Madonna’s earnings per minute of concert are calculated
[ad_1]
At the beginning of December, the pop diva completed her European tour with another sold-out show in London and has now begun traveling around her native States. Some statistics have already emerged regarding her new global journey, and they are impressive. True, only at first glance.
The European part of the Celebration Tour, dedicated to the fortieth anniversary of the singer’s musical career, was rated five stars or so by almost all specialized media. There is a special aura, a signature scandalous flair and the enviable attention of all sorts of stars. Renata Litvinova and Loboda recorded their stories from places with a decent view of the stage. And during the number for the hit Vogue, Madonna was already bringing on stage those who mean something to this very fashion. Donatella Versace in Milan, Stella McCartney in London and Jean-Paul Gaultier in Paris have already appeared on the huge podium, “cutting” thirty thousand European arenas.
Jean-Paul, by the way, is no stranger to Madonna, because it was he who built her a cone-shaped corset for the 1990 Blond Ambition tour, which overexcited even those who have nothing to do with fashion. For the Celebration Tour, the designer rebooted her invention, and the artist again reminded fans how fun those days were.
Statistics lovers have been able to calculate that for every minute of their show (even in moments when the diva dresses up or performs as a chatty stand-up comedian), the star’s account is replenished by forty-three thousand dollars. In general, the tour of seventy-eight concerts should enrich Madonna by more than one hundred million. How Philip Kirkorov must now sob on the distorted chest of Lyuba Uspenskaya, who herself is swallowing a tear! However, they are not the only ones – quite enough money to make the entire local pop establishment hiccup nervously. Although Madonna is by no means the leader here: in the global financial report, the material granny is only in the fourth ten.
As expected, Taylor Swift jumped to the top of the greed chart. Over the past year, with her The Eras Tour, she has amassed a billion and almost four hundred million (dollars, of course, not rubles) and intends to get serious about European stadiums next spring, where it is already almost impossible to get through. Former record holder Elton John walked away modestly with nine hundred and forty million for his final tour, which stretched over five years due to the pandemic.
Taylor, who recently celebrated her 34th birthday in one of the New York cabarets, can probably feel on top of the world, which is confirmed by the title of “Person of the Year” from Time magazine. Such an award is usually reserved for politicians or people who have made humanitarian breakthroughs, but in the singer’s case, experts were apparently impressed by how the fragile girl was establishing herself in this predominantly male business. Miss Swift no longer enjoyed her relationship with her publishers, and some time ago she began re-recording her own albums, thus taking away all rights to these versions. It was a painful blow to the industry, and rumor has it that major labels are now panicking and revising the language in their basic artist contracts in an effort to accommodate such star-studded chaos.
The second victims of Taylor are film distributors. The singer’s managers decided to show the video version of The Eras Tour in cinemas (just like the anniversary “That Very Concert” of our Prima Donna in its time), but they agreed with the venues directly, without taking into account intermediaries in the form of cinema rental chains. In essence, it’s the Wild West, but apparently they still love it there, and besides, the very spectacle of a girl plowing at concerts and in studios, laying down speculators, is, of course, impressive.
Madonna earns her money using more conventional methods, but it is most likely more difficult for her than for the young Taylor. In the elegant concert clips that are circulating on the Internet, the 65-year-old bastard doesn’t even fly around the stage, but in the clips filmed from less-than-ideal angles, everything looks a little different. Miracles probably don’t happen after all, and if Madonna’s figure and toned cheekbones still fascinate fans, then the artist’s knees sometimes behave in accordance with her age. You can see how she sometimes limps like an old woman, and the audience, looking behind the scenes, whispers about the fact that Madonna approaches the stage in slippers, like an imposing pensioner, and only in front of the stairs to the love of the people changes shoes that are much more suitable for her feet for boots. platforms.
You can, of course, advise Madonna to take a closer look at Mariah Carey. She prefers to stand on stage, and her dancers are responsible for all the movements, dragging the soul diva back and forth. Sometimes the superstar, of course, confuses the cities in which he performs, but does not forget to playfully add that, with me, you can be anywhere. And there are far fewer problems for the knees.
Of course, Madonna wouldn’t be herself if she didn’t swagger. In London she rode the subway, and in New York she stood on stage, sipping from a bottle of simple Budweiser, and making proletarian jokes: “We do our shit here the way we want, New York is not for little pussies, who are all It’s time to sleep.” Who would doubt that…
Newspaper headline:
For money – yes
[ad_2]
Source link
