Like Madonna’s 2018 collaboration with Quavo and Cardi B on “Champagne Rosé,” “Popular” marks another unexpected trifecta in terms of musical partnerships for the Queen of Pop. And yet, as also indicated by “Champagne Rosé,” it’s clear Madonna wants to be more involved in the genre of music that tends to outshine pop in the present landscape. Because, save for Taylor Swift, it’s difficult for people to get “excited” about pop music anymore. Certainly not the way they once did when Madonna first rose to fame in the early 80s. Indeed, it’s easy to say that Madonna invented pop as we know it, itself a diminutive of popular. Which brings us back to the title of the song she’s featured on, along with Playboi Carti, by The Weeknd. As the second single from The Idol’s soundtrack, The Idol Vol. 1, it arrives just two days before the series’ official premiere on HBO. Those who have been following the drama of the series’ rollout are aware that it isn’t exactly “on-brand” with Madonna’s usual liberal-sanctioned philosophy vis-à-vis toxic masculinity. But the “brains” behind the show claim that parading toxic masculinity is the point. Or used to be before “it went from satire to the thing it was satirizing.”
Unfortunately, speculation about the reshoots involved stem from how “the original version of the series…focused heavily on the ‘female perspective,’ which both The Weeknd and Levinson took issue with.” This was around the time writer-director Amy Seimetz bowed out of participating in The Idol when it was eighty percent finished. Who knows if that was before or after Madonna agreed to collaborate on a song for it (perhaps in part due to one of her go-to producers, Mike Dean, appearing on the show…in addition to co-producing “Popular” with Metro Boomin)? But either way, it’s clear that M might have been drawn to the story as a result of its own resonance with her pre-fame drive. And while, sure, everyone is making the automatic comparison between Lily-Rose Depp’s Jocelyn character and Britney Spears, the OG for fame hunger as a pop star will always be Madonna. As the now well-known lore goes, a nineteen-year-old college dropout Madonna moved to New York in 1977 with nothing more than thirty-five dollars in her pocket and a dream. She didn’t precisely know what shape the dream of being famous would take, but she knew it somehow involved “the arts.” Initially, she thought that meant being a dancer (not the topless kind, mind you), but soon realized that entailed blending in when all she wanted to do was stand out.
Thus, her next foray into fame-seeking was being in a band…as the drummer. But it didn’t take her long to see that she was still in the background that way, too. She needed to be front and center. She needed to be a solo act. By 1982, she had betrayed many people along the way to get a record deal with Sire (Seymour Stein signed her while in a hospital bed, but Madonna couldn’t have cared less—she just wanted the contract, to make that Faustian pact, as it were). So if anyone can sing the lyrics to “Popular” (not to be confused with M.I.A.’s song of the same name) with conviction, it’s Lady M. After all, the chorus goes, “Beggin’ on her knees to be popular/That’s her dream, to be popular/Kill anyone to be popular/Sell her soul to be popular/Popular, just to be popular/Everybody scream ’cause she popular.” And everyone was screaming because Madonna was so popular by the time The Virgin Tour took hold of stages throughout the U.S. in 1985. In fact, no female artist until Madonna seemed to attract hordes that would scream so much. Before Madonna, such ardor was reserved solely for male bands and solo acts (see: Beatlemania). Hence, Madonna later reflecting on those “wannabes” as follows: “If I was a girl again, I would like to be like my fans, I would like to be like Madonna.”
Britney certainly wanted to be like Madonna too, never hiding her love of Mother Pop Star as her career took off. It was in 2003 that the trio (a more logical trio than Madonna, The Weeknd and Playboi Carti) of M, Britney and Christina Aguilera took the MTV VMAs by storm when the Queen of Pop kissed both Princesses of Pop. But it was the beso with Britney that grabbed the most headlines, with splashy images of their kiss reprinted and replayed everywhere. Certain types might have likened it to some kind of “illuminati ritual,” while Madonna referred to it simply as symbolically “passing the baton” of pop stardom to a younger generation. And yet, Madonna would never “take a bow” regardless of such statements feigning that she’s “lost her influence” somehow. If anything, Madonna remains more relevant than ever in an era where the conversation about famous women aging while “refusing” to leave the spotlight has become, somehow, a hotbed issue. Enter the lyrics to the chorus that go, “She mainstream ’cause she popular/Never be free ’cause she popular.”
But Madonna has never really wanted to be “free” from fame, despite recent posturings about family being her more valued focus. Because fame was always, whether she was fully aware of it or not, the only way she could fill the void where her mother’s love had been lost. Dead at the age of thirty, when Madonna was just five, the loss of Madonna Ciccone Sr. to breast cancer was one that the junior M would feel all her life. The type of black hole that would prompt a girl to seek out becoming the most beloved, famous woman in the world (until being beloved gave way to being constantly condemned). So when she opens “Popular” with the solemn lines, “I’ve seen the devil down Sunset/In every place, in every face,” she knows what she’s talking about. Funnily enough, however, Madonna has never styled herself as much of a “Hollywood type.” Sure, like any famous person, she’s set up shop there via real estate (including her purchase of The Weeknd’s Hidden Hills property in 2021), but, by and large, she’s never really made it her home à la, say, Lana Del Rey.
When she was first “initiated” into fame, she definitely spent more time drinking Hollywood’s Kool-Aid, complete with living in Malibu after marrying Sean Penn and taking a shine to L.A. life during her “movie star era” that consisted of dating Warren Beatty and being one of the leads in his 1990 comic adaptation, Dick Tracy. Yet Madonna seemed forever beholden to the opposite coast, constantly going back to it and eventually writing off Los Angeles as somewhere “for people who sleep.” Not to mention writing an entire song (called, what else, “Hollywood”) about the false seduction of the place formerly known as El Pueblo de Los Angeles. The Weeknd has expressed similar opinions in his music, including lyrics like, “This place is never what it seems…/Take me out of LA/This place will be the end of me.” This from a song entitled, appropriately, “Escape From LA.” Elsewhere on that After Hours track, The Weeknd also criticizes (despite insisting “I don’t criticize”), “LA girls all look the same/I can’t recognize/The same work done on their face.” On the same album, The Weeknd declares on “Snowchild,” “Cali was the mission but now a nigga leaving” in relation to the epiphany that fame isn’t all it’s cracked up to be.
Madonna would explore that topic in detail on one of the first records of its kind, Ray of Light, particularly via the opening track, “Drowned World/Substitute For Love.” A song that began to bubble up after giving birth to her first child, Lourdes Leon, in 1996, at which time Madonna was suddenly in search of greater meaning in her life. Hence, turning to Kabbalah for spiritual comfort in her erstwhile material world. Eventually, Madonna would render Kabbalah into another trend as well, with many celebrities in the early 00s sporting the signature red string, from Demi Moore and Ashton Kutcher to Angelina Jolie to none other than Britney Spears herself. This being one reason why Madonna chose to sardonically sport a “Cult Member” t-shirt while leaving the Kabbalah Center circa 2004 (L.A., to be sure, has just as many cult leaders doubling as members). For, after M and Brit performed together at the VMAs in ’03, the latter adopted the red string bracelet signifying her “Kabbalah commitment” as well, intended to ward off the “evil eye.” If that was the case, maybe Brit actually shouldn’t have taken it off so soon after declaring in 2006, “I no longer study Kabbalah. My baby is my religion.” Because it was 2007 when shit would really start to hit the fan for her. Indeed, that’s the period of Brit’s life that The Idol appears to be “inspired by,” with The Weeknd obviously playing the Sam Lutfi figure.
Spears and Lutfi met at a nightclub at the end of 2007 and, fittingly, The Weeknd plays nightclub owner/“self-help guru” (a.k.a. cult leader) Tedros. Like Lutfi, Tedros seems to have a knack for “attaching himself to celebrities, often at vulnerable moments for them.” And no one was more vulnerable than late ’07 Britney (which is perhaps how Lutfi was allegedly able to feed her a steady cocktail of Risperdal and Seroquel). In this sense, Madonna stands out as a singular pop star for her strength and bulletproof nature, seemingly designed to endure media scrutiny and unremitting criticism without letting it get the better of her. As she says in her “Popular” verse, “I know that you see me, time’s gone by/Spend my whole life runnin’ from your flashin’ lights/Try to own it, but I’m alright/You can’t take my soul without a fuckin’ fight.”
Madonna’s love of religious motifs in her lyrics continue with, “Put it in her veins, pray her soul to keep.” This fixation on praying and keeping one’s soul is also present on a song like 2015’s “Devil Pray,” during which Madonna sings, “But if you wanna save your soul/Then we should travel all together/And make the devil pray” and “Ooh, save my soul/Devil’s here to fool ya.” Devil imagery has also come up in Madonna’s recitation of the Book of Revelation on 1990’s “The Beast Within,” as well as 2008’s “Devil Wouldn’t Recognize You.” Her frequent lyrical ruminations on a battle between good and evil is clearly culled not just from her Catholic upbringing, but her extensive time spent in a world where carnal temptations are the name of the game. And not everyone is able to resist (on a pertinent note, Madonna has always been well-known for her abstinence…from drugs).
At varying points in the trailer for The Idol, Tedros says things to Jocelyn like, “You’re the American dream. Rags to riches. Trailers to mansions” and “You’re not a human being. You’re a star.” Both of these sentiments more overtly apply to Spears (though Madonna didn’t exactly grow up in “baller” circumstances either) as she’s been turned into tabloid fodder in a manner that Madonna wasn’t—not to the same extent, anyway—in her early career. For she came up at a time when TMZ-level shaming had not yet become a phenomenon. Thus, back in late November of 2021, Spears wrote on her always cryptic Instagram, “I just shot a movie titled “THE IDOL”… it’s guaranteed to have hits and a lot [of] bright pics to put in my beautiful family’s faces!!!!!”
Months later, Spears appeared in a photo with Levinson and The Weeknd. It hardly seemed a coincidence. Nor does it that Madonna is involved in the soundtrack. For not only can she speak to the kind of fiendishness for fame that “Popular” dissects, but she also witnessed Spears breaking down and breaking free (showing up to her wedding as an honored guest to support that coup) in real time. So from whatever angle one looks at it, no one has a better view on this subject matter than Madonna. Thus, even if the show isn’t “brilliant,” at least Madonna “joining the cast” on “Popular” is.
[…] Genna Rivieccio Source link […]