Who's That Girl World Tour

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Who's That Girl World Tour
Tour by Madonna
Promotional poster for the tour
Location
  • Asia
  • North America
  • Europe
Associated album
Start dateJune 14, 1987 (1987-06-14)
End dateSeptember 6, 1987 (1987-09-06)
Legs3
No. of shows38
Box officeUS$25 million[a]
Madonna concert chronology

The Who's That Girl World Tour (billed as Who's That Girl World Tour 1987) was the second

studio album True Blue, as well as the 1987 soundtrack Who's That Girl. It was Madonna's first world tour and marked her first visits to Japan and Europe. Musically and technically superior to her previous Virgin Tour
, Who's That Girl incorporated multimedia components to make the show more appealing.

Madonna trained physically doing aerobics, jogging and weight-lifting, to cope with the choreography and the dance routines. For the costumes, she collaborated with designer Marlene Stewart, expanding on the idea of bringing her popular video characters to life onstage, reworking scenes from her music videos. The stage had four video screens, multimedia projectors and a flight of stairs in the middle. Patrick Leonard, who was the music director, encouraged Madonna to go with the idea of remixing and presenting her older songs for the show.

The show consisted of seven costume changes, with song-and-dance routines, theatrics and addressing social causes. The tour was critically appreciated, with reviewers commending the extravagant nature of the concert and Madonna as a performer. It was a commercial success, grossing in total of US$25 million

Break Every Rule Tour
.

Who's That Girl was broadcast in a number of international television channels and was released on VHS titled Ciao Italia: Live from Italy. Biographer J. Randy Taraborrelli commented that "Many female artists behave like a diva for a period when they reach superstar status, and the 'Who's That Girl?' tour marked the beginning of Madonna's."[2] It is also noted for giving rise to the term "new Madonna", a stronger and more intelligent sexual image of her former self which had given rise to the term Madonna wannabe. It was proposed to build a statue of the Madonna in the city of her paternal grandparents in Pacentro, Italy, but the idea was rejected by the local city hall.

Background

Madonna's 1987 film Who's That Girl was a box office failure,[3] however the soundtrack of the film proved to be a big success. The album consisted of four Madonna songs, along with tracks by Warner Bros. Records' acts including Club Nouveau, Scritti Politti and Michael Davidson.[4] Three of Madonna's songs were released as singles, namely: "Who's That Girl", "Causing a Commotion" and "The Look of Love"; all of them were critically and commercially successful.[5]

The album sold a million copies in the United States, and five million worldwide.[5] Taraborrelli felt that at that moment, riding on Madonna's coattails proved profitable for everyone involved, including Warner Bros. Records, which notched up big sales with a compilation soundtrack album that was basically a showcase for its marginal artists.[5] But still they wanted to "milk-in" the success of Madonna, a view shared by Peter Guber and Jon Peters, executive producers of the film. Hence they felt a worldwide concert tour was the appropriate thing to do, since it would promote both the soundtrack and the film, as well as Madonna's successful third studio album True Blue, released the year before.[5] As Madonna's first world tour, Who's That Girl ended up being a resounding success, although by its end, Madonna declared that she did not want to hear any of her songs again and she did not know whether she would ever write another one. "I returned feeling so burned out and I was convinced that I wouldn't go near music for quite a while", she said.[6]

Development

British funk band Level 42 joined Madonna as the supporting opening act for the tour.

The Who's That Girl World Tour was musically and technically superior to Madonna's Virgin Tour, because she incorporated multimedia components to make the show more compelling.[5] As the tour was confirmed, Madonna and her team started planning for it. Madonna wanted a show which consisted of theatrics, drama, dance and choreography in "full-force".[7] Her publicist Liz Rosenberg commented, "She wants a visual impact that would knock people out. She was very determined about this. And she's the type that makes decisions quickly; If something doesn't work, she starts over. You'll see a different look this year, but it's still Madonna, still bigger than life."[8] In order to engage herself completely and handle the grueling dance routines, she started attending aerobics classes at Hollywood health centre The Sports Connection.[9] By the time the tour drew nearer, she hired a personal trainer, and her daily routine involved jogging, weight-lifting, dancing, gymnastics, trampoline, swimming and cycling. She started eating vegetarian food with plenty of protein and carbohydrate and avoided the sun.[9] British funk band Level 42 was the supporting act of the tour.[9] Madonna's image was that of a blond girl with soft curls, making a striking contrast with the firm, almost hard lines of her eye make-up and lipstick; the idea of her friend actress Debi Mazar.[9]

For the costumes, Madonna collaborated with designers Marlene Stewart and Leslie Hamel. She expanded on the idea of bringing her popular video characters to life onstage, reworking scenes from "True Blue", "Open Your Heart", "Papa Don't Preach" and "La Isla Bonita". For "Open Your Heart", Madonna reused the Stewart designed with Trashy Lingerie black bustier worn by her in the video, complete with tassels, golden tips and ribbing with fishnets on leg.[9] Leslie Hamel's designs included the Flamenco style dress for "La Isla Bonita" and Spanish inspired pants for Holiday and a gold lamé jacket and pants for the "White Heat" sequence. The True Blue performance dress and the male dancers outfits.For the medley sequence, Madonna used a dress that was visually amusing and, according to Madonna, was for "anyone that takes me too seriously, or imagined and I take myself too seriously."[9] Inspired by Dame Edna Everage, the Leslie Hamel designed dress consisted of a hat strewn with fake fruits, flowers and feathers, jeweled batwing spectacles with heavy, black frames, a ruffled skirt and a bodice covered with objects such as watches and dolls and fishnets. The knickers were inscribed with the word "Kiss". Continuing her tradition of message clothes, she spelt out the phrase "You Can Dance" on her Leslie Hamel jacket, using the letter U, a can of soup and the word "dance" at the back.

Calling the show a "theatrical multimedia spectacular", Madonna wanted a huge stage with a central platform from which a flight of stairs descended.[10] The central platform was flanked by two lower platforms, which housed the band and the musicians. A large video screen was suspended above the stairs, which descended during the show.[10] Two projectors were situated at the front of the stage, which projected images of The Pope and President Ronald Reagan during the show.[11] Patrick Leonard, who had produced True Blue, joined as the musical director for the shows.[8] Instead of following every note on the records, Leonard encouraged the musicians to come up with new ideas for the songs. Hence a number of the old songs were rearranged, including introducing a medley of "Dress You Up", "Material Girl" and "Like a Virgin"—which contained a sample from the Four Tops song "I Can't Help Myself (Sugar Pie Honey Bunch)".[8] American choreographer Shabba Doo was signed to choreograph the show.[12] 13-year-old Christopher Finch was signed to play the part of the small boy from the "Open Your Heart" video, since Felix Howard, who played the original part, did not get a working license, and hence could not join the tour.[13][14] Madonna wanted three backup singers, a team of male dancers and a succession of costume changes.[9] She took inputs from her then husband, actor Sean Penn saying, "I really respect Sean's opinion. He has great taste and is a very brilliant man. When I was putting my tour together, it was always in the back of my mind: 'I wonder what Sean will think of this?' He's extremely opinionated and has really high standards, and that sometimes pushed me into making decisions I wouldn't have otherwise made."[3] Madonna explained that the title of the tour came from her playing many characters, commenting:

"That's why I call the tour 'Who's That Girl?'; because I play a lot of characters, and every time I do a video or a song, people go, 'Oh, that's what she's like.' And I'm not like any of them. I'm all of them. I'm none of them. You know what I mean.?"[15]

Concert synopsis

Madonna opening the concert with a performance of "Open Your Heart" wearing a black Trashy Lingerie bustier (left). For "Papa Don't Preach", she wore a leather jacket over a silk blue dress (right).

The show started with a performance by Level 42. As their performance ended, the lights started blinking all around the stadium and Finch appears on stage, looking for Madonna.[16] He is followed by two other dancers, who jump around the stage and disappear. Then Madonna's silhouette is visible behind a screen which has paintings by Tamara de Lempicka on it.[16] She performs dance moves behind the screen, which starts going up slowly. She wore a custom-made black pointy corset by Trashy Lingerie[17] and fishnets like the costume in the music video of "Open Your Heart".[16] After dancing on the stairs, using a chair as a prop, Madonna descends and starts singing the song. Later Finch joins her again and they dance together till the song ends.[16] This was followed by the performance of "Lucky Star" during which a disco ball spun above the stage; as Madonna and her dancers moved around it, the light from the ball flickered on them like a star.[18] For "True Blue", Madonna came up on the stage wearing a blue, silk taffeta dress over her corset and a blue scarf hidden in her bosom.[19] The stage had a similar blue setting like the original music video. Madonna is backed up by her singers who play her girlfriends. At the end of the song Madonna is asked to dance again by the dancer playing her man in the performance.[20] During "Papa Don't Preach" Madonna wore a black leather jacket over her dress and walked around the stage while singing.[9] The screen in the background showed portraits of Pope John Paul II and then-President of the U.S. Ronald Reagan,[21] along with scenes of John Perry III's short film, The Nightmare,[22] ending with the words "Safe Sex", as Madonna finished the song.[23] She dedicated the song to the Pope, marking her first conflict with the Vatican, as Pope John Paul II urged Italian fans to boycott her concerts.[24][25]

During "White Heat"—which featured dialogues from the 1949

bridegroom.[8][28]

A backdrop then started showing the newspaper reports on Madonna's 1985

chorus.[10] Lastly, Madonna performed an energetic version of "Holiday", signaling the celebratory and wholesome nature of the song's theme. The song featured a new arrangement, with a guitar solo in the intermediate portion added by Leonard. She sang the final chorus twice, then asked the audience for a comb so that she could fix her hair and finished the performance, after taking a bow with her dancers to the audience.[31]

Critical reception

Edna Everage inspired costume (left), while "Like a Virgin
" saw her being joined by 13-year-old dancer Christopher Finch (right).

The tour received rave reviews.

CNE Stadium and said, "Madonna proved that she may be a lost girl in the roads of life, like her film, but she ain't lost when she is singing. Especially during songs like 'Papa Don't Preach', her vocal prowess was substantially notable."[35] Scott A Zamost and Elizabeth Snead, writing for Chicago Tribune, felt that "For the most part, the premiere concert on Madonna's Who's That Girl tour was a success, an extravaganza of multiple videos, flashing lights and precision dancing. If the high-tech accoutrements and inferior sound system made it difficult to hear the singer, one hopes that will be refined as the tour continues across the United States. [...] As a dancer, Madonna is supreme on stage. Her trademark skip to a funky beat highlighted the constant acrobatics. One minute she was stage left, another minute stage right. She ran up a wide staircase center stage to party with her three back-up singers, then scooted down to the stage floor, swinging her hips, accompanied by other dancers."[36]

Deborah Wilker from

The Advocate, Gina Vivinetto placed it on the eight position of her ranking.[43]

Commercial response

Tickets for one of the concerts at Wembley Stadium. Over 144,000 tickets sold out in 18 hours and 9 minutes.

After the tour was announced, the first two shows at Wembley Stadium in London sold-out at a then record-breaking time of 18 hours and 9 minutes for 144,000 tickets.[5] However around 10,000 concert tickets were still left unsold for her Leeds concert. Madonna's concert in Paris in front of 130,000 fans remains to this date, her biggest concert audience ever and largest crowd of any concert in French history.[44][45] A concert was also planned in Basel, Switzerland for August 31, 1987, but negotiations between Madonna's management and local organizers failed due to the high fee of one million ($2.68 million in 2023 dollars[1]) that Madonna's camp demanded.[30] As a result, Nice, France was booked in the itinerary. But when a local mayor threatened to cancel the concert, citing crowd problems, Jacques Chirac, then Mayor of Paris, stepped in to overrule him.[30] Her first-ever Italian concert in Turin, was presented by the Italian state broadcaster RaiUno and broadcast around the world. Just in Italy, the show was watched by around 14 million households. The show at Turin was watched by 65,000 fans and was a record there.[30]

In Japan, a thousand troops had to restrain a crowd of 25,000 fans seeking to greet Madonna at the airport.

Break Every Rule Tour, earning in total of US$25 million[a] according to Pollstar and playing in front of 1.5 million audience all over the world.[5][46]

Broadcasts and recordings

Main article: Ciao Italia: Live from Italy
The stage as visible during the tour.

The concert at

Comunale Stadium in Turin, Italy was broadcast live on TV in Italy (RAI), France (TF1), Germany (SAT1), Austria (ORF) and Spain (TVE). Other countries including Australia and The Netherlands broadcast this show in 1987.[48] The concert was released commercially in 1988 as Ciao Italia: Live from Italy and was later available on LaserDisc and DVD.[49]

The video contains the full Who's That Girl show, produced using footage from three different shows: Tokyo on June 22, 1987, Turin on September 4, 1987, and Florence on September 6, 1987.

The Girlie Show World Tour, Ciao Italia is still entertaining in its own right, and will definitely please fans nostalgic for some old-school Madonna hits."[51] Mark Knopher from the Los Angeles Daily News commented that "Ciao Italia shows the glitz and the glamor that made this tour so remarkable."[52] It charted at the top of the Billboard music DVD chart on for six weeks and ranked at two on the "1988 Year-end Top Ranked Tapes".[53][54] Ciao Italia also charted at number three on the Finnish DVD chart in 2009.[55]

Legacy

The encore of the concert found Madonna performing "La Isla Bonita" (left) and "Who's That Girl" (right).

According to Taraborrelli, "Many female artists behave like a diva for a period when they reach superstar status, and the 'Who's That Girl?' tour marked the beginning of Madonna's."[2] For instance, she would not allow crew members to talk directly to her; they had to talk to her representatives, lest they distract her from the business at hand. She also forbade her dancers from speaking to her and her musicians were not permitted to even look at her unless they were onstage with her.[2] Moreover, when coming on and off the stage, Madonna demanded that road managers hold sheets around her in order to shield her from the eyes of "those who couldn't help but stare".[2] DeMann commented: "She has a way of demanding that compels you to give her your undivided attention", to which Taraborrelli felt that such behavior actually was an indication of how successful and strong Madonna was. "You don't behave like a bitch until you are that successful. The tour sure helped cement her star status", he commented.[2]

There had never before been a more imaginative or forceful showcase for the feminine sensibility in pop. Madonna is simply the first female entertainer who has ever starred in a show of this scope

—Mikal Gilmore on the tour.[56]

The tour was also notable for giving rise to the term "new Madonna", a stronger and more intelligent sexual image of her former self which had given rise to the term Madonna wannabe.[8] Considine felt that "the important thing Madonna did on the tour was to demonstrate how female sexuality can be a source of strength. Traditionally in pop culture, there are two roles that a woman can play—the good girl and the bad girl, and the bad girl is never taken seriously. But Madonna shows up the trappings of a bad girl, and demanded to be taken up seriously because she just doesn't roll over. I got more sense of the strength and power that was under her image all along."[8] Another important fact noted in the tour by scholars is the extensive use of multimedia technique to its maximum potential. Says Mark Bego, author of Madonna: Blonde Ambition, that "Madonna transformed the concept of a concert tour being focused on the songs. She turned her Who's That Girl? tour into a ubiquitous multimedia blitz technique by including songs, dancing, choreography, videos, big screens, backdrops—not to mention the subtle preaching and messages—that made singing a secondary quality for concert goers. Evident from the people that thronged to see the tour, they were there for the spectacle—and not see Madonna standing in front of the microphone and singing.[57]

Publications also noted the fanaticism Madonna suscited in various of the countries she visited, especially Japan and the United Kingdom which prompted South China Morning Post to say it "demonstrates the unique position that she commands in the world of pop music". The merchandise also "enjoyed rocketing sales".[58] While in Italy, Madonna met some of her relatives from Pacentro, the village in which her grandfather and grandmother, Gaetano and Michelina Ciccone had been married.[30] However, it was not the glorious home coming that she had expected; some of her relatives made it very clear that they were scandalized by her appearance and behavior.[30] One good thing came from the visit, there were talks of making her an honorary citizen of the town. Ultimately, a statue of Madonna, wearing conical bra was erected in her name, at the center of the town.[30]

Set list

Set list and samples per Madonna's official website and the notes and track listing of Ciao Italia: Live from Italy.[59][50]

  1. "Open Your Heart"
  2. "Lucky Star"
  3. "True Blue"
  4. "Papa Don't Preach"
  5. "White Heat"
  6. "Causing a Commotion"
  7. "The Look of Love"
  8. Medley: "Dress You Up" / "Material Girl" / "Like a Virgin" (Contains an excerpt from "I Can't Help Myself (Sugar Pie Honey Bunch)")
  9. "Where's the Party"
  10. "Live to Tell"
  11. "Into the Groove"
  12. "La Isla Bonita"
  13. "Who's That Girl"
  14. "Holiday"

Shows

List of Asian concerts[60]
Date (1987) City Country Venue Opening act Attendance Revenue
June 14 Osaka Japan Osaka Stadium Level 42 89,996 / 89,996 $888,773
June 15
June 20 Tokyo Korakuen Stadium 65,000 / 65,000 $780,123
June 21
June 22
List of North American concerts[61]
Date (1987) City Country Venue Opening act Attendance Revenue
June 27 Miami United States Miami Orange Bowl Level 42 55,600 / 56,000 $1,005,260
June 29 Atlanta Omni Coliseum 12,526 / 12,526 $250,520
July 2 Washington, D.C. Robert F. Kennedy Memorial Stadium 32,378 / 38,594 $602,780
July 4 Toronto Canada CNE Stadium 45,184 / 50,000 $829,184
July 6 Montreal Montreal Forum 32,985 / 32,985 $430,735
July 7
July 9 Foxborough United States Sullivan Stadium 48,384 / 48,384 $1,068,975
July 11 Philadelphia Veterans Stadium 46,182 / 51,500 $969,815
July 13 New York City Madison Square Garden 16,993 / 16,993 $688,225
July 15 Seattle Kingdome — —
July 18 Anaheim Anaheim Stadium 62,986 / 62,986 $1,417,185
July 20 Mountain View Shoreline Amphitheatre — —
July 21
July 24 Houston Astrodome 39,472 / 40,000 $789,440
July 26 Irving Texas Stadium 40,601 / 41,000 $812,020
July 29 Saint Paul St. Paul Civic Center N/A N/A
July 31 Chicago Soldier Field 47,407 / 47,407 $1,066,658
August 2 East Troy Alpine Valley Music Theatre 21,988 / 21,988 $455,605
August 4 Richfield Richfield Coliseum 34,228 / 34,228 $497,250
August 5
August 7 Pontiac Pontiac Silverdome 41,017 / 44,556 $881,866
August 9 East Rutherford Giants Stadium 51,000 / 51,000 $1,832,780
List of European concerts[62]
Date (1987) City Country Venue Opening act Attendance Revenue
August 15 Leeds England Roundhay Park Level 42 73,000 / 80,000 $490,210
August 18 London Wembley Stadium 216,000 / 216,000 $4,984,956
August 19
August 20
August 22 Frankfurt West Germany Waldstadion 51,981 / 51,981 $2,177,515
August 25 Rotterdam Netherlands Feijenoord Stadion — —
August 26
August 29 Paris France Parc de Sceaux 131,100 / 131,100 $1,989,234
August 31 Nice Stade Charles-Ehrmann — —
September 4 Turin Italy Stadio Comunale 63,127 / 63,127 $1,294,050
September 6 Florence Stadio Artemio Franchi — —
Total 1,317,663 / 1,346,595 $26,795,382

Personnel

Adapted from the Who's That Girl World Tour 1987 program.[63]

Band

Dancers and choreographers

  • Shabba Doo – choreographer, dancer
  • Angel Ferreira – dancer
  • Chris Finch – dancer

Wardrobe and crew

  • Marlene Stewart – designer
  • Eric Barnett – tour manager
  • Patrick Leonard - musical director
  • Jeffrey Hornaday – tour director, staging
  • Liz Rosenberg - publicity
  • Melissa Crow - assistant to Madonna
  • Michelle Johnson - assistant to Jeffrey Hornaday
  • Christopher Ciccone - wardrobe
  • Rob Saduski – wardrobe
  • Debi Mazar – make-up, stylist
  • Julie Chertow - masseuse
  • Robert Parr - trainer
  • Peter Chaplin - cook
  • Mario Ciccone - props, ambiance
  • Peter Morse – lights, strobe direction
  • John Perry III - producer and director of "Papa Don't Preach" video segment
  • John Coulter - tour book design

See also

Notes

  1. ^ a b c US$67.05 million in 2023 dollars.[1]

References

  1. ^ a b 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. ^ a b c d e Taraborrelli 2002, p. 127
  3. ^
    ISSN 0886-3032
    . Retrieved July 8, 2010.
  4. ^ Taraborrelli 2002, p. 125
  5. ^ a b c d e f g h Taraborrelli 2002, p. 126
  6. ^ Morton 2002, p. 201
  7. ^ Morton 2002, p. 98
  8. ^ a b c d e f g Metz & Benson 1999, pp. 9–12
  9. ^ a b c d e f g h i j Clerk 2002, p. 66
  10. ^ a b c Morton 2002, p. 199
  11. ^ Voller 1999, p. 89
  12. ^ Farley, Chris (August 5, 1987). "Madonna's Moves Are The Stuff Of Shabba-Doo". Chicago Tribune. Retrieved July 8, 2010.
  13. ^ Britt, Bruce (September 8, 1987). "Madonna's dance partner hits head, gets stitches". The Spokesman-Review. Retrieved July 8, 2010.
  14. ^ Clerk 2002, p. 45
  15. ^ Layton 2004, p. 110
  16. ^ a b c d Voller 1999, p. 29
  17. ^ "Madonna's Iconic Sale". British Vogue. October 26, 2011. Retrieved September 27, 2022.
  18. ^ Taraborrelli 2002, p. 272
  19. ^ a b Harrington, Richard (July 3, 1987). "Madonna's Star Turn at RFK". The Washington Post. Retrieved July 14, 2010.
  20. ^ Parish & Pitts 2003, p. 529
  21. ^ Kogan, Rick (August 2, 1987). "Bombshell Madonna Certainly Can Wow 'Em". Chicago Tribune. Archived from the original on March 17, 2013. Retrieved March 3, 2009.
  22. ^ Goldstein, Patrick (July 26, 1987). "Pop Eye on Madonna". Chicago Tribune. Archived from the original on March 17, 2013. Retrieved March 3, 2009.
  23. ^ Kellner 1995, p. 276
  24. Daily News
    . Retrieved March 8, 2009.
  25. ^ "Madge through the years". USA Today. October 15, 2008. Retrieved March 8, 2009.
  26. ^ a b c Guilbert 2002, p. 78
  27. ^ Bordo & Heywood 2004, p. 287
  28. ^ Clerk 2002, p. 67
  29. ^ Rooksby 2004, p. 19
  30. ^ a b c d e f g h i j Morton 2002, p. 200
  31. ^ Kellner 1995, p. 43
  32. ^ Bakker, Machgiel (July 18, 1987). "Madonna Heads For 15th Triumph" (PDF). Music & Media. Vol. 4, no. 28. p. 10. Retrieved April 21, 2022.
  33. ^ "Rock booms in the land of the rising yen". The Sydney Morning Herald. April 4, 1987. p. 8. Retrieved September 24, 2023.
  34. ^ Ayers, Ann (July 3, 1987). "Dressing Up A Material Girl". USA Today. Archived from the original on June 19, 2012. Retrieved July 14, 2010.
  35. ^ Goddard, Peter (July 3, 1987). "Who's That Girl? Madonna-mia!". Toronto Star. Retrieved July 12, 2010.
  36. ^ Zamost, Scott A; Snead, Elizabeth (July 2, 1987). "New Madonna Tour Sets Racy Tone". Chicago Tribune. Retrieved July 12, 2010.
  37. ^ Wilker, Deborah (July 2, 1987). "Madonna Is Best In Close-up". The Day. Retrieved July 12, 2010.
  38. ^ McCleese, Don (July 12, 1987). "Who Is This Girl". Chicago Sun-Times. Retrieved July 12, 2010.
  39. ^ McCleese, Don (July 12, 1987). "Madonna sure can gyrate". Chicago Sun-Times. Retrieved August 2, 2010.
  40. ^ a b c Pareles, Jon (July 15, 1987). "Madonna Benefit For AIDS at the Garden". The New York Times. Retrieved July 14, 2010.
  41. ^ 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.
  42. The Odyssey
    . Retrieved August 28, 2021.
  43. The Advocate. Archived from the original
    on May 1, 2017. Retrieved August 28, 2021.
  44. ^ Bassets, Luis (August 31, 1987). "Madonna convocó en París a 130.000 personas". El País (in French). Madrid: Jesús de Polanco. Retrieved May 4, 2009.
  45. ^ Greenhouse, Stephen (August 29, 1987). "Chirac Says 'Oui' to Madonna And Angers a Local Mayor". The New York Times. Retrieved March 23, 2013.
  46. ^ Bego 2000, p. 190
  47. ^
    Internet Movie Database
    . May 1, 2009. Retrieved July 15, 2010.
  48. ^ Metz & Benson 1999, p. 321
  49. ^ Martin & Porter 2003, p. 423
  50. ^
    Ciao, Italia! – Live from Italy (VHS, DVD). Madonna. New York: Warner Home Media. 1988.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link
    )
  51. Rovi Corporation
    . Retrieved July 15, 2010.
  52. ^ Knopher, Mark (June 24, 1988). "Summer Gets Even Hotter With New Video Releases". Los Angeles Daily News. Retrieved July 20, 2010.
  53. ISSN 0006-2510
    .
  54. ^ Beatrix, Luna (December 30, 1988). "The top-ranked tapes of 1988". Chicago Tribune. Retrieved July 20, 2010.
  55. ^ "Tilastot – Suomen virallinen lista – Ciao Italia". International Federation of the Phonographic Industry. Retrieved July 15, 2010.
  56. ISBN 9780766024427. Retrieved April 21, 2022. {{cite book}}: |work= ignored (help
    )
  57. ^ Bego 2000, p. 210
  58. ^ Wong, Joanna. "Hong Kong's 30-year relationship with Madonna: it's complicated". South China Morning Post. Archived from the original on February 18, 2016. Retrieved February 17, 2016.
  59. ^ "Madonna.com > Tours > Who's That Girl World Tour". Icon: Official Madonna website. Archived from the original on December 27, 2014. Retrieved September 18, 2019.
  60. ISSN 0006-2510
    .
  61. ^ North American box score data:
  62. ^ European box score data:
  63. ^ Coulter, John (1987). Madonna: Who's That Girl World Tour 1987. Boy Toy, Inc., Sire Records Merchandise.

Bibliography

External links

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