Lorde Storms Toward The Throne Of Pop Music
The Music of Film and Television: Is There a Difference? (Guest Blog)
Sent! A link has been sent to your friend’s email address. 4 To find out more about Facebook commenting please read the Conversation Guidelines and FAQs Lorde storms toward the throne of pop music Haley Blum, USA TODAY 7:02 p.m. EDT September 24, 2013 The 16-year-old from New Zealand is reigning at the top of the charts with ‘Royals.’ Lorde is a 16-year-old pop artist from New Zealand who is taking over the charts with her single ‘Royals.’ (Photo: Garth Badger) The 16-year-old’s real name is Ella Yelich-O’Connor Her full-length ‘Pure Heroine’ is out Monday in the USA Lorde starts a short U.S. tour tonight in Los Angeles SHARE 78 CONNECT 21 TWEET 4 COMMENTEMAILMORE Lorde doesn’t want you to have to settle. “So much of the music that’s on top 40 radio is so dumb, and people aren’t that dumb,” says the 16-year-old from New Zealand. “People settle for that music because that’s all there is in pop.” Side-stepping the distracting antics of other teen stars, specifically the Disney-preened ones, Lorde (real name: Ella Yelich-O’Connor) is ushering smart, sophisticated pop into a world that desperately needs it. Her single Royals a slow-burning but super-catchy ode to the mundaneness of real life landed atop USA TODAY’s alternative and adult-alternative airplay charts and at No. 8 on USA TODAY’s top 40. She trailed only Miley Cyrus and Katy Perry last week in downloads, with Royals selling 263,000 copies. The song recently hit No. 1 on iTunes and has been steadily climbing Billboard’s Hot 100, sitting currently at No.
This required writing certain short types of cues, which are generally thought of as bumpers and looked down on in the film world. This isnt as much an issue anymore, because HBO and Netflix and many other outlets for television dont have that structure, so the differences are again smaller. Television usually means faster deadlines with new episodes every week there is less time to second-guess the music. In film, generally the director is calling the shots while in television the producers have more say on the score, where the directors are usually onto the next episode and therefore have less time to spend with the music. What this means for the composer is that there are generally more opinions than ever in television. You have many people that you need to please, sometimes with radically differing opinions. So you, as a composer, have to be a musical problem solver to distill what each opinion means and somehow, while still putting your personal stamp, make everyone satisfied. As further evidence of the changing of the tide, in my own personal experience, on a recent television project, Ive had a few directors whose films Ive scored now directing episodes of a show. At the root of it all, music, whether written for film or television, is there to support the story. It is there to heighten the action, enhance emotions and add another intellectual layer. This may be done with an orchestra, a piano, a synth and drum machine, or whatever else.