WEBVTT
1
00:00:03.200 --> 00:00:14.359
Kalaroga Shark Media Summer two thousand and seven. I'm Garrett Fischer,
2
00:00:14.560 --> 00:00:19.280
and the music industry was experiencing a seismic shift. MTV
3
00:00:19.440 --> 00:00:23.160
still held cultural sway, but YouTube was beginning to democratize
4
00:00:23.239 --> 00:00:28.359
music discovery. Amy Winehouse was conquering the world with rehab,
5
00:00:28.600 --> 00:00:31.600
Timbaland was producing hit after hit, and a nineteen year
6
00:00:31.640 --> 00:00:34.799
old Barbadian singer named Rihanna was about to release a
7
00:00:34.840 --> 00:00:38.320
song that would not only define her career, but reshape
8
00:00:38.359 --> 00:00:41.399
what mainstream pop could be in the twenty first century.
9
00:00:42.159 --> 00:00:44.320
Coming in at number four on our countdown of the
10
00:00:44.359 --> 00:00:47.159
top twenty songs of the summer, as voted by the
11
00:00:47.200 --> 00:00:52.320
staff of Calaroga Shark Media, Rihanna's Umbrella featuring Jay Z
12
00:00:52.520 --> 00:00:57.640
represents that rare moment when artistic evolution, commercial ambition, and
13
00:00:57.679 --> 00:01:02.479
cultural timing aligned to create something truly transformative, a song
14
00:01:02.560 --> 00:01:06.120
so perfectly crafted that it literally soundtracked one of the
15
00:01:06.159 --> 00:01:10.760
wettest summers in British history. Before Rihanna became the billionaire
16
00:01:10.799 --> 00:01:14.079
business mogul and musical chameleon we know today, she was
17
00:01:14.359 --> 00:01:19.280
Robin Rihanna Fente, a teenager from Saint Michael, Barbados, who
18
00:01:19.280 --> 00:01:22.519
had been discovered by American record producer Evan Rodgers while
19
00:01:22.519 --> 00:01:25.879
he was vacationing on the island. Rogers was struck by
20
00:01:25.879 --> 00:01:29.439
her raw talent and distinctive voice, eventually bringing her to
21
00:01:29.480 --> 00:01:32.280
the United States to record demo tapes that would catch
22
00:01:32.280 --> 00:01:35.840
the attention of the music industry. Her audition for jay
23
00:01:35.920 --> 00:01:38.959
Z at def Jam is the stuff of music industry legend.
24
00:01:39.680 --> 00:01:42.159
The then president of the label kept her in the
25
00:01:42.200 --> 00:01:45.319
office until three am, refusing to let her leave until
26
00:01:45.359 --> 00:01:48.920
she'd signed a deal. He recognized something special in the
27
00:01:49.000 --> 00:01:52.280
young artist, not just her voice, but a quality that's
28
00:01:52.280 --> 00:01:56.159
harder to define, star power. By two thousand and seven,
29
00:01:56.480 --> 00:02:00.640
Rihanna had already scored hits with Ponder, Replay and Sas,
30
00:02:01.280 --> 00:02:04.280
establishing herself as a promising young talent in the R
31
00:02:04.319 --> 00:02:07.159
and B and pop world, but she was still searching
32
00:02:07.200 --> 00:02:12.080
for her definitive artistic identity. Her first two albums, while successful,
33
00:02:12.360 --> 00:02:14.439
had positioned her as another in a long line of
34
00:02:14.479 --> 00:02:18.280
young R and B singers, talented certainly, but not yet
35
00:02:18.280 --> 00:02:21.680
distinctive enough to separate from the pack. As she began
36
00:02:21.759 --> 00:02:24.599
work on her third album, there was a conscious decision
37
00:02:24.639 --> 00:02:28.159
to evolve. The album would be called good Girl Gone Bad,
38
00:02:28.439 --> 00:02:33.039
and it represented a deliberate transformation. Rihanna was ready to
39
00:02:33.080 --> 00:02:36.599
shed the innocent island girl image and embrace something edgier,
40
00:02:36.759 --> 00:02:40.479
more complex, and ultimately more authentic to who she was
41
00:02:40.520 --> 00:02:45.120
becoming as an artist. The creation of Umbrella began in
42
00:02:45.240 --> 00:02:49.560
January two thousand and seven in Atlanta's Triangle Studios, where
43
00:02:49.639 --> 00:02:54.120
producer Christopher Tricky Stewart was, in his words, messing around
44
00:02:54.159 --> 00:02:57.240
with sounds in garage bands. He stumbled upon a high
45
00:02:57.240 --> 00:03:00.240
hat loop that caught his attention, a simple sound that
46
00:03:00.240 --> 00:03:03.199
would become the rhythmic foundation of one of the decade's
47
00:03:03.240 --> 00:03:08.439
biggest hits. When songwriter Tereus the Dream Nash heard what
48
00:03:08.520 --> 00:03:11.680
Stuart was working on, he immediately asked what that beat was.
49
00:03:12.240 --> 00:03:15.479
As Stuart added chords to the high hat pattern, Nash
50
00:03:15.479 --> 00:03:19.759
felt inspired. Nash went to the vocal booth and started singing,
51
00:03:19.879 --> 00:03:23.879
and within sixty seconds they had the first verse. The
52
00:03:23.960 --> 00:03:27.159
hook came together just as quickly, with the writers building
53
00:03:27.159 --> 00:03:31.159
the song in real time, adding elements as inspiration struck.
54
00:03:31.879 --> 00:03:35.199
The song was originally written with Britney Spears in mind.
55
00:03:35.639 --> 00:03:38.319
Nash and Stewart had previously worked with Spears on Me
56
00:03:38.479 --> 00:03:42.280
Against the Music, and with Brittany working on her album Blackout,
57
00:03:42.560 --> 00:03:46.560
they thought Umbrella could be her comeback single, but Spear's
58
00:03:46.639 --> 00:03:50.439
label rejected it, claiming they had enough material. It's unclear
59
00:03:50.439 --> 00:03:53.199
if Brittany ever even heard the demo, a sliding doors
60
00:03:53.240 --> 00:03:57.319
moment that would reshape pop history. After the Spears rejection,
61
00:03:57.520 --> 00:03:59.960
the demo made its way to Island def Jam chairman
62
00:04:00.280 --> 00:04:04.680
La read through A and R executive Karen quak Reid
63
00:04:04.680 --> 00:04:08.240
immediately recognized its potential for Rihanna when she heard the demo.
64
00:04:08.520 --> 00:04:11.960
Rihanna was also positive towards it. When the demo first
65
00:04:12.000 --> 00:04:16.800
started playing, I was like, this is interesting, this is weird,
66
00:04:17.560 --> 00:04:20.759
but the song kept getting better. I listened to it
67
00:04:20.839 --> 00:04:24.319
over and over. I said, I need this record. I
68
00:04:24.399 --> 00:04:28.920
want to record it tomorrow. There was competition for the song.
69
00:04:29.279 --> 00:04:32.639
Mary J. Blige was also interested, and given her status
70
00:04:32.639 --> 00:04:36.160
following B Without You, she seemed like the logical choice,
71
00:04:36.800 --> 00:04:39.600
but Reid used his influence to secure the track for Rihanna,
72
00:04:39.879 --> 00:04:42.120
believing it could be the song to elevate her to
73
00:04:42.160 --> 00:04:46.519
the next level. So what made Umbrella such a perfect
74
00:04:46.519 --> 00:04:50.680
pop construction? Let's break it down. The production crafted by
75
00:04:50.680 --> 00:04:56.199
Tricky Stewart is deceptively simple but incredibly effective. That garage
76
00:04:56.199 --> 00:04:59.240
band high hat loop that started it all provides a hypnotic,
77
00:04:59.399 --> 00:05:04.079
almost militaristic rhythm that drives the entire track. It's insistent
78
00:05:04.279 --> 00:05:08.120
without being aggressive, creating a sense of forward momentum that
79
00:05:08.240 --> 00:05:12.920
mirrors the song's themes of protection and perseverance. The arrangement
80
00:05:12.920 --> 00:05:16.800
builds on this foundation with synthesizers that add atmospheric depth
81
00:05:16.879 --> 00:05:20.519
without cluttering the mix. There's a distorted baseline that gives
82
00:05:20.560 --> 00:05:23.360
the track weight and grounds it in contemporary R and
83
00:05:23.399 --> 00:05:27.439
B and hip hop production techniques. What's remarkable is how
84
00:05:27.560 --> 00:05:31.439
much space Stewart leaves in the production. It's confident enough
85
00:05:31.480 --> 00:05:34.959
to let the elements breathe rather than overwhelming the listener
86
00:05:35.040 --> 00:05:38.680
with layers of sound. When jay Z's verse enters, the
87
00:05:38.720 --> 00:05:43.560
production shifts slightly to accommodate his flow, demonstrating Stuart's understanding
88
00:05:43.600 --> 00:05:47.600
of how to create dynamic variation within a consistent sonic framework.
89
00:05:48.480 --> 00:05:52.040
The beat never loses its essential character, but it adapts
90
00:05:52.079 --> 00:05:55.639
and responds to the vocalists, creating a conversation between the
91
00:05:55.680 --> 00:05:59.920
production and the performances. The use of reverb and space
92
00:06:00.079 --> 00:06:04.480
in the mix creates an almost cinematic quality, particularly during
93
00:06:04.480 --> 00:06:07.800
the chorus, when Rihanna's voice seems to expand to fill
94
00:06:08.040 --> 00:06:12.319
every available frequency. This isn't just a song, it's a
95
00:06:12.399 --> 00:06:16.800
sonic environment that envelops the listener. The structure of Umbrella
96
00:06:16.920 --> 00:06:20.199
follows a classic pop formula, but executes it with such
97
00:06:20.279 --> 00:06:25.279
precision that it feels fresh rather than formulaic. The song
98
00:06:25.360 --> 00:06:29.639
opens with jay Z's spoken intro uh huh uh huh,
99
00:06:29.720 --> 00:06:33.120
immediately establishing his presence and giving the track hip hop
100
00:06:33.160 --> 00:06:37.240
credibility that helps it cross genre boundaries. Rihanna enters with
101
00:06:37.279 --> 00:06:41.759
the first verse, her voice conversational and intimate, drawing listeners
102
00:06:41.800 --> 00:06:46.240
into the song's emotional landscape. The pre chorus builds tension
103
00:06:46.279 --> 00:06:50.120
with its ascending melody, creating anticipation for what's to come.
104
00:06:50.839 --> 00:06:53.959
Then comes the chorus, and what a chorus it is.
105
00:06:54.959 --> 00:06:58.879
The repetition of Ella Ella Egg could have been annoying
106
00:06:58.920 --> 00:07:02.120
and less capable hands, but Rihanna turns it into a
107
00:07:02.160 --> 00:07:07.279
hypnotic mantra. It's simultaneously a vocal hook, a rhythmic element,
108
00:07:07.519 --> 00:07:10.920
and a sonic signature that makes the song instantly recognizable.
109
00:07:10.959 --> 00:07:14.639
From the first few notes. Jay Z's verse arrives at
110
00:07:14.680 --> 00:07:18.560
exactly the right moment, providing contrast and preventing any sense
111
00:07:18.560 --> 00:07:22.759
of monotony. His rewritten verse he changed it after hearing
112
00:07:22.839 --> 00:07:27.319
Rihanna's recording focuses on weather metaphors that complement rather than
113
00:07:27.360 --> 00:07:31.040
distract from the song's central theme. The bridge provides a
114
00:07:31.079 --> 00:07:34.519
moment of relative calm before the final choruses, allowing the
115
00:07:34.560 --> 00:07:38.720
song to breathe before building to its climactic conclusion. Every
116
00:07:38.800 --> 00:07:42.759
element serves the song's central mission, creating an undeniable pop
117
00:07:42.839 --> 00:07:47.839
moment that works on multiple levels. Lyrically, Umbrella operates on
118
00:07:47.879 --> 00:07:51.680
a simple but powerful metaphor, offering protection and support through
119
00:07:51.720 --> 00:07:55.319
life storms. The genius is in how it takes this
120
00:07:55.519 --> 00:07:59.920
everyday image and transforms it into something both universal and intimate.
121
00:08:00.639 --> 00:08:03.879
The verses paint pictures of loyalty and commitment that transcend
122
00:08:03.920 --> 00:08:08.600
typical pop song romanticism. Lines about shining together when the
123
00:08:08.639 --> 00:08:11.560
sun shines and standing together when it's raining more than
124
00:08:11.560 --> 00:08:16.120
ever speak to a deeper kind of connection, whether romantic, platonic,
125
00:08:16.360 --> 00:08:20.639
or even spiritual. What's particularly effective is how the lyrics
126
00:08:20.680 --> 00:08:25.879
avoid overwrought declarations or complex poetry. The language is direct
127
00:08:25.920 --> 00:08:30.000
and conversational, making the song's message accessible to anyone who's
128
00:08:30.000 --> 00:08:34.240
ever needed or offered support. This isn't about fairytale love.
129
00:08:34.799 --> 00:08:39.480
It's about real connection in difficult times. Jay Z's verse
130
00:08:39.519 --> 00:08:43.039
adds another dimension, bringing in themes of success and loyalty
131
00:08:43.080 --> 00:08:48.120
from a different perspective. His references to financial success, stack
132
00:08:48.240 --> 00:08:51.919
chips for the rainy day, and staying grounded despite fame
133
00:08:52.080 --> 00:08:55.279
complement the main theme while adding texture to the narrative.
134
00:08:56.200 --> 00:08:59.120
The ella ella hook, which could be seen as mere
135
00:08:59.240 --> 00:09:02.759
vocal decoration, actually serves to make the song more memorable
136
00:09:02.799 --> 00:09:06.600
and participatory. It's the kind of element that invites sing
137
00:09:06.639 --> 00:09:09.519
alongs and makes the song stick in your head for days.
138
00:09:10.080 --> 00:09:13.279
What truly elevates Umbrella from good to great is the
139
00:09:13.360 --> 00:09:18.720
vocal performance, particularly Rihanna's transformation from promising young singer to
140
00:09:18.919 --> 00:09:22.879
confident pop star. Her delivery throughout the song showcases a
141
00:09:23.000 --> 00:09:26.720
new maturity and attitude that would define her career going forward.
142
00:09:27.399 --> 00:09:31.080
In the verses, she's conversational but assured, delivering the lyrics
143
00:09:31.120 --> 00:09:33.879
with a knowing quality that suggests lived experience beyond her
144
00:09:33.960 --> 00:09:37.320
nineteen years. There's a slight edge to her voice, a
145
00:09:37.440 --> 00:09:40.440
hint of the rebellious spirit that would become her trademark.
146
00:09:41.279 --> 00:09:45.759
The chorus is where Rihanna truly shines. Stuart admitted he
147
00:09:45.799 --> 00:09:48.120
was still reluctant as to whether Rihanna was the right
148
00:09:48.200 --> 00:09:51.120
artist to record the song, but following the recording of
149
00:09:51.159 --> 00:09:55.039
the Ella ella catchphrase, he felt they were onto something
150
00:09:56.159 --> 00:09:59.440
that distinctive pronunciation. The way she plays with the rhythm
151
00:09:59.480 --> 00:10:02.120
and melody the transforms what could have been a simple
152
00:10:02.159 --> 00:10:06.559
popcorse into something unique and memorable. Jay Z's contribution cannot
153
00:10:06.600 --> 00:10:10.440
be understated. His presence alone elevated the track's profile, but
154
00:10:10.519 --> 00:10:14.679
his performance adds gravitas and cross genre appeal. His verse
155
00:10:14.720 --> 00:10:17.919
feels integral to the song rather than a tact on feature,
156
00:10:18.279 --> 00:10:22.519
demonstrating the chemistry between the two artists. The interplay between
157
00:10:22.559 --> 00:10:26.200
Rihanna and Jay Z creates a dynamic that suggests both
158
00:10:26.279 --> 00:10:29.960
mentor student and equals, adding layers to the song's meaning
159
00:10:29.960 --> 00:10:45.200
about support and protection more in a moment. Umbrella was
160
00:10:45.240 --> 00:10:48.120
released on March twenty ninth, two thousand and seven, and
161
00:10:48.200 --> 00:10:52.840
its impact was immediate and undeniable. The song debuted on
162
00:10:53.000 --> 00:10:56.440
the Billboard Hot one hundred and quickly climbed to number one,
163
00:10:56.840 --> 00:10:59.799
where it remained for seven consecutive weeks. It was one
164
00:10:59.799 --> 00:11:02.879
of the highest digital debuts in US history at the time,
165
00:11:03.480 --> 00:11:07.120
but perhaps nowhere was the song's impact more dramatically felt
166
00:11:07.120 --> 00:11:10.720
than in the United Kingdom, where it achieved a remarkable
167
00:11:10.919 --> 00:11:15.360
and somewhat ironic feat. The song topped the UK Singles
168
00:11:15.440 --> 00:11:18.879
chart for ten consecutive weeks, the longest run at number
169
00:11:18.879 --> 00:11:21.919
one for any single that decade, during what turned out
170
00:11:21.919 --> 00:11:24.519
to be one of the wettest summers in British history.
171
00:11:25.480 --> 00:11:29.279
The two thousand and seven UK floods were devastating, with
172
00:11:29.519 --> 00:11:33.519
rainfall double the seasonal average, causing widespread damage and disruption.
173
00:11:34.440 --> 00:11:38.279
The coincidence of Umbrella dominating the charts while the country
174
00:11:38.399 --> 00:11:42.639
was literally underwater became a cultural talking point, with some
175
00:11:42.879 --> 00:11:46.960
jokingly blaming Rihanna for the weather. The music video, directed
176
00:11:46.960 --> 00:11:51.519
by Chris Applebaum, became equally iconic. The image of Rihanna
177
00:11:51.600 --> 00:11:55.480
covered in silver paint posing nude within geometric shapes was
178
00:11:55.600 --> 00:11:59.360
unlike anything in mainstream pop at the time. It was artistic,
179
00:11:59.720 --> 00:12:03.799
edge and sophisticated, a visual statement that matched the song's
180
00:12:03.840 --> 00:12:08.879
sonic evolution. To fully appreciate the impact of Umbrella, we
181
00:12:09.000 --> 00:12:12.120
need to examine the cultural landscape of summer two thousand
182
00:12:12.159 --> 00:12:15.080
and seven, a time when the music industry was in
183
00:12:15.120 --> 00:12:19.240
transition and pop culture was being reshaped by new technologies
184
00:12:19.279 --> 00:12:23.320
and changing attitudes. Musically, two thousand and seven was dominated
185
00:12:23.320 --> 00:12:26.840
by a few key figures. Amy Winehouse's Back to Black
186
00:12:27.039 --> 00:12:30.559
was conquering the world, proving that there was massive appetite
187
00:12:30.559 --> 00:12:35.879
for artists who combined retro influences with contemporary edge. Timberland
188
00:12:35.960 --> 00:12:38.320
was at the height of his powers, producing hits for
189
00:12:38.360 --> 00:12:43.639
everyone from Nellifertado to Justin Timberlake. Hip hop was increasingly
190
00:12:43.679 --> 00:12:47.279
influencing mainstream pop, but in more sophisticated ways than the
191
00:12:47.360 --> 00:12:51.279
simple guest verses of earlier years. MTV was still relevant,
192
00:12:51.279 --> 00:12:54.000
but beginning to feel the pressure from YouTube and other
193
00:12:54.120 --> 00:12:58.720
online platforms. The network had largely abandoned music videos in
194
00:12:58.759 --> 00:13:02.240
favor of reality program but events like the VMA still
195
00:13:02.279 --> 00:13:07.000
held cultural significance. When Rihanna performed Umbrella at the two
196
00:13:07.039 --> 00:13:10.799
thousand and seven MTV Movie Awards with Bruce Willis introducing her,
197
00:13:11.200 --> 00:13:14.000
it felt like a passing of the Torch moment. The
198
00:13:14.120 --> 00:13:19.679
broader cultural context was one of transition. The economic optimism
199
00:13:19.720 --> 00:13:22.639
of the mid two thousands was beginning to show cracks
200
00:13:23.000 --> 00:13:27.000
with the financial crisis just around the corner. Social media
201
00:13:27.120 --> 00:13:30.759
was emerging but hadn't yet achieved its full cultural dominance.
202
00:13:31.519 --> 00:13:34.480
There was a sense that old systems were breaking down
203
00:13:34.600 --> 00:13:38.360
and new ones were being born. In this context, Umbrella
204
00:13:38.480 --> 00:13:42.639
felt both of its moment and somehow timeless. It embraced
205
00:13:42.639 --> 00:13:47.200
contemporary production techniques while maintaining classic pop songcraft. It featured
206
00:13:47.240 --> 00:13:49.799
hip hop elements without being a hip hop song. It
207
00:13:49.840 --> 00:13:54.919
was sophisticated without being inaccessible. The success of Umbrella transformed
208
00:13:55.000 --> 00:13:58.919
Rihanna from rising star to global icon. The song won
209
00:13:58.960 --> 00:14:02.080
her first Grammy Award for Best Rap Sung Collaboration and
210
00:14:02.159 --> 00:14:04.639
earned nominations for Record of the Year and Song of
211
00:14:04.679 --> 00:14:08.279
the Year at the two thousand and seven Mtvvmas, The
212
00:14:08.440 --> 00:14:12.759
video one Video of the Year, cementing its cultural impact.
213
00:14:14.240 --> 00:14:18.279
More importantly, Umbrella established a template that Rihanna would follow
214
00:14:18.279 --> 00:14:23.039
throughout her career, constantly evolving, taking risks, collaborating with cutting
215
00:14:23.120 --> 00:14:26.240
edge producers, and never being afraid to shed her previous
216
00:14:26.279 --> 00:14:29.840
image for something new. The good Girl Gone Bad transformation
217
00:14:29.960 --> 00:14:34.080
that Umbrella represented was just the first of many reinventions.
218
00:14:34.720 --> 00:14:38.440
The song's influence on pop music was immediate and lasting.
219
00:14:38.960 --> 00:14:41.840
It showed that pop songs could be minimalist and spacious
220
00:14:41.919 --> 00:14:45.559
while still feeling huge. It demonstrated how hip hop and
221
00:14:45.759 --> 00:14:48.480
R and B influences could be integrated into pop without
222
00:14:48.559 --> 00:14:52.159
feeling forced or tokenistic, and it proved that a simple
223
00:14:52.200 --> 00:14:57.960
concept executed perfectly could resonate across cultures and contexts. For
224
00:14:58.039 --> 00:15:02.679
producer Tricky Stewart, a Umbrella was a cultural moment. Rihanna
225
00:15:02.720 --> 00:15:05.919
was having pop success as an international artist with ponder
226
00:15:05.960 --> 00:15:09.519
replay and sos, but she wasn't a complete thought all
227
00:15:09.559 --> 00:15:13.919
the way through. The song changed that, making Rihanna a
228
00:15:13.960 --> 00:15:18.360
complete artist with a definitive sound and image. Looking back
229
00:15:18.399 --> 00:15:22.240
on Umbrella today, it's remarkable how fresh it still sounds
230
00:15:22.879 --> 00:15:26.519
in an era of maximalist pop production and feature heavy singles.
231
00:15:26.879 --> 00:15:31.080
Its relative simplicity and confidence stand out. The song doesn't
232
00:15:31.120 --> 00:15:34.879
try to do too much. It knows exactly what it
233
00:15:34.960 --> 00:15:40.000
is and executes that vision flawlessly. What makes Umbrella the
234
00:15:40.080 --> 00:15:43.840
perfect summer anthem is its ability to work on multiple levels.
235
00:15:44.559 --> 00:15:47.000
It's a dance floor filler that also works as a
236
00:15:47.039 --> 00:15:51.519
personal anthem. It's a love song that's also about self empowerment.
237
00:15:52.039 --> 00:15:56.279
It's specific to its moment while feeling timeless, and perhaps
238
00:15:56.320 --> 00:16:00.600
most importantly, it captures that summer feeling of protection and connection,
239
00:16:01.480 --> 00:16:04.679
the sense that no matter what storms may come, you're