BY SLOBODAN ANTONIJEVIC
Growing up in a country where inflation was measured in thousands and banknotes displayed billions, while at the same time trying to avoid the supposedly democratic, friendly, and for-our-own-good NATO bombs, was certainly a tough and challenging experience for a young man in his late twenties. However, every crisis inevitably produces its adaptive mechanisms; after all, people are, by nature, designed to survive.
A common phenomenon—and a survival tool—during such crises is the creation of a strong black market. When a government becomes dysfunctional and controlled by corrupt politicians or influential power forces, the black market can benefit both the poor and the rich. For instance, in the country where I grew up, during the period of EU and US sanctions, the president’s family were reportedly the main importers of oil, cigarettes, and other essential commodities. These goods were not available in regular shops; they could only be found on the street.
Unlike the EU and UK, where privileges are often politely disguised and granted through the “back doors” of ruling parties, the ruling class in my country at that time made little or no effort to hide the fact that they used their influence for enormous profit by selling essential goods on the black market—overwhelmingly at the expense of ordinary citizens.
The black market of that era was mostly concentrated in the towns’ central market areas or scattered along various streets. It attracted large crowds but also a significant police presence. The police, however, were not there to stop criminal activity; their task was to ensure that the black market operated smoothly, particularly the sections selling essential goods imported by the ‘some more equal than others’ individuals mentioned earlier.
Aside from protecting those interests, the police showed little concern for anything else being sold. That was one of the market’s strange charms. CDs, DVDs, games, and other entertainment media were widely available at very low, affordable prices. Of course, they were all pirated copies—CDs mass-produced using high-speed Philips or Sony duplicators. They usually came in thin plastic cases with faded colour inlays, but they still sounded fine on a good hi-fi system. Those high-quality systems were a privilege enjoyed by only a few; the rest of us relied on cheap Chinese imitation CD players branded with famous names. Like some of the Amstrad systems I’ve seen in the UK, these units came with lots of flashing lights and bulky plastic casing, but little real quality. Still, they were all that I could afford at the time.
Despite the limitations, I had a decent selection of CDs. I must admit, during the days when my mother and I struggled to make ends meet—and while those democratic and friendly NATO bombs and missiles targeted us daily—listening to music was a panacea, a healer that kept me going.
A good friend of mine, an emotionally perceptive young woman, suggested I listen to Madonna’s then-new album Ray of Light. She found it spiritually advanced—an album operating on a higher level of consciousness. Copies were easy to find on the black market, so I picked one up immediately. But when I played the disc on my (terrible) CD player, I removed it after 10–15 minutes. I simply couldn’t enjoy it. The overwhelming low-frequency themes, heavy bass, eerie atmosphere, and gloomy tones felt deeply off-putting. I assumed my friend was going through one of her depressive phases, during which she often viewed the world as a dark place.
Fast forward a few decades. Recently, I visited a local UK charity shop and—boom, there it was—the original Ray of Light CD, priced 10p! Naturally, remembering my earlier experience, I felt some hesitation, even anxiety, unsure how it would sound. Heavy bass was never my cup of tea.
How wrong I was! From the moment I picked up the original case, felt the glossy printed inlay, and played the title track—’Ray of Light’—I found myself glued to the chair, cancelling all my plans until the last song finished. That was another “boom, there it is” moment for the day! It seemed I had forgotten that decades had passed, and that I now owned a much better CD player with a DAC, a good amplifier, quality speakers, and studio-grade headphones.
Motivated by this renewed appreciation, I decided to research the album further. It soon became clear that Ray of Light stands apart from the rest of Madonna’s work. Many consider it her magnum opus. Interestingly, it was also the album that took her the longest to record, and it went on to win numerous awards.
For this album, Madonna collaborated with the acclaimed electronic music producer William Orbit. Orbit was well known for experimenting with analogue synthesisers such as the ARP 2600 and Roland Jupiter-8, demonstrating a remarkable ability to create futuristic electronic textures not widely heard at the time. One could argue he was among the pioneers of this new sound.
According to sources summarised on Wikipedia, Madonna was undergoing significant personal transformation during this period:
- She became a mother in 1996.
- She began studying Kabbalah, Hinduism, and Buddhism, and practising Ashtanga yoga.
- These experiences sparked a deep spiritual and introspective phase, which she wanted to express musically.
- She moved away from the provocative, controversy-driven persona of the early ’90s and embraced themes of self-discovery, mortality, and transcendence.
Her partnership with Orbit created the perfect environment for Madonna to express this new self and share the metamorphosis she had undergone.
The album explores themes of spiritual rebirth, purification, letting go, mantra, fulfilled with cosmic energy and euphoria. This is reflected through expansive soundscapes, deep bass lines, and atmospheric layers that create a sense of space and meditation.
Many tracks feel both uplifting and melancholic, grounded yet transcendent. For instance, in ‘The Power of Goodbye’, I sensed an overwhelming emotional weight paired with a rising feeling of hope—a kind of high frequency reaching astral wisdom. Similarly, ‘Ray of Light’ amplifies themes of joy and spiritual awakening. ‘Sky Fits Heaven’ gives a strong mystical, destiny-driven optimistic emotional tone with the hope for eternal life.
Intriguingly, the album contains 13 songs, and the final track, ‘Mer Girl’, stands out. To me, it felt dark, unsettling, and emotionally heavy—a stark contrast to the rest of the album. While it appears Madonna was processing her mother’s death, I originally speculated that she might also be exploring themes of generational trauma or the darker side of fame. Recent Epstein files discovery, the Harvey Weinstein case, Mel Gibson’s testimony, and similar cases raise the question of whether Hollywood really is such a great place as portrayed in the mainstream media. I would even further contemplate whether Madonna wanted to pass on some messages to the public, or reconnect with her mother seeking some help and salvation.
Madonna’s Ray of Light album was one of the last great pop albums before the advent of streaming and excessive compression, from a time when having a tangible recording with the record company’s artwork meant something more than just hearing the music.
The ray of light is more than the name of a Madonna album. If we are receptive, we can all be empowered to do more than simply exist in this world for four-score years, but to experience joy and enlightenment.
Slobodan Antonijevic is a Serbian – British freelance writer and social commentator exploring the intersections of music, history, history, and human behaviour. His work reflects a deep interest in cognitive psychology, emotional intelligence and politics.