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“My mother is 66 and her favorite line to hit me with is Who the fuck wants to be 70 and alone?” – Drake. Damn.

Drake-Smoking-Studio

Drake feat. Jhene Aiko – From Time Lyrics

[Hook:  Jhene Aiko]
What’s up? Been a minute since we kicked it
You’ve been caught up with them bitches
I don’t get it, you’re a star love
You shouldn’t have to deal with that
I’ll never make you feel like that.

Cause I love me, I love me enough for the both of us
That’s why you trust me, I know you been through more than most of us
So what are you? What are you, What are you so afraid of?
Darling you, you give but you cannot take love.

[Verse 1: Drake]
I needed to hear that shit, I hate when you’re submissive
Passive aggressive when we’re texting, I feel the distance
I look around the peers that surround me, these niggas tripping
I like when money makes a difference but don’t make you different
Started realizing a couple places I can take it
I want to get back to when I was that kid in the basement
I want to take it deeper than money, pussy, vacation
And influence a generation that’s lacking in patience
I’ve been dealing with my dad, speaking a lack of patience
Just me and my old man getting back to basics
We’ve been talking ’bout the future and time that we wasted
When he put that bottle down, girl that nigga’s amazing
Well, fuck it, we had a couple Coronas
We might have rolled a white paper, just something to hold us
We even talked about you and our couple of moments
He said we should hash it out like a couple of grown ups
You a flower child, beautiful child, I’m in your zone
Looking like you came from the 70’s on your own
My mother is 66 and her favorite line to hit me with is
Who the fuck wants to be 70 and alone?
Y’all don’t even know what you want from love anymore
I search for something I’m missing and disappear when I’m bored
But girl, what qualities was I looking for before?
Who you settling for? Who better for you than the boy, hah?

[Hook]
What’s up? Been a minute since we kicked it
You’ve been caught up with them bitches
I don’t get it, you’re a star love
You shouldn’t have to deal with that
I’ll never make you feel like that.

Cause I love me, I love me enough for the both of us
That’s why you trust me, I know you been through more than most of us
So what are you? what are you, what are you so afraid of?
Darling you, you give but you cannot take love

[Verse 2: Drake]
Thinkin’ about Texas back when Porsche used to work at Treasures
Or further back then that, before I had the Houston leverage
When I got Summer a Michael Kors with my momma’s debit
A weak attempt at flexing, I’ll never forget it
Cause that night I played her three songs
Then we talked about something we disagreed on
Then she started telling me how I’ll never be as big as Trey Songz
Boy was she wrong, that was just negative energy for me to feed off
Now it’s therapeutic blowing money in a galleria
Or Beverly Center Macy’s where I discovered Bria
Landmarks to the ‘muses that inspired the music
When I could tell it was sincere without trying to prove it
The one that I needed was Kourtney from Hooters on P Street
I’ve always been feeling like she was the piece to complete me
Now she engaged to be married, what’s the rush on commitment?
Know we were going through some shit, name a couple that isn’t
Remember our talk in the parking lot at the Ritz
Girl I thought we had it all planned out, guess I fucked up the vision
Learning the true consequences of my selfish decisions
When you find out how I’m living I just hope I’m forgiven
It seems like you don’t want this love anymore
I’m acting out in the open it’s hard for you to ignore
But girl, what qualities was I looking for before?
Who you settling for, who better for you than the boy, huh?

[Hook]
What’s up? Been a minute since we kicked it
You’ve been caught up with them bitches
I don’t get it, you’re a star love
You shouldn’t have to deal with that
I’ll never make you feel like that

Cause I love me, I love me enough for the both of us
That’s why you trust me, I know you been through more than most of us
So what are you? what are you, what are you so afraid of?
Darling you, you give but you cannot take love.

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Yo but…

I cannot lie the lyrics to this track are too prevalent to stuff that’s going on with me and directly around me right now. Damn.
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FOOLSTOP!

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Number One Macklemore and Ryan Lewis Groupie. | L.O.V.E.

Macklemore & Ryan Lewis’ music is distinct for channeling cultural moments and refreshingly self-aware testimony through candid lyricism and expertly crafted composition. Their work has impressed and enthused a multitude of listeners, nowhere more evident than in the populist barometer of the internet, where some of Macklemore’s songs, videos and even fan-uploaded media have over one million listens and views.

The recent single “Wings” is an anthemic meditation on being of the Air Jordan generation with a lucid perspective on an otherwise trodden motif. “Otherside” offers a darkly searing portrait of his own story of addiction and the hype of substance within hip-hop culture. Crowd-favorite songs like “And We Danced” and “Irish Celebration” demonstrate Macklemore’s ability to get raucous with disarming candor and relentlessly energetic showmanship.

On their first national headlining tour in the spring of 2011, Macklemore and Ryan Lewis packed houses and sold out a majority of their shows, including those in New York City, Chicago, San Francisco, Los Angeles, and a three-night run at Seattle’s Showbox at the Market, where over 3,500 tickets sold out in less than 48 hours.

Macklemore’s freshman release in 2005, Language of My World, featured production by Rhymesayer’s Budo and was well-received by circles who noted Macklemore’s fresh perspective and a striking balance of insight and levity. After several subsequent years of artistic stagnation and frustration due to substance abuse, Macklemore made a commitment to sobriety with a newfound, more intrinsic dedication to his music.

The catalyst to this change was establishing a partnership and ongoing collaboration with Ryan Lewis, an accomplished, consummate artist in design, photography, and production, who also acts as Macklemore’s touring DJ. They released the VS EP in 2009 & VS Redux in 2010, the latter reaching #7 on the iTunes Hip Hop charts. “…and quote.”

PLEASE go find these dudes:

Bandcamp

Tumblr

SoundCloud

Facebook

FOOLS?! STOP!!

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Miguel “Adorn” – Art Dealer Chic.

I’m SO sorry..

This makes 3 music video posts in a row but MY GOODNESS have I found a new favourite winter track. This dude’s music is dripping SWAGOO and the epitome of a crooner is in this one track:

For much of the past decade, contemporary male R&B has been the genre of the calling card, of familiar songwriting perspectives, sounds, and vocal tics being plumbed by prolific auteurs until a song are unmistakable even on first listen. But the fall in popularity and prolificacy of stalwarts like R. KellyThe-Dream, and Ne-Yo has dovetailed with R&B’s embrace of– or forced marriage to– David Guetta’s brand of house music, which in turn has elevated safe and malleable singers like Usher and Chris Brown above the genre itself. Even Trey Songz, the current male R&B star who has seen a rise in popularity despite foregoing a move towards dance music, is oppressively vanilla. The niche has been filled partly by rappers like Drake and J. Cole, who let their love of R&B and songwriting seep deep into their music, with the former, of course, often singing himself.

If there’s any light in the tunnel, it isn’t coming (yet, at least) from artists like The Weeknd and Frank Ocean, both of whom have presented singular points of view, but have only flirted with the radio and are still regarded by mainstream audiences as curios. But there is Miguel, a 25-year-old Los Angeles native who is currently a minor pop star trying to prove his staying power. He isn’t a callback, though, to guys like Kelly or The-Dream, who, at least temporarily, reworked the lexicon of R&B. In fact, the most unique and magnetic thing about Miguel’s music is how hard it is to pin down, and just how deep and diverse his bag of tricks seems to be. This became starkly obvious on three fantastic singles (released across summer 2010 and spring 2011) from his debut album. “All I Want Is You”, the lead, was dark and dusty in a way that recalled when hip-hop and R&B started to approach each other in the 1990s; “Sure Thing”, its follow-up and his biggest hit to date, nodded at neo-soul without losing its modernity; and “Quickie” refixed reggae into something distinctly post-coital.

The key with Miguel’s music is that nothing comes off as an experiment. Instead, he leaves you with the impression that he loves music and exploring his own mind equally. It’s an approach that is refreshingly uncynical, and he carries it over to Art Dealer Chic, his recently released series of EPs. The three volumes comprise nine songs and just about 30 minutes of music, and despite a total throwaway track and two others that he reprises from earlier mixtapes, they contain some of the best R&B music of the year, as well as further evidence that the man with no calling card isn’t about to get lost in the shuffle anytime soon. Across the releases he’s lovestruck, horny, self-centered, insecure, apocalyptic, and suspicious, and he impressively traverses almost enough sonic territory to match (although Prince does loom large).

Let’s hit the showstoppers first. “Adorn”, the lead track off volume one, has the slink, sheen, and falsetto of the 1980s, but it’s the way in which Miguel cuts through the grinding, whirring bass with radiant backing vocals that makes the song so beguiling. At just over two minutes it’s a straight rush of endorphins. Then there’s “Arch n Point” and “…ALL”, the first two tracks from volume two, which encroach a bit on the Weeknd’s cornering of dark, conflicted R&B. The former is the project’s sexiest song, with Miguel imagining fishnets and bottle service. It’s built on stacked, heavy guitars that he softly ratchets up in intensity toward a subtle climax that indicates a confidence in his own songwriting (a more unsure artist probably would’ve unleashed an ill-advised solo). “…ALL” is Miguel’s take on clubby R&B, but instead of opting for the meathead bleat of Dr. Luke, he dips into organ-house as he finally turns his pen on himself, singing about his thirst for success, then questioning whether he’s selfish before finally concluding, “fuck it, everybody’s selfish.”

Volume three doesn’t quite scrape those heights, but it shows that Miguel can retain his singularity even when he’s at his most referential. “Party Life” is a rather overt homage to Prince’s “1999”, but the track is constructed and sung in a way that acknowledges the Purple One fandom without donning a white blouse. There’s also “Candles in the Sun, Blowin’ in the Wind”, a political, Marvin Gaye-ish track that wins out over its slight hamhandedness by using the vocabulary of hip-hop and approaching something like political corruption in the first place. The third volume, like the other two, contains one track that isn’t up to snuff, and it’s only that forgettable one-third that drags the entire collection down.

But the highs here are very high, and in whetting the appetite for his presumably forthcoming sophomore album, Miguel has maybe inadvertently set expectations sky-high. But if there’s anyone who can handle it, it’s this guy. While his peers are mostly either shamelessly chasing trends or burrowing deep underground, Miguel is straddling the line with songwriting that achieves singularity through its unpredictability. On “…ALL” he belts, “I ain’t afraid to fail/ Can’t you tell?” and very rarely do you see an artist sum up his or her own appeal so succinctly. Everyone in the major-label music business is scared as hell of failing; Art Dealer Chic is what happens when you’re not. What a breath of fresh air.

FOOLSTOP.

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Call Me. XOXO.

It’s been some time since we were bombarded by a perfect pop song, and even longer since we’ve been bombarded by a perfect pop song from a young Canadian pop idol, but 26-year-old Carly Rae Jepsen has fulfilled both world shortages with a single, maddeningly addicting song: “Call Me Maybe.”

For us (especially outside of Canada, where it’s already been certified platinum), Jepsen Mania has only just begun. And the girl deserves it: She’s recorded a flawless pop song. It’s been out since September, but we’re fast approaching the phase in which we will be virtually incapable of escaping the song and its strident disco strings and that horribly catchy hook. Resistance is futile, people: As much as I want to hate this song, I have listened to it seven times today (maybe more like 10 times) and I am not yet sick of it.

Jepsen signed with Bieber-maker Scooter Braun’s label Schoolboy Records last month, after Justin heard the song on the radio and told Braun it was “the best pop song out there.” That’s like Michael Jordan ceding his title to Kobe.

The video’s cool ofcourse and the ending priceless. LOL_


[Too Cute.]

Foolstop.

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