hollywood billionaire

Chapter 330 Visual Wonder

Personal likes and dislikes aside, and the pursuit of artistry aside, judging from the commercial standards of pop music, "Bad Things" does have its uniqueness.

This is an excellent example of taking a major label's successful formula to the extreme.

It starts with the most familiar classic melody in the chorus. With slight changes in the details of the lyrics, music fans will have a familiar Deja Vu illusion.

Have I heard this song before? If not, why is this melody so familiar to me? The most irrepressible thing for humans is curiosity. By the time they searched for the answer in their minds, the best part of "Out of My Head" had been looped at least twice, and the song had entered the 41st second.

Most music streaming platforms stipulate that as long as you listen to a song continuously for 30 seconds, it is considered a valid playback.

This is why "Bad Things" was played 570 million times in its first week.

Opportunistic, yes, but that's the game every record company plays. Whoever can hold on for 30 seconds will get royalties. Under the influence of this calculation rule, there will only be more and more songs that put the highlight at the beginning in the future.

Just like a few years later, everyone can analyze the two-sentence golden three-second rule of short video platforms.

A straight-to-the-point opening can improve listener retention, and a well-designed arrangement structure can also bring people an endless sense of fun like a Hollywood action movie. At the beginning of the chorus, the rap part of the main song only lasts less than thirty seconds, and then comes MGK's autotune-processed white voice. Although the singer has no skills at all, the composer Madison on this melody - Love put a lot of thought into it.

She constructed an eight-bar pre-chorus based on the theme melody of the original song "Out of My Head". It's simple, easy to remember, catchy, and cleverly builds an emotional bridge between the verse and the chorus.

The total length of "Bad Things" is 3 minutes and 59 seconds. Except for the 14-second intro and the 13-second break, the entire song follows the structure of Chorus - Verse - Pre-Chorus - Chorus. It is told in a straightforward manner without any fancy tricks. The unique arrangement technique naturally presents the most direct information and the purest emotions to the audience in a natural and sculptural way.

Madison Love and The Futuristics were afraid that fans would not know the point, so they cut the verse directly after the break and repeated the pre-chorus and chorus a third time.

In other words, "Bad Things" basically breaks apart the most essential verses of "Out of My Head" and mashes them up, adds a bit of modern seasoning with rap elements, and cooks up three identical dishes, lacking in Changes, but the quantity is sufficient.

If you have to find a comparison in the film and television industry, "John Wick" has the most similar production idea: briefly explain who killed Keanu Reeves' dog, and then there will be 90 minutes of hearty fighting.

Knowing what the audience wants to see most and what they don't want to see the most is the secret of "John Wick" to build a movie universe with a small scale and a production cost of 2000 million US dollars.

Knowing what listeners want to hear the most and what they don’t want to hear the most is why "Bad Things" was able to quickly accumulate playlists even though neither artist was a first-line superstar. With a coverage rate of 4600 million, it ranked No. 17 on this week's radio charts. -bit magic weapon.

It's all fun, no nonsense.

This is what commercial radio stations need. No matter which part is the climax, you can start playing it from anywhere. It won’t feel abrupt if you cut it off at any second. Whether you have heard it or not, you can hum along with it. Song.

If it can make the audience salivate, then for pop music, it is a good song.

Just listen to the uniform chorus at the scene and you will know.

Madison Beer, the opening artist of Mad City, has passed the halfway point of her performance. It is difficult for any of the previous songs to make the audience open their mouths. After all, some singles are so unpopular that most people cannot remember the tune even if they have heard it. Songs that are slightly more famous, such as "We Are Monsters High" and "Melodies," are a little childish. If you really follow along, you will probably be laughed at by your companions until you return to the hotel tonight.

But "Bad Things" is different. This melody already lives in the memory of all Americans, and it can be activated by just three or two notes. As a result, as soon as Madison sang two lines of the first chorus, sporadic sing-alongs gradually began to appear in various areas of the audience. When Machine Gun Kelly put down the microphone and Madison took over the melody again, more than half of the 40,000 audience members were already there. People were singing along with her.

The slow rock love songs of the 1985s and s have such charm. No matter how you adapt them, as long as these melodies are played live, as long as someone is willing to raise their hands and float in the air, as long as the human voice comes from the array speakers , are fortunate to be able to merge into the torrent of natural resonance of the human cavity, then, no matter what year or where they are today, participants can instantly feel a step back in time, as if they have returned to the illusion of the life-saving charity concert in .

At least Madison had that illusion.

Standing up from the deliberately distressed sofa, Madison walked over to MGK, took a deep breath from the abdomen to smooth out his breath, placed the microphone on the microphone stand, and then put his lips in front of the metal filter.

"Am I out of my head..."

As soon as the first line of the second chorus was spoken, ripples of astonishment appeared on Madison Beer's originally calm face.

Because, she felt the overwhelming sound coming towards her face.

Not applause, not screaming, not cheering.

It's a chorus.

It is not the superficial reaction of human beings to novel things.

It is the emotional surge that comes from the depths of the soul after music truly enters the heart like a clear spring. To be honest, Madison Beal paid little attention to feedback from the audience. She is very serious about her performance and is afraid of missing any beat or any instruction from the staff behind the scenes. Therefore, she will choose to wear monitoring headphones in both ears, and no matter where she performs, she will also ask for audio The console turned her monitors louder, preferably so loud that only the accompaniment and metronome could be heard. This kind of isolation experience can help her get into a focused performance state faster.

Therefore, for Madison, the cheers before the song starts and the applause after the song ends are just background sounds that occasionally slip through the ears. Sometimes it's big, sometimes it's small, but in the end it can only exist as a background.

Of course, she is also a girl who longs for recognition. When she feels that she is in good condition, she will quietly take off one of her headphones and listen to the chorus coming from the audience - usually in the chorus of "Cold Water" ——Use this admiration, which becomes louder and hotter as time goes by, as fuel to push yourself forward.

But she had never heard a chorus like this.

You don't need to take off your headphones to hear this uniform recitation. The sound is so loud that you can hardly hear the always outstanding metronome in your ears.

At this moment, Madison Beal felt like he was possessed by Freddie Mercury.

On the midsummer afternoon of July 1985, 7, Freddie Mercury stood proudly in Wembley Stadium and took the stage as the lead singer of Queen.

It was the pinnacle moment of rock music and a monument in the history of live music. It was the twenty minutes where there was no barrier between the musicians and the audience.

Every syllable that flew out of his chest was met with an unreserved and sincere response.

“Am I out of my mind?

If you only knew the bad things I like.

Don't think that I can explain it,

What can I say? It's complicated. "

In the center of this majestic amphitheater, under the glittering lights of a thousand stars, Madison Beale is like a modern-day siren, her melodious singing echoing dreamily throughout the Las Vegas festival grounds. The ocean filled with spectators seemed to have turned into an organic life form, breathing and beating to the rhythm of the music. Their voices converged like a tidal wave, creating a powerful wave that washed over the edge of the stage and surrounded Madison on a resonant, symphonic island.

"Don't matter what you say,

Don't matter what you do,

I only wanna do bad things to you……

So good, that you can't explain it,

What can I say, it's complicated. "

At this moment, in the comfortable embrace of the gentle dusk breeze blowing from the depths of the desert, the sky in Sin City is like a meditative mural, woven of melancholy gray and gentle drizzle. Although it has a unique flavor, it is not a color that Las Vegas is accustomed to, nor is it an ideal setting for watching an open-air music festival.

However, as if in response to this chorus, the thick clouds that had been hanging low and covering the entire city began to stir and shift. The undulating melody on the dance floor flew high into the sky with the wind, traveling between the textures of the clouds, luring them apart.

Slowly, almost shyly at first, a golden light from far away broke through the gloom and began to peer into the earth. The light spreads, and golden brushstrokes are smeared randomly between the canvas of heaven and earth, turning the dull dark gray into bright golden. A skyline that might otherwise only be associated with melancholy now firmly spreads the promise of a glorious sunset.

After the rain, the sky clears up, this phenomenon that is the most poetic, powerful, and full of hope in nature, is slowly and methodically carried out in this beautiful melody led by Madison Beale, showing it calmly and elegantly. The charm that refreshes the heart and spleen.

Just like the miracle of Moses parting the Red Sea, the golden sword tore open a bigger crack in the dark clouds, dividing Las Vegas into two pieces with a spectacular glowing corridor, and the midpoint is at Mad City's music festival scene.

The corridor gradually became vast and extended forward, passing by the Coca-Cola dining area, passing by the FOH sound console, and passing by the crowded dance floor. Until it encountered an obstacle on the stage, all the heat and light were unreserved. The ground is poured onto the semi-curved giant screen.

Then, the singing on the dance floor fell silent and was replaced by a roar of admiration.

Because Mad City’s grand stage, which combines movie-level scenery and virtual visual materials presented on a high-definition giant screen, finally showed its most extreme charm.

　Brothers, there are not many words in today’s update, because I really have no choice but to type out so much because I have a splitting headache. I will take more medicine at night and try to make up for it when I get better tomorrow. I apologize again.

　　

　

(End of this chapter)