Pop as Art: Madonna

[Matheus]

It's from the Sex era, and I'm almost positive it's in the book itself. I'd open up my copy and take a look, but I'm not exactly sure where it is at the moment.

It is nice looking at a Madge picture and not seeing massive guns on her arms when she flexes...

[Matheus]

A tribute to Erotica... a testament to Madonna's Pop Art.



Erotica: The Rolling Stone Review

It took Madonna ten years, but she finally made the record everyone has accused her of making all along. Chilly, deliberate, relentlessly posturing. Erotica is a post-AIDS album about romance – it doesn't so much evoke sex as provide a fetishistic abstraction of it. She may have intended to rattle America with hot talk about oral gratification and role switching, but sensuality is the last thing on the album's mind. Moving claustrophobically within the schematic confines of dominance and submission, Erotica plays out its fantasies with astringent aloofness, unhumid and uninviting. The production choices suggest not a celebration of the physical but a critique of commercial representations of sex – whether Paul Verhoeven's, Bruce Weber's or Madonna's – that by definition should not be mistaken for the real thing. It succeeds in a way the innocent post-punk diva of Madonna and the thoughtful songwriter of Like a Prayer could not have imagined. Its cold, remote sound systematically undoes every one of the singer's intimate promises.

Clinical enough on its own terms when compared with the lushness and romanticism of Madonna's past grooves, Erotica is stunningly reined in; even when it achieves disco greatness, it's never heady. Madonna, along with coproducers Andre Betts and Shep Pettibone, tamps down every opportunity to let loose – moments ripe for a crescendo, a soaring instrumental break, a chance for the listener to dance along, are over the instant they are heard. Erotica is Madonna's show (the music leaves no room for audience participation), and her production teases and then denies with the grim control of a dominatrix.

Against maraca beats and a shimmying horn riff, "Erotica" introduces Madonna as "Mistress Dita," whose husky invocations of "do as I say" promise a smorgasbord of sexual experimentation, like the one portrayed in the video for "Justify My Love." But the sensibility of "Erotica" is miles removed from the warm come-ons of "Justify," which got its heat from privacy and romance – the singer's exhortations to "tell me your dreams." The Madonna of "Erotica" is in no way interested in your dreams; she's after compliance, and not merely physical compliance either. The song demands the passivity of a listener, not a sexual partner. It's insistently self-absorbed – "Vogue" with a dirty mouth, where all the real action's on the dance floor.

Look (or listen) but don't touch sexuality isn't the only peep-show aspect of this album; Erotica strives for anonymity the way True Blue strove for intimacy. With the exception of the riveting "Bad Girl," in which the singer teases out shades of ambiguity in the mind of a girl who'd rather mess herself up than end a relationship she's too neurotic to handle, the characters remain faceless. It's as if Madonna recognizes the discomfort we feel when sensing the human character of a woman whose function is purely sexual. A sex symbol herself, she coolly removes the threat of her own personality.

Pure disco moments like the whirligig "Deeper and Deeper" don't need emotional resonance to make them race. But the record sustains its icy tone throughout the yearning ballads ("Rain," "Waiting") and confessional moods ("Secret Garden"). Relieved of Madonna's celebrity baggage, they're abstract nearly to the point of nonexistence – ideas of love songs posing as the real thing. Even when Madonna draws from her own life, she's all reaction, no feeling: The snippy "Thief of Hearts" takes swipes at a man stealer but not out of love or loyalty toward the purloined boyfriend, who isn't even mentioned.

By depersonalizing herself to a mocking extreme, the Madonna of Erotica is sexy in only the most objectified terms, just as the album is only in the most literal sense what it claims to be. Like erotica, Erotica is a tool rather than an experience. Its stridency at once refutes and justifies what her detractors have always said: Every persona is a fake, the self-actualized amazon of "Express Yourself" no less than the breathless baby doll of "Material Girl." Erotica continually subverts this posing to expose its function as pop playacting. The narrator of "Bye Bye Baby" ostensibly dumps the creep who's been mistreating her, but Madonna's infantile vocal and flat delivery are anything but assertive – she could be a drag queen toying with a pop hit of the past. Erotica is everything Madonna has been denounced for being – meticulous, calculated, domineering and artificial. It accepts those charges and answers with a brilliant record to prove them.

Arion Berger

[JACkory]

That's an ancient review, idn't it?

[Matheus]

jackory said:

That's an ancient review, idn't it?

Yes sir, it is, and a great review at that. Obviously there is going to be disagreement, but it sums up the album quite well.

[Kensterberg]

Honestly, I think that Erotica was a great piece of pop provocation. And as a pop artist -- really, as a piece of walking talking dancing singing performance art -- Madonna has had a hell of a career.

I also agree with Matt that "Human Nature" alone is enough to get Madonna a permanent display in the HoF video wing. For that matter, she's been arguably the most important video artist of the last twenty-five (or more) years.

[skvorisdeadsorta]

All I remember is that video where she's working in a peep show with that little kid staring at her.......and for some reason I thought it was really creepy, but really hot.

[Matheus]

kenholzman said:

Honestly, I think that Erotica was a great piece of pop provocation. And as a pop artist -- really, as a piece of walking talking dancing singing performance art -- Madonna has had a hell of a career.

I also agree with Matt that "Human Nature" alone is enough to get Madonna a permanent display in the HoF video wing. For that matter, she's been arguably the most important video artist of the last twenty-five (or more) years.

Totally, Ken. I think you said it best with "a piece of walking talking dancing singing performance art -- Madonna has had a hell of a career." She is a performance artist... she entertains. It is what flows through her career and made her memorable. I do not think she would be half as important without all those components. I also don't think she would be half as huge without being provocative.

I might find her music brilliant, but I don't hold music to as a high of a standard as some people, and I understand the frustration with that. Would she be half as huge without the other components? No. But would she have been half as huge without music? No. It all comes together in the end to create this coherent idea of what we view as "Madonna."

I don't understand the backlash against her. She's never claimed to be the most brilliant musician. She's always been true to "Madonna." People might not like what she has to say, might not like her music, might not like what she stands for... but she's stayed true to what is "Madonna."

Hate on her, it's okay... she loves the slaps.

[Matheus]

skvorisdeadsorta said:

All I remember is that video where she's working in a peep show with that little kid staring at her.......and for some reason I thought it was really creepy, but really hot.

Open Your Heart... the one with all the guys at the peep show. Great video. You can see the draw of the kid towards what society says you should not be drawn to. Then Madonna dances with him at the end.

It was directed by Jean-Baptiste Mondino, the same guy who directed Human Nature (along with Justify My Love, Love Don't Live Here Anymore, Don't Tell Me, and Hollywood).

Someday I'll probably end up teaching a class on Madonna...

[skvorisdeadsorta]

Personally, I think she should be allowed into the Hall of Fame for "Lucky Star".

I am also a big time fan of "Bedtime Stories", which I think is a fantastic record.

[Matheus]

Madonna's Greatest Video Accomplishments (in order of appearance):
Part One

1. Material Girl (1985)
Anyone who saw this video, and still considers her the "Material Girl" is an idiot.

2. Papa Don't Preach (1986)
Controversial for some reason. I wouldn't have guessed it, but it is so.
"It was criticized by parents and women's organizations because it seemed to glorify teenage pregnancy. Madonna has always flatly denied these criticisms, stating that the song aims to illustrate the real-life experience of young girls who fall in love."

3. Open Your Heart (1986)
"Groups were outraged at the use of a minor entering a strip club and sharing a kiss with Madonna at the end. Madonna described the video as a statement about innocence."

4. Like a Prayer (1989)
One of Madonna's most brilliant videos, and most people who actually think she has some artistic merit agree. "It attracted criticism for its subplot of Madonna making love to Saint Martin de Porres, its use of Catholic iconography, including a scene where Madonna develops stigmata, and cross burning imagery, but also garnered praise for its interpretation on discrimination, rape, and faith."

5. Express Yourself (1989)
Directed by David Fincher, who has worked with Madonna on several videos. "Madonna is seen as the epitome of femininity, residing with her cat high above the masculine world of hard work and steam, at once protected and isolated by her surroundings and "chained" to her desires."

6. Oh Father (1989)
Directed by David Fincher, and one of my personal favorite Madonna videos. I like the juxtaposition between young Madonna and Madonna grown up. The scene with the mother's lips sewn shut is probably one of the most emotionally affective scenes in a music video that I've ever seen.

7. Vogue (1990)
Once again, directed by David Fincher. "Filmed in black-and-white, the video recalls the look of 1930s Hollywood films with the use of artwork by the Art Deco artist Tamara de Lempicka and an Art Deco set design. Many of the scenes are recreations of photographs taken by noted photographer Horst P. Horst, including his famous "Mainbocher Corset". Some of the close-up poses recreate noted portraits of such stars as Marilyn Monroe, Veronica Lake and Marlene Dietrich."

8. Justify My Love (1990)
This goes without saying. It was banned for depicting sadomasochism, homosexuality, partial nudity, and other sexual innuendos. It was brilliantly filmed.

9. Erotica (1992)
Showed on MTV three times, and every time after midnight. Shot during the making of the SEX book.

10. Take a Bow (1994)
The video that helped Madonna gain the role of Eva Peron in Evita. The part on the bed almost made me renounce my homosexuality.

11. Bedtime Story (1995)
"My Bedtime Story video was completely inspired by all the female surrealist painters like Leonora Carrington and Remedios Varo. There's that one shot where my hands are up in the air and stars are spinning around me. And me flying through the hallway with my hair trailing behind me, the birds flying out of my open robe - all of those images were an hommage to female surrealist painters; there's a little bit of Frida Kahlo in there, too." - Madonna

12. Human Nature (1995)
I love when she spanks the chihuahua. The video was heavily inspired by comic artist, Eric Stanton. It's typical Madonna winking, and in response to the Erotica controversies and the backlash associated with it.

End of Part One

All quotes other than those attributed to something else are from wikipedia.

[Matheus]

skvorisdeadsorta said:

Personally, I think she should be allowed into the Hall of Fame for "Lucky Star".

I am also a big time fan of "Bedtime Stories", which I think is a fantastic record.

there is something about those earlier videos... like the spontaneity... less pretentiousness.

[KooL]

Skvor's right about that "Open Your Heart" video. That was insanely hot. The best part was her stripper outfit. I'm sure anyone who's seen it knows why.

As far as her music is concerned, you gotta hand it to her, she didn't really make a bad record up until American Life. A 20 year stretch of good albums is pretty remarkable if you think about it. Everything she released before that album ranged from good to excellent.

[Matheus]

sb said:

Skvor's right about that "Open Your Heart" video. That was insanely hot. The best part was her stripper outfit. I'm sure anyone who's seen it knows why.

As far as her music is concerned, you gotta hand it to her, she didn't really make a bad record up until American Life. A 20 year stretch of good albums is pretty remarkable if you think about it. Everything she released before that album ranged from good to excellent.

If you pause it just right during the Papa Don't Preach video... you can see her nipple... just a heads up.

And I'm totally with you on Madonna's music, except I liked American Life. It was somber, and there were a few duds on it, but all in all it was pretty decent, IMO.

I think I'm the only one though.

[Ampage]

Wow - these posts are really making me remember what I loved about her. I remember being at a small party when Lucky Star came on MTV and EVERYBODY stopped what they were doing for 3 minutes. Talk about having "it" from the get go. That certainly isn;t one of my fave songs from her, but she just exudes something there - besides sex. Some of her earliest songs (Burning Up, Everybody, Love Don't Live Here Anymore, Borderline) are still far superiour to some of the filler she included on later albums.

I think I have bought everything she ever did up to whatever was after the Music cd.

I gotta go pull some of that out.

[Matheus]

Here are some excerpts from an article published in the current issue of Entertainment Weekly titled ''Madonna, Radiohead Moves Rock the Music Biz - The Material Girl dumps her longtime label for millions, while the alt-rock titans let fans download their new album for free. A week of maverick moves could forever change the industry’s tune''.

One is arguably the biggest pop star of the last 20-plus years. The other is a quartet of pasty English eggheads given to song titles like ’’Weird Fishes/Arpeggi.’’ On the surface, they don’t have a heck of a lot in common. But in a single week, Madonna and Radiohead just might have permanently transformed the music industry.

On Oct. 10, Radiohead, one of the world’s most beloved, respected, and unpredictable bands, self-released their first new album in four years. (Capitol had put out their previous six discs.) The rabidly anticipated new album, In Rainbows, is currently available only as a download through the website InRainbows.com. When it comes time to pay, you’ll encounter four short words that might come as a surprise: ’’It’s up to you.’’ The album’s price, that is. Five dollars? Your call. Ten? Sure, sounds good. Nothing at all? Hey, whatever works for you. ’’I’m just glad everyone’s hearing it at the same time,’’ says Radiohead guitarist Jonny Greenwood. ’’That was the point, really.’’

He’s being modest. Radiohead’s sliding-price release is a potentially game-changing tactic, perhaps the strongest indication yet that the record industry will in fact redefine itself — in order to survive. The same day In Rainbows went on sale, news broke that Madonna will leave Warner Bros., her home of 25 years, to sign a reported $120 million deal with tour promoter Live Nation that will include albums, touring, merchandising, and licensing. That’s right, Madonna is about to entrust her future to a company that has never sold a single album.

And it’s not just Radiohead and Madonna. Lately it seems like fewer and fewer established artists want to be on traditional labels. [...]

All of which makes us wonder: Could these developments herald the eventual demise of the label business? Well...maybe. ’’I think it marks the beginning of a new era in how record companies function, but I wouldn’t call it the beginning of the end,’’ says Liz Rosenberg, Madonna’s longtime Warner Bros. publicist. ’’For the last year or two it’s become much more crystallized that everyone in the business has to explore new ways of being profitable. The combination of Radiohead and Madonna these last few weeks is a big shift.’’

Of course, what works for major stars probably won’t work for everyone. [...]

These days, the most reliable money is in still-healthy areas like touring, publishing, and licensing. Which is why, as intriguing as the Radiohead release is, the Madonna deal could end up being more significant. The singer’s contract with Live Nation — which takes effect after she delivers one more new album and a greatest-hits disc to Warner Bros. — is a 10-year deal covering, among other things, at least three albums, all of her tours, and merchandise sales.

This sort of contract is known as a ’’360 degree’’ deal, where a single company gets involved in all aspects of an artist’s career. They’re becoming increasingly common (Korn and Robbie Williams signed huge 360 deals with their labels a few years ago), and many label execs believe that’s where the future lies. ’’Soon a lot of these companies won’t define themselves as record companies,’’ says Steve Greenberg, the former head of Columbia Records who now runs the independent record company S-Curve. ’’They’ll define themselves as artist development companies. If you’re involved in an entire career with an artist, then everyone’s interests can be aligned. If for some reason an artist winds up having an unsuccessful record career but a tremendously successful career as a songwriter or as a performing artist, I’m happy for them. I’m not happy if I only have [profits from] the recorded music.’’

[...] Madonna’s Live Nation deal is a wrinkle that could flummox some big labels. By breaking down well-defined boundaries between record companies, tour promoters, publishing, and other revenue sources, labels could open themselves up to a lot more competition. ’’The Madonna thing is interesting because it’s a major corporation that’s not a record company saying that they’re the whole dog, not just the tail of the dog,’’ says Gold Village Entertainment CEO Danny Goldberg, who managed Nirvana and has run three labels. ’’There’s sort of a paradigm shift in terms of where the real driver of the business is. Now the live career is what’s driving it all. But it’s encouraging to me that an artist can still command a nine-figure deal, that they can still have that kind of career at this stage. It shows that the music business is still very healthy — even if the record business is going through a tough time.’’