August 28, 2021.
  32. The Odyssey. Archived
    from the original on October 27, 2021. Retrieved August 28, 2021.
  33. ^ a b Bego, Mark (June 25, 1985). "Our Lady Of Rock Video". Lawrence Journal-World. Archived from the original on November 10, 2021. Retrieved July 1, 2010.
  34. ^ a b c Metz & Benson 1999, p. 9
  35. ^ a b Metz & Benson 1999, p. 119
  36. ISSN 0006-2510
    .
  37. ^ Temple, Annie (June 15, 1990). "Videos Are So Different". Philadelphia Daily News. Archived from the original on October 24, 2012. Retrieved July 2, 2010.
  38. ^ Hunt, Dennis (October 11, 1985). "Will 'Scrooge' Spielberg Steal Christmas?". Los Angeles Times. Archived from the original on June 22, 2012. Retrieved July 2, 2010.
  39. ^ Atkinson, Terry (December 10, 1985). "Home Tech: Turn-Ons and Turn-Offs". Los Angeles Times. Archived from the original on November 2, 2012. Retrieved July 2, 2010.
  40. ^ Logan, Joe; Gail Shister (December 12, 1985). "Reporter Chase 2nd to Leave". The Wichita Eagle. Archived from the original on June 9, 2011. Retrieved July 2, 2010.
  41. ISSN 0006-2510. Archived
    from the original on June 9, 2022. Retrieved July 2, 2010.
  42. ISSN 0006-2510
    . Retrieved July 23, 2010.
  43. ISSN 0006-2510. Archived
    from the original on September 25, 2022. Retrieved July 23, 2010.
  44. ISSN 0006-2510
    . Retrieved July 23, 2010.
  45. ISSN 0006-2510
    . Retrieved July 23, 2010.
  46. ^ Benstock & Ferriss 1994, p. 169
  47. ^ a b "Madonna.com > Tours > The Virgin Tour". Icon: Official Madonna website. Archived from the original on March 19, 2014. Retrieved July 2, 2010.
  48. ^ Madonna Live: The Virgin Tour (VHS, Laserdisc, DVD). Madonna. Warner Music Vision. 1985. 38105-3.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  49. ^ Box score:
  50. ^ Ritts, Herb; Meisel, Steven (1985). Madonna: The Virgin Tour. Boy Toy, Inc., Sire Records Merchandise.

Bibliography

External links
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