Wunderkammer: Character Development in 80s Music
Whenever I struggle with character development, I turn to James Wood, then Sheila E.
Thats right. Sheila E.
Heres what Wood has to say about character development, in his book How Fiction Works:
There is nothing harder than the creation of fictional characterThe unpracticed novelist clings to the static, because it is much easier to describe than the mobile: it is getting these people out of the aspic of arrest and mobilized in a scene that is hard.
Wood goes on to give the example of a sentence he finds particularly effective in a Maupassant story, La Reine Hortense: He was a gentleman with red whiskers who always went first through a doorway.
Wood wants to see a character in action, making choices; he wants to see how he talks, and whom he talks to ??? how he bumps up against the world.
There are, strangely, three 80s songs which I think demonstrate this concept beautifully.
1. The Glamorous Life by Sheila E
This song, written by Prince, contains one of the most memorable song characters of my childhood. The materialistic woman Sheila E describes wears a long fur coat of mink, even in the summertime and drives a big, brown Mercedes sedan. The woman then spies a man in the if-you-have-to-ask-you-cant-afford-it-lingerie section, throws money at him; they drive off to 55 Secret Street and do the deed. The money-grubbing cynic falls in love.
I know this woman. Well, I dont know her (types like that dont hang out in Shaftsbury, Vermont) but I know what she looks like, what she might say, and how, you know, she bumps up against the world.
2. Eyes Without a Face by Billy Idol
I like to think of the songs narrator as Billy himself, which is why Im always so fascinated by this songs, um, protagonist. The character – lets just make a leap and say Billy ??? is heartsick, far from home (tour bus?), and is taunted by a woman who calls just to tell him shes alone. (Cue snarling lip, flaming pentagon shapes, fog machine, and Linn drum beat.)
Hows this for character-defining action: I’m on a bus, on a psychedelic trip,
reading murder books, tryin’ to stay hip.
Ever done that before? Me neither.
3. All She Wants to Do is Dance, by Don Henley
When I was four, two songs came out that made me believe that there were women in the world afflicted with a genuine sickness: the compulsion to dance and party 24/7. All She Wants to Do is Dance by Henley and My Girl Wants to Party All the Time by Eddie Murphy, at surface level, seem to spin a tale of similar women, but Ill wager that only one of these characters has staying power.
The female antagonist of Murphys (ill-advised and Rick James-produced) song could be any woman, in any town. She just ??? well, Murphy makes it pretty clear ??? wants to party all the time, party all the time, party all the ti-ime.
Henleys girl, on the other hand, wants to dance and make romance in the face of oppressive heat and dystopic conditions. Shes surrounded by prisoners, terrorists, Molotov cocktails, and wild-eyed pistol wavers who aint afraid to die. And this scenario, it appears, is a turn on.
Muse-worthy behavior, and a memorable character.
What examples do you have?