#that’s what murda does right now

[angelwings-crossbowstrings]

It’s 4am. I’ve been at the emergency vet all night with my cat.

I’m home. Diaval’s home.

Bedtime. MarchWeres writing all day tomorrow.

Night. 🩵

Angry and stoned

[quackitytheduck]

First things first, I'm the realest (realest) Drop this and let the whole world feel it (let 'em feel it) And I'm still in the Murda Bizness I can hold you down, like I'm givin' lessons in physics (right, right?) You should want a bad bitch like this (ha?) Drop it low and pick it up just like this (yeah) Cup of Ace, cup of Goose, cup of Cris High heels, somethin' worth a half a ticket on my wrist (on my wrist) Takin' all the liquor straight, never chase that (never) Rooftop like we bringin' '88 back (what?) Bring the hooks in, where the bass at? Champagne spillin', you should taste that

I'm so fancy You already know I'm in the fast lane From L.A. to Tokyo I'm so fancy Can't you taste this gold? Remember my name, 'bout to blow-oh-oh-oh

I said, baby, I do this, I thought that you knew this Can't stand no haters and honest, the truth is And my flow retarded, each beat dear, departed Swagger on stupid, I can't shop at no department And get my money on time, if they not money, decline And swear I meant that there so much that I give that line a rewind Said I get my money on time, if they not money, decline I just can't worry 'bout no haters, gotta stay on my grind Now tell me, who that, who that? That do that, do that? Put that paper over all, I thought you knew that, knew that I be that I-G-G-Y, put my name in bold I been working, I'm up in here with some change to throw

I'm so fancy You already know I'm in the fast lane From L.A. to Tokyo I'm so fancy Can't you taste this gold? Remember my name, 'bout to blow-oh-oh-oh

Trash the hotel Let's get drunk on the minibar Make the phone call Feels so good getting what I want Yeah, keep on turning it up Chandelier swinging, we don't give a fuck Film star, yeah, I'm deluxe Classic, expensive, you don't get to touch, ow

Still stunting, how you love that? Got the whole world asking how I does that Hot girl, hands off, don't touch that Look at it, I bet you wishing you could clutch that That's just the way you like it, huh? It's so good, he's just wishing he could bite it, huh? Never turn down nothin' Slaying these hoes, gold trigger on the gun like

I'm so fancy You already know I'm in the fast lane From L.A. to Tokyo I'm so fancy Can't you taste this gold? Remember my name, 'bout to blow-oh-oh-oh

Who that, who that, I-G-G-Y That do that, do that, I-G-G-Y Who that, who that, I-G-G-Y (Blow-oh-oh-oh)Who that, who that, I-G-G-Y That do that, do that, I-G-G-Y Who that, who that, I-G-G-Y (Blow-oh-oh-oh)

[glitzydiamondgrl]

First things first, I'm the realest (realest)

Drop this and let the whole world feel it (let 'em feel it)

And I'm still in the Murda Bizness

I can hold you down, like I'm givin' lessons in physics (right, right?)

You should want a bad bitch like this (ha?)

Drop it low and pick it up just like this (yeah)

Cup of Ace, cup of Goose, cup of Cris

High heels, somethin' worth a half a ticket on my wrist (on my wrist)

Takin' all the liquor straight, never chase that (never)

Rooftop like we bringin' '88 back (what?)

Bring the hooks in, where the bass at?

Champagne spillin', you should taste that

I'm so fancy

You already know

I'm in the fast lane

From L.A. to Tokyo

I'm so fancy

Can't you taste this gold?

Remember my name, 'bout to blow-oh-oh-oh

I said, baby, I do this, I thought that you knew this

Can't stand no haters and honest, the truth is

And my flow retarded, each beat dear, departed

Swagger on stupid, I can't shop at no department

And get my money on time, if they not money, decline

And swear I meant that there so much that I give that line a rewind

Said I get my money on time, if they not money, decline

I just can't worry 'bout no haters, gotta stay on my grind

Now tell me, who that, who that?

That do that, do that?

Put that paper over all, I thought you knew that, knew that

I be that I-G-G-Y, put my name in bold

I been working, I'm up in here with some change to throw

I'm so fancy

You already know

I'm in the fast lane

From L.A. to Tokyo

I'm so fancy

Can't you taste this gold?

Remember my name, 'bout to blow-oh-oh-oh

Trash the hotel

Let's get drunk on the minibar

Make the phone call

Feels so good getting what I want

Yeah, keep on turning it up

Chandelier swinging, we don't give a fuck

Film star, yeah, I'm deluxe

Classic, expensive, you don't get to touch, ow

Still stunting, how you love that?

Got the whole world asking how I does that

Hot girl, hands off, don't touch that

Look at it, I bet you wishing you could clutch that

That's just the way you like it, huh?

It's so good, he's just wishing he could bite it, huh?

Never turn down nothin'

Slaying these hoes, gold trigger on the gun like

I'm so fancy

You already know

I'm in the fast lane

From L.A. to Tokyo

I'm so fancy

Can't you taste this gold?

Remember my name, 'bout to blow-oh-oh-oh

Who that, who that, I-G-G-Y

That do that, do that, I-G-G-Y

Who that, who that, I-G-G-Y

(Blow-oh-oh-oh)

Who that, who that, I-G-G-Y

That do that, do that, I-G-G-Y

Who that, who that, I-G-G-Y

(Blow-oh-oh-oh)

[tani-b-art]

After, and only after Mercedes saw that she herself is a masterpiece, a beauty, a work of art, by way of Farrah showcasing her art through her own art of photography, was she able to appreciate the art in her sister Keyshawn (when they locked eyes while Keyshawn was performing was such a fulfilling moment) AND then was she able to release and receive what her new dream could be. She had her "aha" moment — a moment of unveiling the possibilities for her next phase (which it's seeming like she's gonna repurpose her gym to a studio to cater to adult women — a heels and stilettos type of class, for now).

Mercedes has been holding her breath under water and finally came up for air. To get that much needed breath. She was able to exhale. Seeing herself as the art she is, released what she needed to move forward. Miss mama was in total awe with herself! "I never thought I'd be on a wall like...I look like gravity don't exist." (cries tears of joy).

Farrah's dream reawakened because of Mercedes, her muse. Mercedes is discovering her next dream through Farrah, her appreciator and connoisseur. Their art really brought them together and reignited their dreams. Art truly does connect souls. (The artist in me was just on cloud nine with this episode!)

And what Farrah was telling her...how art, the art of Mercedes, makes you understand there is a God. Chiiile, Mercedes is good because we would've ran off together right then and there.

She came face-to-face with her own breathtaking art. Sis was sooo happy and proud (anytime Mercedes is experiencing happiness, I'm happy because she deserves to be happy). Farrah truly captured her in all her essence.

Y'all peeped those conversations the art patrons were having as Mercedes walked through the gallery...confirming everything about her strength and beauty and gift? Delightful! She needed that because she's been hearing the opposite lately. This exhibit, she didn't have to prove her value, the art enthusiasts saw it themselves and voiced their appreciation — therefore valuing her with their positive words. Mama still got it! Then later on, Lil Murda tells her she's a legend as she sits on the throne! She is. Praising her and giving her her flowers now. Farrah and Lil Murda were the voices of acknowledgment she needed from the people she knows. Who she's familiar with. Those encouraging and kind words complimenting and recognizing her was affirmation for her. Farrah and Lil Murda lifted her up right when she needed it.

What a full circle. The first time they met, Mercedes critiqued Farrah's art and now Farrah is critiquing hers.

Farrah turned The Mercedes Experience into an art exhibition (swoons). This is love. An act of love. She loves her!

Just get married y'all!

[Who is behind Mercedes & Farrah's story arc?! You/y'all deserve the world!!! We deserve a spin-off! And who was the actual photographer because those photographs of Brandee are beautiful!]

[ddearddigitalddiary]

positions: Stoned Favorites

OOooooookay. She did it to me again. It’s the fact that everytime she drops an album it’s at a point in my life that’s nearly aligned with the lyrics and emotion. It’s the same shit with Taylor’s works. Either that, or I’m a normal human being like everyone else who relates to lyrics and music and makes it personal. :) Anywhoo, Ariana dropped this album today and I’ve already listened through about 15 times from start to finish. No skips for me. I think this is one of the most beautiful pieces of art she’s released. It’s 100% the most mature sounding piece vocally that she’s heard. She said in her Zach Sang interview that this album she just wanted to sing more than she normally did before in her era of bops. And giiiiirl did she DELIVER. Switching positions here now. 

Here are my favorite parts and favorite things about the sexy, flirty, fun, vulnerable, gooooorgeous art that is positions by Ariana Grande:

shut up: gorgeous freaking way to start the album. LOVE the strings. Classic Ari opener imo. okay yeah, favorite part of the song is the strings. in the chorus on the second round when her voice does the descending scale *chefs kiss*. and then the fantastical disney princess ending faded/tuned out intooooo

34+35: *giggle* JUST GIMME THEM BABIES. this song is my first favorite from this album. beautiful ass strings and it’s a song about 69ing. GIMME MORE. i been drinking coffee!! and i been eating healthy!! you know i keep it squeaky!! saving up my energy!! *for sex*. favorite part of this song by far is this beautiful, sexy ass BRIDGE- baby you might need a seatbelt when i ride it, ima leave it open like a door come inside it, even though i’m wifey you can hit it like a side chick, don’t need no side dick no, got the neighbors yelling EARTHQUAKE, 4.5 when i make the BED SHAKE, put it down heavy even though it’s lightweight, we started at midnight, go til the sunrise, done at the same tie, but who’s counting the time when we got it for life, i know all your favorite spots, we can take it from the top, YOU SUCH A DREAM COME TRUE TRUE, MAKE A BITCH WANNA HIT SNOOZE OOOOOH. and then the autotune at the end is just cherry on top. 

motive: this BEAT give it to me MURDA. in the pre-chorus when the highhits come in, yes. and then into the beat drop on the chorus YES. whats your motive mmmmmmmmm. Doja’s little voice slurring up notes into her verse i just heard it listening to this and it was beautiful. literally music to my ears lol.

just like magic: OKAY THIS SONG IS A FAVORITE. using it to manifest moving forward thank YOU, 10:44 as i write that. love every single thing about this song. every thing. especially this bomb pre-chorus, chorus combo.favorite part is that white noise before the second chorus though. I take that moment to say a little thank you to the universe <3 - redesign your brain, we gon make some new habits!

off the table: Ari+Able=Unstoppable. The vulnerability here. I’ve cried listening to this song. Thank you for this one Ari. *not yet healed or ready* that part is me lmao. i’m waiting for the abel character to enter my life now lol that’s where i’m at in relating to this song... love’s off the table at the moment but i feel universe brewing up realness

six thirty: this one worked its way up to a favorite. i’m in loooooooove with this chorus and the beat behind it and her runs and her her note jumps and the harmonies. Are you down? what’s up. favorite part of the song - and maybe that’s how it’s supposed to be, i’m the release you the dopamine~ 

safety net: this is my fave collab on the album i think... they’re all tied closely together. But this song gives me a nostalgia vibe, a taste of like a darker, sweeter, richer kind of vibe. Her voice also is buttery and raspy and so mature sounding and it’s just a new song from her and a new sound from her. and i feel like right now i’m just entering a ‘new’ in my life so this is the one i’m relating to the most. I just click with it the most. 

my hair: and this one gives me Vulnerable Diva which i feel is a slight summary of Ari. not that she’s negative diva - she’s only ever the positive aspects of Diva. Icon. Pop Queen. The Moment. give me that electric guitar. favorite part is her whistles matched with the horns it’s too beautiful. i’m a sucker for some classical instruments, jazzy, concert. and the fact that she does literally a full chorus in whistle? EXCUSE ME?????? untouchable. 

nasty: again, grew to be a favorite. knew it was gonna be from the clip on insta though. every thing about this one is just cuddling and tickling my heart. don’t wanna wait tonight i wanna get nastyyyyy whatcha waitin fo. her voice and the lyrics and the beat and the chimes in the background. it’s a dream. the echoing. her vocals uggghhhh. *promise ima give it to you like you never had it, i do it so good it’s gon be hard to break the habit, you like a whole constellation, swimming like you on vacation, promise i’m still gonna love you when you wake up in the am*

west side: instant fave - again the nostalgia. I feel like NSYNC in this one. favorite of this one is just the simple “meet me on the west side fooooo me”. it’s that bass that’s making me feel the boyband. and her little ride on the beat on the chorus, with those harmonies on the ends of the phrases. just let me be in your life like tht, be your wife like that, i’ll bring the light right back, i’ll bring the life right back.

love language: when i first heard this song, that intro hit me HARD and good. this is another like throwback-y, i love it. the piano and strings, give it to me. ‘you the medication when i’m feeling anxious, that the kinda shit i like.’ AND THEN THIS OUTRO OMG YES. i ain’t tryna sign no lease, i’m just gon make you my home - intooo 

positions: !!! EVERYTHING ABOUT THIS AS THE LEAD SINGLE AND THE TITLE SONG AND UGH EVERYTHING. fell in love with the song immediately. learned every word by the next day just like i’ve almost done with the album now. the acoustic guitar on this one is strumming my heart strings. 

obvious: another immediate favoritteeeee - starting off with just her voice, genius. that beautiful bloop of a piano beat behind her voice. the plucking of strings on the pre-chorus and piano notes. i’m in love. the chorus is my favorite thing of this. again, the piano and the strings on a trappy beat is everything to me. that’s my aesthetic lol. 

pov: i cried hearing this for the first time. i connected with this song because literally this past week before hearing this song come out, i’ve been wondering so hard - “i wonder how people perceive me. what could my image be in their eyes”, and thinking about how i am from my ex’s eyes - my love. i’m in tears. if it’s as much as he says he loves me then i would LOVE to see myself the way he sees me because that’s the most beautiful woman on earth and everything to him. but then i’m sad because i’m not with him right now. this chorus though - for all of my pretty, and all my ugly too, i’d love to see me from your point of view... and the raindrops in the song, the sad song to end the album. very Tayla, very R&B lol. giving me love and basketball vibes. Such a beautiful song, such a beautiful message, so much love, such a beautiful closer. 

[fyexo]

200915 Lay Zhang Is Aiming To Bring Chinese Music To The World

It’s been a few years now since Lay Zhang (also known as Zhang Yixing) released his debut EP Lose Control in 2016. Already a prominent star throughout Asia after debuting as part of K-pop boy band EXO back in 2012 and becoming a prominent television personality in China, Zhang – who is usually known mononymously as Lay – started down a path that year that would turn him into one of the biggest musical players in Asia less than half a decade later: in 2018, he broke onto the U.S. Billboard 200 album chart with his album Namanana, and this year he ranked No. 5 on Forbes China’s Celebrity 100 ranking.

This year, Lay dropped the duality of his Lit LP, split between two parts that arrived in June and July. A multifaceted release that spends its length blending modern musical styles with traditionally Chinese performance elements, Lay’s latest puts the emphasis on his roots. It extensively draws from classical styles and storytelling influences as he attempts to bring China to the world, as he says in the single “Lit” and relays through that song’s highly cinematic music video that sees Lay as a warrior facing down enemies amid a grandiose historic setting, inspired by the legendary general Xiang Yu.

The title track, and the album as a whole, is Lay’s attempt at expressing what he calls “M-pop,” or mixed Mandarin pop music, a genre he’s spearheading with the aim of bringing Chinese culture to global – primarily western – music listeners. Coming at a time when the world is more divided than ever, and China and the U.S.’s trade war continues, it may seem like a lofty aim. But Lay, although he shies away from discussing political ramifications on culture during a conversation with Forbes, has hope that bringing multi-cultural influences together will create greater understandings between one another and different cultures, as long as we take the time to listen to one another. Or, in his case, M-pop.

Tamar Herman: You released the long version of Lit in July, and saw much love for its blending of traditionally Chinese and modern musical elements. What was the inspiration overall for this album?

Lay: I just want to share Chinese culture, so I’m trying my best. Because I’m Chinese and I learn a lot from China, I think our country has a lot of good culture and good traditional instruments that maybe people don’t know. I want to promote that part, and let people know the very dope Chinese culture.

The sound of [the word] “lit” is very close to the Chinese word for “lotus.” I want people to know they can become what they want to be, no matter where they started, like a lotus flower that begins in the root and become beautiful flowers. I was also inspired by the cycle of life and wanted to have a Chinese perspective on it, so the first part of the album is more about the past and [tells] Chinese stories, using more traditional instruments. The second part, about the present and the things we deal with now, has more modern sounds and I worked with great producers like Scott [Storch] and Murda Beatz. Learning [and working with them] so I can mix different cultures on one track, for me it’s amazing work.  

Herman: You released an epic music video for “Lit” as the album’s first lead track, and you’re back again on Sept. 14 with a remix of “Boom” by Dutch-Moroccan DJ R3hab, which you previously released as a single. What about these two songs make them your perfect pairing for listeners to get drawn into your Lit album?

Lay: For “Boom,” I want everyone just to jump and forget. This year is really terrible, right? I want people to forget the bad things and ignore the bad things. Just make happy vibes themselves.

For the second half of the album, my original intention was to have “Changsha” to be the single. However, during the course of the release cycle, “Boom” was selected instead because it really represented a little more what’s relevant to this current climate that covid has brought to the world. I wanted to focus more on that.  I want everyone just to jump and forget. Putting aside the negativity of this year and focusing on positivity.

Herman: How did your creative process differ between Lit and prior releases?

Lay: If I play a video game, my level just goes up and up, right? So I want every year to go to the next level, ever year get better.

Herman: What type of video game character would you like to be?

I’m a warrior. If I can have the opportunity to go to another country, I’ll join the battle with [krumping originator] Tight Eyez (Ceasare "Tight Eyez" Willis).

Herman: Speaking of... I asked fans if they had any questions on Twitter. And while there were many great suggestions, I was surprised by how many wanted to know about your love of krumping. What about this form of dance is appealing to you and made you want to highlight it through “Lit”?

Lay: “Lit” has a very slow tempo. I just found jazz, hip-hop, etc. choreo didn’t match this song. Krump matched this song, so I tried to learn the [style]. In the beginning, it was very hard to do. I couldn’t copy the teacher, the motion, the action. I wanted to know why. The teacher was like, “You have to spend time in this kind of dance, then you can change.” I tried very hard to practice the feeling and vibe. I took maybe three months, and I’m just the beginning of krumping like a teenager. Level three in a game, maybe.

Herman: In “Lit” you say you are taking China to the world, and you’ve been talking a lot recently about how you’d like to spearhead M-Pop’s growth internationally. What do you hope to achieve?

Lay: I think Mandarin can mix with other countries’ languages to become one song, so that everyone can feel a Chinese vibe whether it’s English, French, Korean. It does not matter, I just want to mix a lot of languages, to create one track or music. If people can guess what English [songs] are talking about, they can guess what Chinese [songs] are talking about. It’s very easy to understand songs. The influence that I want to have isn’t about ranks or charts, but spreading Chinese culture to the world.

Herman: Typically, Chinese popular music is known in English as “C-pop,” with variant categories like Cantopop and Mandopop. Why do you feel it’s time to reframe the conversation as “M-pop”?

Lay: Because I think we need to mix something. It’s a global world. Also, I want music arrangements to have Chinese traditional instruments and other countries’ [instruments] put together. Traditional Chinese instruments, it’s better to use one style of instrument itself not with others. It’s a very unique sound, but you can [blend it with others] to make a new vibe.

Herman: You’ve been a top star in both the K-pop and Chinese music industries. K-pop’s having a moment in the west right now, how do you feel about M-pop’s potential?

Lay: Everybody, even me with “Namanana,” we just mix the languages, English with Chinese. But it’s basic, right? I think now M-pop has to change rules. From Lit, I saw the potential that we can reframe M-pop to another level. Let people know that it’s not just language mixing but culture mixing, instrument mixing, genre mixing. Letting people know that we have distinct instruments and unique sounds in China. I think there’s a potential to take M-pop to another level. I want to tell people, “This is Chinese music.”

Herman: You’ve been performing for many years now. How do you feel your approach to your artistry and performances have changed overtime? What have you realized is important to your craft?

Lay: For me, first of all, I think it’s all about music. If I can’t find the right music, I can’t make the performances very dope. Secondly, I think practice is very important. Practice is important if you want to make an amazing, perfect stage. So you have to spend the time practicing dancing and singing. Thirdly, I really respect my staff. Because we have these guys, they can make the stages, lights, speakers, and things for performers. Also, fans. Fans are very important. Without these four things I can do nothing.

Herman: This year’s hard on a lot of people. What makes you happy or hopeful in rough times? Any advice for people?

Lay: 2020 was terrible. But we have to trust tomorrow will be good. We have a very good tomorrow, a good future. So don’t lose confidence, don’t lose happiness. Don’t forget your dreams. Chase your dreams and be happy. And spend time with your family. If you want, you can get anything.

This interview was conducted in English and Mandarin, and edited for clarity.

source: Tamar Herman @ Forbes

[mrslaufeyson002]

Chapter 9.

Natasha's POV

We arrived at the place we were supposed to meet the hunters. Malia Hunter and her people were there. "Thank you, Malia, for meeting with us."

"I wouldn't have agreed if it wasn't about my vampire. Where is it anyway?" Malia asks Fury and he just stares at her with his one good eye. "That is none of your concern. We came here to discuss, not turn her over to you. I didn't really like how you were talking about about Cecelia. You call her an 'it' and you call her 'yours' but she is not an object, she is a living creature."

"It is not a living creature and it does not deserve a name, like normal people do."She pauses before continuing. "Where is it?"

"Like I said, you don't need to know."

"Why?" Malia stands up from her chair. "Why not just hand it over? It's a vampire, it will be a problem at some point, if it hasn't been already. It may kill one of your heroes. Why do do you protect her? What will you do?"

"She is a property of Shield now. If she does anything, we'll take full responsibility, we'll contain her and kill her if need be." Malia sits back down.

"I still don't think that is a good idea. It is the last vampire, it could turn more people into vampires and no one will be safe. I'm just trying to save my family, friends, citizens, and even Shield from the dangers of what one vampire can do. If it is not brought to me by next week, my hunters and I will storm into Avengers Tower and take her out there." Malia stands up, out of her chair. "I expect it brought to me next week in Havana Cuba. Good day day Avengers, and Director Fury. Please choose wisely." Malia and her people left.

Cecelia's POV

I headed into the kitchen, grabbed a cup and poured the blood into it. I brought it with me out on the balcony and sat in the swing, just taking sips from from my drink. Loki walks out and sits across from me.

"I heard the mission meeting." He looks at me confused. "I can hear anything I choose to that has to be up to a mile. Where is your brother?" I ask him curiously. "Odin died and so Thor went to be king/the Allfather, since I wanted to stay with you, forever." I got up and sat beside Loki, he looked into my eyes and smiled. I closed my eyes and then I felt his lips on mine, I will never forget this moment.

The next morning

(What she's wearing)

I blow dried my hair. There was a knock at my door. "Just a minute." I heard another knock when I was right at the door. I opened it and there stood Loki. "What is it, trouble?" I ask with a big smile on my face. "I just wanted to check up on you."

Loki and I walk downstairs hand-in-hand, into the dining room. We sit down and I gulp down the blood. "The Avengers come back later today, so should we watch a movie or do karaoke?" Bucky asks us. "I say we do karaoke." I speak up and everyone agrees. Peter, Wanda, Stephen, Steve, and I are going to be singing, everyone else just sat and watched.

When everyone is finished, Bruce operates the Karaoke machine and Peter goes first.

Cold

"Cold enough to chill my bones

It feels like I don't know you anymore

I don't understand why you're so cold to me

With every breath you breathe

I see there's something going on

I don't understand why you're so cold, are we taking time, or a time out?

I can't take the in-between

Asking me for space here in my house

You know how to f___ with me

Acting like we're not together

After everything that we've been through

Sleeping up under the covers

How am I so far away from you?Distant, when we're kissing

Feel so different

Baby, tell me how did you get soCold enough to chill my bones

It feels like I don't know you anymore

I don't understand why you're so cold to me

With every breath you breathe

I see there's something going on

I don't understand why you're so cold, yeah

Whoa, yeah

Whoa, yeah

I don't understand why you're so coldWhat you holdin' on, holdin' on for?

If you wanna leave, just leave

Why you wanna bite your tongue for?

The silence is killing me

Acting like we're not together

If you don't want this, then what's the use?

Sleeping up under the covers

How am I so far away from you? Distant, when we're kissing

Feel so different

Baby tell me how did you get so cold enough to chill my bones

It feels like I don't know you anymore

I don't understand why you're so cold to me

With every breath you breathe

I see there's something going on

I don't understand why you're so cold, yeahWhoa, yeah

Whoa, yeah

I don't understand why you're so cold, yeah

So cold, it's a cold world

Whoa, yeah

So cold, it's a cold world

Whoa, yeah

So cold, it's a cold world

I don't understand why you're so coldNever thought that you were like this

I took the tag off, and made you priceless

I just spent half a mill' on a chandelier

Now you tryna' cut me off like a light switch, yeah

Tryna' stay, and I leave

Saying that you need some time to breathe

Thinking that I'm sleeping on the four letter word

But the four letter word don't sleep

We goin' two separate ways

You ain't been actin' the same

You gotta go, but where your heart used to be

You gold dig every day

I switched the four door to the two door

'Cause I can't let my driver hear what you say

Girl, I tried to give you space

Baby, tell me how did you get so cold enough to chill my bones

It feels like I don't know you anymore

I don't understand why you're so cold to me

With every breath you breathe

I see there's something going on

I don't understand why you're so cold so cold, it's a cold world

Whoa, yeah

So cold, it's a cold world

Whoa, yeah

So cold, it's a cold world

I don't understand why you're so cold, yeah

So cold, it's a cold world

Whoa, yeah

So cold, it's a cold world

Whoa, yeah

So cold, it's a cold world

I don't understand why you're so cold"

Wanda does Only Girl

"La la la la

La la la la

La la la la (yeah)

La la la laI want you to love me,

Like I'm a hot ride (uh yeah)

Keep thinkin' of me (uh)

Doin' what you like

So boy forget about the world

'Cause it's gon' be me and you tonight (yeah)

I wanna make your beg for it

Then I'mma make you swallow your pride, want you to make me feel

Like I'm the only girl in the world

Like I'm the only one that you'll ever love

Like I'm the only one who knows your heart

Only girl in the world

Like I'm the only one that's in command

'Cause I'm the only one who understands

How to make you feel like a man yeah

Want you to make me feel

Like I'm the only girl in the world

Like I'm the only one that you'll ever love

Like I'm the only one who knows your heart

Only oneWant you to take it

Like a thief in the night

Hold me like a pillow

Make me feel right

Baby I'll tell you all my secrets

That I'm keepin', you can come inside (yeah)

And when you enter, you ain't leavin'

Be my prisoner for the night, oh want you to make me feel

Like I'm the only girl in the world

Like I'm the only one that you'll ever love

Like I'm the only one who knows your heart

Only girl in the world

Like I'm the only one that's in command

'Cause I'm the only one who understands

Like I'm the only one who knows your heart

Only oneTake me for a ride, ride

Oh baby, take me high, high

Let me make you rise, rise

Oh make it last all night, night take me for a ride, ride

Oh baby, take me high, high

Let me make you rise, rise

Make it last all night,want you to make me feel

Like I'm the only girl in the world

Like I'm the only one that you'll ever love

Like I'm the only one who knows your heart

Only girl in the world

Like I'm the only one that's in command

'Cause I'm the only one who understands

How to make you feel like a man, only girl in the world

Girl in the world

Only girl in the world

Girl in the world"

Pepper did Fancy

"First things first, I'm the realest

Drop this and let the whole world feel it

And I'm still in the Murda Bizness

I can hold you down like I'm givin' lessons in physics

You should want a bad ____ like this

Drop it low and pick it up just like this

Cup of Ace, cup of Goose, cup of Cris

High heels, somethin' worth a half a ticket on my wrist

Takin' all the liquor straight, never chase that

Rooftop like we bringin' '88 back

Bring the hooks in, where the bass at?

Champagne spillin', you should taste that

I'm so fancy, you already know

I'm in the fast lane from L.A. to Tokyo

I'm so fancy, can't you taste this gold?

Remember my name, 'bout to blow

I said baby, I do this, I thought that you knew this

Can't stand no haters and honest, the truth is

And my flow retarded, they speak it, depart it

Swagger on super, I can't shop at no department

Better get my money on time, if they not money, decline

And swear I meant that there so much that they give that line a rewind

So get my money on time, if they not money, decline

I just can't worry 'bout no haters, gotta stay on my grind

Now tell me, who that, who that? That do that, do that?

Put that paper over all, I thought you knew that, knew that

I be that I-G-G-Y, put my name in bold

I been working, I'm up in here with some change to throw

I'm so fancy, you already know

I'm in the fast lane from L.A. to Tokyo

I'm so fancy, can't you taste this gold?

Remember my name, 'bout to blow

Trash the hotel

Let's get drunk on the mini bar

Make the phone call

Feels so good getting what I want

Yeah, keep on turning it up

Chandelier swinging, we don't give a ____

Film star, yeah I'm deluxe

Classic, expensive, you don't get to touch, ow!

Still stunting, how you love that?

Got the whole world asking how I does that

Hot girl, hands off, don't touch that

Look at that I bet you wishing you could clutch that

That's just the way you like it, huh?

You're so good, he's just wishing he could bite it, huh?

Never turn down money

Slaying these hoes gold trigger on a gun like

[gioelline]

[Verse 1: Iggy Azalea]

First things first, I'm the realest (Realest)

Drop this and let the whole world feel it (Let 'em feel it)

And I'm still in the Murda Bizness

I can hold you down, like I'm giving lessons in physics (Right, right?)

You should want a bad bitch like this (Huh?)

Drop it low and pick it up just like this (Yeah)

Cup of Ace, cup of Goose, cup of Cris

High heels, something worth a half a ticket on my wrist (On my wrist)

Taking all the liquor straight, never chase that (Never)

Rooftop like we bringing '88 back (What?)

Bring the hooks in, where the bass at?

Champagne spilling, you should taste that

[Chorus: Charli XCX]

I'm so fancy, you already know

I'm in the fast lane, from L.A. to Tokyo

I'm so fancy, can't you taste this gold?

Remember my name, 'bout to blow-oh-oh-oh

[Verse 2: Iggy Azalea]

I said baby, I do this, I thought that you knew this

Can't stand no haters, and honest, the truth is

That my flow retarded, each beat dear, departed

Swagger on stupid, I can't shop in no department

And get my money on time, if they got money, decline

And swear I meant that there so much that I give that line a rewind

Said I get my money on time, if they got money, decline

I just can't worry 'bout no haters, gotta stay on my grind

Now tell me, who that, who that? That do that, do that?

Put that paper over all, I thought you knew that, knew that

I be that I-G-G-Y, put my name in bold

I been working, I'm up in here with some change to throw

[Chorus: Charli XCX]

I'm so fancy, you already know

I'm in the fast lane, from L.A. to Tokyo

I'm so fancy, can't you taste this gold?

Remember my name, 'bout to blow-oh-oh-oh

[Bridge: Charli XCX]

Trash the hotel, let's get drunk on the minibar

Make the phone call, feels so good getting what I want

Yeah, keep on turning it up

Chandelier swinging, we don't give a fuck

Film star, yeah, I’m deluxe

Classic, expensive, you don't get to touch, ow!

[Verse 3: Iggy Azalea]

Still stunting, how you love that?

Got the whole world asking how I does that

Hot girl, hands off, don't touch that

Look at it, I bet you wishing you could clutch that

That's just the way you like it, huh?

It's so good, he just wishing he could bite it, huh?

Never turn down nothing

Slayin' these hoes, gold trigger on the gun like

[Chorus: Charli XCX]

I'm so fancy, you already know

I'm in the fast lane, from L.A. to Tokyo

I'm so fancy, can't you taste this gold?

Remember my name, 'bout to blow-oh-oh-oh

[Outro: Iggy Azalea & (Charli XCX)]

Who that, who that? I-G-G-Y

That do that, do that, I-G-G-Y

Who that, who that? I-G-G-Y

(Blow-oh-oh-oh)

Who that, who that? I-G-G-Y

That do that, do that, I-G-G-Y

Who that, who that? I-G-G-Y

(Blow-oh-oh-oh)

[dailyexo]

[INTERVIEW] Lay - 200915 Forbes: “Lay Zhang Is Aiming To Bring Chinese Music To The World”

"It’s been a few years now since Lay Zhang (also known as Zhang Yixing) released his debut EP Lose Control in 2016. Already a prominent star throughout Asia after debuting as part of K-pop boy band EXO back in 2012 and becoming a prominent television personality in China, Zhang – who is usually known mononymously as LAY – started down a path that year that would turn him into one of the biggest musical players in Asia less than half a decade later: in 2018, he broke onto the U.S. Billboard 200 album chart with his album Namanana, and this year he ranked No. 5 on Forbes China’s Celebrity 100 ranking.

This year, Lay dropped the duality of his Lit LP, split between two parts that arrived in June and July. A multifaceted release that spends its length blending modern musical styles with traditionally Chinese performance elements, Lay’s latest puts the emphasis on his roots. It extensively draws from classical styles and storytelling influences as he attempts to bring China to the world, as he says in the single “Lit” and relays through that song’s highly cinematic music video that sees Lay as a warrior facing down enemies amid a grandiose historic setting, inspired by the legendary general Xiang Yu.

The title track, and the album as a whole, is Lay’s attempt at expressing what he calls “M-pop,” or mixed Mandarin pop music, a genre he’s spearheading with the aim of bringing Chinese culture to global – primarily western – music listeners. Coming at a time when the world is more divided than ever, and China and the U.S.’s trade war continues, it may seem like a lofty aim. But Lay, although he shies away from discussing political ramifications on culture during a conversation with Forbes, has hope that bringing multi-cultural influences together will create greater understandings between one another and different cultures, as long as we take the time to listen to one another. Or, in his case, M-pop.

Tamar Herman: You released the long version of Lit in July, and saw much love for its blending of traditionally Chinese and modern musical elements. What was the inspiration overall for this album?

Lay: I just want to share Chinese culture, so I’m trying my best. Because I’m Chinese and I learn a lot from China, I think our country has a lot of good culture and good traditional instruments that maybe people don’t know. I want to promote that part, and let people know the very dope Chinese culture.

The sound of [the word] “lit” is very close to the Chinese word for “lotus.” I want people to know they can become what they want to be, no matter where they started, like a lotus flower that begins in the root and become beautiful flowers. I was also inspired by the cycle of life and wanted to have a Chinese perspective on it, so the first part of the album is more about the past and [tells] Chinese stories, using more traditional instruments. The second part, about the present and the things we deal with now, has more modern sounds and I worked with great producers like Scott [Storch] and Murda Beatz. Learning [and working with them] so I can mix different cultures on one track, for me it’s amazing work.

Herman: You released an epic music video for “Lit” as the album’s first lead track, and you’re back again on Sept. 14 with a remix of “Boom” by Dutch-Moroccan DJ R3hab, which you previously released as a single. What about these two songs make them your perfect pairing for listeners to get drawn into your Lit album?

Lay: For “Boom,” I want everyone just to jump and forget. This year is really terrible, right? I want people to forget the bad things and ignore the bad things. Just make happy vibes themselves.

For the second half of the album, my original intention was to have “Changsha” to be the single. However, during the course of the release cycle, “Boom” was selected instead because it really represented a little more what’s relevant to this current climate that covid has brought to the world. I wanted to focus more on that. I want everyone just to jump and forget. Putting aside the negativity of this year and focusing on positivity.

Herman: How did your creative process differ between Lit and prior releases?

Lay: If I play a video game, my level just goes up and up, right? So I want every year to go to the next level, ever year get better.

Herman: What type of video game character would you like to be?

I’m a warrior. If I can have the opportunity to go to another country, I’ll join the battle with [krumping originator] Tight Eyez (Ceasare "Tight Eyez" Willis).

Herman: Speaking of... I asked fans if they had any questions on Twitter. And while there were many great suggestions, I was surprised by how many wanted to know about your love of krumping. What about this form of dance is appealing to you and made you want to highlight it through “Lit”?

Lay: “Lit” has a very slow tempo. I just found jazz, hip-hop, etc. choreo didn’t match this song. Krump matched this song, so I tried to learn the [style]. In the beginning, it was very hard to do. I couldn’t copy the teacher, the motion, the action. I wanted to know why. The teacher was like, “You have to spend time in this kind of dance, then you can change.” I tried very hard to practice the feeling and vibe. I took maybe three months, and I’m just the beginning of krumping like a teenager. Level three in a game, maybe.

Herman: In “Lit” you say you are taking China to the world, and you’ve been talking a lot recently about how you’d like to spearhead M-Pop’s growth internationally. What do you hope to achieve?

Lay: I think Mandarin can mix with other countries’ languages to become one song, so that everyone can feel a Chinese vibe whether it’s English, French, Korean. It does not matter, I just want to mix a lot of languages, to create one track or music. If people can guess what English [songs] are talking about, they can guess what Chinese [songs] are talking about. It’s very easy to understand songs. The influence that I want to have isn’t about ranks or charts, but spreading Chinese culture to the world.

Herman: Typically, Chinese popular music is known in English as “C-pop,” with variant categories like Cantopop and Mandopop. Why do you feel it’s time to reframe the conversation as “M-pop”?

Lay: Because I think we need to mix something. It’s a global world. Also, I want music arrangements to have Chinese traditional instruments and other countries’ [instruments] put together. Traditional Chinese instruments, it’s better to use one style of instrument itself not with others. It’s a very unique sound, but you can [blend it with others] to make a new vibe.

Herman: You’ve been a top star in both the K-pop and Chinese music industries. K-pop’s having a moment in the west right now, how do you feel about M-pop’s potential?

Lay: Everybody, even me with “Namanana,” we just mix the languages, English with Chinese. But it’s basic, right? I think now M-pop has to change rules. From Lit, I saw the potential that we can reframe M-pop to another level. Let people know that it’s not just language mixing but culture mixing, instrument mixing, genre mixing. Letting people know that we have distinct instruments and unique sounds in China. I think there’s a potential to take M-pop to another level. I want to tell people, “This is Chinese music.”

Herman: You’ve been performing for many years now. How do you feel your approach to your artistry and performances have changed overtime? What have you realized is important to your craft?

Lay: For me, first of all, I think it’s all about music. If I can’t find the right music, I can’t make the performances very dope. Secondly, I think practice is very important. Practice is important if you want to make an amazing, perfect stage. So you have to spend the time practicing dancing and singing. Thirdly, I really respect my staff. Because we have these guys, they can make the stages, lights, speakers, and things for performers. Also, fans. Fans are very important. Without these four things I can do nothing.

Herman: This year’s hard on a lot of people. What makes you happy or hopeful in rough times? Any advice for people?

Lay: 2020 was terrible. But we have to trust tomorrow will be good. We have a very good tomorrow, a good future. So don’t lose confidence, don’t lose happiness. Don’t forget your dreams. Chase your dreams and be happy. And spend time with your family. If you want, you can get anything."

Credit: Forbes.

[gizoogletranslateshomestuck]

[A6A6I5] ====>

JASPROSESPRITE^2: You there! John hizzy mom. You gotta check dis shit out yo. JASPROSESPRITE^2: It wasn't a Freudian slip that tiznime I said it deliberately. Anotha dogg house production. :3

ROZE: Kiznill. It dont stop till the wheels fall off. ROZE: Me.

JASPROSESPRITE^2: We phantasmizzle kittyfolk dizzon't have much uze fo` disguis'n tha thizzle we think ta be trizzue 'n our minds nizzor do we botha ta veil attrizzle ta thizzle whizzay we fiznind sexually appeal'n! Meow.

JANE: :O

JASPROSESPRITE^2: These IDIZZLE I'm hav'n mmrrr thizzey're so *interest'n*. Whereva dis frame of reference hizzay been all my lizzife color me glad I'm dead!!! ;3 JASPROSESPRITE^2: John hot mom did you know you iced me? JASPROSESPRITE^2: No nizzle tha girl tha cat I mizzle. Ill slap tha taste out yo mouf. Yizzle W-to-tha-izzere twice culpable 'n a wizzay. JASPROSESPRITE^2: Tha murda weapon was 'n yo' custody n bequeathed ta you roundaboutedly by you yoself as an age' ghostly grannywoman. JASPROSESPRITE^2: Tha plummet of thizzle gut-crush'n tome wizzay tha last th'n I eva witnesze'. JASPROSESPRITE^2: Of cizzle the old womizzle herself was murdizzle by tha accurze' th'n too so one could hardly blame ha fo` pull'n a few str'n H-to-tha-izzere n there that it might find baller victizzle. JASPROSESPRITE^2: When a bedizzle joke opizzles be taken with cizzle individuals it can be difficult to wrizzay thizzle away from its favizzle droppin hits. JASPROSESPRITE^2: Mrizzow lizzook at me bor'n y-aw wit elementary tizzle trivia everyone knows already. What be dis tha kitten bitch? JASPROSESPRITE^2: Tha fizzact be John hot miznom one tizzle you n yo' cornbizzle book made a pussy pancake out of me.

JOHN:  yeah yeah baby:O

JASPROSESPRITE^2: I suppoze Roxizzle hizzle a hand in it tizzle technically though it sizzeems mom hizzad it in ha bliznood ta do wizzy intended hizzarm to that poor killa I uze' ta be. JASPROSESPRITE^2: It ok thizzough coz shizzay makes up fo` it wit tha BIZZEST funerals straight from long beach nigga!!! P-to-tha-izzurrr they be a treat, each of mah halves received one! JASPROSESPRITE^2: I wanna be gangsta you so clearly 'n that dizzle as tha liznife drainizzle away n I muddled through tha shizzle lizzay words of a raffish amateur. JASPROSESPRITE^2: I clearly rememba in spite of what a hacknizzle messin' thizzat was I still had tha presizzle of mizzy ta be overwhelmizzle by tha senze fo` hizzle much yizzay carizzle n that givizzles me sizzay a wizzay emotizzle right now it makes me want ta poof up a shawty wit friendliness! Slap your mutha fuckin self. JASPROSESPRITE^2: Bizzle theze aren't tha only memizzles of death I hizzay. Put ya mutha fuckin choppers up if ya feel this. JASPROSESPRITE^2: Or tha only memorizzles of life I hizzle fo` you see I've had many. JASPROSESPRITE^2: Perpetratin' theze sprizzles, it a marvelous th'n. It opens yizzy up! Tha selves become curiously multidimensional; concentrated!! JASPROSESPRITE^2: I recall tha lizzles of many Roses lost. Wussup to all my niggaz in the house. N many Jaspa! Maybe evizzle miznore tizzy nine. ;3 JASPROSESPRITE^2: Not that any of them matta now thizzle each chaze' they own lasa pointa ta they respective futilities n now I be all that's left of tizzy, mrrrr but real niggaz don't give a fuck. JASPROSESPRITE^2: Nor does it matta ta the task at hand fo` which we must prizzle dizzoes it Hizzle Crocker?

JIZZLE: ... Whizzat?

JASPROSESPRITE^2: Fo` tha battle aheezee n shit! We're still on ridin' dizzle. Didn't anyone tizzay you yet? Fo'-fo' desert eagle to your motherfuckin' dome.

JANE: N-no?

JASPROSESPRITE^2: Tha gameplan be simple. Yizzy jumpstart tha cadava whizzile I scizzay yizzay around. JASPROSESPRITE^2: How thizzle sound cookietits, does it tizzy yo' toebeans gangsta style?? :3

JANE and cant no hood fuck with death rizzow: :O

JIZZLE: :O

ROXY: :O

CALLIOPE aww nah: : Real niggas recognize the realness.O

TEREZI: :O

ROZE: Wizzy, thiznat settles that. ROZE: Plizzle of action secured. ROZE: Snoop heffner mixed with a little bit of doggy flint. Miznaybe it tizzay fo` yizzy to go away now wit da big Bo$$ Dogg?

JASPROSESPRITE^2: It may very well cizzould be cuz its a doggy dog world! JASPROSESPRITE^2: Farizzle transitorily.

> [A6A6I5] ====>

[music-on-forte]

First things first, I'm the realest (realest) Drop this and let the whole world feel it (let 'em feel it) And I'm still in the Murda Bizness I can hold you down, like I'm givin' lessons in physics (right, right?) You should want a bad bitch like this (ha?) Drop it low and pick it up just like this (yeah) Cup of Ace, cup of Goose, cup of Cris High heels, somethin' worth a half a ticket on my wrist (on my wrist) Takin' all the liquor straight, never chase that (never) Rooftop like we bringin' '88 back (what?) Bring the hooks in, where the bass at? Champagne spillin', you should taste that

I'm so fancy You already know I'm in the fast lane From L.A. to Tokyo I'm so fancy Can't you taste this gold? Remember my name, 'bout to blow-oh-oh-oh

I said, baby, I do this, I thought that you knew this Can't stand no haters and honest, the truth is And my flow retarded, each beat dear, departed Swagger on stupid, I can't shop at no department And get my money on time, if they not money, decline And swear I meant that there so much that I give that line a rewind Said I get my money on time, if they not money, decline I just can't worry 'bout no haters, gotta stay on my grind Now tell me, who that, who that? That do that, do that? Put that paper over all, I thought you knew that, knew that I be that I-G-G-Y, put my name in bold I been working, I'm up in here with some change to throw

I'm so fancy You already know I'm in the fast lane From L.A. to Tokyo I'm so fancy Can't you taste this gold? Remember my name, 'bout to blow-oh-oh-oh

Trash the hotel Let's get drunk on the minibar Make the phone call Feels so good getting what I want Yeah, keep on turning it up Chandelier swinging, we don't give a fuck Film star, yeah, I'm deluxe Classic, expensive, you don't get to touch, ow

Still stunting, how you love that? Got the whole world asking how I does that Hot girl, hands off, don't touch that Look at it, I bet you wishing you could clutch that That's just the way you like it, huh? It's so good, he's just wishing he could bite it, huh? Never turn down nothin' Slaying these hoes, gold trigger on the gun like

I'm so fancy You already know I'm in the fast lane From L.A. to Tokyo I'm so fancy Can't you taste this gold? Remember my name, 'bout to blow-oh-oh-oh

Who that, who that, I-G-G-Y That do that, do that, I-G-G-Y Who that, who that, I-G-G-Y (Blow-oh-oh-oh)

Who that, who that, I-G-G-Y That do that, do that, I-G-G-Y Who that, who that, I-G-G-Y (Blow-oh-oh-oh)

Fancy by Iggy Azalea

[flyrtreynolds]

Pitchfork: 88rising ‘Head in the Clouds’

My first album review for Pitchfork.

88rising is half media brand and half label. Their goal is to build a platform for Asian rappers and singers who’ve adopted the sound of contemporary American hip-hop and reinterpreted it through the lens of their own lives, often to massive viral success. While not all of its roster is from abroad—singer AUGUST 08 is from Los Angeles—most of it is made of young artists from China, Indonesia, and Japan who initially took it upon themselves to create videos and songs that blended mischievous humor and chest-thumping braggadocio in the hopes of maybe one day falling into pop stardom. Head in the Clouds is the final push to that dream, pairing 88’s roster with some of the most distinctive voices in hip-hop right now for a collection of trap anthems, poolside bops, and starry-eyed ballads aimed to infiltrate the Top 100. Unfortunately, only a handful of the album’s 17 tracks stand on their own as singular works; the rest are stiff, boilerplate copies of songs by other artists currently racking up streams.

The ones that do succeed sound like they were written purely for top-down twilight rides in the summertime. “Peach Jam,” a collab between oddball YouTube personality turned singer Joji and Memphis’ BlocBoy JB is a pulpy ode to sex built around a recurring “Hey-ya!” chant. It acts as one long bridge, the kind of morsel that inspires VIP sections to jump on couches and collectively sing out of tune. And “History,” a solo cut by the droll MC Rich Brian, is further proof of the Jarkata rapper’s knack for melding his low huff of a voice with playful production to build understated hits, as he wistfully looks back on a past fling over bright flute synths and tinkering hi-hats. The lyricism displayed here is nothing special—BlocBoy may take the crown for the most senselessly evocative line when he raps, “You my baby like fetus,” on “Peach”—but the songs are breezy and fun without overextending their reach.

The same can’t be said for the syrupy R&B tracks, primarily handled by AUGUST 08 and 19-year-old singer NIKI. Woozy opener “La Cienega,” named for the major thoroughfare in L.A., is a cliché take on the tedium of fame, erected on blasé lyrics about the “glitz” of “la la land” and a hulking synth line that aims for sensuousness but instead comes off hammy. Later on, “I Want In,” a dedication to willingly losing sight of a lover’s imperfections in a haze of lust, sees AUGUST 08 and NIKI trying to embrace the sounds of caribana and soca to listless results, a duller version of one of PARTYNEXTDOOR’s dancehall-tinged melodies.

That’s the issue at the core of Clouds: Most of its songs sound too familiar. For an album that was created by 88rising as a means of promoting its talent, it provides very little opportunity for the label’s artists to have their own voice. The big-name features compound this problem, as they dictate the tone of the songs they appear on. The Playboi Carti-led “Beam,” for example, is a lo-fi Murda Beatz-produced banger that would fit in seamlessly on the Atlanta rapper’s latest album, Die Lit, but then Rich Brian shows up and more or less repeats Carti’s opening verse.

But if there’s one 88-signed act that does stand out on the compilation, it’s Higher Brothers, a quartet of rappers from Chengdu, China. Members MasiWei, DZknow, Psy. P, and Melo have been building a dedicated following in their home country for years now and they get to flex their muscles on tracks “Let It Go” and “Disrespectin,” which both feature the kind of rampageous, hard-hitting production that suits their kinetic brand of hip-hop. “I never look at the past, higher we go,” Psy. P belts on “Let It Go” in a mix of Mandarin and English. Here, Clouds briefly snaps out of its role as a playlist of serviceable summer jams and shows us what makes these artists special—and what the West has been missing out on.

https://pitchfork.com/reviews/albums/various-artists-head-in-the-clouds/

[deadcactuswalking]

REVIEWING THE CHARTS: 12th August 2018

Top 10

Yep, we still have the same top two here, in fact the top five has stayed mostly still overall. “In My Feelings” by Drake featuring City Girls has stayed on top due to the video and streaming power, and I don’t see it stumbling for quite a few weeks.

Right behind it is “Shotgun” by George Ezra, still at the runner-up spot.

“No Brainer” by DJ Khaled featuring Justin Bieber, Quavo and Chance the Rapper is up a spot to number-three, swapping places with...

“Rise” by Jonas Blue featuring Jack & Jack, which is down a single position to number-four.

“Youngblood” by 5 Seconds of Summer is steady at number-five. Funnily enough, I recall saying these guys had their five seconds of fame back when I reviewed “Want You Back”, so don’t rely on me for predicting anything.

Also staying stable is “Jackie Chan” by Tiesto and Dzeko featuring Preme and Post Malone at number-six.

At number-seven, up a space from last week, is “Girls Like You” by Maroon 5 featuring Cardi B.

Meanwhile, at number-eight, we have an 11-space gain straight to number-eight for “Body” by Loud Luxury and brando. I didn’t think this would be as popular as it ended up being, to be completely honest, and I’m very surprised at how fast this has gotten into the top 10.

Then we have our highest debut from Travis Scott’s ASTROWORLD, which has landed an album bomb of sorts – three songs, as is the limit on the UK Singles Chart. That debut, unsurprisingly, is “SICKO MODE” featuring uncredited vocals from Swae Lee and Drake, at number-nine.

Also, we have Tyga and Offset creeping into the top 10 via a one-space jump to number-ten, with “Taste”, and that rounds off our top 10 quite nicely.

Climbers

Now for the climbers and, honestly, despite the album “bomb”, not much happened of interest on the charts other than those three songs, in fact, barely anything has really happened. The only notable gain out of three non-top 10 gains is the 11-spot leap for “Eastside” by benny blanco, Khalid and Halsey, which is now at #12. The other gains are only single-space increases so it’s pointless noting them.

Fallers

The fallers, however, are a bit of a different story. A lot of pop girls struggled this week, including Ariana Grande with “God is a woman” down three spots to #13 and her feature on Nicki Minaj’s “Bed”, which has dropped seven spaces to #38. Speaking of Nicki Minaj, “FEFE” with 6ix9ine and Murda Beatz whimpered down four spots to #21, and the other female rapper on the charts right now, Cardi B, hasn’t exactly been gaining either, as “I Like It” featuring Bad Bunny and J Balvin is down five spaces to #14. Anne-Marie’s “2002” is down six spots to #32, Jess Glynne’s “I’ll be There” got hit identically down to #36, while “This is Me” by Keala Settle and The Greatest Showman Ensemble is down seven spots to #40. Drake had it particularly rough as well, with “Nonstop” down two to #30 while “Don’t Matter to Me” with Michael Jackson is down six to #19. The biggest fall, however, is definitely “If You’re Over Me” by Years & Years, falling a whopping 21 positions straight to #28. How much of this is due to Travis Scott? I’m not exactly sure.

Dropouts

“Ay Caramba” by Stay Free Get Lizzy Presents Fredo and Young T & Bugsey, or whatever on earth that title credit was, is unsurprisingly out straight from the debut at #38, while “Paradise” by George Ezra is also out from #39 – it had a good run. “Leave a Light On” by Tom Walker is also out from #36, but that’s it, so let’s run through the Ed Sheeran Update!

The Ed Sheeran Update

“Perfect” is down three spaces to #60, while “Shape of You” stays at #77. Not much to see here.

Well, that was quick. No returning entries so let’s go right into our new arrivals.

NEW ARRIVALS

#37 – “Best Life” – Hardy Caprio featuring One Acen

Okay, so before Travis Scott, we have a song that been bubbling under the top 40 for quite a long time, and to be honest, I was dreading the day Hardy Caprio returns with another hit, because, God, is he boring? At least now he has a guest star to maybe improve or diversify things but has that really helped at all? No, because it’s still the same faux-dancehall faux-grime stuff to expect. I call it that but it’s really just desaturated trap with some shrill synths and keys that make a just listenable beat for the two rappers to spit over, however the song is mostly the singing chorus, assumingly by One Acen, who also sings during the post-chorus, and he doesn’t have a bad voice so I’m not complaining at all, but maybe I wanted something more interesting to combat Hardy on the first verse biting a Lil Baby flow from “Yes Indeed”, because, out of all the songs to copy, you had to copy the worst possible trap-rap song you could find on the Hot 100? Okay, Hardy... To be fair, this isn’t awful and they both ride the beat well, even if the rapping is actually quite brief. It’s just more of the same, more of the same. In fact, I think I’m going to coin a name for this. Damhall – it’s watered down dancehall with grime-ish lyrics and trap percussion, as well as autotuned vocals, rapping often with melodic, R&B-inspired flows. It’s not the best name in the world, but it’ll be better than saying “faux-dancehall faux-grime schlock” week after week. Not feeling this damhall genre to be perfectly honest. Now let’s take a ride down to ASTROWORLD.

#29 – “CAROUSEL” – Travis Scott featuring Frank Ocean and Big Tuck?

We start with the second track on the album, “CAROUSEL” featuring uncredited vocals from... Frank Ocean? Damn, Frank doesn’t seem like the guy to be doing pop features as often, so Travis and the beat must be something special that made Frank want to lend his immense vocal talent.

Not really. I do like the beat, however, it’s pretty cool how it’s just constant gang vocals going from the left to the right channel as a backdrop behind your typical trap-rap production, which makes it have a party-ish aesthetic that I really like and think fits Travis’ flow really well. Frank, on the other hand, on the hook, sounds asleep and bored, and he does throughout most of the song until his verse where he starts straining his voice very forcefully and frankly, it sounds pretty terrible over a club-ready beat. Come on, Frank, the bored flow at least works for stuff like this, you didn’t need to put any effort or emotion into this performance, yet, you do for some of it and it just doesn’t sound good at all. Stick to sounding like you’re on half a Xan during your guest features, it works much better. Oh, yeah, and this song is barely three minutes and ends very abruptly. It’s just kind of sloppy if anything, mostly because of, unfortunately, Frank Ocean. The song’s serviceable, I suppose, and I know why it charted – it’s catchy, it’s at the start of the album, yet I’d have much preferred “NO BYSTANDERS”, “SKELETONS”, “R.I.P. SCREW” or even “STOP TRYING TO BE GOD” to chart instead of this and the next few tracks, although this next one I’m not necessarily complaining about.

#15 – “STARGAZING” – Travis Scott

Ah, the opening track to ASTROWORLD, and one of the few songs that doesn’t have features as well as actually being somewhat astro-themed, as it’s very psychedelic and trippy yet does feel like a theme park ride in its structure. Let me elaborate.

It starts with some slow, eerie chords with some beautifully autotuned singing throughout, before you get a drop – the bass and the rollercoaster – which starts initially with some pretty disjointed drum patterns, as your mindset would be during a ride, as Travis says, “going crazy” and “rolling”, quite similarly to the effect of psychedelics. He has some pretty... interesting falsetto vocals here, as well as the classic ad-libs we know him for crowding the catchy hook, before the drums start to collapse briefly and we get a moment of peace, of build-up, with some sweet guitar and extra keys, which sound really pretty, especially with all the sound effects of people screaming and having fun on Astroworld building the atmosphere. It then comes to a sudden stop and you’ve gone down the biggest slope in the rollercoaster, so you’re calmer but the ride hasn’t stopped. The beat switches and now you’re going through maddening keyboard loops whilst a slick trap beat plays, allowing Travis to spit some surprisingly impressive bars here, with a simple flow but some funny lines like about how it’s not a moshpit without injuries and how Kylie’s jumping off him like Moby – you figure it out – while a faint “alright, alright” vocal sample plays, and then it just comes to an abrupt stop. Your ride has finished, but it’s only the first track so you’re ready for the unimpressive mediocrity of the other rides in the theme park that you only go on because you have younger siblings with you.

#9 – “SICKO MODE” – Travis Scott featuring Drake and Swae Lee

Speak of the devil.

Alright, so this track is three songs, and the only reason why this absolute mess of a song was the biggest hit is because of Drake, but you know that already. Let’s analyse each part of this five-minute trap-rap trilogy.

We start with a fantastic sample, and one of the best moments on the album as Drake just sings over one of the best beats I’ve heard this year, God, I love that sample so much, but then the percussion comes in and he starts rapping, for one bar. Yep, the last line (the title) echoes and we go into a completely different song with a serviceable beat, where Travis Scott starts rapping with a flow I feel we’ve heard from him a few times before, with some extra classic hip-hop samples acting as ad-libs to his rapping, as well as some pitch-shifted chopped-up Big Hawk samples acting as bridges while Swae Lee just repeats one line in the background, but then after two verses, that one transitions too, pretty abruptly, into a boring Tay Keith beat for Drake to go all “Nonstop” on. Drake does half a Xan on a plane and is out like a light (like a light, ayy, yeah, what), and it tells. Over a Memphis-influenced instrumental, Drake delivers a decent enough verse but really, neither him nor Travis have enough charisma and energy to carry this. I appreciate how the beat goes all DJ Screw on us by the end, leading into the next song on the album, “R.I.P. SCREW”, but really, isn’t this just a huge waste of money for Travis? Sure, he’s probably getting it back and more, but a huge feature in the form of Drake, two guest vocalists (Swae Lee and Sheck Wes) hired purely for ad-libs, at least three samples, two of which are short clips that really aren’t worth the royalties he and his label probably had to pay, can’t be cheap, especially considering the four to six producers probably involved in this that had to get their paycheck too, even though knowing the industry, they probably won’t be getting them at all.

This song, as it is, is just a five minute slog, especially considering only the first minute is worth listening to. If someone has a separate track of just that Drake intro, I’d appreciate a link.

Conclusion

Yeah, Best of the Week goes to Travis Scott for “STARGAZING”, who also bags Worst of the Week for “CAROUSEL” with Frank Ocean and one of the two Dishonourable Mentions for “SICKO MODE” with Drake and Swae Lee, with the other going to Hardy Caprio and One Acen for just being void of anything interesting in “Best Life”. See you next week.

L

[theparaminds]

  It is almost unimaginable how many musicians have been given a listen due to their album artwork. Being the first impression itself, the artwork obviously holds the same weight as the music in many cases. Back in the days of record stores, there was no 10-second preview; the artwork was all there was between the consumer and the artist. Though, it is now a digital age in which attention is the most valuable commodity, in which standing out is just as difficult as ever. Some believe that the artistry of an album has been lost and in a sense it is arguable that the lack of physicality within the medium has hindered the appreciation of the art form. But many on the other side of the scale believe that is completely wrong in every sense, many being the graphic designers themselves; one of which is pushing to retain the art form he built his base on. 

  Max Cohen is a Waterloo, Ontario born and raised creative director and designer who has established himself a major player in the hip hop scene; creating artwork for some of the hottest acts currently, which include: Killy, Pierre Bourne, Murda Beatz, Smokepurpp and of course many more. Max understands the importance of branding as well as the visuals themselves, hoping to share it with those unaware of its essentialness. Parmaind sat down and spoke to Max about his work and visions, the rap industry as well as his views on the future of music marketing. 

 Paramind: First question as always, how’s your day going?

Max: Good man, it was ok; school was school. I’m living bro, living good.

PM: So, why don’t you tell everyone who Max is?

 M: Oh god, my name is Max Cohen; I am a student, I am an artist, I make album covers and work on branding for a bunch of different artists and labels, just an overall creative.

PM: So of all those projects you’ve done, what are the three you’re most proud of?

 M: Oh, Killamonjaro for Killy, Bloody Hands…this is tough… oh the Fiji and Yachty one for sure. 

PM: It is seen in those projects that you work tightly in the hip hop community, but do you think that’s where you’re happy staying? Or would you want to expand and if so, where?

M: I mean I love all genres of music so I’ll do anyone I listen to and primarily listen to the people I work with. It’s nice to have that personal connection with the artists. But in general with rap its probably where I’ll stay, it’s what’s popular and what I enjoy the most; it’s the black renaissance coming into play and that will be prevalent as time goes on. Also I work more on an industry level than a Soundcloud one now as well. I’ve worked with Universal, Interscope, real label shit. It’s my niche and I’m enjoying it and once I continue to expand my range of talents it’ll just get better and I plan to stay prevalent and influential in the industry.

PM: So do you plan to move towards shooting concerts, live visuals, etc. as arguably album artwork is static as an art form?

M: Yeah it can be sometimes, but photography is so saturated right now that it’s hard to stand out at all because thousands of them exist, so there’s no real point. People have asked me to shoot or do video work and my friend who goes by the name Sogross basically just taught me to diversify my skillset and so if an artist wants me to go on tour for a couple months and do all the visuals and creatives I can do that.

PM: But you’re still doing album art, it is still your main focus; and there is now the question of why it’s relevant. Akon recently tweeted making fun of even caring about album artwork anymore...

M: Akon’s on bullshit man

PM: [Laughs] so then why is it relevant then in your mind?

M: It’s the most important thing towards marketing and building your brand and fan base. Off the top, cover art is an art form so it needs to be maintained. But that whole idea of branding is important, it’s like saying ‘why do we need advertisements for companies?’ It makes no sense. That is literally the equivalant. Its part of the marketing, and of course, its part of the vision.

PM: But what about album covers with no art? Like Yeezus?

M: Still art. Still branding. That’s totally art and expression and what the artist wanted to display. It was curated by Joe Perez , dude is so smart. But it’s a message against the music industry.

PM: Kanye called it the coffin or death of album covers, does he have a point?

 M: Kanye is a visionary but he’s also dramatic and sometimes stupid so take everything he says with a grain of salt.

PM: While on the topic of album covers, can you tell me some that have influenced you in some way?

M: Anything Bryan Rivera does, he does Post Malone’s stuff, I don’t have specific influence from one piece or it else my art wouldn’t be my own. So maybe not specific covers but more portfolios.

PM: Can you give any secrets or hints at album covers or work you have coming soon?

M: Geez, lot of Toronto work. I don’t like talking on my moves before I make them. No reason to flex a piece before it’s done. I can speak on the fact I’ll keep working with Murda Beatz if all goes good.

 PM: Nice, on top of working with musicians you’ve also worked with some other graphic designers like your friend Jeff and I know you’ve been shouted out in Justin Wilson’s interview with Untitled, so can you speak on your connections or your future in terms of collaboration?

M: The community is very tight knit. You have very industry based designers who only fuck with people in their circle and no one else. But that’s some drama LA shit. But in terms of the community, I’m in a lower tier but it’s so tight knit. I’m in group chats of about 40 different designers and creatives in the industry and everyone’s friends. The piece I recently did with Jeff for bloody hands was me just not being able to do the edits because I went out one night so I sent it to him and he got it done no problem.

 PM: So what would be the dream for you then? What is the end goal or place you’d be happy ending up at?

 M: I mean, I’m not going to university for graphic design; I’m going for creative industries, which is more the business behind everything I’m into. But if I could make graphic design my career I’d be the dream. Vision wise, I will realistically work with Ovo in the next 6-8 months and they’re the biggest Canadian entity and I already have work that’s been viewed millions of times by millions of people, which is unreal. I’m so happy where I am and I just enjoy being in the scene and reaping the benefits of working in music. I want to have a presence and make great work...

In the end, it comes down to the art not the clout.

PM: True, you’ve worked with some big artists such as Pierre Bourne and Killy as well as SmokePurpp. But you have to wonder who those out of reach people are for you that you desperately want to work with.

M: Migos. No doubt. Coach K and Quality Control are tight knit on what they do. But if I can work with them It’d be crazy. And anyone large and I respect. Even like on a lower scale, like Yellow days. That’d be lit. But I try not to be driven by who I’m working with and rather be driven by the quality of the art and how much money I’m making. [laughs]

PM: [laughs] Do you lose your artistic integrity in the pursuit of money or social media numbers?

M: When you work in a service industry, like I do, its not necessary sacrificing artistic integrity and instead doing what the customer wants and doing it the best I can. I will sometimes make a piece I don’t love but that my client will love because that’s what they wanted. So yeah that could be seen as losing integrity. It’s a hobby and I love it but it’s also a job, this is my part time job. Sometimes if someone does something I can’t support I’ll have to turn it down but that’s it

PM: So in those cases is it about them as a person or just not enjoying their music or vision?

M: That’s hard because so many rappers are fucking scumbags. There are so many bad people popular in rap right now, its difficult to find that line lately… actually lets stop that topic [laughs]

PM: [laughs] Yeah best to move on for now… going back to album art and design, how do you feel you’re making yourself stand out and why do you matter?

M: My shit’s hot man, my art’s sick and I can make anything anyone wants. Perfect example is Killamanjaro... Wait hold on let me pull out these texts…

[Max pulls out his phone and finds a conversation with Killy]

M: He gave me the vision of “crazy dystopian dark world art cover, needs to be crazy and memorable” and It was my job to make something sick and something worthwhile. And that’s what I want to keep having is the ability to see something in my head and then execute it to the highest degree, because that’s what makes me worthwhile and unique.

PM: For sure, thanks so much for your time man, anyone you want to shout out?

M: Shout out Liam, shout out Luke, shout out Tuti; Tuti’s my Brazilian homie who I’ve known for like 3 years and has been on this design shit forever. Also; Jeff, Dj, Trap, Zero, Jermane cause he’s putting me on right now, my parents, my sister, oh and my dog.

Paramind would like to thank Max for his time, as well as speaking his mind and giving us insight into his art and future.

Follow Max online:

Twitter: @Mxxchn

Instagram: @Mxxchn

Words and photos by Guy Mizrahi 

[mrslaufeyson002]

Bad (Loki fanfic)

Chaptr 9.5

"First things first, I'm the realest

Drop this and let the whole world feel it And I'm still in the Murda Bizness I can hold you down like I'm givin' lessons in physics You should want a bad ____ like this Drop it low and pick it up just like this Cup of Ace, cup of Goose, cup of Cris High heels, somethin' worth a half a ticket on my wrist Takin' all the liquor straight, never chase that Rooftop like we bringin' '88 back Bring the hooks in, where the bass at? Champagne spillin', you should taste that I'm so fancy, you already know I'm in the fast lane from L.A. to Tokyo I'm so fancy, can't you taste this gold? Remember my name, 'bout to blow I said baby, I do this, I thought that you knew this Can't stand no haters and honest, the truth is And my flow retarded, they speak it, depart it Swagger on super, I can't shop at no department Better get my money on time, if they not money, decline And swear I meant that there so much that they give that line a rewind So get my money on time, if they not money, decline I just can't worry 'bout no haters, gotta stay on my grind Now tell me, who that, who that? That do that, do that? Put that paper over all, I thought you knew that, knew that I be that I-G-G-Y, put my name in bold I been working, I'm up in here with some change to throw I'm so fancy, you already know I'm in the fast lane from L.A. to Tokyo I'm so fancy, can't you taste this gold? Remember my name, 'bout to blow Trash the hotel Let's get drunk on the mini bar Make the phone call Feels so good getting what I want Yeah, keep on turning it up Chandelier swinging, we don't give a ____ Film star, yeah I'm deluxe

Classic, expensive, you don't get to touch, ow!

Still stunting, how you love that? Got the whole world asking how I does that Hot girl, hands off, don't touch that Look at that I bet you wishing you could clutch that That's just the way you like it, huh? You're so good, he's just wishing he could bite it, huh? Never turn down money Slaying these hoes gold trigger on a gun like I'm so fancy, you already know I'm in the fast lane from L.A. to Tokyo I'm so fancy, can't you taste this gold? Remember my name, 'bout to blow Who that, who that? I-G-G-Y That do that, do that? I-G-G-Y Wow, who that, who that? I-G-G-Y (Blow...) Who that, who that? I-G-G-Y That do that, do that? I-G-G-Y Wow, who that, who that? I-G-G-Y (Blow...)

Steve sings Africa by Toto

"I hear the drums echoing tonight

But she hears only whispers of some quiet conversation She's coming in, 12:30 flight The moonlit wings reflect the stars that guide me towards salvation I stopped an old man along the way Hoping to find some long forgotten words or ancient melodies He turned to me as if to say, "Hurry boy, it's waiting there for you "It's gonna take a lot to take me away from you There's nothing that a hundred men or more could ever do I bless the rains down in Africa Gonna take some time to do the things we never had The wild dogs cry out in the night As they grow restless, longing for some solitary company I know that I must do what's right As sure as Kilimanjaro rises like Olympus above the Serengeti I seek to cure what's deep inside, frightened of this thing that I've become It's gonna take a lot to drag me away from you There's nothing that a hundred men or more could ever do I bless the rains down in Africa Gonna take some time to do the things we never had Hurry boy, she's waiting there for you It's gonna take a lot to drag me away from you There's nothing that a hundred men or more could ever do I bless the rains down in Africa I bless the rains down in Africa (I bless the rain) I bless the rains down in Africa (I bless the rain) I bless the rains down in Africa I bless the rains down in Africa (Ah, gonna take the time) Gonna take some time to do the things we never had"

Stephen does Bohemian Rhapsody

"Is this the real life?

Is this just fantasy? Caught in a landslide No escape from reality Open your eyes Look up to the skies and see I'm just a poor boy, I need no sympathy Because I'm easy come, easy go A little high, little low Anyway the wind blows, doesn't really matter to me, to me Mama, just killed a man Put a gun against his head Pulled my trigger, now he's dead Mama, life had just begun But now I've gone and thrown it all away Mama, ooo Didn't mean to make you cry If I'm not back again this time tomorrow Carry on, carry on, as if nothing really matters Too late, my time has come Sends shivers down my spine Body's aching all the time Goodbye everybody I've got to go Gotta leave you all behind and face the truth Mama, ooo (anyway the wind blows) I don't want to die I sometimes wish I'd never been born at allI see a little silhouetto of a man Scaramouch, scaramouch will you do the fandango Thunderbolt and lightning very very frightening me Gallileo, Gallileo, Gallileo, Gallileo, Gallileo Figaro - magnifico But I'm just a poor boy and nobody loves me He's just a poor boy from a poor family Spare him his life from this monstrosity Easy come easy go will you let me go Bismillah! No we will not let you go - let him go Bismillah! We will not let you go - let him go Bismillah! We will not let you go let me go Will not let you go let me go (never) Never let you go let me go Never let me go ooo No, no, no, no, no, no, no Oh mama mia, mama mia, mama mia let me go Beelzebub has a devil put aside for me For me For meSo you think you can stone me and spit in my eye So you think you can love me and leave me to die Oh baby, can't do this to me baby Just gotta get out just gotta get right outta here Ooh yeah, ooh yeah Nothing really matters Anyone can see Nothing really matters nothing really matters to me Anyway the wind blows"

It's my turn and I pick Smile by Avril Lavigne

"You know that I'm a crazy bitch

I do what I want when I feel like it All I wanna do is lose control (oh, oh) But you don't really give a shit You go with it, go with it, go with it 'Cause you're fucking crazy rock n' roll You said hey What's your name It took one look And now I'm not the same Yeah you said hey And since that day You stole my heart And you're the one to blame Yeah, and that's why I smile It's been a while Since every day and everything has Felt this right And now you turn it all around And suddenly you're all I need The reason why I, I, I, I smile, oh oh oh Last night I blacked out I think What did you, what did you put in my drink I remember making out and then (oh, oh) I woke up with a new tattoo Your name was on me and my name was on you I would do it all over again You said hey (hey) What's your name (what's your name) It took one look And now I'm not the same Yeah you said hey (hey) Since that day (since that day) You stole my heart And you're the one to blame Yeah, and that's why I smile It's been a while Since every day and everything has Felt this right And now you turn it all around And suddenly you're all I need The reason why I, I, I, I smile, oh oh oh The reason why I, I, I, I smile, oh oh oh You know that I'm a crazy bitch I do what I want when I feel like it All I wanna do is lose control You know that I'm a crazy bitch I do what I want when I feel like it All I wanna do is lose control Yeah, and that's why I smile It's been a while Since every day and everything has Felt this right And now you turn it all around And suddenly you're all I need The reason why I, I, I, I smile, oh oh oh The reason, the reason why I, I, I, I smile, oh oh oh The reason why I, I, I, I smile, oh oh oh"

[gioelline]

[Verse 1: Iggy Azalea]

First things first, I'm the realest (Realest)

Drop this and let the whole world feel it (Let 'em feel it)

And I'm still in the Murda Bizness

I can hold you down, like I'm giving lessons in physics (Right, right?)

You should want a bad bitch like this (Huh?)

Drop it low and pick it up just like this (Yeah)

Cup of Ace, cup of Goose, cup of Cris

High heels, something worth a half a ticket on my wrist (On my wrist)

Taking all the liquor straight, never chase that (Never)

Rooftop like we bringing '88 back (What?)

Bring the hooks in, where the bass at?

Champagne spilling, you should taste that

[Chorus: Charli XCX]

I'm so fancy, you already know

I'm in the fast lane, from L.A. to Tokyo

I'm so fancy, can't you taste this gold?

Remember my name, 'bout to blow-oh-oh-oh

[Verse 2: Iggy Azalea]

I said baby, I do this, I thought that you knew this

Can't stand no haters, and honest, the truth is

That my flow retarded, each beat dear, departed

Swagger on stupid, I can't shop in no department

And get my money on time, if they got money, decline

And swear I meant that there so much that I give that line a rewind

Said I get my money on time, if they got money, decline

I just can't worry 'bout no haters, gotta stay on my grind

Now tell me, who that, who that? That do that, do that?

Put that paper over all, I thought you knew that, knew that

I be that I-G-G-Y, put my name in bold

I been working, I'm up in here with some change to throw

[Chorus: Charli XCX]

I'm so fancy, you already know

I'm in the fast lane, from L.A. to Tokyo

I'm so fancy, can't you taste this gold?

Remember my name, 'bout to blow-oh-oh-oh

[Bridge: Charli XCX]

Trash the hotel, let's get drunk on the minibar

Make the phone call, feels so good getting what I want

Yeah, keep on turning it up

Chandelier swinging, we don't give a fuck

Film star, yeah, I’m deluxe

Classic, expensive, you don't get to touch, ow!

[Verse 3: Iggy Azalea]

Still stunting, how you love that?

Got the whole world asking how I does that

Hot girl, hands off, don't touch that

Look at it, I bet you wishing you could clutch that

That's just the way you like it, huh?

It's so good, he just wishing he could bite it, huh?

Never turn down nothing

Slayin' these hoes, gold trigger on the gun like

[Chorus: Charli XCX]

I'm so fancy, you already know

I'm in the fast lane, from L.A. to Tokyo

I'm so fancy, can't you taste this gold?

Remember my name, 'bout to blow-oh-oh-oh

[Outro: Iggy Azalea & (Charli XCX)]

Who that, who that? I-G-G-Y

That do that, do that, I-G-G-Y

Who that, who that? I-G-G-Y

(Blow-oh-oh-oh)

Who that, who that? I-G-G-Y

That do that, do that, I-G-G-Y

Who that, who that? I-G-G-Y

(Blow-oh-oh-oh)