On November 26 1987, Who’s That Girl – Live In Japan was released on VHS and LaserDisc by Warner-Pioneer Video, exclusively for the Japanese market. Recorded in Tokyo on June 22 1987, the show initially aired as a television special in Japan in conjunction with Madonna’s sponsorship agreement with Mitsubishi. The special was the first ever television broadcast to make use of Dolby Surround Sound technology.
Elements of the Japanese release were also incorporated into the international 1988 release of the Who’s That Girl World Tour, Ciao Italia: Live From Italy, which was also released in Japan on LaserDisc in 1988 and on DVD in 2001. Meanwhile, the complete Live In Japan release has since been deleted from circulation.
On October 26 1992, Madonna’s SEX book was banned in Japan due to its controversial photos which violated the country’s censorship laws.
Here is Madonna’s perspective on pornography:
I don’t see how a guy looking at a naked girl in a magazine is degrading to women. Everyone has their sexuality. It’s how you treat people in everyday life that counts, not what turns you on in your fantasy. If all a person ever did was get off on porno movies I would say they are probably dysfunctional sexually, but I don’t think it’s unhealthy to be interested in that or get off on that. I’m not interested in porno movies because everybody is ugly and faking it and it’s just silly. They make me laugh, they don’t turn me on. A movie like In the Realm of the Senses turns me on because it’s real. I’ve been told there are some good Traci Lords movies but I’ve never seen them. I wouldn’t want to watch a snuff movie. I wouldn’t want to watch anyone get really hurt, male or female. But generally I don’t think pornography degrades women. The women who are doing it want to do it. No one is holding a gun to their head. I don’t get that whole thing. I love looking at Playboy magazine because women look great naked.
On July 25 1990, Blond Ambition Japan Tour 90 was released on VHS and LaserDisc by Warner-Pioneer, exclusively to the Japanese market.
Recorded in Yokohama, Japan on April 26 1990, the show had originally aired as a live television special in Japan. Due to high winds impacting the outdoor stadium during the concert, no stage curtains were used in the performance, allowing viewers the ability to see some of the normally hidden set changes in the darkened background.
It was the only official VHS release of the tour worldwide due to a sponsorship contract which granted Pioneer rights to issue the tour exclusively on LaserDisc in other regions. For this reason, copies of the Japanese VHS were in high demand from fans in other countries that shared the Japanese NTSC video format, with imported copies selling for approximately $100 USD.
On May 27 2006, Madonna’s spokesperson announced that there would be no Confessions Tour for Japan or Australia.
“Due to Madonna’s heavy workload as part of her Confessions Tour of America and Europe, plus her wishes to spend as little time away from her family, Madonna has unfortunately decided to cancel the tour to Japan and therefore there will be no tour to Australia. She hopes that her fans will understand her making the personal decision.”
On April 25 1988, Spotlight was released as a single by Warner-Pioneer. Issued exclusively in Japan, it was the only commercial single release from the remix album You Can Dance. The song was written by Curtis Hudson, Madonna and Stephen Bray and was produced by Stephen Bray. Madonna wasn’t given a co-producer’s credit on the track – odd considering it was a leftover from the True Blue album sessions, for which she co-produced every song. The track was remixed by John “Jellybean” Benitez for its inclusion on You Can Dance.
In a 2012 interview with blogcritics.com writer Justin Kantor, Curtis Hudson recalled the circumstances surrounding the creation and release of Spotlight:
“During the time right after Holiday, when we’d go to her place and write, I presented Spotlight. I gave her a complete song, Spotlight. I had actually written it in case Warner Bros. asked her for another Holiday. She said she loved it and felt spiritual about it. But she didn’t use it or contact me again about it. It sort of popped up out of nowhere when she was getting ready to do You Can Dance. Her lawyer contacted our manager and said we needed to talk. We went over and met with him. She and Stephen Bray had already done the song; but I hadn’t even heard the version they had done.They took the demo I had given her and worked it into a different song. They gave me credit since I had the original song copyrighted. I would’ve collaborated and made changes. But I was told, ‘Well, she’s too busy. She’s overseas doing a movie.’ I was okay with it, though, because they gave me credit. But the original song had a certain magic, and the changes took that essence away. The original Spotlight was another Holiday—the rhythm, the basic groove. I think they were trying to get away from that sound. Sometimes artists don’t want their sound to be identified with specific writers.”