Kylie : A Manufactured Product
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Kylie Minogue is barely known in the US. I wound up listening to her because the Pet Shop Boys like her. And I was instantly won over. At least to the small portion of her back catalog that I’m familiar with (many of her CDs are just too expensive since they never came out in America).
There’s a girlish quality in her singing (which could be a producer’s effect for all I know) that resonates me in an odd way. The same is true - but hits a different part of my auditory erogenous zone - of Diana Ross (listening to The Supremes as a little boy had a strong effect on some of my musical tastes as an adult).
Now, I know that a pop singer is often a producer’s product. Evidently Kylie does as well. Many a pop star should’ve had the same insight before they let flatterers lead them away from the source of their success and into oblivion.
Deflecting curiosity in 2002, Kylie said she could not imagine writing her memoirs: “I don’t feel there’s much of a story to tell.” Unintrospective on principle, she happily defines herself as “a manufactured product”, engineered by the marketers. Of course she is merchandise and she exists to sell trinkets and trophies that have been graced by association with her. The impresario Pete Waterman, who hired her for his aptly named Hit Factory in 1987, remarked when they met that, “There was something about her. If you could bottle it, you’d be a billionaire.”
I’m not sure what that something is but I do like it an awful lot.