Music as Experience, Music as a Means to an End

Here’s an interesting article on Madonna’s early career, and on the people who helped her make her first album and then present herself to the world for the first time:

Madonna’s Debut Album at Thirty: An Oral History | Music News | Rolling Stone.

I love getting a glimpse behind the curtain of the music business. I like getting a little taste of what it was like to be in the room while cultural/artistic/musical history was being made.

On that note, I heartily recommend the Classic Albums series of documentaries. You can get them on Amazon for cheap. They chronicle the making of some of the finest musical works of the 20th Century.

http://www.amazon.com/s/ref=nb_sb_noss?url=search-alias%3Dmovies-tv&field-keywords=classic+albums

Anyway, it’s amazing to hear iconic musical moments explained. It’s inspiring, it’s educative, and it’s titillating, all at the same time. And it helps to demystify things that were carefully crafted to be mystifying. I like that. It’s okay to enjoy the spectacle, I think, but it’s important to understand just how much work goes into making something so difficult seem so easy.

Madonna, by all accounts, worked really, really hard to make difficult things seem easy.

Back in the day, the barriers to entry were high. Just getting a song recorded was a challenge: the technology required to do even a decent job of it would fill a small room and cost a small fortune, never mind paying someone who knew how to use that technology.

And in order to get into that recording studio, in order to spend time there with people who knew what they were doing, you had to impress someone at a record company: they opened the doors, they provided the money, the connections and the access. And in order to impress the record company you had to have something they could sell, something they were willing to take a chance on, something that made them want to call every musician, producer, songwriter, stylist and photographer in their Rolodex.

According to everyone who was there at the time, Madonna had “Star Power”, and in spades. Nobody thought she was a great singer. She was only a pretty good dancer. She wasn’t quite gorgeous. But when she walked into a room, everyone turned and stared. She had presence. She was sexy. She was smart as a whip. And she maximized everything she had in the service of her ambitions. Nobody who met her doubted her.

What was she after? She charted a number of fine pop songs, but it’s difficult to make the case that her music demands careful attention, or even much respect, the obvious exception being some of her work with Nile Rodgers on the album Like a Virgin. Rather, music seems to have been a means to an end for her, a vehicle to carry her to fame and fortune. Fair enough. She earned it.

They say it’s impossible that we should ever again see the rise of a celebrity as huge as Madonna was in her heyday. That seems a safe bet: pop songs aren’t as clever or as catchy or as musical as they used to be; the record companies are shadows of their former selves, with only traces of the money and power and influence they used to wield; and our pop stars are smaller now, too, with less talent and less charisma.

But my point is this: Madonna’s primary talent was not musical, though she made (with a lot of help) some very good pop music. Madonna’s singular gift was for self-presentation.  And she exacted a profound influence on our culture, at a time when our culture was ripe for that sort of influence.

More on that in a bit.

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