Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Hi, welcome back everybody.
This is Pop Palace.
My name is Jack.
I'm your host.
And here at Pop Palace, we celebratethe iconic women in pop music history.
So season one has beendedicated to Madonna.
Um, this is episode six on Madonna and wehave gone from her early beginnings in Bay
City, Michigan, all the way up to wherewe are now in the mid to late nineties.
(00:24):
And we're about to go into episode six.
The album is Bedtime Stories.
I'm so excited if you guys didn'talready listen to the episodes
before you should go back and listen.
This is all going to be in sequentialorder and in progress of time.
So you will get some referencesmore if you go back and
listen to the other episode.
(00:45):
To truly understand bedtime stories.
We need to look at where Madonnawas in the early nineties.
So after her provocative erotica album,which we talked about last episode.
The controversial sex book and her rolein the erotica thriller, Body of Evidence,
Madonna has faced significant backlash.
So many fans and critics thoughtthat she had gone too far.
(01:09):
I will say, these aren't true fans.
Her true fans fullyunderstood what she was doing.
And the people that got it, got it.
So, by calling them fans that didn'tunderstand, I don't think they
were truly fans of Madonna priorbecause she's never been non sexual.
So, most people thought she's gonetoo far and they were like, her
(01:29):
career seemed at a crossroads.
Is it gonna end?
Is she gonna be too sexual for the public?
In response, Madonnadecided to soften her image.
So she's not necessarily tryingto win back her audience, because
they're still there, but she's tryingto win back the general public.
So, the recording of BedtimeStories began in February of 1993.
(01:52):
It wrapped up in August of 1994.
So, she worked across variousrenowned studios, including Axis
Studios, The Hit Factory in New YorkCity, Wild Bunch Studios in London.
She also collaboratedwith R& B Heavy Hits.
So she blended pop and R& B, and sheworked with people like Babyface,
(02:14):
Dallas Austin, and Dave Hall.
So she's really aiming for a more R& B andslowed down, softened version of herself.
And I will say, even though she'sdoing this strategically, this isn't
out of character for her real self.
So Madonna's never gonna not beherself in any of her projects or
(02:35):
anything that she does, because that'sjust a core value of who she is.
But she will direct heraudience back to her.
She has all the control still.
So it's not her doing this out of Justto get her audience back But she's
doing this as a new creation to showthe world how she can still transition
in different genres and everythingYet still when new audience back.
(02:58):
So this album is a significant departurefrom her early works And it really
showed her versatility as an artistas we know Madonna's already reached
into various genre She's done pop rockShe's done brought in a little bit
of her soul and everything and nowshe's trying a new genre a new way of
(03:19):
singing a new way of Writing music.
So originally M envisioned the album asbeing stylistically different from erotica
She said I wanted to make something elsean R& B influenced record Which is in
a way going back to my roots because myvery first record wasn't more R& B So
this is Madonna saying it herself She'snot bowing down to the public's will or
(03:43):
changing the way she does things justfor the public, but she's reinventing
herself like she always has in the past.
And she's doing it in a way thatcontrasts from her other side,
which is more bold and vulgar.
Because she can be both at onceand still be the same person.
Nothing's ever black and white.
So, it became one of the veryfew occasions where she worked
(04:05):
with high profile professionals.
So, Madonna hasn't worked with highprofile producers since she's worked
with Nile Rodgers on Like A Virgin.
And I think part of this is,Madonna saw the futures in the
people that she hired before.
So she was hiring peoplethat she knew that she liked.
liked and knew personallyand was giving them a chance.
(04:26):
So initial sessions were with ShepPettibone, who also worked with Madonna
on Erotica, but she kind of felt thatthey were doing too similar to that album
and so she dismissed him as a producer.
So we know Shep Pettibone, he's workedon with Madonna in the past, if you've
been listening to the other episodes,you've probably heard about him some.
(04:47):
But he was more stuck in the eroticaera and Madonna was moving forward.
So Madonna really loved the song WhenI Can See You by Babyface, so that's
why Madonna chose to work with him.
So Madonna also wanted lush ballads asshe says for the album and she believed
that Babyface and Dallas Austin would bethe perfect fit to help her achieve that.
(05:10):
So they recorded three songs at hisstudio in his home in Beverly Hills.
So, these songs included ForbiddenLove and Take About, and both
of those ended up on the album.
So, I think that the third songdidn't end up on this album, but
she may have released it later.
I need to go back and check on that.
Madonna described Bedtime Storiesas a combination of pop, R& B,
(05:31):
hip hop, and a Madonna record.
I love that.
She says, and a Madonna record at the end.
So Madonna is already seeingherself as her own genre,
cause she can do everything.
And she adds her own style to anythingthat she works on and makes it her own.
So with the lyrics that areromantic and very reflective,
the album opens with survival.
(05:53):
Y'all, this song is so good.
I know I say this about every song Italk about, but when you're listening
to this album, after you listento the episode, start in order.
You know I always say that, youguys start from top to bottom when
you're listening to a new record.
At least that's what I do,because sometimes I feel like
I'm missing out on the story.
(06:14):
Opening with Survival, where Madonnaaddresses her public controversies
and expresses resilience.
So songs like Secret and Take a Bowshowcase her shift towards a more
soulful and introspective style.
But Human Nature serves as a directresponse to criticism she faced.
(06:34):
If you haven't heard this song priorto knowing what it's about, then you
would assume that maybe it's aboutan ex lover or an ex of some sort in
their life that used to think thatMadonna was like vulgar and too much.
But now that I know that it's aboutErotica and the public's response
to erotica, it makes the songten times more, like, next level.
(06:58):
So knowing that the song is about eroticaand the public's reaction, it makes
the lyrics make so much more sense.
So Madonna says, expressyourself, don't repress yourself.
And she repeats this line multipletimes at the very beginning of the song.
This in itself is an epitome oferotica and her reflection on erotica.
(07:20):
Erotica.
She's expressing herself, she doesn'trepress herself like the public
and, um, the critics want her to.
Uh, so she starts saying, It's humannature, and I'm not sorry, I'm not
sorry, I'm not sorry, it's human nature.
And it's true, nothing she was doingwas too crazy or outlandish, she was
just expressing the human connectionand sexuality of life on stage.
(07:45):
And not in a vulgar way either,it was in a very artful and
methodically thought out way.
So, she goes on and says, I'm not yourbitch, don't hang your shit on me.
I see this line as Madonnasaying, she's no one's bitch, so
don't hang your problems on her.
If you've got problems with whatshe's doing, that's not her problem.
(08:06):
That's your problem.
So this is so before her time becausenow I think if erotica came out it would
like not bat an eye with The sexualityand everything like that, but back then
They saw it as madonna's problem and nota problem in themselves not understanding
the art or being too sensitive Andshe says did I say something wrong?
(08:29):
Oops I didn't know Icouldn't talk about sex.
This is literally a directcorrelation to the public's responses.
Oops, I didn't know Icouldn't speak my mind.
And I'm not sorry.
What was I thinking?
It's human nature.
You punished me fortelling you my fantasies.
I'm breaking all the rules like allof this is Such a direct relation to
(08:55):
her past album in the fans and criticsreactions It's just I don't know.
I think it's so fascinating lookingback at it You can see how it's
a direct correlation to her pastErotica, but maybe if you didn't
know the history of Madonna and allthat, you wouldn't understand that.
And that's why I'm here toshare, and that's why I'm
(09:15):
here to teach about Madonna.
So we know these little intricacies,and it makes the songs even better.
Her next song, Take a Bow, isa collaboration with Babyface.
This became Madonna's longest runningnumber one on the Billboard Hot 100s.
She stayed on top for seven weeks,it's a mid tempo ballad, and
it has a slight Japanese touch.
(09:37):
So it's featuring swayingstrings and lush harmonies.
The lyrics break down a failedaffair with someone who's way too
concerned with personal image.
Babyface provide backup vocals andmaking the song basically a duet.
And this also, I think, can reflectback onto her response from Erotica.
So this is when thingsget really cool, I think.
(10:00):
So Madonna also worked withIcelandic singer Bjork.
Um, if you don't know Bjork,then that's crazy, but that's
a whole nother entire season.
But Bjork helped on thetitle track, Bedtime Story.
It initially titled, Let'sGet Unconscious, and the song
(10:20):
was born out of Bjork's owncriticism of Madonna's aesthetic.
This is so crazy.
Bjork was criticizing Madonna'saesthetic, and then Madonna and
Bjork decided to work together.
And I think that's true artistry,and I think they wouldn't have worked
together if they didn't like each other.
But they were able to critique eachother, and then learn about each other
in a way that makes it both respectable.
(10:42):
The final version renamed Bedtime Storyis an electronica track with a trippy
vibe A hymn to the joys of unconsciousnessand rejection of the supposed constraints
of reason and language So basicallyit's got the Bjork vibes with Madonna.
So whenever you're listening to BedtimeStory The song, the title track, think
(11:05):
about all the other Bjork songs you'veheard before and you can kind of get the
little taste of Bjork throughout the song.
So, upon release, Bedtime Storiesreceived positive reviews for its
mature and introspective approach.
It was nominated for Best PopAlbum at the 38th Grammy Awards.
Grammy Awards and debutedat number three on the U.
(11:25):
S.
Billboard 200.
So this album helped Madonna gainsuccess in the music industry
and now she's starting to haveeven more agency in her career.
Madonna then performs 22nd annual AmericanMusic Awards where she sang Take a
Bow with Babyface in a live orchestra.
So y'all need to look this up as soonas you are done listening this episode.
(11:48):
So search Madonna 22nd Annual AmericanMusic Awards take a bow and it's babyface
in a live orchestra It was named oneof the best in award shows history by
the billboards Kaitlyn Kelly She alsoperformed secret on a German television
show and then later on she sings bedtimestory at the Brit Awards so she showcases
(12:09):
her versatility as a live performer andversatility of audiences she can play both
To wrap it up, we didn't hiteverything, but, um, I think we
got most of the important parts in.
And, the album's legacy continuesto influence contemporary artists.
So this album, just like all theother ones, are pivotal in many
(12:33):
current pop artists music now.
So you can see the impact in thisalbum and the work of singers
like Rihanna, Banks, and Tinashe.
Madonna also worked with aScottish musician, Sophie,
who is iconic, the best ever.
Look up, Sophie.
Um, they worked on Bitch onMadonna, and Sophie ended up citing
(12:56):
bedtime stories as an influence.
noting it's fully formed and sexy sound.
So, thank you guys so much forlistening to this episode of Pop Palace.
I am beyond grateful to have youguys listening and paying attention.
If you guys are listening on Spotify,please give me 5 stars, rate and review.
(13:17):
Same thing on Apple Music orwherever you're listening.
And then you can followme on Instagram at pop.
palace.
And have a great rest of your day.
Bye guys.
Hi, welcome back everybody.
This is Pop Palace.
My name is Jack.
I'm your host.
And here at Pop Palace, we celebratethe iconic women in pop music history.
So season one has beendedicated to Madonna.
Um, this is episode six on Madonna and wehave gone from her early beginnings in Bay
City, Michigan, all the way up to wherewe are now in the mid to late nineties.
(00:24):
And we're about to go into episode six.
The album is Bedtime Stories.
I'm so excited if you guys didn'talready listen to the episodes
before you should go back and listen.
This is all going to be in sequentialorder and in progress of time.
So you will get some referencesmore if you go back and
listen to the other episode.
(00:45):
To truly understand bedtime stories.
We need to look at where Madonnawas in the early nineties.
So after her provocative erotica album,which we talked about last episode.
The controversial sex book and her rolein the erotica thriller, Body of Evidence,
Madonna has faced significant backlash.
So many fans and critics thoughtthat she had gone too far.
(01:09):
I will say, these aren't true fans.
Her true fans fullyunderstood what she was doing.
And the people that got it, got it.
So, by calling them fans that didn'tunderstand, I don't think they
were truly fans of Madonna priorbecause she's never been non sexual.
So, most people thought she's gonetoo far and they were like, her
(01:29):
career seemed at a crossroads.
Is it gonna end?
Is she gonna be too sexual for the public?
In response, Madonnadecided to soften her image.
So she's not necessarily tryingto win back her audience, because
they're still there, but she's tryingto win back the general public.
So, the recording of BedtimeStories began in February of 1993.
(01:52):
It wrapped up in August of 1994.
So, she worked across variousrenowned studios, including Axis
Studios, The Hit Factory in New YorkCity, Wild Bunch Studios in London.
She also collaboratedwith R& B Heavy Hits.
So she blended pop and R& B, and sheworked with people like Babyface,
(02:14):
Dallas Austin, and Dave Hall.
So she's really aiming for a more R& B andslowed down, softened version of herself.
And I will say, even though she'sdoing this strategically, this isn't
out of character for her real self.
So Madonna's never gonna not beherself in any of her projects or
(02:35):
anything that she does, because that'sjust a core value of who she is.
But she will direct heraudience back to her.
She has all the control still.
So it's not her doing this out of Justto get her audience back But she's
doing this as a new creation to showthe world how she can still transition
in different genres and everythingYet still when new audience back.
(02:58):
So this album is a significant departurefrom her early works And it really
showed her versatility as an artistas we know Madonna's already reached
into various genre She's done pop rockShe's done brought in a little bit
of her soul and everything and nowshe's trying a new genre a new way of
(03:19):
singing a new way of Writing music.
So originally M envisioned the album asbeing stylistically different from erotica
She said I wanted to make something elsean R& B influenced record Which is in
a way going back to my roots because myvery first record wasn't more R& B So
this is Madonna saying it herself She'snot bowing down to the public's will or
(03:43):
changing the way she does things justfor the public, but she's reinventing
herself like she always has in the past.
And she's doing it in a way thatcontrasts from her other side,
which is more bold and vulgar.
Because she can be both at onceand still be the same person.
Nothing's ever black and white.
So, it became one of the veryfew occasions where she worked
(04:05):
with high profile professionals.
So, Madonna hasn't worked with highprofile producers since she's worked
with Nile Rodgers on Like A Virgin.
And I think part of this is,Madonna saw the futures in the
people that she hired before.
So she was hiring peoplethat she knew that she liked.
liked and knew personallyand was giving them a chance.
(04:26):
So initial sessions were with ShepPettibone, who also worked with Madonna
on Erotica, but she kind of felt thatthey were doing too similar to that album
and so she dismissed him as a producer.
So we know Shep Pettibone, he's workedon with Madonna in the past, if you've
been listening to the other episodes,you've probably heard about him some.
(04:47):
But he was more stuck in the eroticaera and Madonna was moving forward.
So Madonna really loved the song WhenI Can See You by Babyface, so that's
why Madonna chose to work with him.
So Madonna also wanted lush ballads asshe says for the album and she believed
that Babyface and Dallas Austin would bethe perfect fit to help her achieve that.
(05:10):
So they recorded three songs at hisstudio in his home in Beverly Hills.
So, these songs included ForbiddenLove and Take About, and both
of those ended up on the album.
So, I think that the third songdidn't end up on this album, but
she may have released it later.
I need to go back and check on that.
Madonna described Bedtime Storiesas a combination of pop, R& B,
(05:31):
hip hop, and a Madonna record.
I love that.
She says, and a Madonna record at the end.
So Madonna is already seeingherself as her own genre,
cause she can do everything.
And she adds her own style to anythingthat she works on and makes it her own.
So with the lyrics that areromantic and very reflective,
the album opens with survival.
(05:53):
Y'all, this song is so good.
I know I say this about every song Italk about, but when you're listening
to this album, after you listento the episode, start in order.
You know I always say that, youguys start from top to bottom when
you're listening to a new record.
At least that's what I do,because sometimes I feel like
I'm missing out on the story.
(06:14):
Opening with Survival, where Madonnaaddresses her public controversies
and expresses resilience.
So songs like Secret and Take a Bowshowcase her shift towards a more
soulful and introspective style.
But Human Nature serves as a directresponse to criticism she faced.
(06:34):
If you haven't heard this song priorto knowing what it's about, then you
would assume that maybe it's aboutan ex lover or an ex of some sort in
their life that used to think thatMadonna was like vulgar and too much.
But now that I know that it's aboutErotica and the public's response
to erotica, it makes the songten times more, like, next level.
(06:58):
So knowing that the song is about eroticaand the public's reaction, it makes
the lyrics make so much more sense.
So Madonna says, expressyourself, don't repress yourself.
And she repeats this line multipletimes at the very beginning of the song.
This in itself is an epitome oferotica and her reflection on erotica.
(07:20):
Erotica.
She's expressing herself, she doesn'trepress herself like the public
and, um, the critics want her to.
Uh, so she starts saying, It's humannature, and I'm not sorry, I'm not
sorry, I'm not sorry, it's human nature.
And it's true, nothing she was doingwas too crazy or outlandish, she was
just expressing the human connectionand sexuality of life on stage.
(07:45):
And not in a vulgar way either,it was in a very artful and
methodically thought out way.
So, she goes on and says, I'm not yourbitch, don't hang your shit on me.
I see this line as Madonnasaying, she's no one's bitch, so
don't hang your problems on her.
If you've got problems with whatshe's doing, that's not her problem.
(08:06):
That's your problem.
So this is so before her time becausenow I think if erotica came out it would
like not bat an eye with The sexualityand everything like that, but back then
They saw it as madonna's problem and nota problem in themselves not understanding
the art or being too sensitive Andshe says did I say something wrong?
(08:29):
Oops I didn't know Icouldn't talk about sex.
This is literally a directcorrelation to the public's responses.
Oops, I didn't know Icouldn't speak my mind.
And I'm not sorry.
What was I thinking?
It's human nature.
You punished me fortelling you my fantasies.
I'm breaking all the rules like allof this is Such a direct relation to
(08:55):
her past album in the fans and criticsreactions It's just I don't know.
I think it's so fascinating lookingback at it You can see how it's
a direct correlation to her pastErotica, but maybe if you didn't
know the history of Madonna and allthat, you wouldn't understand that.
And that's why I'm here toshare, and that's why I'm
(09:15):
here to teach about Madonna.
So we know these little intricacies,and it makes the songs even better.
Her next song, Take a Bow, isa collaboration with Babyface.
This became Madonna's longest runningnumber one on the Billboard Hot 100s.
She stayed on top for seven weeks,it's a mid tempo ballad, and
it has a slight Japanese touch.
(09:37):
So it's featuring swayingstrings and lush harmonies.
The lyrics break down a failedaffair with someone who's way too
concerned with personal image.
Babyface provide backup vocals andmaking the song basically a duet.
And this also, I think, can reflectback onto her response from Erotica.
So this is when thingsget really cool, I think.
(10:00):
So Madonna also worked withIcelandic singer Bjork.
Um, if you don't know Bjork,then that's crazy, but that's
a whole nother entire season.
But Bjork helped on thetitle track, Bedtime Story.
It initially titled, Let'sGet Unconscious, and the song
(10:20):
was born out of Bjork's owncriticism of Madonna's aesthetic.
This is so crazy.
Bjork was criticizing Madonna'saesthetic, and then Madonna and
Bjork decided to work together.
And I think that's true artistry,and I think they wouldn't have worked
together if they didn't like each other.
But they were able to critique eachother, and then learn about each other
in a way that makes it both respectable.
(10:42):
The final version renamed Bedtime Storyis an electronica track with a trippy
vibe A hymn to the joys of unconsciousnessand rejection of the supposed constraints
of reason and language So basicallyit's got the Bjork vibes with Madonna.
So whenever you're listening to BedtimeStory The song, the title track, think
(11:05):
about all the other Bjork songs you'veheard before and you can kind of get the
little taste of Bjork throughout the song.
So, upon release, Bedtime Storiesreceived positive reviews for its
mature and introspective approach.
It was nominated for Best PopAlbum at the 38th Grammy Awards.
Grammy Awards and debutedat number three on the U.
(11:25):
S.
Billboard 200.
So this album helped Madonna gainsuccess in the music industry
and now she's starting to haveeven more agency in her career.
Madonna then performs 22nd annual AmericanMusic Awards where she sang Take a
Bow with Babyface in a live orchestra.
So y'all need to look this up as soonas you are done listening this episode.
(11:48):
So search Madonna 22nd Annual AmericanMusic Awards take a bow and it's babyface
in a live orchestra It was named oneof the best in award shows history by
the billboards Kaitlyn Kelly She alsoperformed secret on a German television
show and then later on she sings bedtimestory at the Brit Awards so she showcases
(12:09):
her versatility as a live performer andversatility of audiences she can play both
To wrap it up, we didn't hiteverything, but, um, I think we
got most of the important parts in.
And, the album's legacy continuesto influence contemporary artists.
So this album, just like all theother ones, are pivotal in many
(12:33):
current pop artists music now.
So you can see the impact in thisalbum and the work of singers
like Rihanna, Banks, and Tinashe.
Madonna also worked with aScottish musician, Sophie,
who is iconic, the best ever.
Look up, Sophie.
Um, they worked on Bitch onMadonna, and Sophie ended up citing
(12:56):
bedtime stories as an influence.
noting it's fully formed and sexy sound.
So, thank you guys so much forlistening to this episode of Pop Palace.
I am beyond grateful to have youguys listening and paying attention.
If you guys are listening on Spotify,please give me 5 stars, rate and review.
(13:17):
Same thing on Apple Music orwherever you're listening.
And then you can followme on Instagram at pop.
palace.
And have a great rest of your day.
Bye guys.
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