“It just got lost”: Madonna on the biggest disappointment of her entire career
For musicians who have been in the business as long as Madonna, reflecting on the mishaps and missed opportunities is expected. Mostly, these ponderings are neither here nor there, as they rarely distract from the other, more career-defining achievements that made her one of the more groundbreaking artists in the game. For Madonna, however, there is one disappointment that she struggles to let go of.
Considering the countless sprinklings of influence of today’s genre-blending revolutionaries, it’s almost easy to overlook the monumental impact instated by Madonna. After all, she didn’t just deliver hit after hit; she redefined and recalibrated an entire era with fearless concoctions of anything and everything, continuing the dance-pop fervour of early pioneers with a refreshed perspective.
At the same time, Madonna’s reign arrived with such a commanding, feverish presence as a result of a handful of earlier greats, like the innovative new wave embellishments of Blondie and the disco rhythms and melodies of pioneers like Donna Summer. Madonna, therefore, wasn’t just a much-needed amalgamation of her legendary influences; she progressed with unparalleled drive, provoking with just as much intent to lead the industry forward.
However, it’s often Madonna’s push to incorporate unmistakable forward-thinking themes, sounds and topics that makes her appear too ahead of her time to fully resonate among some audiences. One of the most notable instances of her thinking too outside the box for the kind of mainstream splash she intended to achieve was with the Erotica album, which she released alongside Sex, a book featuring erotic photographs, aligning with the record’s themes of sex and romance during an era troubled with crises like the HIV/AIDS epidemic.
For some, the record and its concept were revolutionary. Not only did Madonna seem to have departed slightly from the earlier, more dance-leaning sounds of her other records and hits, but she also incorporated notes of hip-hop and techno, signalling a singer on the precipice of progressive artistic expression, the kind that was unafraid to embrace sociopolitical themes and hold a mirror up to society.
At the same time, many felt the themes were too controversial and the sounds too inaccessible, which contributed to a broader preconception about what the album was and what it represented, pushing those away who hadn’t even pressed play yet. For Madonna, this was a huge disappointment, as it meant the views of a select few influenced other potential listeners, alienating them from something they might have enjoyed if they had given it a chance.
As she explained in 1994 to Paul Du Noyer, the biggest disappointment of her career was “the fact that my Erotica album was overlooked because of the whole thing with the Sex book.” She continued: “It just got lost in all that. I think there’s some brilliant songs on it, and people didn’t give it a chance. That disappointed me, but I’m not disappointed in the record itself.”
Albums being eclipsed by a broader, less embracing view is, unfortunately, not an uncommon occurrence in the music industry, especially when it comes to overarching cultural moments and whether material seems to fit the zeitgeist enough to be given appropriate attention. With Erotica, however, it was clear some audiences weren’t ready for such confrontation and chose instead to shun its artistic potential without realising its importance.
