On June 9 1990, Madonna performed her Blond Ambition World Tour at the Capital Centre in Landover, Maryland.
On June 1 1990, Madonna was controversially featured grabbing her crotch and breast on the cover of Interview magazine.
Madonna was interviewed by Glenn O’Brien at the Disney Studios, where she was rehearsing the Blond Ambition Tour. Here’s a snippet from the interview:
Glenn: Let’s talk about your show.
Madonna: Let’s not. Today was a horrible day. That was the worst rehearsal.
Glenn: Well, I liked it, but I haven’t seen it when you thought it was good. I loved the number where you’re lying on the piano singing a torch song.
Madonna: You saw only one segment of the show. I’ve created five different worlds, and the set is all based on hydraulics. One is going down and another is coming up. The world changes completely. I think of it more as a musical than as a rock concert. There is a straightforward Metropolis section, like my Express Yourself video – that set with all the gears and machinery; it’s very hard and metallic. That’s the heavy-duty dance music. Then the set changes and it’s like a church. We call it the temple ruins. It’s all these columns, trays of votive candles, a cross. I do Like a Virgin on a bed, but we changed the arrangement, so it sounds Indian. Then I’m being punished for masturbation on this bed, which is, as you know, what happens. Then we do the more serious, religious-type material – Like a Prayer, Papa Don’t Preach… Then it changes to what you saw, this Art Deco ’50s-musical set. That’s when we do three songs from Dick Tracy, and then after that we do what I call the camp section. Then it gets really serious again and we go into our Clockwork Orange cabaret set.
On May 17 1991, Roger Ebert gave Madonna’s Truth or Dare documentary a 3 1/2 star rating and a thumbs up review.
Here’s what Ebert had to say:
Although the movie seems happiest when it is retailing potential scandal, its heart is not in sex but in business, and the central value in the film is the work ethic. Madonna schedules herself for a punishing international tour of mostly one-night stands and then delivers with a clockwork determination, explaining to a family member in Detroit that she can’t go out to party because she has to conserve her strength.
Night after night the exhausting show goes on, taking on aspects of a crusade for the cast members. Ironically – given Madonna’s onstage use of sacrilege as a prop – every show is preceded by a prayer session, everyone holding hands while Madonna asks God’s help and recites a daily list of problems. And when her dancers have personal problems, they come to her as a counselor and mother figure.
She seems to like it that way, and halfway through the film I was even wondering if she deliberately chose insecure dancers with dependent personalities because she enjoyed playing mother to them.
Madonna has kept her act fresh by adopting a long series of public star personas, yet, backstage, people don’t relate to her as a star, but as the boss. Her charisma comes not through glitter but through power, and there is never any doubt about exactly who is in charge.
We get the feeling that if show biz ever loses its appeal for her, she could be successful in business or even politics: She’s a hard-headed organizer, a taskmaster, disciplined and clear-headed.
The movie follows the Blond Ambition tour from its soggy beginnings in Japan’s rainy season through a series of appearances across the world. There’s the Los Angeles concerts with all of the celebrities backstage (Kevin Costner tells her the concert was “neat,” and once he leaves she sticks a finger down her throat).
Detroit, her hometown, where she assures her father that she can indeed get him tickets. Toronto, where the police threaten to arrest her for public masturbation (“What do they mean, masturbation?” “When you grab your crotch”). Then she tours Italy and Spain, inviting guys she has crushes on to parties, only to discover they’re married or gay.
At one point in the film, talking about how lonely it is at the top, she’s asked if she ever knew true love, and she answers sadly, “Sean. Sean.” But she never says another word about her former husband, Sean Penn. In the opening scenes she is glimpsed briefly with boyfriend Warren Beatty, but then he disappears, unmentioned, after making what sounded to me like fairly sensible observations (he complains that, for Madonna, if it doesn’t happen on camera it hardly happens at all).
The organizing subject of the whole film is work. We learn a lot about how hard Madonna works, about her methods for working with her dancers and her backstage support team, about how brutally hard it is to do a world concert tour. Unlike most rock documentaries, the real heart of this film is backstage, and the onstage musical segments, while effectively produced, seem obligatory – they’re not the reason she wanted to make this film.
Why is work so important to her? Maybe there’s a hint in the many scenes where she takes a motherly interest in the personal lives of her dancers, and even joins them between the sheets for innocent, bored, adolescent sex games. Madonna, who has had such success portraying a series of sexual roles and personalities, seems asexual on a personal level. A voyeur rather than a participant. Control and power are more interesting to her than intimacy. When she manipulates the minds of a stadium full of fans, that’s exciting. It’s not the same, working with one person at a time.
On May 10 1991, the documentary Truth Or Dare was given an initially limited cinematic release by Mirmax Films in various North American markets. It was given a wide release across North America several weeks later on May 24, 1991.
The documentary – which chronicled on-and-off stage activity of Madonna’s 1990 Blond Ambition Tour – was directed by Alek Keshishian, while Madonna served as Executive Producer. The live segments were filmed at the Palais Omnisports de Paris-Bercy in Paris, France.
On May 9 1991, a new music video for Like A Virgin featuring live and behind-the-scenes footage was released exclusively to MTV in the U.S. to promote the film Truth Or Dare. Outside the U.S., video channels were instead serviced with a live video for Holiday (which was eventually issued within the U.S. as well).
The Truth Or Dare clip for Like A Virgin was nominated for two MTV Video Music Awards in 1991: Best Choreography and Best Female Video. It marked the third time that a video for Like A Virgin had been nominated for an MTV Video Music Award for Best Choreography. The original video received three nominations in 1985 including a nod for best Choreography, and another live clip (which was also released exclusively to MTV) to promote the home video release of The Virgin Tour was also nominated in the category in 1986. Despite the numerous nominations, none of the three videos for Like A Virgin garnered any trophies from MTV.
On May 7 1990, Madonna graced the cover of People magazine.
The headline: Madonna’s new tour: her most outrageous act yet
A sample of the article by Montgomery Brower and Todd Gold:
After routinely violating almost every taboo about sex, sacrilege and the public display of underwear, what’s a girl to do for new material? Madonna revealed her answer in Japan, where she kicked off a four-month tour that will no doubt delight fans, fetishists, cross-dressers and topic-starved conservative columnists the world over. Mimed masturbation? Madonna’s got it, during “Like a Virgin.” Topless guys in foot-long pointy brassieres? They pop up a third of the way through the show. A hint of discipline? “You may not know the song, but you all know the pleasures of a good spanking,” Madonna cooed after “Hanky Panky,” an ode to the joy of the slap. Granted, there are quieter moments—Madonna as housewife in curlers, Madonna with fish-tailed mermen—but before you know it, there she goes again, confessing in song to a guy dressed as a priest. The 105-minute hullabaloo is amazing for its breadth of controversy. Perhaps even more remarkable is the fact that, so far as can be determined, not one of the show’s seven dancers has been sidelined with a groin injury.
“She said, ‘Let’s break every rule we can,’ ” says choreographer Vince Paterson. “She wanted to make statements about sexuality, cross-sexuality, the church and the like. But the biggest thing we tried to do is change the shape of concerts. Instead of just presenting songs, we wanted to combine fashion, Broadway, rock and performance art.”
On February 2 1991, Madonna’s Blond Ambition World Tour Live hit #2 on the Top Laserdisc Sales chart in the USA.
The live concert was released only on Laserdisc by Pioneer Artists as part of the sponsorship deal of the 1990 Blond Ambition World Tour and was released to promote the Laserdisc format. It contained the final tour date filmed at Stade de l’Ouest in Nice, France on August 5, 1990 which had previously been shown and produced by American network HBO as part of a television special Madonna – Live! Blond Ambition World Tour 90.
Open Your Heart
Causing a Commotion
Where’s the Party
Like a Virgin
Like a Prayer
Live to Tell
Papa Don’t Preach
Sooner or Later
Now I’m Following You
Into the Groove
Family Affair/Keep It Together