Meet me in the mall rap song lyrics
Ey, now I'm chillin' in the lounge and dis girl gon' walk in the bathroom From " Truly Yours" by Kool G Rap & DJ Polo: Sexy girl meet me in the bathroom. Lizzy Goodman's book, Meet Me In the Bathroom, is a great representation of the power of music — in its purest of forms. It's pages of oral. Meet Me in the Bathroom Lyrics: When they say promises, they mean promises / They'd say, "That's okay, long as we can celebrate" / You see.
Prior to the publication of Meet Me in the Bathroom the f The musical-era biography subgenre may be my favorite type of reading material. The now-renown bands making innovative music in turn-of-the-millennium New York City were just as intertwined and interconnected as the underground punks in the 80s, if not more so.
The constant proximity of so much simultaneous ingenious--and occasional genius--is amazing, and far from coincidental.
But… most of that music sucks now, and that book kind of sucks; it was written too soon, before the phenomenon had concluded. The ebook version is about pages long. One follows the alleged "rock saviors," documenting the foundation, emergence, and ascendance of the Strokes, the Yeah Yeah Yeahs, and Interpol, while the other thread chronicles those of dance-rock behemoth DFA Records and its primary export, LCD Soundsystem.
Many bands within the orbit of those two blazing suns are covered as well, generally any major act that hailed from or frequently visited the region that received a Pitchfork BNM. There is a massive quantity of astounding and confounding information here, yet Gordon keeps the dual narratives tightly focused, for the most part wisely avoiding indulgence in inconsequential tangents.
The remaining pages are devoted to the aftermath of the bands that broke through during that time, with some additional lip service paid to the next generation, mainly Vampire Weekend, but also Grizzly Bear and The National, though quotes from members of the latter two are mostly used for solely for scene-setting.
If I have any negative criticism, I wish Gordon had devoted either fewer pages or many more to the bands from later in the decade. And I wish she'd talked to Sufjan Stevens, who was hanging with those crowds at the time, and whose reliably strange perspective would have added an entirely different take on the events. Also, the conclusion came too soon. The book ends there, yet we know both bands, plus Interpol and the YYYs, are still around slugging it out, trying to reach, or intentionally not reach, the pop summit none of them quite did.
This is one aggro outing! With Jay and 'Ye hissing at each other like cage match wrestlers in a Tower of Doom, and so many top tier producers out to dominate the slate, it's just too much at first. I want this album to settle into a rhythm I can absorb But the mood is almost oppressive.
Also, unresolved anger issues? That's how I hear most of Kanye's rhymes, at first. Jay comes off as more reflective. Or maybe that early spit from Kanye demanding a possible bride-to-be to "show me why you deserve to have it all" in "a bathroom stall" just put me off.
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I know this album's going to be required listening for months to come. Am I going to feel happier about that in a bit? Or do I just need to learn to digest this big, bloody royal feast? I await your thoughts, Ann. It is very loud. Kanye sounds like he's shouting himself hoarse most of the time. Jay is more composed, but he sounds stressed out to me.
Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City by Lizzy Goodman
I think it's better than we had any right to expect, but I still haven't heard either of them say anything that nobody else could say except maybe Jay talking about standing next to the Presidentor make a beat that nobody else could make, you know?
And yeah, Kanye's making me mad. I noticed the verse you mention too — the "you gotta crawl before you ball part" line had my head at 45 degrees this morning on the train. He would be so much more fly if he stopped detailing how bad girls play themselves in order to get with him. Look, we all know you got your heart broken. Stop fronting and write a damn love song once every ten years.
- We need you!
- Meet Me in the Bathroom: Rebirth and Rock and Roll in New York City 2001-2011
Man, I was hopeful. Last week I was saying maybe they put out "Otis" to lower our expectations. My favorite songs are the ones I've been listening to for months, though — "That's My Bitch" and "The Joy" with that Pete Rock beat — so maybe the rest will grow on me?
Were there any tracks that felt like they had room for you in them? F Good question, Frannie. Young Frank Ocean seems pretty skilled at making room for listeners — especially female ones.
Lyrics containing the term: Bathroom
Sweet King Coretta," sung by Ocean, and which included this endearing Jay couplet: Both of these so-far as we know childless men repeatedly muse on fatherhood here: The idea of family opens up to and backs up against the idea of legacy in a fascinating way in terms of the music, too. All-star producers bring their best ideas to the table on Watch the Throne — The Neptunes and Swizz Beats do their best work in a while, and the union of West and the RZA on one track seems particularly fortuitous.
In several cases, these titans of hip-hop refer back to the central icons of mid-century African-American music: These vocal touchstones of black history are chopped, screwed and manipulated so that they sometimes don't even sound like themselves. It's a bold move by Jay and 'Ye and their collaborators, and one that I think makes this album more than just an ego exercise.
Trying to ground themselves in the history of this music, the two stars force themselves to confront what they mean — as moguls, symbols, creative spirits — within the larger frame of American history.
Do they rise to the challenge, lyrically? On first listen I'm not sure. What do you think? It's not what I wanted, but it has to be that way, I think. I would love it if Kanye could make a beat as intimate as the one on "All Falls Down," but he's not who he was in I would love it if Jay could be as playful — as in thrall to wordplay — as he was on "Hard Knock Life," but he's not who he was in They have made a lot of money and entered into some partnerships with very powerful people since then.
I hope they don't think rapping about the big time makes these songs more important than their earlier work.