So, my Virgin America flight to L.A. wasn’t so bad since I spent my times listening to this great podcast; The Half Hour Intern – the podcast is about people that do extraordinary things, like you! in all honesty, if you are doing something worth talking about (which YOU ARE!) you can submit yourself :
In a nutshell, cuz I really want you to listen to it – the host is Blake Fletcher, he’s a millennial, and he’s an informationaholic! He has great questions, and Brent Underwood in episode #73, has really clever, interesting, out-of-the-building thinking! This one happens to relate to music (musician Young & Sick – check him out right under the podcast) – so Brent, congrats. You made it to my blog. Blake, you too.
“The Barbie got something to say,” Says Netta Barzilai, building up to the Eurovision-conquering chorus of her catchy pop song “Toy.” At 25, with 35 Million views, Netta is telling a “stupid boy” that is not a toy and she is taking her Pikachu home.
The song contains many hidden meanings, but it is clearly about one bigger meaning: #MeToo. Sexual harassment has only recently become a real conversation, and finally, women are allowed to proclaim that they feel uncomfortable, offended or violated, out loud.
There have been numerous “singled-out” stories in the past decades, about sexual harassment claims involving actors, producers and politicians – but these seemed to be strays, obnoxious men, criminals at heart. Roman Polanskys.
In reality, we discovered, with the help of women like Alyssa Milano, Rose McGowan, and Aly Raisman that it is a wide-spears phenomenon and it needs to be stopped. Just like the women are not sitting at home and keeping their mouths shut like in the 50s, women are not accepting harassment as mundane anymore. We are allowed to speak up now against ANYTHING and not be labeled as crazy.
And from the 50s and until now, Netta is our latest PSA – we stand as women of all beauty standards, all religions and nationalities, and tell them stupid boys that we are not having it.
If he tries anything, “he’s about to regret.”
The song was written by song writer genius, Doron Medalie, who also wrote 2015’s Eurovision entry “Golden Boy” and many other hits in the Israeli Top-40 charts.
With a Middle-Eastern rhythm, using a Darbuka drum and a tambourine, as well as Oud-like sounds and a distinct bass drum – with Netta’s powerhouse vocals, this song is the beginning of a world-wide trend, she’s gonna make you watch her!
Kudos for winning number one in this year’s Eurovision! Wonder Woman. Just like in your song.
I remembered William Orbit’s name ever since Madonna’s Ray of Light Came out. I was 10, but I was always behind-the-scenes-conscious and I was always fascinated with not only the artist or their music video, but also with the making of.
So along the years, I learned to recognize William Orbit’s work in the pop scene and following (the masterpiece) Frozen and Ray of Light, the single, it made prefect sense to me that The Power of Good-Bye was also his work. In 1999, Nothing Really Matters and All Saints’ Pure Shores had that same recognizable signature sound – and I knew that I know a music producer now. Just like I can recognize Timbaland’s work today, and most of Dr. Dre’s.
Orbit’s electronica and ambient styles, make you feel like something very airy and flow-y is happening in your ear. You’re in the exact middle between a dancing session and yoga. His drum machine is harmonious, but separated from the melody part – it’s not your “beat” of today. Orbit achieved the techno effect sounds, by using a Korg MS-20 analog synthesizer. He’s the master of mixing time signatures and chopped effects, doing it before any kid with a mac could be “producing”.
The producer explained that “[t]here’s something about the [MS-20’s] transient peaks that are very spiky. And you can make that machine scream. Its two filters are very severe. ” Most of the album, he says was done on a Juno-106.
O F C O U R S E Madonna’s actual music videos were the ones that drew us all in, but the synergy of her vocal performances, music videos, and song writing would not be complete without this exact production. As a matter of fact, I read that it wasn’t so far-fetched that Orbit’s work may have not made the final cut, over him being disorganized or something. You know, like a true artist.
In an interview in 1999, William Orbit was asked why he thought he was so lucky as to land this gig, “I was talking to Guy Oseary, who runs Maverick, and he mentioned that Madonna was looking for material. It just so happened I had a lot of tapes of half-formed ideas lying around, so when he asked me to send some stuff over I was happy to just knock off a DAT with miscellaneous bits on it.”
Madonna called him 5 days after he submitted the tape to her. She was already writing to it. The rest is history.
To see what else you like that is William Orbit’s work, go here.
How do you feel about Madonna’s Ray of Light album? Want to share a must-hear song by William Orbit I overlooked? Submit a comment.
I’m gonna be thirty in a few months. Spending time on jobs I don’t like, a degree I liked while it lasted, minimal savings, superficial enjoyment. I want to use the power of the internet to learn from those who made it, specifically in music, specifically behind the scenes.
The people that REALLY make it happen! Music producers, sound engineer, musicians, writers, composers, creators. People that, like me, once had a passion, and did things with it.
I salute y’all.
This site is for everyone who wants to know more about the music industry, those who want to share their stories, and those dreamers that are going to make this into something amazing.