NOTE: NSFW language throughout that although the violence doesn't occur until way later in the story, sex and profanity are used.
Enjoy!
Muscleman’s least favorite words were creeping into his brain on another Wednesday night at 10:00 working at Core in San Antonio. Drag legend Ima Cliché and her utterings didn’t actually bother Muscleman until recently. “Don’t forget, our booty-shaking contest starts at 12:30; young, old, short, tall, noun, object, does not matter; $75 can be yours if you can shake your nalgas and work Mama’s pole, baby.” His thoughts were spinning at the same rate he was on the pole he nicknamed Fool’s Gold.
He has never hated one of the things he does on the side, after being driven to near madness whipping the overweight and the insecure into shape they can be happy with after reluctantly paying him. Temporary relief comes and goes with every R&B, Hip-Hop, Top 40/Pop, Dance/EDM and Latin track the DJ manages to work into the barely occupied Core. “Another Wednesday and these cheap bastards can’t even tip $1.” He began to think. “I’m one of many cogs in this fucking machine that doesn’t get greased enough.” His outer body has no bruising and hasn’t been weathered like his pride has throughout the years at 30.
Once done with his hustle hungry plumage on stage, he opened the door to the scant but smoky patio to pump dollar bills to repair his ego. The lines flowed from his lips like masculine ambrosia. “Hey baby, how are you tonight?”, “You having a good time tonight?” and financially driven courting noises managed to drive a rare but appreciated $5 tip. “Thank you baby.” and a smooch on their cheek added a cherry and whipped cream to a urinal cake of a night. Back inside at 10:20, Muscleman took a seat and called for the bartender; his only ally in that night. “Jamie!” He heard Muscleman’s crushed spirit and asked, “Fireball or bourbon for tonight?” “Something brighter than the light on Ima’s makeup for once.” Muscleman replied.
Jamie was stunned at Muscleman’s relatively vivid order. “Tonight is that bad, you’re willing to drink say…a margarita or fuzzy navel right now?” “It’s the rose colored glasses of drink orders.” Muscleman began. “Something bright for now to take away from stingy fucks who can barely latch onto meager earnings…” He was presented with an unnamed red concoction in a shot glass before being told, “Put on your rose colored glasses and ease up. Besides, some of the fresh meat are back tonight.”
Muscleman finished his concoction right at 10:28 when he thought of who the remaining few who came back were. He saw his only real competition be the first of two who came back and thought to himself, “I can either be bitter or just be stern enough to remind them I’m the face, body, ass and dick of this place.” His unexpected source of motivation was a lithe and inked ginger who wore his Zodiac sign and in turn his sexual energy on his body. He walked to the changing area not far from the bar, closed the curtain behind them and said “Welcome back, Scorpio. Ready to pump money out of these cheap asses?” Scorpio answered, “With every fiber of my skinny ass, I am.” Almost on cue a chapter from Scorpio’s past and Muscleman’s other scantily clad co-worker, Hi-NRG, chimed in “This is kind of fun too, admit it.” Scorpio thought to himself, “The fact I let this son of a bitch drive me insane for two months is two months I want back right now.”
Muscleman asked about the other fresh meat that survived scant rewards and near derivative music enough to come back. “Who else from that stable of newbies is back already?” Scorpio replied, “Blondie from Austin. Tanned white guy; baseball cap; needs about 2 red drinks and 2 shots of Fireball to ease his nerves…” “Oh him…” Muscleman began. “…surprised his nervous yet tight ass is back for more.” Blondie entered the changing room knowing his nerves were being brought up.
“The nerves come from this being the 2nd time I’ve danced on a bar top in quite frankly, the sleaziest club that somehow remembers to pick up after itself.” He began. “We pretty much know this place would be a whorehouse if it wasn’t for you know…regulations and shit like that.” The others concurred before Ima Cliché announced, “I need the dancers to the bar top; dancers on the bar top.” Sighs turned into nonverbal cues that show time needed to commence if any of them wanted a 50/50 chance of making one end meet.
That Wednesday night proved to be less damning that Muscleman thought it was; apparently, being lined up in a sexualized auction for the eyes brought out anyone feeling like a big spender. Muscleman’s signature red and white dual-tone thong, Scorpio’s black briefs, Hi-NRG’s neon trunks and Blondie’s red and black jockstrap with accompanying cover-up each took the “Stripper’s Rushmore” of Washington, Lincoln and Hamilton. “Ima uses the same joke every Wednesday, every hour on the hour but goddamnit if she doesn’t get the job done eventually.” Muscleman thought. “Now I have to try and get some cheap asses to want a lap dance.” After leaving the bar top to count and stash his earnings, he emerged from the changing room to find someone with at least $20 and a touch of loneliness.
He scoured the suddenly generous crowd to gauge who really needed his special touch in the lap dance area known as the “Inner Core.” If no one bothers, the Inner Core is where Muscleman makes extra money offering himself to the generous who are rewarded handsomely. His musk mixed with Jamie’s concoctions created a signature scent that keeps the few but fervent craving every bit of him in the Inner Core. He eyed someone at one of the tables near a game of pool. Once his eyes went to the red Converse, Muscleman thought to himself “Bingo. It isn’t pretty considering he’s pretty much a kid compared to me, but close enough." He hugged his potential mark and asked, “What brings you out here, baby?”
His potential mark answered, “A need for some fun. I graduate from college two Sundays from now and haven’t had fun like this ever. My name’s Dave by the way. You can tell me yours if you want; I like getting chummy with dancers.” Muscleman responded, “Nice to meet you Dave; I like getting chummy with anyone with money to shove in my thong. Or if you have lap dance money, there’s that too.” $40 was pulled out and before Dave knew it, Muscleman took him to the Inner Core.
Dave took off his glasses and let Muscleman work enough to have Dave near speechless. Not believing his good fortune, Muscleman upped the ante by facing Dave and moving his thong to the right hand side and offering himself to a lucky mouth. The last words in that interaction was a gracious beckoning from Dave; “May I?” he asked in a near naïve state. Internally, Muscleman thought “This might be my most sensitive mark to date. Better let him do what he can. He’s pretty good so it’s worth it.” His senses kicked into overdrive as he thought the doorman was doing his job for once and checking the Inner Core. “Someone’s coming.” he whispered before being surprised at how Dave responded on command near flawlessly. Once ushered to leave the Inner Core for more customers, Muscleman let Dave cross into rather liberal territory with him by kissing him on the lips.
Once closing time came up long after Dave had left a happier man, Blondie, Scorpio and Hi-NRG all headed out where the latter was wondering about Muscleman’s face at the end of the night. “Am I the only one surprised to see an emotion let alone nearly one of guilt on his face tonight?” Blondie concurred his thoughts saying “This can’t happen to him regularly. Maybe he’s starting to crack or maybe he’s going through something and whoever that dude was triggered something.” “Don’t read into it too much.” Scorpio countered. “Not that this isn't insightful but we’ll worry about it when we need to.”
“Besides, you’ll be in Austin so you shouldn’t worry about the scene down here.” Hi-NRG added. “You’ll be back in 3 weeks and maybe just maybe it’ll blow over by then.” “You’re right.” Blondie responded. “I’ll see you guys whenever I’m in a pinch and need to be down here.” Truthfully, Blondie knew what the score was with Dave. Prior to Muscleman using him for pleasure and money, he had done the same thing not a week or so before. The Inner Core was nothing he couldn’t handle with the same $40 and him offering himself in body glitter and then bending over to let Dave enjoy him from the back with that very mouth. “A little fairy dust didn’t hurt me that night.” Blondie thought.
Muscleman and Jamie were the last to leave Core and Jamie had to beg the question while Muscleman knew it was coming. “You’ve done what I think you did before tons of times. It can’t be that different this time, right?”
“He’s in his mid-20s but it felt kind of weird how…”
“Intense it was? Good it felt? What are you getting at?”
“It’s weird how he’s into me but seems to know it can’t happen.”
“So what’s the problem?”
“It’s like he wants to change the outcome knowing the score.”
Jamie was unable to think of a response by the time Muscleman stepped in his truck, his incognito tracksuit and University of Tennessee hat covering more than his punishment created body. “He can’t crack for someone who’s barely been to Core.” Jamie began to think. “The motherfucker has done way scuzzier things in the Inner Core and now there’s this.”
Tuesday, September 27, 2016
New Story Soon to Be Posted
Once again, I've taken some time and wrote another story. This time it's inspired by some certain figures that happen to be gogo-boys* I love seeing and based off of tattoos, what I happen to remember as certain conversations and my wild imagination I wrote a three act story about it.
Act I was typed/written from 9/12/16 to 9/16/16
Act II was typed/written from 9/17/16 to 9/21/16
Act III was typed/written from 9/21/16 to [at like 2:36 AM meaning it's technically today] 9/27/16
Meaning, I typed/wrote a three act story clocking in at 40 pages each in roughly 2 weeks and 1 day. Read as: "I have no life and am most likely cut out to be a writer after all."
What I'm posting in total will be...
- Act I Part I
- Act I Part II
- Act II Part I
- Act II Part II
- Act III Part I
- Act III Part II
- A "Soundtrack" of all the songs I listened to that I feel connect with certain characters or moods of the story.
If any of you give a remote-controlled damn to read the story, go right ahead and enjoy it at your discretion.
*Gogo boys are lovely men who dance in underwear at gay bars. They do it for $$$ even if it's a mostly "Stacked against them" system.
**NOTE: the gogo boys will be called dancers at times throughout the stories. These are based off of actual gogo boys and tattoos 'n such mentioned before. I'm not going to name them due to the fact it might screw with them. Also, a character by the nickname of "Ranger" is a nickname for a gogo boy who already answers to another nickname but it shall not be actually named.
Characters in this are fictional. The things that happen...hey, creative liberty reigns supreme.
Act I was typed/written from 9/12/16 to 9/16/16
Act II was typed/written from 9/17/16 to 9/21/16
Act III was typed/written from 9/21/16 to [at like 2:36 AM meaning it's technically today] 9/27/16
Meaning, I typed/wrote a three act story clocking in at 40 pages each in roughly 2 weeks and 1 day. Read as: "I have no life and am most likely cut out to be a writer after all."
What I'm posting in total will be...
- Act I Part I
- Act I Part II
- Act II Part I
- Act II Part II
- Act III Part I
- Act III Part II
- A "Soundtrack" of all the songs I listened to that I feel connect with certain characters or moods of the story.
If any of you give a remote-controlled damn to read the story, go right ahead and enjoy it at your discretion.
*Gogo boys are lovely men who dance in underwear at gay bars. They do it for $$$ even if it's a mostly "Stacked against them" system.
**NOTE: the gogo boys will be called dancers at times throughout the stories. These are based off of actual gogo boys and tattoos 'n such mentioned before. I'm not going to name them due to the fact it might screw with them. Also, a character by the nickname of "Ranger" is a nickname for a gogo boy who already answers to another nickname but it shall not be actually named.
Characters in this are fictional. The things that happen...hey, creative liberty reigns supreme.
Thursday, September 8, 2016
ALL MALE (Music) REVIEW: Leo by Chrystina Sayers
Singer Chrystina Sayers [of Girlicious turned newly established solo fame] makes her proper EP debut with Leo. Prior to this EP, she released the single "Alive" under the name Chrysie Sayers c. 2011 and had fairly recently released 2 new songs "Blame You" and "Feel Lit" [the latter of which was the center of a fun internet challenge Sayers organized.]
Then, for reasons that are sort of murky "Blame You" and "Feel Lit" were scrubbed from the internet which was a shame because those songs showed off great pop potential. However, she would eventually release most of what is now known as the Leo EP on her SoundCloud ["Bring Me Heaven" being the track omitted from the final track listing for a new song, "Here We Go".]
Here's how my review will work. All of the tracks will be judged individually; cohesion will determine the grade of the EP later. Obvious factors like singing ability and the instrumental of the song will be included as well.
# of songs: 5
Run time: 15 minutes
1. "From Here" - The favorite/stand-out track of Leo from its SoundCloud days to the fandom of hers known as SLAYers. If memory serves me right, this is the track slated for a music video treatment and I understand why.
It's pulsating, electronic vibes are contemporary without it sounding dated [which believe me is hard especially with Dance/EDM tracks.] It's no secret from her "Alive" days that this type of sound always complimented her vocals and this is a great way to open the EP.
2. "My Crew" - Not exactly my favorite, but if anyone needs a song that can read "Squad Goals" on social media, have them get this track on the double. It's easy fun to have which considering how club friendly this track sounds, this is another "W" to chalk up [even if at times, this does register as "Rihanna B-side"; No T, No Shade.]
3. "Here We Go" - The new song that made the tracklist. THANK GOD it did. It can pass as an unreleased Calvin Harris feature and considering his success, this is a compliment on high. At times, the vocals seem like they're at 70% but that does not detract terribly on this song.
4. "Go Hard" - Easily the best track on this EP and shows off all the potential Sayers developed on her own merit. Personally, this is the song from the SoundCloud days of this EP I couldn't stop replaying. The instrumental is catchy, the vocals are on full blast when they need to be and this is one of the few "sweet" pop songs that has depth to its name.
5. "Love You" - After the electronic field trip of the first tracks, this subtle cut does seem like a downer. However, this is probably closing the EP to prove that Sayers can actually sing and rather well. Remember, this is the same "secret weapon" of Girlicious who proved she could always sing once in her element.
OVERALL Grade: A
If there's a way to arrive in EP form, Sayers figured it out and delivered one of the most infectious debuts. Despite the short run time of 3 songs [tracks 2-4 being under 3 minutes], it's not short changing the listeners at all.
For any potential soundclash of the closing track following all the glossy production of the first 4 tracks, Leo properly introduces Sayers after minor setbacks with the "Blame You"/"Feel Lit" scrubbing [which to be honest, "Blame You" would've easily fit in on Leo.] Nothing says "I'm here to slay" like a debut EP done right.
Then, for reasons that are sort of murky "Blame You" and "Feel Lit" were scrubbed from the internet which was a shame because those songs showed off great pop potential. However, she would eventually release most of what is now known as the Leo EP on her SoundCloud ["Bring Me Heaven" being the track omitted from the final track listing for a new song, "Here We Go".]
Here's how my review will work. All of the tracks will be judged individually; cohesion will determine the grade of the EP later. Obvious factors like singing ability and the instrumental of the song will be included as well.
# of songs: 5
Run time: 15 minutes
1. "From Here" - The favorite/stand-out track of Leo from its SoundCloud days to the fandom of hers known as SLAYers. If memory serves me right, this is the track slated for a music video treatment and I understand why.
It's pulsating, electronic vibes are contemporary without it sounding dated [which believe me is hard especially with Dance/EDM tracks.] It's no secret from her "Alive" days that this type of sound always complimented her vocals and this is a great way to open the EP.
2. "My Crew" - Not exactly my favorite, but if anyone needs a song that can read "Squad Goals" on social media, have them get this track on the double. It's easy fun to have which considering how club friendly this track sounds, this is another "W" to chalk up [even if at times, this does register as "Rihanna B-side"; No T, No Shade.]
3. "Here We Go" - The new song that made the tracklist. THANK GOD it did. It can pass as an unreleased Calvin Harris feature and considering his success, this is a compliment on high. At times, the vocals seem like they're at 70% but that does not detract terribly on this song.
4. "Go Hard" - Easily the best track on this EP and shows off all the potential Sayers developed on her own merit. Personally, this is the song from the SoundCloud days of this EP I couldn't stop replaying. The instrumental is catchy, the vocals are on full blast when they need to be and this is one of the few "sweet" pop songs that has depth to its name.
5. "Love You" - After the electronic field trip of the first tracks, this subtle cut does seem like a downer. However, this is probably closing the EP to prove that Sayers can actually sing and rather well. Remember, this is the same "secret weapon" of Girlicious who proved she could always sing once in her element.
OVERALL Grade: A
If there's a way to arrive in EP form, Sayers figured it out and delivered one of the most infectious debuts. Despite the short run time of 3 songs [tracks 2-4 being under 3 minutes], it's not short changing the listeners at all.
For any potential soundclash of the closing track following all the glossy production of the first 4 tracks, Leo properly introduces Sayers after minor setbacks with the "Blame You"/"Feel Lit" scrubbing [which to be honest, "Blame You" would've easily fit in on Leo.] Nothing says "I'm here to slay" like a debut EP done right.
Wednesday, June 29, 2016
The Defense WON'T Rest: Gisele Bundchen "Singing"
This is a new series in which I will examine critically or fan derided (maybe even generally neglected) works of pop acts and defend them because that many people CAN be wrong.
Round 3 of this series goes to the 2 times supermodel Gisele Bundchen attempted anything CLOSE to a singing career. The 2 attempts were both covers of very well known songs, "All Day and All of the Night" by The Kinks & "Heart of Glass" by Blondie. Producer & DJ Bob Sinclar teamed up and while her cover of The Kinks had a lot of kinks in it, "Heart of Glass" was a touch more successful.
There are two main reasons that despite not having any remote vocal talent even WITH presumably every technological trick Sinclar pulled both times, that Bundchen should not have been raked through the coals for these 2 stunts.
1. THESE WERE GODDAMN CHARITY SINGLES H&M PEDDLED OUT FOR UNICEF. As in, proceeds for both covers went right to UNICEF and stuff like feeding hungry children, providing vaccines to sick children, etc.
In other words, she wasn't and still isn't delusional enough to actually think a career in music is a wise endeavor.
2. She knew when to quit and made do with what she knew! Well, at least with what H&M knew; if the music is poorly received, turn it into an ad for the company and both times that's what happened.
Hell, the first time I came across the "Heart of Glass" cover I thought it was nothing BUT a weird H&M ad and I was half right [the other half is that it's the weirdest stunt for UNICEF but that's neither here nor there.]
Neither of these "covers" made a significant dent in any U.S. chart because even WE saw right through the fact this wasn't a serious attempt at a music career. The fact Bundchen got unfairly raked through the coals for doing something in the name of charity is unforgivable.
That and dare I say, her rendition of "Heart of Glass" is enjoyable like most of Calvin Harris' attempts at singing. There's gorgeous production work and vocals so deadpan it can pass for the "futura" vibes good EDM/Dance music emits. Bob Sinclar clearly knew what the hell he was doing background wise, even if he bit a bullet trying to make Gisele's voice "passable".
Still, that many people ARE wrong to hate on the fact Gisele and H&M pulled a double duty of corporate philanthropy and release charity singles. Remember that "We Are the World" PR stunt for the Haiti Earthquake victims? No? Probably because that rendition for all of its "talent" was actually terrible or "on par" with Gisele's singing & she wasn't serious about music!
The defense won't rest about charity done right [even if it was done right "musically" once with the help of Bob Sinclar.]
Round 3 of this series goes to the 2 times supermodel Gisele Bundchen attempted anything CLOSE to a singing career. The 2 attempts were both covers of very well known songs, "All Day and All of the Night" by The Kinks & "Heart of Glass" by Blondie. Producer & DJ Bob Sinclar teamed up and while her cover of The Kinks had a lot of kinks in it, "Heart of Glass" was a touch more successful.
There are two main reasons that despite not having any remote vocal talent even WITH presumably every technological trick Sinclar pulled both times, that Bundchen should not have been raked through the coals for these 2 stunts.
1. THESE WERE GODDAMN CHARITY SINGLES H&M PEDDLED OUT FOR UNICEF. As in, proceeds for both covers went right to UNICEF and stuff like feeding hungry children, providing vaccines to sick children, etc.
In other words, she wasn't and still isn't delusional enough to actually think a career in music is a wise endeavor.
2. She knew when to quit and made do with what she knew! Well, at least with what H&M knew; if the music is poorly received, turn it into an ad for the company and both times that's what happened.
Hell, the first time I came across the "Heart of Glass" cover I thought it was nothing BUT a weird H&M ad and I was half right [the other half is that it's the weirdest stunt for UNICEF but that's neither here nor there.]
Neither of these "covers" made a significant dent in any U.S. chart because even WE saw right through the fact this wasn't a serious attempt at a music career. The fact Bundchen got unfairly raked through the coals for doing something in the name of charity is unforgivable.
That and dare I say, her rendition of "Heart of Glass" is enjoyable like most of Calvin Harris' attempts at singing. There's gorgeous production work and vocals so deadpan it can pass for the "futura" vibes good EDM/Dance music emits. Bob Sinclar clearly knew what the hell he was doing background wise, even if he bit a bullet trying to make Gisele's voice "passable".
Still, that many people ARE wrong to hate on the fact Gisele and H&M pulled a double duty of corporate philanthropy and release charity singles. Remember that "We Are the World" PR stunt for the Haiti Earthquake victims? No? Probably because that rendition for all of its "talent" was actually terrible or "on par" with Gisele's singing & she wasn't serious about music!
The defense won't rest about charity done right [even if it was done right "musically" once with the help of Bob Sinclar.]
Sunday, June 12, 2016
The Defense WON'T Rest: Girlicious & RichGirl
This is a new series in which I will examine critically or fan derided (maybe even generally neglected) works of pop acts and defend them because that many people CAN be wrong.
Round 2 of this installment centers around 2 failed girl groups with mid maybe late 2000s Pop/R&B/"Urban" musical sounds to them. One of these groups is Girlicious, the Robin Antin formed group that was poorly promoted outside of a CW vanity project. The other was RichGirl, formed by producer Rich Harrison who apart from producing material for Beyonce, Jennifer Lopez & Mary J. Blige to name a few, is the reason Amerie had a career that he screwed over in 2007.
I've written about Girlicious before and how Robin Antin's lack of anything remotely close to foresight or planning screwed Girlicious out of some position on the U.S. charts [in my opinion, Maleficent who is better known in this case as Nicole Scherzinger, probably had something to do with Geffen Records shipping the group off to Canada 'n such.]
However, the group was unfairly labeled a Pussycat Dolls knockoff when in fact it was more of an expansion of the PCD brand [which again suffered because Antin and co. thought a girl group formed on U.S. Reality Television should be pimped to Canada...] There are 3 reasons as to why this group should've been given a better chance in the U.S.
- "Like Me": the lead/debut single/video/last time Girlicious would ever be shown to the U.S. market.
"Like Me" embodies all the good parts of Pop/R&B in the mid to late 00s. Bulletproof confidence, Jazze Pha both with a feature and Nichole, Chrystina and Tiffanie singing their asses off on a pop record [with Natalie doing the talk-singing thing AKA the "Parking the Car" of vocals.]
Granted, a sign this group was doomed was that the CW finale version that aired in the States and the version used here and on their self-titled debut is NIGHT AND DAY in sound [with the video being RADICALLY a different edit from TV to VEVO.] However, malleable voices on a reality show to real life had gone better because of promo with effort [see the 2 successful songs of Danity Kane.]
- "Baby Doll": a follow-up single that although not as successful in Canada, still showed they were sort of ahead of their time video wise.
Anybody catch the Beats by Dre headphones before it was probably mandated for all Universal/Interscope artists to show them off along with all other Beats by Dre products? Aside from that, all 4 members of the group are actually integral to the song [FWIW, I don't hate Natalie's singing. I hated her singing for the most part on the CW show because it was...bad...luck I suppose because her voice is somewhat decent.]
- "Maniac": the only single from Rebuilt worth looking up at all.
This does count as reason to appreciate the group even if their new label at the time, Universal Music Canada, booted Tiffanie for a more obvious "pop" sound. Still, this track has something of a timeless sound for pop music which is hard to get right. Natalie's singing sounded way better than it had before, Nichole was slightly edgier but still had the initial appeal and Chrystina was once again the MVP of the video and song with that "PARANOID" money note.
After Girlicious, Tiffanie became an artist and has pretty much said "fuck this noise" to music; Natalie formed a group with her sisters; Nichole was left alone, renamed Girlicious into Girls United & got screwed out of a place in the live shows of The X Factor S3 [thanks to both Alex & Sierra and her useless GU members.] and Chrystina is pretty much the successful one from the group with a new music video and a soon to be released EP called Leo.
IN SHORT, Girlicious wasn't going to give TLC, Destiny's Child or even Nicole & The Got Screwed-Overs a run for their money but had Antin tried a little harder, Danity Kane could've been given an even run for their money.
With RichGirl, they had slightly better connections but the worst of luck as most of the singles to their name were leaks not worth a 1st or 2nd listen to. However, there are 2 reasons that had Harrison or the label RCA/Jive tried a little harder and not let 400 songs leak, RichGirl might've become...able to enter the charts at higher positions.
"He Ain't With Me Now (Tho)": the first song to their name that hadn't leaked.
FUN FACT: for the hot minute this song caught on, everyone that viewed it thought each member looked like a certain celebrity; Lyndriette looked like Beyonce, Se7en looked like Kelly Rowland, Brave looked like Leona Lewis and Audra looked like Nicole Scherzinger.
Aside from look-a-like fuckery, the group was actually made of 3 prominent vocalists and Brave doing her best with an ancillary verse and ad-libs [to the Brave fans that somehow find this, gurl get out of that house of mirrors and listen up; Se7en got another verse RIGHT AFTER YOUR PART. You weren't meant to last, sweetie.]
"Swagger Right": a song that although catchy cemented the doomed fate of this group when both Fabolous and Rick Ross kind of wax all but Se7en on this song.
It was pretty much pre-ordained after the 400th leaked song and this video debuting that Se7en would be the solo star and all others wouldn't prosper like her. Still, Audra is actually given more to do singing wise, Lyndriette holds her own, Brave accepted her 4th place role in the group and Se7en as mentioned before would kick the other 3 down a flight of stairs on this song.
After RichGirl, Se7en got some sense and changed her name to Sevyn Streeter and is now a protoge of Chris Brown; Brave would get something of a chance to be relevant on R&B Divas: LA [but would be outshined by Chrisette Michele being sick of Stacey Francis' shit] and Lyndriette changed her name to Kristal and is now part of the budding girl group Kelly Rowland formed from the BET show Chasing Destiny which is now signed to Epic Records.
(As to what happened to Audra? Well...I think she's happy that she got to close out "Swagger Right"...hell I don't know. Let's say she's now the May going on June Redbox Employee of the Month.)
As with Girlicious, RichGirl was a group that needed to be given a better chance. Nobody would've expected them to shatter a Destiny's Child record or have the fan devotion of TLC, but that neither group was given a chance is really disappointing. All members had something of versatile, malleable vocal skills that fit the script of the late 00s Pop/R&B/"Urban" market but had the classic case of bad luck; shitty representation that amounted to wasted potential.
Round 2 of this installment centers around 2 failed girl groups with mid maybe late 2000s Pop/R&B/"Urban" musical sounds to them. One of these groups is Girlicious, the Robin Antin formed group that was poorly promoted outside of a CW vanity project. The other was RichGirl, formed by producer Rich Harrison who apart from producing material for Beyonce, Jennifer Lopez & Mary J. Blige to name a few, is the reason Amerie had a career that he screwed over in 2007.
I've written about Girlicious before and how Robin Antin's lack of anything remotely close to foresight or planning screwed Girlicious out of some position on the U.S. charts [in my opinion, Maleficent who is better known in this case as Nicole Scherzinger, probably had something to do with Geffen Records shipping the group off to Canada 'n such.]
However, the group was unfairly labeled a Pussycat Dolls knockoff when in fact it was more of an expansion of the PCD brand [which again suffered because Antin and co. thought a girl group formed on U.S. Reality Television should be pimped to Canada...] There are 3 reasons as to why this group should've been given a better chance in the U.S.
- "Like Me": the lead/debut single/video/last time Girlicious would ever be shown to the U.S. market.
"Like Me" embodies all the good parts of Pop/R&B in the mid to late 00s. Bulletproof confidence, Jazze Pha both with a feature and Nichole, Chrystina and Tiffanie singing their asses off on a pop record [with Natalie doing the talk-singing thing AKA the "Parking the Car" of vocals.]
Granted, a sign this group was doomed was that the CW finale version that aired in the States and the version used here and on their self-titled debut is NIGHT AND DAY in sound [with the video being RADICALLY a different edit from TV to VEVO.] However, malleable voices on a reality show to real life had gone better because of promo with effort [see the 2 successful songs of Danity Kane.]
- "Baby Doll": a follow-up single that although not as successful in Canada, still showed they were sort of ahead of their time video wise.
Anybody catch the Beats by Dre headphones before it was probably mandated for all Universal/Interscope artists to show them off along with all other Beats by Dre products? Aside from that, all 4 members of the group are actually integral to the song [FWIW, I don't hate Natalie's singing. I hated her singing for the most part on the CW show because it was...bad...luck I suppose because her voice is somewhat decent.]
- "Maniac": the only single from Rebuilt worth looking up at all.
This does count as reason to appreciate the group even if their new label at the time, Universal Music Canada, booted Tiffanie for a more obvious "pop" sound. Still, this track has something of a timeless sound for pop music which is hard to get right. Natalie's singing sounded way better than it had before, Nichole was slightly edgier but still had the initial appeal and Chrystina was once again the MVP of the video and song with that "PARANOID" money note.
After Girlicious, Tiffanie became an artist and has pretty much said "fuck this noise" to music; Natalie formed a group with her sisters; Nichole was left alone, renamed Girlicious into Girls United & got screwed out of a place in the live shows of The X Factor S3 [thanks to both Alex & Sierra and her useless GU members.] and Chrystina is pretty much the successful one from the group with a new music video and a soon to be released EP called Leo.
IN SHORT, Girlicious wasn't going to give TLC, Destiny's Child or even Nicole & The Got Screwed-Overs a run for their money but had Antin tried a little harder, Danity Kane could've been given an even run for their money.
With RichGirl, they had slightly better connections but the worst of luck as most of the singles to their name were leaks not worth a 1st or 2nd listen to. However, there are 2 reasons that had Harrison or the label RCA/Jive tried a little harder and not let 400 songs leak, RichGirl might've become...able to enter the charts at higher positions.
"He Ain't With Me Now (Tho)": the first song to their name that hadn't leaked.
FUN FACT: for the hot minute this song caught on, everyone that viewed it thought each member looked like a certain celebrity; Lyndriette looked like Beyonce, Se7en looked like Kelly Rowland, Brave looked like Leona Lewis and Audra looked like Nicole Scherzinger.
Aside from look-a-like fuckery, the group was actually made of 3 prominent vocalists and Brave doing her best with an ancillary verse and ad-libs [to the Brave fans that somehow find this, gurl get out of that house of mirrors and listen up; Se7en got another verse RIGHT AFTER YOUR PART. You weren't meant to last, sweetie.]
"Swagger Right": a song that although catchy cemented the doomed fate of this group when both Fabolous and Rick Ross kind of wax all but Se7en on this song.
It was pretty much pre-ordained after the 400th leaked song and this video debuting that Se7en would be the solo star and all others wouldn't prosper like her. Still, Audra is actually given more to do singing wise, Lyndriette holds her own, Brave accepted her 4th place role in the group and Se7en as mentioned before would kick the other 3 down a flight of stairs on this song.
After RichGirl, Se7en got some sense and changed her name to Sevyn Streeter and is now a protoge of Chris Brown; Brave would get something of a chance to be relevant on R&B Divas: LA [but would be outshined by Chrisette Michele being sick of Stacey Francis' shit] and Lyndriette changed her name to Kristal and is now part of the budding girl group Kelly Rowland formed from the BET show Chasing Destiny which is now signed to Epic Records.
(As to what happened to Audra? Well...I think she's happy that she got to close out "Swagger Right"...hell I don't know. Let's say she's now the May going on June Redbox Employee of the Month.)
As with Girlicious, RichGirl was a group that needed to be given a better chance. Nobody would've expected them to shatter a Destiny's Child record or have the fan devotion of TLC, but that neither group was given a chance is really disappointing. All members had something of versatile, malleable vocal skills that fit the script of the late 00s Pop/R&B/"Urban" market but had the classic case of bad luck; shitty representation that amounted to wasted potential.
Thursday, June 2, 2016
The Defense WON'T Rest: Liz Phair's 2003 Album
This is a new series in which I will examine critically or fan derided works of pop acts and defend them because that many people CAN be wrong.
Round 1 of attacking the public and critics for being stupid involves the 2003 self-titled effort released by Liz Phair under Capitol Records. Yes, at one point the "~alt queen~" of the 90s was signed to a major label.
The "appeal" of Liz Phair in the 90s revolves around the alleged greatness that is her debut; Exile in Guyville. The debut was her pretty much doing what dudes in music did, which in this context meant talking about sex with little regard for feelings. The sound of the album was considered "Lo-Fi" which before it became an Instagram filter, described an album sounding "raw" [or not manufactured/processed/"fake".]
Two albums that didn't do shit commercially either later, Whip-Smart and whitechocolatespaceegg, Phair somehow ended up on Capitol Records and was pretty much doing the same thing. That is until word is, Capitol didn't think the record had a hit song. This is the first stop where critics can get the hell off; Capitol is a MAJOR. LABEL. They are used to pimping out artists of questionable quality as long as their songs get some kind of radio play or become moderate successes at the least.
After shelling out more money and introducing to Avril Lavigne enablers/producers, The Matrix, Phair's self-titled album was finally "fit" for release. SPOILER: 1 song was successful and that along with the other song will be used to defend this effort in general.
Want to know how much critics can love an album with tracks titled "Fuck and Run", "Stratford-On-Guy" and "Never Said" [Exile] and hate an album with tracks like "Why Can't I?", "Extraordinary" and "H.W.C."? Look up the reviews for Liz Phair and outside of a 0.0 score from Pitchfork and a review that called this album, "Exile in Avril-ville", critics were fuming that Phair had actually not risked getting dropped by Capitol and made Liz Phair as it had been presented.
However, there are 2 songs and 4 reasons as to why this album should not have gotten the amount of hell it did.
Song 1: "Why Can't I?" - GOD FORBID bubblegum labeled pop/rock can actually pack Daria level sarcastic bite to it. Yes, this only successful song of Liz Phair actually packs a bit of sarcasm to it; [in fact, this song, song #2 here and "Extraordinary" all pack some level of sarcastic wit no other pop act really taps into.] Lyrically most of the song doesn't make sense but a lot of pop music doesn't make any sense outside of "oh I'm just singing this to make a living off of it." This bit of satire as a result went over people's heads as they cried themselves to sleep saying "SHE USED TO BE SO 'Lo-Fi' ZOMG I H8 HER!!!!11!!!1!"
Song 2: "H.W.C." - This track is on the explicit version of the album. Why? It stands for HOT WHITE CUM. That is also part of its sarcastic appeal or at least something critics should've picked up on. Maybe upon finding out that Phair somehow ended up on a major label AND that she was more or less strong-armed into working with a hot for 2003 production team, critics could've interpreted this as her saying "FUCK THIS NOISE" at the new process of making music.
Instead, this bit of satire went RIGHT over music critics' heads and claimed this was proof her "songwriting" had taken a serious nosedive in quality with this album. Keep in mind, critics love her debut album with a track called "Stratford-On-Guy" because apparently THAT'S sharp songwriting. Had critics commented on her songwriting not being deeper jabs at the pop machine, THAT is legitimate criticism of the album. However, most critics can't and won't shut the fuck up about EIG and their arguments are simply invalid.
Reason 1: There was a 4 year or so gap between whitechocolatespaceegg and Liz Phair and a lot had changed. For at least that 3rd album, Phair was married; 4th album? She was divorced and on a major label. SORRYBOUTIT, but change in sound was sort of expected if at a relatively low relevance watch.
Reason 2: Exile in Guyville and its mythos of how fucking great it allegedly is. What's right isn't always popular, but what's popular isn't always right. When spliced in with commentators and being featured at #65 of VH1's 100 Greatest Women in Music, Phair herself pretty much says all EIG was based on was doing what the guys did.
Essentially, Phair found critical acclaim before "poptimism" was coined but it was to where it's still considered sacrilege to not claim EIG is one of the best goddamn fucking albums of all time due to it being a woman being detached from sex with a man and not the other way around. Yes "Never Said" is a cool song, but to continue grading Phair against a debut that defined "poptimism" but without pop appeal ruined any chance for future albums much less an evolution in art to be taken seriously.
Reason 3: Somebody's Miracle flat out sucked. Want to hate a Liz Phair major release from start to finish? Try her follow-up to Liz Phair and see how neutered Adult Contemporary trash is what you get for not knowing what sarcasm is.
Reason 4: Funstyle sucked but had the same sarcastic vibes [I'm hoping] as Liz Phair did but was so disjointed, THAT ruined her career. Yes, even before she had to release this on her website INDEPENDENTLY Phair revealed THESE were the songs that got her ass dropped from Capitol and buried her career in the ground.
The point of it is this; Liz Phair should've been raked for not going deeper against Capitol for insisting that Avril Lavigne enablers have any involvement in her music. Instead, critics who cannot let go of a debut album that sold shit in the 90s [and was allegedly the best thing since sliced bread] judged a book by its cover and missed out on 2 good songs from another uneven album by Liz Phair.
Round 1 of attacking the public and critics for being stupid involves the 2003 self-titled effort released by Liz Phair under Capitol Records. Yes, at one point the "~alt queen~" of the 90s was signed to a major label.
The "appeal" of Liz Phair in the 90s revolves around the alleged greatness that is her debut; Exile in Guyville. The debut was her pretty much doing what dudes in music did, which in this context meant talking about sex with little regard for feelings. The sound of the album was considered "Lo-Fi" which before it became an Instagram filter, described an album sounding "raw" [or not manufactured/processed/"fake".]
Two albums that didn't do shit commercially either later, Whip-Smart and whitechocolatespaceegg, Phair somehow ended up on Capitol Records and was pretty much doing the same thing. That is until word is, Capitol didn't think the record had a hit song. This is the first stop where critics can get the hell off; Capitol is a MAJOR. LABEL. They are used to pimping out artists of questionable quality as long as their songs get some kind of radio play or become moderate successes at the least.
After shelling out more money and introducing to Avril Lavigne enablers/producers, The Matrix, Phair's self-titled album was finally "fit" for release. SPOILER: 1 song was successful and that along with the other song will be used to defend this effort in general.
Want to know how much critics can love an album with tracks titled "Fuck and Run", "Stratford-On-Guy" and "Never Said" [Exile] and hate an album with tracks like "Why Can't I?", "Extraordinary" and "H.W.C."? Look up the reviews for Liz Phair and outside of a 0.0 score from Pitchfork and a review that called this album, "Exile in Avril-ville", critics were fuming that Phair had actually not risked getting dropped by Capitol and made Liz Phair as it had been presented.
However, there are 2 songs and 4 reasons as to why this album should not have gotten the amount of hell it did.
Song 1: "Why Can't I?" - GOD FORBID bubblegum labeled pop/rock can actually pack Daria level sarcastic bite to it. Yes, this only successful song of Liz Phair actually packs a bit of sarcasm to it; [in fact, this song, song #2 here and "Extraordinary" all pack some level of sarcastic wit no other pop act really taps into.] Lyrically most of the song doesn't make sense but a lot of pop music doesn't make any sense outside of "oh I'm just singing this to make a living off of it." This bit of satire as a result went over people's heads as they cried themselves to sleep saying "SHE USED TO BE SO 'Lo-Fi' ZOMG I H8 HER!!!!11!!!1!"
Song 2: "H.W.C." - This track is on the explicit version of the album. Why? It stands for HOT WHITE CUM. That is also part of its sarcastic appeal or at least something critics should've picked up on. Maybe upon finding out that Phair somehow ended up on a major label AND that she was more or less strong-armed into working with a hot for 2003 production team, critics could've interpreted this as her saying "FUCK THIS NOISE" at the new process of making music.
Instead, this bit of satire went RIGHT over music critics' heads and claimed this was proof her "songwriting" had taken a serious nosedive in quality with this album. Keep in mind, critics love her debut album with a track called "Stratford-On-Guy" because apparently THAT'S sharp songwriting. Had critics commented on her songwriting not being deeper jabs at the pop machine, THAT is legitimate criticism of the album. However, most critics can't and won't shut the fuck up about EIG and their arguments are simply invalid.
Reason 1: There was a 4 year or so gap between whitechocolatespaceegg and Liz Phair and a lot had changed. For at least that 3rd album, Phair was married; 4th album? She was divorced and on a major label. SORRYBOUTIT, but change in sound was sort of expected if at a relatively low relevance watch.
Reason 2: Exile in Guyville and its mythos of how fucking great it allegedly is. What's right isn't always popular, but what's popular isn't always right. When spliced in with commentators and being featured at #65 of VH1's 100 Greatest Women in Music, Phair herself pretty much says all EIG was based on was doing what the guys did.
Essentially, Phair found critical acclaim before "poptimism" was coined but it was to where it's still considered sacrilege to not claim EIG is one of the best goddamn fucking albums of all time due to it being a woman being detached from sex with a man and not the other way around. Yes "Never Said" is a cool song, but to continue grading Phair against a debut that defined "poptimism" but without pop appeal ruined any chance for future albums much less an evolution in art to be taken seriously.
Reason 3: Somebody's Miracle flat out sucked. Want to hate a Liz Phair major release from start to finish? Try her follow-up to Liz Phair and see how neutered Adult Contemporary trash is what you get for not knowing what sarcasm is.
Reason 4: Funstyle sucked but had the same sarcastic vibes [I'm hoping] as Liz Phair did but was so disjointed, THAT ruined her career. Yes, even before she had to release this on her website INDEPENDENTLY Phair revealed THESE were the songs that got her ass dropped from Capitol and buried her career in the ground.
The point of it is this; Liz Phair should've been raked for not going deeper against Capitol for insisting that Avril Lavigne enablers have any involvement in her music. Instead, critics who cannot let go of a debut album that sold shit in the 90s [and was allegedly the best thing since sliced bread] judged a book by its cover and missed out on 2 good songs from another uneven album by Liz Phair.
Thursday, May 12, 2016
From a FORMER Azealia Banks Fan
Recently, Harlem rapper and Twitter shit-stirrer Azealia Banks managed to finally cross a line and get her account suspended from Twitter. All that happened involves racial and homophobic slurs against Zayn Malik and a 14 year old actress currently under Disney or whatever, Skai Jackson verbally tiger-fucking Azealia from here to hell.
This post however will be a slightly more detailed account as to how I knew LONG before this ever happened that Azealia Banks was no longer worth defending. She was no longer worth defending before the release of her Triple TIC-TAC selling [on the mixtape market] Slay-Z (And while we're on the subject, her other two "planned" projects Business & Pleasure and the OTHER mixtape Fantasea II: The Second Wave ALONGSIDE A "PLANNED" FABLES series can officially be declared dead in the water now.)
The incident? When she called a flight attendant a faggot. Yes, THAT was the straw that broke my back and not her future incidents of biting a club bouncer's breast in a club and LONG before this Zayn thing [which is rooted in her thinking he swagger-jacked her...]
Once upon a time, I used to look past the Twitter fuckery and view Azealia Banks as the savior to the dying form of female hip-hop (Because my hatred of Nicki Minaj and Iggy Azalea runs DEEP.) "1991" and "Chasing Time" are some of the best songs I've ever heard but once that flight attendant scandal broke, I was absolutely done.
However, while I was able to write posts like this about Banks...
http://mrswearword21.blogspot.com/2013/07/wwciitmi-post-9-azealia-banks.html
http://mrswearword21.blogspot.com/2014/07/azealia-banks-and-what-future-should.html
http://mrswearword21.blogspot.com/2015/07/azealia-banks-and-what-future-should.html
I have NO qualms dragging the shit out of her with facts...and I'm certain that most of this will pop up in the 3 blog post links above. The site awesomelyluvvie.com , The AV Club and Tumblr have gotten this before but I will post this here for extra measure. GATHER ROUND...
ALBUM “SALES”/”PEAKS”: in the U.S., Azealia’s got 2 entries album wise; her 2012 EP, 1991, which was #1…on the Heatseekers chart before stalling at #133 on the Billboard 200. Her 2015 album, Broke with Expensive Taste was #2 on the Rap charts…BENEATH T.I.’s album that year. BB200? #30 with 11,165 sales in 4 days but it’s sold 31,000 as of April of LAST DAMN YEAR.
SINGLE “PEAKS”: Azealia’s only “big” hit was “212”…which wasn’t even a TOP 5 IN IRELAND as it peaked at #7. Hell, up until her U.S. peak and she does have ONE, her songs were only released in the UK, Netherlands, Belgium, aforementioned Ireland and Australia. Enter her only U.S. AND Japan charting song, “Chasing Time”…in Japan, she flopped at #48 AND in the U.S.? #12…ON THE DANCE CHARTS. She couldn’t even break through the most niche chart in the U.S. & acts like she’s Madonna sales wise; have the several seats you can’t fill, AFAILURE.
TOURS: She pretty much couldn’t get her ass gigs in the U.S. other than Coachella (TWICE; 2012 & 2015 and NEITHER appearance helped her career, OBVIOUSLY) and pathetically enough could only scrap up an appearance at the FOREVER 21 version of the festival known as CRANEchella, ironically, L.A. PRIDE in 2015 and she pretty only played every European music festival you can think of from Glastonbury to MELT!
***and this isn't even including the failed intent to tour with K. Michelle before she and her team pulled out!***
YouTube CHANNEL FAILURES: Yes, her ass is messy here too. She has THREE. DIFFERENT. CHANNELS. INCLUDING VEVO. Her VEVO has 7 videos total but “212” ISN’T ON SAID VEVO; PLUS when her channel launched, VEVO SPELLED HER NAME WRONG & COST HER MILLIONS OF VIEWS.
Her channel that features “212”, “1991”, “Succubi” and other failed singles has ONLY 11 VIDEOS. AND it took 5 years (!) for “212” to break 100 MILLION VIEWS.
Her 3rd channel? 20+ videos that are mostly 1 minute chunks talking about songs from her album and her whack ass attempting to cook food.
FWIW: She’s been on XL Records, Interscope but claimed it was Polydor because her ass could only get so many European gigs (Universal) AND Prospect Park (a no name label that BWET was released under). Emphasis on BEEN as ALL 3 failed and now she’s “independent”.
That AND when I sold my copy of her album AND Taylor Swift’s 1989 album like 2 days ago, you know what I got combined? $6 and I can guarantee $5 was for T-Swift and not “Slay-Z”.
I have said this to 3 different websites but it needs repeating...let this be your go-to source of slamming Azealia Banks any goddamn chance you get.
This post however will be a slightly more detailed account as to how I knew LONG before this ever happened that Azealia Banks was no longer worth defending. She was no longer worth defending before the release of her Triple TIC-TAC selling [on the mixtape market] Slay-Z (And while we're on the subject, her other two "planned" projects Business & Pleasure and the OTHER mixtape Fantasea II: The Second Wave ALONGSIDE A "PLANNED" FABLES series can officially be declared dead in the water now.)
The incident? When she called a flight attendant a faggot. Yes, THAT was the straw that broke my back and not her future incidents of biting a club bouncer's breast in a club and LONG before this Zayn thing [which is rooted in her thinking he swagger-jacked her...]
Once upon a time, I used to look past the Twitter fuckery and view Azealia Banks as the savior to the dying form of female hip-hop (Because my hatred of Nicki Minaj and Iggy Azalea runs DEEP.) "1991" and "Chasing Time" are some of the best songs I've ever heard but once that flight attendant scandal broke, I was absolutely done.
However, while I was able to write posts like this about Banks...
http://mrswearword21.blogspot.com/2013/07/wwciitmi-post-9-azealia-banks.html
http://mrswearword21.blogspot.com/2014/07/azealia-banks-and-what-future-should.html
http://mrswearword21.blogspot.com/2015/07/azealia-banks-and-what-future-should.html
I have NO qualms dragging the shit out of her with facts...and I'm certain that most of this will pop up in the 3 blog post links above. The site awesomelyluvvie.com , The AV Club and Tumblr have gotten this before but I will post this here for extra measure. GATHER ROUND...
ALBUM “SALES”/”PEAKS”: in the U.S., Azealia’s got 2 entries album wise; her 2012 EP, 1991, which was #1…on the Heatseekers chart before stalling at #133 on the Billboard 200. Her 2015 album, Broke with Expensive Taste was #2 on the Rap charts…BENEATH T.I.’s album that year. BB200? #30 with 11,165 sales in 4 days but it’s sold 31,000 as of April of LAST DAMN YEAR.
SINGLE “PEAKS”: Azealia’s only “big” hit was “212”…which wasn’t even a TOP 5 IN IRELAND as it peaked at #7. Hell, up until her U.S. peak and she does have ONE, her songs were only released in the UK, Netherlands, Belgium, aforementioned Ireland and Australia. Enter her only U.S. AND Japan charting song, “Chasing Time”…in Japan, she flopped at #48 AND in the U.S.? #12…ON THE DANCE CHARTS. She couldn’t even break through the most niche chart in the U.S. & acts like she’s Madonna sales wise; have the several seats you can’t fill, AFAILURE.
TOURS: She pretty much couldn’t get her ass gigs in the U.S. other than Coachella (TWICE; 2012 & 2015 and NEITHER appearance helped her career, OBVIOUSLY) and pathetically enough could only scrap up an appearance at the FOREVER 21 version of the festival known as CRANEchella, ironically, L.A. PRIDE in 2015 and she pretty only played every European music festival you can think of from Glastonbury to MELT!
***and this isn't even including the failed intent to tour with K. Michelle before she and her team pulled out!***
YouTube CHANNEL FAILURES: Yes, her ass is messy here too. She has THREE. DIFFERENT. CHANNELS. INCLUDING VEVO. Her VEVO has 7 videos total but “212” ISN’T ON SAID VEVO; PLUS when her channel launched, VEVO SPELLED HER NAME WRONG & COST HER MILLIONS OF VIEWS.
Her channel that features “212”, “1991”, “Succubi” and other failed singles has ONLY 11 VIDEOS. AND it took 5 years (!) for “212” to break 100 MILLION VIEWS.
Her 3rd channel? 20+ videos that are mostly 1 minute chunks talking about songs from her album and her whack ass attempting to cook food.
FWIW: She’s been on XL Records, Interscope but claimed it was Polydor because her ass could only get so many European gigs (Universal) AND Prospect Park (a no name label that BWET was released under). Emphasis on BEEN as ALL 3 failed and now she’s “independent”.
That AND when I sold my copy of her album AND Taylor Swift’s 1989 album like 2 days ago, you know what I got combined? $6 and I can guarantee $5 was for T-Swift and not “Slay-Z”.
I have said this to 3 different websites but it needs repeating...let this be your go-to source of slamming Azealia Banks any goddamn chance you get.
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