Development
The stage and associated props took twenty-four semi-trailer trucks to transport. The setup consisted of a main stage with three elevators and a turntable (which rose and lowered), a central runway with LED and strobe lights connected to a central stage with a LED view screen in the construction and an elevator. The two secondary runways were raised up into the stands and also had view screens inside the construction. Two projection screens were raised above the audience so those who couldn't get a clear view of the stage could still see the performance. There were also 3 LED screens that moved around during the performance, including one semicircular transparent screen lowered onto the stage during the video interludes.
Among the various props present was a $2 million disco ball embellished with a further of $2 million worth of Swarovski crystals, bringing it to a weight of two tons. The ball was lowered onto the stage at the end of the runway during the opening number, and then opened to reveal Madonna. The ball contained hydraulic tubing to hold it open, two sets of stairs, and hundreds of LED lights. Other props include the turntable-pummel horse used during "Like a Virgin", a set of jungle gym-like metal bars used during "Jump", the steel cage used for "Isaac" and "Sorry", and the boom box used during "Hung Up". The promotional poster for the tour featured one of the photographs of Madonna taken by Steven Klein during the performances at G-A-Y club in London, as part of the promotional tour of the Confessions on a Dance Floor album.
Read more about this topic: Confessions Tour
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—H.A.L. (Herbert Albert Laurens)
“This was the Eastham famous of late years for its camp- meetings, held in a grove near by, to which thousands flock from all parts of the Bay. We conjectured that the reason for the perhaps unusual, if not unhealthful development of the religious sentiment here, was the fact that a large portion of the population are women whose husbands and sons are either abroad on the sea, or else drowned, and there is nobody but they and the ministers left behind.”
—Henry David Thoreau (1817–1862)
“Dissonance between family and school, therefore, is not only inevitable in a changing society; it also helps to make children more malleable and responsive to a changing world. By the same token, one could say that absolute homogeneity between family and school would reflect a static, authoritarian society and discourage creative, adaptive development in children.”
—Sara Lawrence Lightfoot (20th century)