Fergie, M.I.L.F.$ © Interscope

Reaction to Fergie, ‘M.I.L.F.$’

O.M.G…Fergie has made her return, and it’s about as raunchy –  if not raunchier – than expected. Embracing the old motto “sex sells,” on the trashy “M.I.L.F.$,” along with a fitting music video, Fergie is definitely selling sex.  Not literally, but you catch the drift…

I reviewed the single on The Musical Hype on Saturday, July 2 (link below), but didn’t subject myself to the video until afterwards. It’s definitely an experience… What more can you say? The milk  – innuendo to the nth degree…

It seems as if Fergie has been trying to ‘reclaim her status’ for a couple of years now. “M.I.L.F.$” is the latest attempt at The Dutchess’ comeback.

via Track Review: Fergie, ‘M.I.L.F.$’ — The Musical Hype

Selena Gomez, Revival © Interscope

11 Songs Where the Innuendo is Out of Control

uSelena Gomez told the world that she “couldn’t keep her hands to herself.” Isn’t keep your hands and your feet to yourself one of the basic rules taught in every elementary classroom? Regardless, Gomez’s lack of control perfectly captures the sentiment of the 11 songs selected on this playlist that lack control of their sexual appetites. The innuendo is front and center and inescapable, even if the particular song has more transcendent aspirations.  One Direction say it best: “No Control.”

1) Fifth Harmony featuring Ty Dolla $ign, “Work From Home” (7/27, 2016)

Fifth Harmony, 7/27 © Epic

There’s no covering it up in the least; Fifth Harmony’s “Work From Home” is drenched in innuendo from start to finish.  Liken “Work From Home” to mashed potatoes smothered in brown gravy, or gravy of preference. How absurd is this irresistible pop hit? Absurd as your choice of a four-letter word. These girls essentially tell their boyfriends they “don’t gotta go to work” – a source of bread mind you – because they can “work from home.” UGH, really?  It’s further illustrated in the official music video with construction workers and parodied in hilarious fashion in Bart Baker’s twisted interpretation.

Sure, what guy wouldn’t want to oblige Fifth Harmony’s suggestiveness in an ideal, utopian world? Still, no matter how much “work” Fifth Harmony are willing to do with their bodies, is it realistically going to pay the rent, the car payment, the electric bill?  “Bills, Bills, Bills!” Destiny’s Child emphasized that back in 1999 with their The Writings on the Wall  classic! “Can you pay my bills…If you did then maybe we could chill / I don’t think you do / So, you and me are through.”

Get real Fifth Harmony – “tighten up” those harmonies! Lacking in substance or authentic emotion, “Work From Home” is the exemplification of sex on the track, built upon slang and swagger, and ultimately constructed tastefully if ridiculously and unrealistically.  It’s good for flirty, and suggestive fun, but prominent innuendo inhibits it from being transcendent.

2) Rihanna, “Kiss It Better” (Anti, 2016)

Rihanna, Anti © Roc Nation (1)

Simply say the title “Kiss It Better” to yourself.  Then, ask yourself, doesn’t it totally sound like child’s play? Of course it does because as children, many of us can remember mommy saying that she’ll “kiss it better,” referring to a “boo boo!” BUT the all-powerful innuendo gods and/or the pop songwriting/producing gods definitely weren’t writing an innocent pop song. Are there many innocent pop songs anymore? That’s a big, fat, bloated NO. Innocence in modern day pop? NEVER!

“Boy, ya know that you always do it right” definitely isn’t referencing morality but rather the quality of “the act.”  Face it, the double entendre is amplified to the nth degree, causing every lyric to be “read into.” “Do” simply isn’t do anymore, it’s “doing it.” “What are you willing to do? / Oh, tell me what you’re willing to do / (Kiss it, kiss it better, baby).” Translation – that three-letter word, sex.  Yeah, Rihanna’s “Been waitin’ on that sunshine” alright!

3) One Direction, “No Control” (Four, 2014)

One Direction, Four © Columbia

After a while, don’t all boy banders get sick of all the sweet bubblegum mess? Still, every boyband has to save face, particularly if it’s at a transitional point of their career – the great in-between of the tween years and young adulthood.  That young adulthood means that they are just dying to sing about sex, likely something many have already been “doing” beyond closed doors.  To cut to the chase, if “No Control” is supposed to be masking One Direction’s horniness, it does a poor job.

It’s clear lyrically that One Direction mean business.  They aren’t singing about emotions but rather lust and the physical reactions, rather stimulation behind it.  There’s no way that One Direction gets an “innocence” pass on lyric, “Waking up, beside you I’m a loaded gun, I can’t contain this anymore / I’m all yours, I’ve got no control.”  “Loaded gun” hey? Doesn’t seem to be one that shoots bullets…

It gets even more sensual, unsurprisingly.  “Taste, on my tongue / I don’t want to wash away the night before.” What is that taste, pray tell?  Maybe there’s less sexually-oriented activities that can be interpreted from such a line, but does that even seem possible from twentysomethings? Nah! This is Generation Y after all.

Continue reading “11 Songs Where the Innuendo is Out of Control”

Ariana Grande, Dangerous Woman © Republic (1)

‘Dangerous Woman’ Showcases a New, More Mature Ariana Grande

“If you want it, boy, you got it / ain’t you ever seen a princess be a bad b*tch?” Yes, if you mouth is agape to the floor, the aforementioned lyrical quote comes from the “potty mouth” (rather the “potty voice”) of former Nickelodeon star Ariana Grande. On her third studio album Dangerous Woman, Grande exemplifies the hip-hop/Urban Dictionary slang that she “gives no f*cks.” In other words – more respectable, less crude words at that – Ariana Grande is indeed a “Dangerous Woman” and no longer an innocent girl. Remember when Britney Spears said, “I’m not that innocent?” Well, that describes the new, “more mature” Ariana Grande.

So is maturity measured by poise or by embracing the spirit of one’s particular age group or demographic? Maturity can be measured in both ways. On her balladry, with her debut and sophomore albums (Your Truly and My Everything), the maturity was already beyond Grande’s years vocally, hence why she drew comparisons to Mariah Carey. The material, arguably, was listenable by a more mature audience but targeted more to Grande’s younger demographic, hence the lack of over sexualizing.

The maturity that Grande makes isn’t vocally (she was already there in that department), but rather her image, ensuring that she moves beyond a younger fan base and paints herself as a credible artist as opposed to a teen-pop artist. Hey, she’s nearly 23 years of age – she’s grown! The way that most musicians do that is by going for a more rebellious, more profane sound (Nick Jonas, Demi Lovato, and Selena Gomez come to mind). Ariana Grande conforms to such approaches on Dangerous Woman.

How does Ariana Grande reconstruct her image? Well for one, like the opening quote, she’s profane over the course of the album in numerous instances. On “Everyday,” she makes it clear that “He giving me that good sh*t…/oh give it to me (everyday, everyday, everyday).” For teen-pop artists, sh*t, though uttered by teenagers (and younger) more often than not, is not considered part of the bag of tricks for music catered to that age. It gets even deeper with Grande dropping the f-bomb on “I Don’t Care” (“then f*ck’s the point?”) and “Bad Decisions” (“Don’t you know I ain’t f*cking with them good boys?”).

Another way that Grande reconstructs her image is through innuendo and sexuality. “Bad Decisions” is a hotbed for it, referenced earlier. Grande doesn’t necessarily cross the line compared to some pop and urban artists, but her suggestiveness is particularly suggestive. “Side To Side” can be interpreted as being more metaphorical than literal, but had Grande and her writers opted against that golden opportunity of innuendo, it seems disappointing (“I’ve been here all night / I’ve been here all day / and boy, got me walkin’ side to side”). Yeah, “Bang Bang” gave us a taste of this, but “Side To Side,” not to mention “Bad Decisions” and the fantastic “Touch It” take it next level.

The final way that Grande reconstructs her image is the most mature way because Grande doesn’t have to ‘compromise’ morals – playing devil’s advocate of course (AG is grown from my personal perspective and free to do as she pleases). The use of minor keys, as opposed to major keys, gives Grande more fierceness. Even had Grande nipped the profanity, the darker quality of the minor key production would’ve propelled her to the dangerousness she desired.

So to make one last point – rather, raise one last question – does being conformist to rebelliousness in pop music really represent maturity in the long run? The answer is a resounding no. It seems like many popular artists are embracing the ability to flex their potty mouths and amplify sex, even more, these days. While it’s mature musically because it’s considered to be badass, it’s not mature morally, nor does it accurately represent everybody’s way of life. Sure, we’re in an age where openness and bluntness about sex are perceived to be okay but is that notion been blown out of proportion? Deep food for thought to say the least.

Ariana Grande, Dangerous Woman © Republic (1)

2016: The Year Of Ridiculous Innuendo

This case study examines the ridiculous innuendo utilized in songs by Ariana Grande, DNCE, and Fifth Harmony in 2015/2016.

“I’ve been here all night / I’ve been here all day / and boy, got me walkin’ side to side.” Sigh, that’s a key line – the chorus to be precise – from Ariana Grande’s “Side to Side,” featuring Nicki Minaj, from her latest album, Dangerous Woman. It’s one of many songs where the innuendo is simply “larger than life” to say the least. In 2016, innuendo has been “kind of a big deal,” fueling a number of popular songs. Are they ridiculous? Yes. Are they catchy AF? To quote Gretchen Wilson’s “Redneck Woman” or Ginuwine’s “Hell Yeah,” “hell yeah” They are!

Starting with the cited example, Grande’s “Side To Side,” if you take the sex out of it, perhaps Grande is being metaphorical about the relationship with this guy. She’s clearly tempted by him (“…I know you got a bad reputation / doesn’t matter, cause you give me temptation…”), so perhaps he indeed has her “side to side” because she’s torn between a reasonable decision and temptation. It’s not an unreasonable interpretation mind you – some of the Genius annotations fall in line with this – but it’s also giving the writers and Grande too much credit if you don’t believe they didn’t see the remarkable opportunity to deliver incredible, ridiculous innuendo.

“Side to Side” is best seen as being shallow. Why? Pop music as of late is shallow, with the abundance of profanity, selfishness and overindulgence, and of course lust. The references to Grande’s love interest’s body, alongside with the repetition of lyric, “And we don’t gotta think ‘bout nothin’,” seems to suggests this is a passionate night of… – fill in the blank.

While “Side to Side” may be the preeminent example, Grande didn’t stop there on her Dangerous Woman album. “Touch It” ends up being a fantastic double entendre which definitely doesn’t require the mind to stretch exactly WHAT is being “touched.” Sure, there is more legitimacy to the metaphorical in this instance, but lyrics like, “I’m tired of being patient, so let’s pick up the pace / take me all the way / ain’t nobody gonna touch it, touch it, touch it,” definitely signal sex without any doubt.

Another perfect example of ridiculous innuendo comes by way of DNCE’s “Cake By The Ocean.” Clearly, the title is a play on “sex on the beach,” hence, the lyrics illustrate a clear sexual fantasy. “Talk to me baby / I’m going blind from this sweet, sweet craving, whoa-oh,” Joe Jonas sings on the naughty hook, continuing, “Let’s lose our minds and go f*cking crazy / ah yay a yay, I keep on hoping we’ll eat cake on the ocean.” Interpretation: “S-E-X.,” to quote Lyfe Jennings.

Need more evidence of the dirty mind of DNCE? “God damn / see you licking frosting from your own hands / want another taste, I’m begging yes ma’am / I’m tired of all this candy on the dry land, dry land.” Licking is clearly erotic, while “frosting” – typically white – seems to be synonymous with bodily fluids, clearly exchanged…we’ll leave it there.

One last example of the ridiculous innuendo might just be the best: Fifth Harmony’s “Work From Home.” This song is hella catchy, yet utterly ridiculous. Just look at the hook and the innuendo is out of the bag quick: “You don’t gotta go to work, work, work… / but you gotta put in work, work, work…/let my body do the work, work, work… / you can work from home, oh, oh, oh-oh.”

Essentially, Fifth Harmony suggests that their men don’t have to work, but by working their bodies (aka sex) is sufficient. The problem is, if that’s the case, where’s the money coming from? It takes money to live and lust and carnal pleasures won’t supplant the bill money, right? Is Fifth Harmony going to cover the lights, the rent, the car payment? Sheesh!

So ultimately, case(s) in point…innuendo has gone plumb wild – truly crazy – in 2016. Yes, songwriters may be able to tie in a more moral, meaningful message, but when they are formulating catchy lyrics and song titles, don’t think that sex, which sells, isn’t a motivating factor. Be as moral as you want in interpreting any of the four above-mentioned joints, but all of them is chocked full of sex without question.

R. Kelly, The Buffet © RCA

R. Kelly Is Up To His Old Tricks on ‘The Buffet’

R. Kelly, The Buffet © RCA

R. Kelly • The Buffet • RCA • Release Date: 12.11.15

R. Kelly has never had a problem with being prolific – apparently, he wrote 462 songs for his latest album, The Buffet. After listening to The Buffet, one has to wonder what percentage of those 462 songs involved sex. Likely the percentage is high given the prevalence of sex throughout the course of The Buffet. But enough about Kelly’s obsession with ‘doing it,’ how does The Buffet stack up as its own entity and compared to Kelly’s previous output? It has its moments, never blows you away, and doesn’t come close to Kelly’s most distinguished work. 

“The Poem” sets the tone in salacious fashion – would we expect any less from R. Kelly? The most cringe-worthy part is when R. Kelly slurps like he’s slurping up a drink…geez! “Poetic Sex” naturally follows, chocked full of innuendo as only R. Kelly could execute it. Much like the “The Poem” preceding it, it’s a stretch and clumsy, particularly the cliché horn-dog lyrics, with the charge led by “My lyrics got a big d*ck and I just f*cked the sh*t outta y’all.” Hmm, real romantic there Kells…

“Anything Goes” featuring Ty Dolla $ign finds Kelly continue to ignore the fact he’s closer to 50 as opposed to being in his 20s. To each his own, but even as slick as “Anything Goes” is, isn’t hard to believe R. Kelly’s authenticity at this point? “Let’s Make Some Noise” keeps things sexy, amplified more thanks to Jhené Aiko’s guest appearance. The ‘sex’ ballad is respectable for what is, at least contextually within The Buffet. But still, this is explicit overkill! We get it already Kelly – you enjoy sex! Trey Songz didn’t invent it, you did because you’re a “sex genius.” Phew!

“Marching Band” proves that R. Kelly can compare any and everything to – you guessed it – SEX. Whether it makes you shake your head or laugh, give Kelly credit for “Marching Band”…or not. In addition to Kelly’s lyrics “She blow me like a tuba / I beat it up like a snare drum,” Juicy J delivers a bullet: “In the lobby Four Seasons with like ten or twelve broads / all head to my suite, it’s a million THOT march.” SMH!

If nothing more comes from the Lil Wayne and Jeremih assisted “Switch Up,” we learn that Kelly thinks “You done got way too comfy / girl you ain’t the only one that want me / hit you with the switch up.” “Wanna Be There” featuring Ariirayé is a moment of redemption following Kelly’s empty sexcapades – it marks are reunion with his formerly estranged daughter and his commitment to be better. 

Following “Wanna Be There,” there seems to be an upgrade of sorts, at least where subject matter is concerned. “All My Fault,” “Wake Up Everybody,” “Get Out of Here With Me,” and “Backyard Party” are more soulfully driven and less dependent on sex to fuel them. The best of the quartet are “Wake Up Everybody” and “Backyard Party.” “Wake Up Everybody” is sensual without being oversexed, while “Backyard Party” is tried-and-true R. Kelly – think Chocolate Factory or Love Letter neo-soul. 

“Sextime” may be shallow, but it’s lush and stands taller than say “Poetic Sex.” The standard edition of The Buffet concludes with “Let’s Be Real Now” featuring Tinashe. For those who like to splurge, the deluxe edition of The Buffet adds five tracks: “I Just Want To Thank You” featuring Wizkid, “Keep Searchin’,” “Sufferin’,” “I Tried” and “Barely Breathing.” The best of the bunch is “Sufferin’,” an enjoyable, well rounded throwback soul cut.

The verdict on The Buffet is as aforementioned; the album has its moments. At times, R. Kelly tries too hard, hence making the first portion album way oversexed. Once he settles in with some dashes of soul and backs off of all things profane, The Buffet is much more enjoyable. A classic – no, never, but definitely an improvement over Black Panties if nothing more!

Favorites: “Let’s Make Some Noise,” “Marching Band,” “Wake Up Everybody,” “Backyard Party” and “Sextime”


R. Kelly, Black Panties © RCA

12 Songs Where R. Kelly Took Innuendo Too Far  

R. Kelly, Black Panties © RCA

Kelly isn’t the king of R&B – he’s the king of freak. Is there another R&B artists that comes to mind that can match the freakiness of R. Kelly toe to toe? The answer is no. Kelly has got explicitness locked up, no questions. Sex should be his middle name. If you need the reasoning for such confirmed, well, just consult this list of 12 songs where R. Kelly absolutely, positively took innuendo too far. He went next level – to the nth degree! 

1) “Legs Shakin’” featuring Ludacris (Black Panties, 2013)

“I’m goin’ down, down, down / and do it ‘til your legs’ shakin’.” Boy oh boy did R. Kelly kick off the most explicit album of his career with a bang. “Legs Shakin’” blows its cover with when Kelly sings, “Until your body comes, until we see the sun / send you into shock girl once I touch you with my Taser tongue.” Ludacris confirms the specific act being executed using the tongue: “And my tongue just likes to scribble / morning, noon, and night I gotta have it / I’m a dog eat it up like bits and kibbles / make me dribble…” Can you say F-R-E-A-K-Y?

2) “Cookie” (Black Panties, 2013)

After hearing “Cookie,” Oreos will never ever be innocent, decadent cookies. No, they’ll always be sexual, representative of Kelly’s lustfulness. All innocence is stripped when Kelly has the nerve to reference Cookie Monster from Sesame Street: “Cookie, cookie, cookie, I’m a cookie monster.” Take your pick of naughtiness, but it all seems to come back to the genitals, SMH.

3) “Show Ya P***y” featuring Juicy J & Migos (Black Panties, 2013)

Three songs into this sinful list and the third song happens to be from Black Panties. Honestly, it’s as if R. Kelly felt he had to make up for two conservative, classy albums in Love Letter and Write Me Back by going cray-cray with the sex. “Show Ya P***y” has a legitimate argument to top this list, as it is tasteless, misogyny at its worst. “Climb up, slide down / bend it over, twerk now…split, split, split, split – now let me see…” Terrible!

4) “Ignition” and “Ignition Remix” (Chocolate Factory, 2003)

“Girl please / let me stick my key in your ignition babe / so I can get this thing started and get rollin’, babe…” In 2003 this was one of the hottest records. It was and still is freaky, but it is tamer than the first three joints that grace this list. Yes, Kelly is still adventurous in his sexcapades, but he left the “cookies” out of it.

5) “Marry the P***y” (Black Panties, 2013) 

Basically, this didn’t make #4 because that would’ve placed four songs from Black Panties among the ranks of carrying innuendo too far and some variety was necessary. Still, anytime you drop the p-word, it’s X-rated from the get-go. The chorus confirms that R. Kelly just might be the horniest R&B artist ever: “This is a sex proposal / I just wanna marry the p***y…Wanna get down on my knees and ask that p***y to marry me.” C’mon Kells! 

6) “In The Kitchen” (TP-3 Reloaded, 2005)

It never ends with this guy does it? Besides the freaky, irresistible hook, the best lyrics from “In The Kitchen” have to be “Girl I’m ready to toss your salad.” Of course this is a line Kelly makes sure the listener doesn’t miss, delivering it with great bombast that suits the salaciousness of this number.

7) “Crazy Sex” (Black Panties, 2013)

The crazy thing is that Black Panties had even more options to grace this list. However, five songs is plenty as Kelly continues to freak his way through the album. You know when R. Kelly asks his girl to “get ratchet,” that “Crazy Sex” has no hope. “Let’s go deeper, let’s go faster, let’s go harder / lets come at the same damn time and then start over.”

8) “Thoia Thoing” (The R. In R&B Collection, Vol. 1)

When made-up words come into play, they are literally “all about that play.” “Thoia Thoing” sounds representative of strip club music, and R. Kelly would have it no other way. The difference between “Thoia Thoing” and say “Show Ya Pussy” is that while Kelly is still thinking pornographically, he hasn’t quite went over the deep end yet.

9) “The Zoo” (Double Up, 2007)

“Girl I got you so wet / it’s like a rain forest / Like Jurassic Park / except I’m your sex-a-saurus baby.” O…M…G! Other animals reference within this animalistic cut include monkeys, kangaroos, birds, bees, cheetahs – you get the picture. Sex, sex, sex…

10) “Skin” (2008)

“Skin” was only released as a single, but never on an album. It and “Hair Braider” arrived in 2008 and both represented risqué R. Kelly. At one point, Kelly tells his girl, “Said I would be your toy / play with me like Lego / I’m your soldier boy / girl you’ll get no angel.” Well, the last part of those lyrics about the “no angel” is 100% accurate.

11) “The Greatest Sex” (TP-2.com, 2000)

It would seem that R. Kelly seems to remember every sex encounter that he has and then uses his memory of that to compose his next TMI song. “The Greatest Sex” looks tame now compared to Kelly’s more contemporary albums, but coitus is still the focus (“And all your secret fantasies thy will be done”).

12) “Banging the Headboard” (Untitled, 2009)

“I’m ‘bout to blow up in here like a hurricane.” Kelly, are you really that into it? Apparently he is, as R. Kelly is putting so much energy into that he’s “banging the headboard.” Wouldn’t that cause a knot on one’s head?

Tyler the Creator, Cherry Bomb © Odd Future

Notable Lyrics: Tyler the Creator, Cherry Bomb

Tyler the Creator, Cherry Bomb © Odd Future

Tyler, the Creator • Cherry Bomb • Odd Future • US Release Date: April 13, 2015

Tyler The Creator has never been one to hold back. Nope, the 24-year old underground rapper is arguably the rawest of the raw, exemplifying the mantra IDGAF. As brash as Tyler may be, his fourth studio album Cherry Bomb is explicitly brilliant. Besides his superb production skills, it is TTC’s biting, memorable rhymes that make his latest album notable. Here are 14 notable lyrics extracted from Cherry Bomb! 

1) “I hope you little n***as is listening / Them Golf Boys is in this b*tch like an infant / the blind n***as used to make fun of my vision / and now I pay a mortgage and they stuck with tuition / so special the teacher asked if I was autistic / and now I’m making plates, you just washing the dishes”– “DEATHCAMP”

You’ve got love Tyler’s wordplay here. There’s a little bit of everything including opposites, anti-educational stance, special education, and overall prominent status.

2) “I’m going harder than coming out the closet to conservative Christian fathers / when it’s a lot at stake carne asada let’s be honest, I’m really morphing / name the album Cherry Bomb because Greatest Hits sounded boring” – “DEATHCAMP”

Sure, the reference to gay and conservative Christian is the ‘meat’ of this lyric, but what about Tyler’s clever use of “stake” and “carne asada,” Mexican “steak”? 

3) “God, goodness gracious / I can’t wait to see the look y’all n***as faces / that boy T is nuts, surprised his thoughts isn’t chaffing / f*ck them crackers up at Mountain Dew them n***as is racist” – “Buffalo”

While anytime the word “chaffing” is used is both too much information yet fascinating, the bomb is when Tyler references the whole Mountain Dew commercial fiasco.

4) “And I ain’t bring no extra baggage for this trip / but I do bring a terror like I hate America” – “Pilot” (Verse 1)

Simple – Self-explanatory and controversial, right?

5) “Come and light my fire, I’ll blow your f**kin’ face off / N***a I’m a god damn pilot / and I decide when we gon’ take off / let’s get it” – “Cherry Bomb” (Verse 1 & 2)

This is a play on words once more. “Light my fire” generally references one of two things: the literal or sexual innuendo. It works in either context here, though follow up “blow your f**kin’ face off” seems to be more literal.

6) “The holy grail of your body, when you be kissin’ missus / This is a kid from Africa, you, you are the kitchen / I come quicker than pitches from Sammy Sosa…” – “Blow My Load” (Verse 1)


7) “Your p***y tighter than door hinges / I munch you like sandwiches… Face Time your c**t, I will jack off my d**k / I go hard, s**t / I might need an ice pack on my wrist…” – “Blow My Load” (Verse 2)

Again it’s all S-E-X.

8) “Back when Left Brain had the hightop fade / and we would go skate on them concrete waves / and now I switch gears to hear the cylinders pump / the beat dumb don’t get it twisted boy my board’s in the trunk” – “2Seater” (Verse 3)

He’s got a sick, sporty ride, but he hasn’t left behind that skateboard or upon deeper examination, his past – them good ole days!

9) “Can’t a n***a get some f**king chaos in here? / I’m the truth and the dare / and you can get your ass beat like a kick in a snare” – “The Brown Stains of Darkeese Latifah Part 6 – 12 (Remix)” (Part 8)

Tyler The Creator loves to ruffle feathers. He’s brutally honest – he doesn’t care who he offends or ‘flips the bird’ to.

10) “A six year difference is a ten year sentence / and with the pigment on my skin / I don’t want to be another statistic / you bring me joy… / and you fill a void that was once missing / and I can say I’m in love” – “F**king Young / Perfect” 

She’s not legal apparently even though the age difference is only six years. He doesn’t want to get in trouble. Ultimately to him, she’s “perfect.”

11) “They say I’m nutty, a picnic basket / I’m short of a sandwich / a peanut butter, Boyce Watkin’s a f****t” – “SMUCKERS”

Tyler, it’s not very nice to call people names. While TTC’s choice of word is inappropriate, it’s understandable why he doesn’t have much love for Dr. Boyce Watkins.

12) “My trigger finger wise but my nine dumb / middle finger blind so it’s f**k A-N-Y one / f**k, skate and die son, a hundred ways to die son / I’m starin’ at a tramp on lean, make my eye jump” – “SMUCKERS” (Lil Wayne)

Lil Wayne is definitely ‘On’ here. Autopilot baby!

13) “My garden’s full from breaking these hoes / a handful of green and a couple of stones / your lawnmower’s foreign, you rent a home / but n***a, how much of that s**t do you own?” – “Keep Da O’s”

Oh Tyler, you love to play on words don’t you? Gardens and hoes – both innocent things in one light and filthy in another – sigh. Then through in the weed, drop the obligatory ‘foreign’ reference’ and this set of lyrics is perfect.

14) “Let’s move to California / right now (pack your bags, go pack your bags) / I have wings on my back, so we don’t (take the plane, have to take the plane)…” – “OKAGA, CA”

Two words – “California Dreamin’.”

Rihanna, Talk That Talk © Def Jam

Rihanna’s 10 Most Unapologetic Songs

Rihanna, Unapologetic © Def Jam

Rihanna began as one of the most wholesome pop/contemporary R&B artists in the music industry. After ditching most of her tropically tinged sound from debut album Music Of The Sun, Rihanna’s next two albums were filled with family-friendly pop. But post Good Girl Gone Bad, well the ‘good girl’ really did go ‘bad’ as Rated R, LOUD, Talk That Talk, and Unapologetic showed both a more mature, but also more explicit pop star. Here are Rihanna’s 10 Most Unapologetic Songs.

1) “S&M” (LOUD, 2010)

Before all the talk about Fifty Shades Of Grey, there was “S&M.” This has to be Rihanna’s naughtiest song of her career that just happens to serve as the opener for her fifth album LOUD. The best line comes by way of the chorus: “Cause I may be bad, but I’m perfectly good at it / sex in the air, I don’t care, I love the smell of it / Sticks and stones may break my bones / but chains and whips excite me…” Girl, you so freaky!

2) “Birthday Cake” (Talk That Talk, 2011)

In no shape or form is Rihanna talking about actual birthday cake. Sure she may sing “Come and put your name on it,” but Rihanna isn’t talking about icing. How does anyone the slightest bit naïve of sexual innuendo and double entendre know this? Well Rihanna helps us out: “It’s not even my birthday / but he wanna lick the icing off…” Come on! – No pun intended.

3) “Cockiness (I Love It)” (Talk That Talk, 2011)

This one could’ve landed at number one had Rihanna not been talking about “sex in the air” and “chains and whips” exciting her on “S&M.” Face it folks, “Cockiness (Love It)” needs no explanation as Rihanna is open, honest, and lays it all out there. “Suck my cockiness / lick my persuasion / eat my words and / swallow your pride down…” Girl, you so nasty!

4) “Rude Boy” (Rated R, 2009)

One of Rihanna’s catchiest songs is also one with no shortage of innuendo driving it.   Sure, Rihanna isn’t nearly as suggestive as “Cockiness,” but there is plenty of reference to ‘the do’ by all means. “Come here rude boy, boy – can you get it up? / Come here rude boy, boy – is you big enough?” definitely doesn’t sound that innocent, right?

5) “Hard” (Rated R, 2009)

“And my runway never looked so clear, but the hottest b**ch in heels right here!” Whoa girl, whoa! “Hard” isn’t unapologetic because it is oversexed (for once). No, it’s unapologetic because Rihanna is edgy and fierce. She wasn’t messing around on Rated R and “Hard” was among the best on her darkest album to date. Also, shouldn’t Chris Brown be mentioned here?

6) “B**ch Better Have My Money” (R8, 2015)

Rihanna practically screams this song. She’s not playing – “b**ch better have my money!” What more is there to say? Definitely contrasts “FourFiveSeconds.”

7) “Rockstar 101” featuring Slash (Rated R, 2009)

Need a Rihanna joint that is dripping in unapologetic swagger? Look no further than “Rockstar 101,” where Ri is “feeling so good / looking so bad / rocking this skirt / rocking this club / got my middle finger up / I don’t really give a f**k.” And if her I.D.G.A.F attitude isn’t enough in itself, well she throws in lines like “Make sure you frisk me good / check my panties and my bra.”

8) “Raining Men” featuring Nicki Minaj (LOUD, 2010)

Who has a better knack for double entendre than Rihanna? No one! Take a line from verse one: “All you need to know that I’m a two times five / load it, cock it, aim it baby, boom bye bye.” Because Rihanna is so hot (which is true), “Men be falling like the rain so we ain’t running out.” Basically, she can get whoever she wants and more a waiting. 

9) “Wait Your Turn,” (Rated R, 2009)

Five words – “I’m such a f**king lady.” There it is! Hasn’t it been said that a lady shouldn’t curse, particularly the f-bomb? Can you say unapologetic to the nth degree? Regardless, “The wait is over!”

10) “Russian Roulette” (Rated R, 2009)

Call this tame un-apology – if there is such a thing. Rihanna isn’t being risqué in the same sense as the previous nine songs, she’s just singing about a darker theme. This was among big contrasts to Rihanna’s biggest hit, “Umbrella.”

Miley’s ‘Means To Ends’ Is Questionable

Miley Cyrus-20130917-29

Miley Cyrus-PZH-000280Justin Bieber lately you get a temporary pass from me buddy… at least until the Miley Cyrus phenomenon, machine or whatever it is ends. I’m hoping it ends soon, for all of our sakes.  My new favorite person to scrutinize for irresponsible actions is Billy Ray’s daughter, and rightfully so. Basically, all the criticism and jeering is justified.  Miley Cyrus is going through a ‘shock’ phase to get attention and the saddest part is that it is working and that is sad.  I understand she needs attention to give her a decent stab at a comeback, particularly after Can’t Be Tamed was pretty tame in sales from start to finish, but still, she’s taken it to a new level.

Sex always garners attention, so Cyrus has decided to sex up her image.  Fine, seems the natural course of action for any teen star… good or bad.  Add some hip-hop culture to the mix and now Miley has ‘swag’ (“We Can’t Stop”).   Perform given breakout single at VMAs, wear provocative clothing, scar children’s minds for ever by destroying the sanctity of the teddy bear, spank someone’s butt, strip, twerk on Robin Thicke and change the purpose of a foam finger forever…Hmm…Okay…  Then throw in tears, a wrecking ball, a sledgehammer, nudity, and plenty of tongue action, and you have a number one single (“Wrecking Ball”).  Well, the song’s good at least.

miley-cyrus-67Now Miley has taken a page out of Green Day’s book at the I Heart Radio Music Festival by making it more buzz worthy on internet traffic than it would’ve been.  Congratulations, maybe? I dunno.  Green Day’s Billie Joe Armstrong had a breakdown on the 2012 festival that led to a stint at rehab and certainly didn’t help propel sales of the band’s trio of albums released in the fall of the same year (they basically bombed). At the 2013 edition, it was Miley’s outrageous outfit that drew attention, though certainly didn’t have quite the disturbing effect that Billie Joe’s um issues.  Still, the outfit seems so unnecessary.  Why does Miley have to go so, um, trashy?  That’s the aspect of the new Miley I just can’t wrap my brain around.

PHOTOS: Miley Cyrus performing at the 2013 iHeartRadio Music Festival

WATCH: Miley Cyrus is brought to tears on the iHeartRadio Music Festival Village stage

Miley Cyrus25-20130917-26I mean, Miley has a song I actually like in “Wrecking Ball” and I didn’t mind “We Can’t Stop” that much (could’ve done without all the processing and that “molly” lyric).  So why can’t Cyrus’s endeavors be about the music and promoting it in a more refined manner? Why does everything have to become sexual innuendo?  What makes it worse is that it’s clumsy and awkward at that.  I mean there’s nothing wrong with a little naughtiness, but Cyrus’s ‘means’ to achieve a successful album and reinvigorate career seem a bit irresponsible to me.  Maybe it’s just hunger for stardom or renewed stardom, but still, the shock value is offensive, at least in my opinion.

Kelly Rowland: More Risqué Than Beyoncé (and Others)

Kelly Rowland

First things first, Kelly Rowland keeps showing R&B listeners she is no Beyoncé.  Often


stuck in the shadow of the more popular chanteuse, Rowland’s musical direction as of late has smartly trended opposite of her contemporary.  Perhaps the first time this adjustment truly garnered some deserved attention was when some (including myself) considered 11’s Here I Am a better album than Beyoncé’s 4Yep, I said it. Continuing, Rowland has opted for a more sensual direction.  While sensual can be dangerous, it works well for Rowland.  Why?

Janet Jackson: “Call Ms. Janet if you nasty!”

Keep in mind that there is huge merit to the phrase “sex sells”.  It can work for/against and artist, but Rowland has manipulated it to her advantage.  Janet Jackson made it work throughout her career, until the infamous Super Bowl “Nipple-gate” and 2004’s oversexed Damita Jo which featured such overt numbers as “Sexhibition” (“I wanna sex-plore you…), “Strawberry Bounce” (use your imagination), “Moist” (…) – you get the picture.


The reason why sensual has been so good to Rowland is because she does it suggestively as opposed to overtly.  Her approach is more innocent bad girl than oversexed freak.  She is more subtle about her desires, even if the effect is still one of  embracing the more sensual side of womanhood.  Examine some of her lyrics.


On 2011’s excellent “Motivation” featuring Lil Wayne, she had a gargantuan R&B hook by embracing innuendo, but without over pushing boundaries:

  • “Oh lover, don’t you dare slow down / Go longer, you can last more rounds / Push harder, you’re almost there now/ So go lover, make my momma proud…” (Verse 1)
  • “And when we’re done, I don’t wanna feel my legs / and when we’re done , I just wanna feel your hands all over me…And you’re almost there/ I believe in you baby…” (Chorus)
  • “…Girl I turn that thing into a rainforest…I like to taste that sugar, that sweet and low…” (Lil Wayne)

Sure, it’s DIRTY – don’t get it twisted – but Rowland’s performance approach is ‘gentler’, even if the content is as/not more so potent than if she’d said the same thing with less tasteful, less poetic language.


On 2012’s “Ice” also featuring Lil Wayne, she takes the same, subtle approach:

  • “You’re like ice / I-C-E, feels so nice / Scorching me, you’re so hot…./baby your love is so hot…” (Chorus)
  • “Pull up, she been purring like a kitten…” (Verse 1)
  • “And watch what I do / and that’s my favorite angle / my legs are numb now / your loving be giving me chills” (Verse 1)
  • “You put the pillow (right there) /underneath my back / Got me up against the window (right now) / We got no shame we going…” (Verse 2)

I’ll spare you of Lil Wayne’s lyrics, which are more explicit this go-round.  Kelly keeps it right on the edge as always, while just being one lyric from crossing the edge.


Similarly, 2012’s excellent Mike-Will-Made-It produced “Kisses Down Low” takes the exact same approach lyrically:

  • “…But nothing can compare when you kiss me there” (Verse 1)
  • “So boy just take your time, send chills down my spine / You’re one of a kind, that’s why I gotta make you mine…” (Pre-Chorus)
  • “I like my kisses down low / makes me arch my back / when you give it to me slow / baby just like that” (Chorus)
  • “Baby get a little rough that’s okay / baby go ahead do your thang, ride away…” (Verse 2)
  • “Speed it up, heat it up, let it go, let it go…” (Bridge)  

What can you draw from Rowland? She doesn’t abstain from topics of lovemaking. She


embraces it and pushes the envelope, which is a more bold approach for a female R&B artist. Sure, Miguel already made reference to “arch your back” popular with his sensual “Arch & Point” but Rowland almost approves of such territory already tread by male artists.  Beyoncé sings about love as well, but she certainly ‘minds her step’ more than Rowland.


Is Rowland going TOO left-of-center? Only time will tell.