Background
According to the book Madonna: Like an Icon by Lucy O'Brien, Madonna wanted to "make an impact" on the soul musical scene, and started working with prominent producers from the R&B market. Aside from this, however, Madonna also wanted to explore the British club musical scene, where genres such as dub had been growing in popularity. In such a way, she decided to work with several European producers and composers within the electronic scene, including Nellee Hooper, who pleased Madonna due to his "very European sensibility". Inviting Hooper over to Los Angeles, sessions started taking place in the Chappell Studios of Encino, California.
"Bedtime Story" was written by Icelandic singer-songwriter Björk, Marius De Vries and Nellee Hooper, and co-produced by Nellee Hooper and Madonna. According to the book Björk: wow and flutter by Mark Pytlik, she was offered a chance to write a track for Madonna's upcoming album, Bedtime Stories. Accepting the offer, the Icelandic singer wrote a song initially named "Let's Get Unconscious". Once the song demo had been finished, De Vries and Hooper rearranged the track and the final version was called "Bedtime Story". The song was eventually issued as the third single from the album.
Read more about this topic: Bedtime Story (Madonna Song)
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“In the true sense one’s native land, with its background of tradition, early impressions, reminiscences and other things dear to one, is not enough to make sensitive human beings feel at home.”
—Emma Goldman (1869–1940)
“I had many problems in my conduct of the office being contrasted with President Kennedy’s conduct in the office, with my manner of dealing with things and his manner, with my accent and his accent, with my background and his background. He was a great public hero, and anything I did that someone didn’t approve of, they would always feel that President Kennedy wouldn’t have done that.”
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“Silence is the universal refuge, the sequel to all dull discourses and all foolish acts, a balm to our every chagrin, as welcome after satiety as after disappointment; that background which the painter may not daub, be he master or bungler, and which, however awkward a figure we may have made in the foreground, remains ever our inviolable asylum, where no indignity can assail, no personality can disturb us.”
—Henry David Thoreau (1817–1862)