Pace’s book, in turn, zeroes in on lesser-known moments of pop divas’ careers as if testing pressure points in their body of work. It’s a credit to the richness of Madonna’s work that there is still something new to say about her, particularly after Mary Gabriel’s recent doorstop biography. Pace, a self-identified “reformed disciple of Madonna’s Kabbalah,” with three Hebrew tattoos to show for it, offers a fascinating take on the pop icon’s mid-career period of spiritual interest which is often remembered as a punchline. The author traces a pattern of Kabbalistic “existential enquiry” from 1994 to 2004, unlocking seductive new interpretations of Evita’s “Lament,” Bedtime Stories, and the 2004 Re-Invention World Tour. An essay on Cher’s film work notes the “unapologetic eroticism” of her characters in Mask and Mermaids, while a 1991 Whitney Houston live performance of Leon Russell’s “A Song for You” is read as a desperate message to Houston’s former assistant, Robyn Crawford. Meanwhile, a playful chapter titled “Mariah, Fiona, Joanna, and Me” affectionately lists the ten-dollar words of Carey, Apple, and Newsom, framing their linguistic somersaults as a kind of a dance in the margins of genre’s playbook.
Pace’s anthropological approach and generosity of spirit come alive in an essay on Rihanna’s “Work,” which reframes the 2016 hit as a piece that is in conversation with Barbadian tuk and Jamaican dancehall. The genres have roots as music of rebellion, thriving in reaction to white oppression as examples of “an expressive possibility [that] flourished out of a prohibition.” “Work,” Pace writes, is a testament to Rihanna’s “queer powers of survival, adaptation, and dynamic negotiation in her articulation of selfhood,” and “recoding” a white Western perception of the margin.
The writer is just as compelling on artists who embrace sounds on the relative periphery. The “lovely ugly” tones of Kim Gordon were a comfort for Pace when living on a knife’s edge in New York as a young adult, scraping by on an entry-level publishing job, subsisting on coffee, bread, and peanut butter. Sonic Youth’s most exploratory music marked an encounter with an “oceanic feeling” that the author craved; they describe it, quoting French philosopher Julia Kristeva, as a desire for “losing the boundaries of the self… into the pain-and-joy of becoming fluid, of liquifying oneself to be other.” Pace hears this molten flux, as well as melancholic longing, in the band’s 1995 “The Diamond Sea.” “At the crest of its extended, formless, instrumental bridge, the guitar overtones conjure sunlight strafing the inmost curl of a breaking tidal wave,” they write.
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