#i wanna be his controversially young girlfriend who he always has to keep out of the press | Explore Tumblr Posts and Blogs

wanderingelvis · 10 months

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controversial elvis opinion: i honestly prefer elvis when he gained more weight to like baby elvis. i feel like hearing like 75!elvis comforting and holding you and calling you “yittle ‘un”. ahhhhh!!! the dream

i just wanna be his controversially young girlfriend who he dresses up like a doll!

the DREAM <3 I made Elvis have some darker, more controlling vibes here, I hope y'all like it!

🧚 Masterlist 🧚

Pairing: Controlling BDE!Elvis x Young Girlfriend!Reader

Elvis is your whole life

No one has a hold over you quite like he does

You trust him absolutely, why wouldn't you? You don't know any better

And that's exactly why Elvis adores you

You're just a gullible young thing and even you'd admit that you can be a little dumb sometimes

But that's okay - because Elvis is there to think for you

You just need to sit by his side and look pretty

And you do a real good job of that, Elvis often reminds you

Honestly? Elvis has the final say in every aspect of your life

You look to him whenever anyone asks you anything, desperately seeking his guidance

From which of your pretty lil' skirts you're gonna wear or how much allowance money you can spend at the International Hotel, Elvis has the deciding say

Some might call it controlling but you like it, to you, it shows that Elvis cares about you and you haven't always had that before

So you just follow him around like a little lost puppy, with wide eyes and a lot of love in your heart for the big, old rock star that you call Daddy

Elvis also loves what a sensitive little thing you are

Even when you get a paper cut and tears will start forming

And you become a sniffling mess that is being pulled into his lap

Elvis will hold you, his big, strong arm tightly wrapping around your tummy to hold you in place as he coos at you

"S'okay, yittle 'un, Daddy's gotcha, ain't that right, brave girl?"

And you'll softly nod as he thumbs away your little tears from your rosy pink cheeks, letting out a small hiccup every now and then, making you bob up and down adorably in Elvis' lap

And that happens approximately three times a day

But you can't help being a crybaby, it's just in your nature

And Elvis doesn't mind, he loves being the one to comfort and hold you

He knows you get easily overwhelmed and overstimulated

In fact, he encourages it when it's just you two in his suite in the International Hotel, overlooking Vegas

He loves pushing you, his lil' doll, to your limits

And of course, he knows your limits better than you do

He always knows what's best for you

"S'too much, too big-"

You mewl through little cries of overstimulation and lust

"I know you can do it, baby, I know you can take it." Elvis will grunt, trying not to finish as soon as he sees your teary eyes roll back in pleasure when he fills up your tight walls

"Good girl, baby, doin' so good f'me."

He'll praise, as you let yourself go

All over him

And Elvis just know in those moments that he has something extra special in his life now that he has you

So of course, Elvis loves to show you off whenever he gets the chance

He'll make sure his pretty little dolly is always by his side

It's like you're on display for everyone to see, the King's prized possession

"Honey, give everyone a lil' twirl why don't ya? Show everyone how pretty my yittle 'un looks in yer new dress hm?"

Elvis will say midway through a rehearsal, through the microphone whilst he's stood on stage

Obviously, you'll do whatever you're told, and you give everyone a spin, looking up to the stage and keeping your eyes only on Elvis

And everyone will compliment you, making you blush and giggle

In those moments, Elvis will fall in love with you all over again

They make the controversial headlines all worth it

You're all his and he ain't ever lettin' you go

taglist: @prompted-wordsmith @vintagegirl2005 @imaginationlast @presleyenterprise @librafilms @ccab @wolywolymoley @rina3476 @billhaderstan420 @waiting4brucewayne2adoptme @elvispresleywife @ellie-24 @hollbunn @sassanoe @elvisflowerchild @18lkpeters @eliseinmemphis @fallinlovewithurlove @presleyhearted @elvisbf @slimerspengler @octobers-snow @meetmeatyourworst @reddie-freddie @domaniquessidehoe @mygreenlights @kxnnxy @that-hotdog @lana-4life @littleloveysworld @dandelionxbby @lollabear @s0phlabrunette @mumu-hellokitty @elvispresleyxoxo @sergeantelvis @mooodyblue @ashtag2887 @jaqueline19997 @kyliesgwagon @monster-is-awesome @livelovedilfs @neptuneismysister @woniipii @louisejoy86 @lokislittlepup @uselessbutinteresting

#elvis #elvis x reader #elvis imagine #elvis presley #elvis smut #elvis fluff #elvis x y/n #elvis x you #70s elvis #elvis fanfic #elvis presley x reader

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dedicadoamax · 4 years

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here’s all my hcs about gay brba/bcs characters’ relationships to and experience with their homosexuality just for funsies

gus - understood himself to be totally disinterested in girls since like age 8, didn’t realize that that meant he was interested in boys until his late teens. had really no hangups about it, as he already knew that he wasn’t like other men and would never be like them, so this didn’t make a difference. def had some one-off sexual experience while serving in the chilean military but frankly didn’t even imagine he would ever be in a serious relationship until he met max

max - knew from a young age due to being in love with a childhood best friend, but had his heart broken. dealt with internal shame over it for a while, but by his mid-20s was kind of working his way through all the other gay men in the communist party of chile. it never worked out with them for more than a month or so. and of course he finally shacked up with a literal member of the junta fgfdfvfds

mike - the lack of ANY canon details about his marriage other than that it lasted 22 years, including the fact that he never even says the word “wife”, makes me wanna think that his spouse wasn’t even a woman. i’m thinking two possibilities: 1) he had a kid with a woman who ran off after the fact, leaving him a single father, and soon after he privately “married” a man who acted as a second father to matty, or 2) his husband was trans. in any case due to the time period i have to think he was deeply closeted for much of his life, perhaps he gave in and went to a gay bar after returning home from the vietnam war and that’s where he met his future husband.

gale - no way that that fruit was ever NOT obvious. he’s always been THE weird gay kid and he’s owned it. he was the head of UNM’s GSA, he’s organized pride parades, he’s written spirk fanfic, the whole nine yards. the only thing that’s kept him from long-term relationships are his strong controversial opinions. also definitely has a crush on gus.

nacho - has known he’s gay most of his life, likely initially through a crush on domingo, but has remained completely in the closet in order to maintain his image and his safety. if it were just his relationship with his father that he was worried about, he could get away with simply not being obvious about having a bf - but he’s also stuck in the deeply homophobic environment that is the cartel. hence the two entire girlfriends. they maintain his cover (whether they know they’re a cover or not) and in return, he takes care of them. when he’s feeling particularly pent-up and can find the time, he’ll go out to a gay club to hook up. but the closest thing he’s had to a meaningful relationship with another man are the feelings he used to have (and still occasionally gets) for domingo and the dynamic he has with lalo.

lalo - due to his environment, he could unfortunately comprehend sex long before he could comprehend romance - but even with lust being the only thing on the table, he’d grown up without having his desires questioned and so he still confidently knew that he only wanted it with men. the salamancas could always tell that something was “off” about him and he could tell that they could tell, but he knew that ultimately nothing would be done about it as long as he served the family. so he’s never bothered to really keep it a secret. he’s had many flings and treated them all seriously, knowing well enough that his affections would fade and that he would move on after a bit. nacho’s likely the first one to challenge that, as he’s the first guy to also be in the cartel and not fear him and therefore to really Get him.

howard - realized through a fling with jimmy, back when he worked in the mailroom. started with a drunken makeout in a closet at an HHM christmas party, turned into a series of rendevous that ended when jimmy decided that howard was ashamed of him and that he’d only ever be howard’s dirty little secret. the truth was that howard’s reputation and therefore privilege was on the line, and he just couldn’t risk that becoming known about him. and he likely doesn’t become ready to let people know that until after chuck’s death, after he’s gotten therapy. in the meantime he’s neglected to get married and has honestly probably been pining for jimmy the whole time.

jimmy - not gay but bi, but still included here bc i gotta. similar to gus his realization that he liked men was just like “ok cool just another way i’m unique :)”. he had it in highschool when following through with a drunken dare to suck a dick, and he also realized that he was pretty good at it. tbh i think he might’ve done it as a side-gig whenever the scams he pulled with marco were coming up a little dry. it’s very fitting that he later gets repeatedly told he’s The Guy With The Mouth.

#gus fring #ignacio varga #lalo salamanca #mike ehrmantraut #jimmy mcgill #breaking bad #better call saul #mine #meta #gustavo #maximino #mike #gale #ignacio #lalo #howard #jimmy #long post

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ofsvges · 5 years

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cailin russo. cisfemale. she/her. ／ sage morrissey just pulled up blasting girl anachronism by the dresden dolls— that song is so them! you know, for a twenty-three year old singer/songwriter / AGT judge, i’ve heard they’re really -cavalier, but that they make up for it by being so +self-reliant. if i had to choose three things to describe them, i’d probably say lipstick-stained cigarette butts, irreverent lyrics screamed into a microphone, and neon lights reflected on pavement. here’s to hoping they don’t cause too much trouble! ( cailin russo, kiiara, & the dresden dolls/amanda palmer vc )

hello angels it’s ya girl lainie w my Edgy gay daughter !! i haven’t played her in a hot minute n i’m so.....excited come hmu for plots or like this and i’ll come @ u. also this got rly long i feel like so i apologize in advance yfteygrhujs

tws for: death, drug use/abuse, minor mention of/allusion to child abuse

so FIRST of all, sage is marnie’s half-sister; when their dad left marnie’s mom, it was because the other woman he was seeing in secret--sage’s mom--had already had a kid two years ago, and he was just narcissistic and gross enough to decide at that point that he didn’t wanna deal with kids from marnie’s mom too, thus leaving her to fend for herself while he finally prioritized (if that’s what you want to call it) sage and her mom. sage had no idea growing up that somewhere else in new york, her father--whom she hated--had an entire family he’d chosen to neglect in favor of making sage’s and her own mother’s lives hell.

he was an angry, aggressive person, and though he'd never done more than squeeze sage’s arm too hard when he was mad, he often threatened to, and the way he screamed at her was traumatizing. the whole thing scared the hell out of her when she was little and she developed a deep loathing for him because of that and because of the way he treated her mother. it was just wildly misogynistic and demeaning and even as a kid sage felt it in her bones that it was wrong.

he passed away when she was eight years old and it fucked sage up big time. not because she loved or missed him, but because she felt relieved. she was glad, and it scared the shit out of her to realize she could feel that way about her own father's death. for a long time it caused huge internal conflict and sage spent her teenage years acting out; she was having sex and doing drugs at a young age, ditching classes, doing dumb shit and running from the cops, etc etc. meanwhile her dad hadn’t left them much money and her mom was estranged from her own parents, leaving her to work two jobs and deal with sage’s rebellion on her own.

she’d been teaching herself to play guitar since she was eight and piano since she was eleven and in high school, sage’s teenage angst and inner demons finally pushed her to start writing music as a coping mechanism and outlet. it wasn’t until she was twenty, however, that a girl she was dating got her to start putting that music online; long story short, she got discovered on youtube, had a huge first hit with her single “gold” (kiiara), another with her second single “pink sand” (cailin russo), and the debut album itself went platinum. she’s grown up a lot since high school but still retains that rebellious fuck-you aesthetic and is known for the biting sarcastic wit of her lyrics and the chaotic way her sound jumps from one style to another. like her Pop music is the kiiara and cailin stuff and her more irreverent (and probably less popular) stuff is the dresden dolls/amanda palmer stuff. they’re all mixed up together on the two albums she’s released which i have yet to sort out yfgdhjs

she laughed so fuckingugyfsegdhus hard when she got asked to be an agt judge this season but then she did it ??? and she gets such a kick out of it. she’s so ruthless but like. ya girl keeps it real

she doesn’t do hard drugs anymore; she did two stints in rehab, once when she was 19 and then again at 21, and the second time it actually stuck. she smokes a huge amount of weed so she can be kind of spacey but it rly just....keeps her grounded oddly enough. part of it ofc is that she still hasn’t fully healed from everything with her dad--and then finding out about his second family--but she’d never admit that and has talked about it in interviews MAYBE once very vaguely.

big top energy

she can come off like kind of a pretentious bitch but like she’s actually not tsyyeguhs lowkey she’s v non judgmental and chill she just like. has an attitude sometimes idk. she’s extremely extremely independent, doesn’t like relying on other people, needs to feel like she’s in control of her own life. i see her having had problems with record labels bc of that

overall she’s a rly good friend if she’s invested in the relationship but if she gets annoyed or starts catching the wrong vibes she’s pretty quick to cut someone out of her life. some of that is an actual maturity where she’s able to do what she needs to do for herself to be emotionally healthy, but part of that is also a defense mechanism and can end up ruining relationships that could have been fixed

also she’s very close to her mom now (they had problems when she was a teenager but after her second time in rehab, they put the effort into healing the relationship through a lot of therapy) and takes care of her now so she doesn’t have to work. there’s some part of her that feels like she needs to make up for what her dad did and tries to make her mom’s life as comfortable and luxurious and stress free as possible. her mom is a cute supportive twitter mom getting excited about sage’s music

connection ideas

music collabs!!! pls!!! and people she’s toured with maybe?? gimme all that stuff

a past pr relationship from when she was still newer to this whole Fame thing and thought it was a good idea, but it probably just ended rly badly bc eventually sage was like ???? lmao no

a good influence ! somebody who’s always there encouraging her to stay off the hard stuff and do her best :(

also a bad influence i love angst

someone SHE’S a bad influence on. either in the past w hard drugs or currently where it’s just like......they’re too soft for how wild and blunt and controversial sage tends to be

ex girlfriends thank u. also maybe a........guy she dated in hs before she came out. it would be so soft if they were rly good friends now

fwb, ewb, one night stands that turned angsty (or not), literally anything along those lines

her RIDE OR DIE she would literally do anything for and would probably be her roommate too

#excessintro #hm....messy as usual #!!!#plot w me cowards

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stephic-writings · 6 years

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Big Bro’s Blessing -- Iris Amicitia x The Lestallum Girl

YES. CUTE IRIS CAN FIND LOVE TOO.

WARNINGS: None really. Just sappy fluffy stuff and siblings being supportive. Ships: Iris Amicitia/Female Character; A Salt-Bae Sprinkle of Gladnis Word Count: 1780

‘I think I like someone’ is not a phrase that Gladiolus wants to hear from his little sister. Perhaps out of all the things she could have said, he would have been more content if she came up to him and asked him where babies came from. She probably already knew, but that conversation would have gone smoother than one involving that infamous statement. Of all the things, Gladiolus wasn’t mentally prepared for such an abrupt and controversial remark from his sister.

It was met with a retaliating ‘What?!’ in response.

“Don’t think you didn’t hear me, Gladdy. I really think I like someone.”

“Who?”

“Someone.”

“Where?”

“Somewhere around town.”

“When?”

“...Are you really going to go through all of the W questions?”

“But why?”

Yes. Yes, he was. Iris let out a small sigh, her feet kicking up as she propped her face up on her palms and watched Gladiolus’s expression. Mortified and already looking like he lost about ten years on his complexion. It was funny, but also not to see him with such a reaction. Then again, if she has told their dad about this, he would have reacted the exact same way -- only he’d have the entire Crownsguard there to interrogate her crush. Maybe it was an Amicitia thing.

“You know, if you keep asking so many questions, it might just hurt your head, Gladdy.”

Gladiolus frowned, clearing his throat before crossing his arms and legs. Fine... She made a point. He needed to take it slow to process just what the hell was going on with his sister. “Okay. Fine. Who is this someone that you like? It better not be Noct again.”

“No! He’s still cute, but...” Iris smiled just from the sheer memory of them. “They’re even cuter. They work at the flower stand. You know, with the two brothers?”

Gladiolus squinted in thought, but it soon connected to each other. Didn’t the two brothers get into a fight in front of the stall, and their sister had to tear them apart? That was something. The sister had a mean right hook -- one that had missed and given Gladiolus a black eye for the next week. “Oh yeah. Them. Why?”

“Hey, they aren’t that bad!” The swooning noise that came from her was enough to make Gladiolus’s teeth feel sore. “They’re super kind and sweet. And even when we went out on our first day, they brought me the most beautiful bouquet of flowers! Extra irises because they reminded them of me. Extra, Gladdy! You have to go outside of the city just to find more of those because of how many there were.” She put her hands on her cheeks, kicking and turning her head as she felt her face reddening again. “They’re just so cute...! Already I can’t wait for our next date!”

Iris looked up when she noticed the silence from her brother. Expecting to see a disgusted look on his face, she was genuinely surprised to see the soft look in his eyes. “What?”

“You know, you never talked about Noct like this before. You really serious about them?”

Iris sat up, her expression softening as she looked down at her lap. “Yeah... I think I am. It’s only been our first date, but something about being with them is just so...” She let out another dreamy sigh, a gesture that was enough to voice how she felt. She looked to Gladiolus again, rocking on the bed as she gripped her ankles. “Have you ever felt like this when you’re with Ignis, Gladdy?”

“Hey, this isn’t about me. This is us talking about you.” He got up, walking over to Iris before he ruffled her hair. “I’m happy for you, kiddo. But I want to meet them. Make sure they’re good enough to be your new boyfriend and all.”

“Well, they aren’t going to be my boyfriend.” Gladiolus arched an eyebrow at her. “But you’ll get to meet them! I invited them over for dinner!”

Iris jumped up and ran past Gladiolus before he could question her about the statement, but he figured she’d just be vague with him anyways. Well, if he thought that’s what she meant, then perhaps it was just some fleeting romance… Unless she meant she was gonna marry the guy. His face changed to one of curiosity to pure horror before he changed Iris down the halls and towards the stairs.

“Wait a damn sec, if you’re thinking about what I think you’re thinking, Iris-!”

“What am I thinking of, Gladdy?” She giggled as she ran from him, sliding down the railings of the stairs as he stomped after her. “Gotta catch me if you wanna know!”

Dammit, Iris! She couldn’t just leave things off like that. They were having such a nice conversation! She managed to get to the bottom of the steps after than he did, even when he skipped steps. But she had seemed to stop in the lobby, allowing Gladiolus to catch up and tug on her hood. She yelped, but Gladiolus knew she wouldn’t have stopped without a good reason. He crooked his eyebrow up and looked at the entrance of the hotel, seeing a young woman standing there. Her attention seemed focused on Iris as she cradled two large bouquets of flowers on her arms. One full of irises, the other of gladioluses.

Iris’s expression beamed when she made eye contact with the other girl, waving frantically and giggling as the other girl called out. “Iri!” Iris broke from Gladiolus’s hold, running over to the girl and slinging her arms around her waist – avoiding crushing the massive bundle of flowers. Iris was far shorter than the other girl was, being just short enough for the other girl to rest her chin on top of Iris’s head comfortably. “Sorry I’m so early. I didn’t have room in the cooler for these, so I wanted to find them water as soon as I could.”

“It’s okay. I was already missing you anyways.” Iris grinned, standing on her toes to kiss where she could, which was kind of like her cheek she supposed. “Dinner’s almost ready too.”

“Oh! Then I guess I’m almost on time then.” She chuckled, glancing up as she noticed the massive imposing figure that lurked not even a foot away. She could feel a shiver run down her spine as she looked up at the other man, almost instantaneous letting go of Iris as she straightened up. “Um…! H-Hello, sir!”

Gladiolus remained unwavering. His eyebrows furrowed as he finally understood just what Iris had meant before. They would be her boyfriend. They’d be her girlfriend. Huh… Wordplay. He didn’t know if he should be proud or pissed about how Iris avoided the subject.

The silenced only prompted the girl to hold out the bouquet of flowers. “T-Thank you for cooking dinner tonight, Mr. Scientia! I-I made you a bouquet with your favorite flowers!”

Gladiolus tilted his head. Gladiolus flowers, huh…? He’d have to talk to Ignis about that later. Iris looked like she was going to correct the girl, but Gladiolus shot her a sharp glare. He took the flowers and nodded. Well, she seemed adamant about giving Gladiolus the flowers – even though there would be no way in hell among the guys that he would ever pass for Ignis. Besides, it was Gladiolus’s initiation of Iris’s new crush. He may as well see if she was the real deal.

The stiff tone he spoke in was almost comedic, but he did his damnedest to try being the ‘Ignis’ the girl confused him for. “Thank you, miss. I assume that you are my sister’s… Friend?”

“Um… Girlfriend… Actually.” The way she trailed off in her words only made them stick harder to Gladiolus. “I-I’m sorry, Mr. Scientia, but I-I really like Iri- I mean, Iris, and I’m not sure if I should ask you or her brother for permission, but…!” The girl was quick to bow, nearly dropping the irises on the ground were it not for the human flower to catch them. “Please let me date her!”

She was only met with silence. She had to glance up at Iris, whispering a bit too loudly to her.

“Did I say something wrong?”

“Nah. You didn’t, kid.” He couldn’t really hold the stiff attitude anymore. A massive hand patted the top of her head, ruffling her hair as Gladiolus grinned down at her. He helped her stand upright, dusting the pollen off her before he looked her straight in the eye. “…Honestly, I’m just glad she’s not dating one of your idiot brothers.”

“Oh, yeah! I would never let them date someone like Iris anyways.” She sensed the frown suddenly emerge, having to throw her hands up defensively. “N-No! I don’t mean like that! Iri deserves the world, and so she doesn’t deserve to be mistreated by those idiots. S-So I hope to be the one to give her the world. If that’s okay with you, Mr. Scientia.”

Gladiolus chuckled. Okay, he had to admit, she was cute. No wonder why Iris grew so attached to her. He patted the girl’s shoulder as Iris took her hand, beginning to walk towards the stairs for dinner. “If you treat her right, then you’re okay in my book. But if you break her heart-“

“I have no intention of doing that, sir!”

“Good. Then we’re good. But why don’t ya go up and go greet Gladio upstairs? Third floor, room 300. Have to impress the brother, right?” He winked and gave a thumbs-up to her, passing off the flowers to her to take upstairs. “Just tell him that Mr. Scientia gives you a good word.”

She smiled, nodding to him before looking at Iris. Although it was awkward to kiss her in front of someone so close to her, she still leaned down and kissed Iris’s cheek before going upstairs. “Wish me luck! I’m going to do my best to introduce myself!”

“You can do it! I believe in you!” Iris cheered and waved after her. Once she disappeared, she nudged Gladiolus with her elbow and put her hands on her sides. “That wasn’t really nice. Tricking her like that?”

“Hey, it’s just me welcoming her to the family.” He laughed, catching Iris’s fists as she playfully punched at him. Iris always had a good heart and always picked the right people to interact with. And if Iris liked this girl enough, he was just happy to see his little sister happy in these trying times.

Though his mind did stick to something though after the conversation… Mr. Scientia kind of had a nice ring to it…

#asks #dear anon #stephic writings #final fantasy xv #ffxv #ffxv fanfiction #iris amicitia #iris #gladiolus amicitia #gladiolus #iris x oc #iris x reader #even though it's also kinda not a reader insert?#you can picture yourself as the flower girl though #c':#gladnis #just some references to it though #sprinkle a little in there #LET IRIS BE HAPPY

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kidsviral-blog · 6 years

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How Prince Taught Me About Female Sexuality

New Post has been published on https://kidsviral.info/how-prince-taught-me-about-female-sexuality/

How Prince Taught Me About Female Sexuality

He helped me realize there are men who enjoy being submissive to women — and that being a woman who’s more sexually experienced than a man isn’t something to hide or being ashamed of.

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CROLLALANZA /REX USA

As a little kid in the early 1980s, I remember watching the video for Prince’s “I Wanna Be Your Lover” for the first time, as I experienced the magic of cable television and MTV in my family’s first house. I could not look away from this man with the hairy chest, single hoop earring, and feathered hair. When I was around 11 or 12, my sister was in college and dated a guy who was a huge Prince fan. He let me listen to his records, including the B-sides and bootlegs, like “Girl,” “Erotic City,” and “17 Days.” I felt like I was a member of a club with select membership.

I’ve been fascinated with sex since an early age, and even as a child, I knew Prince was “nasty,” but it drew me to him even more. Prince built a reputation on his risqué songs, like “Head” with lyrics that said, “I know you’re good, girl/ I think you like to go down.” With songs like “Soft and Wet,” it’s easy to think that Prince only sees women as objects made for sexual pleasure, but looking further, his songs show women with the same sexual urges as men. Acts like Salt-N-Pepa and Madonna were equally important in showcasing women’s desires through song during my childhood, but Prince’s work resonated more with me. His music shaped my own sexuality because it helped me realize there are men who enjoy being submissive to women, that there are men who are willing to admit to helplessness during sex, and that being a woman who’s more sexually experienced than a man isn’t something to hide or being ashamed of.

His ’80s catalog, in particular, was a revelatory mix of sex, politics, and religion. He sang as a man unafraid of changing how society looked at masculinity, a man who enjoyed a more sexually experienced woman, and as a man willing to follow a woman’s lead.

“Darling Nikki,” from the 1984 Purple Rain soundtrack, details a one-night stand. It has all the markers to offend — a sex fiend of a woman masturbating in public who abandons her conquest after using him. On the surface, the song has much in common with 1982’s “Little Red Corvette,” another song about a one-night stand with a promiscuous woman. However, in “Little Red Corvette,” Prince’s persona warns the woman against her sexually adventurous lifestyle and attempts to “tame” her into monogamy. In “Darling Nikki,” the object of the woman’s affection has no problems with being used and ends the song begging for her to come back. Also, “Darling Nikki” was the catalyst for Tipper Gore, ex-wife of former Vice President Al Gore, to become co-founder of the Parents Music Resource Center, which led to “Parental Advisory” stickers on music deemed too explicit for children.

People frequently sing “Darling Nikki” to me because of my nickname (although I spell it differently) and love for Prince, but they don’t realize how empowering the song was for me once I became sexually active as a teenager. As I matured, I frequently warred with the idea of being a “good girl” who doesn’t talk about sex openly because it meant I was “easy” and yet wanting to express myself sexually in an open and honest way. I was warned that when women talk about sex, no matter how innocently, it makes people want to have sex with her, and that could have dangerous consequences. Even though “Darling Nikki” is told from the point of view of her conquest, I felt drawn to the woman in the title, bold and memorable. I wanted to be like her. I haven’t followed Darling Nikki’s exact footsteps, and my journey to realizing my full sexual self hasn’t always been straightforward, but I often think of her and the song when challenging myself sexually.

Beyond fast-paced rock and pop songs like “Darling Nikki,” “Little Red Corvette,” or even “Raspberry Beret,” where Prince sings about succumbing to the wiles of women more sexually experienced, he has more traditional R&B-like ballads, making sexual demands of his lovers for their mutual satisfaction. In “Do Me, Baby” from 1981’s Controversy and “Scandalous” from the 1989 Batman soundtrack, he asks to be touched and explored and lets the objects of his desire know that he’s at their mercy. Despite the persona’s obvious eagerness to make love, he lets his partners set the pace. In “Do Me, Baby,” he waits for his lover to lay him down, a sure sign of the other’s readiness. In “Scandalous,” Prince croons, “Anything’s acceptable / just ask me / and I’ll try it.” He’s willing to follow someone else’s lead. In these songs, Prince sings of his overwhelming desire for his partner but doesn’t rush the rendezvous. He encourages his lovers to lead, knowing that his being in a submissive position will be mutually beneficial.

Video available at: http://youtube.com/watch?v=eu9qkMPr10I.

When people jokingly wonder how a man who wears heels and makeup, challenging ideas of masculinity, is able to date so many women, I often think of songs like “Do Me, Baby” and “Scandalous.” He understands the need to give his partners room to take charge and how doing so doesn’t equal a threat to his manhood. On the album version of “Do Me, Baby,” Prince ends the song with his orgasm, begs his partner for help, and finally asks to be held. The vulnerability he displays perhaps answers the question of how this diminutive man in eyeliner and lace can be considered a ladies’ man. It set a high bar for me when it came to my own sexual partners. I expected my boyfriends to let me lead sometimes and to express neediness without shame. My disappointment was frequent, so I’d return to Prince’s music to daydream.

As much as Prince’s music gave me permission to accept my own sexual maturity, his discography is not without issue. Sometimes he is flat-out hypocritical and misogynistic. “Little Red Corvette” borders on what we’d now call slut-shaming. On stage, Prince frequently pairs women dancers together in sexual mimicry, and yet some of his lyrics scold women about being bisexual. On the 1979 self-titled album, the song “Bambi” attempts to convince a woman to abandon her female lover because “it’s better with a man.” Prince ends the song declaring, “Bambi, I know what U need / Bambi, maybe U need 2 bleed.” In the 1982 bootleg single “Xtraloveable,” Prince’s persona tries to seduce a woman by asking her if she wants to take a bath with him. He praises her because she doesn’t brag about her love life and doesn’t appear to be loose with her affections: “What I dig the most is the way that U keep your sugar in your hand / till I want it.” However, later he claims he’s “on the verge of rape” then: “I’m sorry / but I’m just gonna have 2 rape U / Now are U going to get in the tub / Or do I have 2 drag U?” Prince moves from seduction to rape, and it’s jarring. Here, his usual submissive role is gone and replaced with an overly aggressive one. One moment, the song’s persona is happy that his lover makes him wait, and the next he’s threatening rape because she doesn’t respond to his advances quickly enough.

Prince recently performed “Bambi” on Late Night With Jimmy Fallon with the all-female band he fronts, 3rdEyeGirl. He didn’t sing the final threat of violence, but the overall sexist sentiment of the song remained, especially considering the fact that Prince stood in front of an all-woman band. Perhaps Prince decided to play the song because it’s more rock than funk or R&B and showcases his rock guitar talents. It remains an odd song selection.

In 2013, Prince released “Extraloveable Reloaded,” with sanitized lyrics. The sugar in hand becomes a vague “it,” and any mention of rape is scrubbed. Since Prince became a Jehovah’s Witness in 2001, he’s become increasingly conservative, refusing to play most of his racier songs that cemented his place in pop culture. Recent music like “Da Bourgeoisie” returns to shaming a woman for her bisexuality, but “Breakfast Can Wait” hints that the old, raunchy Prince is still around.

Video available at: http://youtube.com/watch?v=GHbyNrGXpAA.

Prince still has moments where he wags his finger at a woman because of her choices, but then I think of “If I Was Your Girlfriend,” from the 1987 album Sign O’ the Times. It’s a song so important to me that I have a line of its lyrics tattooed around my left ankle. In it, Prince’s alter ego Camille sings in the perspective of a man who wonders if becoming a woman would lead to a closer relationship with his current female lover. Again, Prince disrupts heteronormative ideals of masculinity by being willing to change genders for more significant connection, the kind shared between women.

It’s hard to reconcile the Prince of gender-fluidity with the one who refuses to comment on same-sex marriage. I’ve overlooked his bouts of hypocrisy and sexism to concentrate on what I’ve learned from his music over the years. With his music, I gave myself permission to be bold and shameless in my desires. As a Southern woman, I’ve grown up dancing to a lot of music that directly contradicts my feminist beliefs, like bass and bounce. Lyrics demanding women to pop their pussies or guaranteeing material goods in exchange for satisfactory sex fly directly in the face of the idea that a woman is more than her body and sexuality. It’s not enough to shrug off the misogynistic verses simply because of a good beat. Not only did I give myself permission to speak freely about sex, I also had to allow myself to be a complex person who enjoys flawed artists and their art.

Prince’s early catalog taught me things about myself I wasn’t even aware I was learning at such a young age. When I made the decision to become sexually active as a teen, I imitated Prince’s moans and gasps from his songs as practice to make sure I would sound sexy in bed. To this day, you might catch me making sounds straight from “Do Me, Baby,” “Girl,” or “Vibrator,” a Vanity 6 song Prince wrote. That’s what was sexy to me — a man willing to vocalize pleasure and be vulnerable and so I sought to translate that into my own sex life. Despite his increasingly conservative beliefs and his occasionally sexist lyrics, Prince helped me achieve an honest and good sex life. For that, I’ll always be grateful.

Read more: http://www.buzzfeed.com/tnwhiskeywoman/do-me-baby

#music #sexuality

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kpopmusicstoryxyz-blog · 7 years

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크리스 브라운(Chris Brown) - Look At Me Now 뮤비/뮤직비디오/가사 감상

New Post has been published on http://kpopmusicstory.xyz/%ed%81%ac%eb%a6%ac%ec%8a%a4-%eb%b8%8c%eb%9d%bc%ec%9a%b4chris-brown-look-at-me-now-%eb%ae%a4%eb%b9%84%eb%ae%a4%ec%a7%81%eb%b9%84%eb%94%94%ec%98%a4%ea%b0%80%ec%82%ac-%ea%b0%90%ec%83%81/

크리스 브라운(Chris Brown) - Look At Me Now 뮤비/뮤직비디오/가사 감상

크리스 브라운(Chris Brown) – Look At Me Now 뮤비/뮤직비디오/가사 감상

크리스 브라운(Chris Brown) – Look At Me Now 뮤비/뮤직비디오/가사 감상 정보

Released; February 1, 2011 (2011-02-01) Format; Digital download Recorded; Los Angeles, California (The Record Plant) Genre; Hip hop Length; 3:43 Label; Jive Writer(s); Christopher Brown, Wesley Pentz, Jean Baptiste, Ryan Buendia, Dwayne Carter, Trevor Smith Producer; Diplo, Afrojack, Free School (co-producer)

멀티 플래티넘 판매고의 성공신화를 이어갈 야심찬 2011년 새 앨범[F.A.M.E.(Deluxe Edition)]

빌보드 R&B/힙합차트 9주 연속 1위에 빛나는 “Deuces”, 백만 건 이상의 디지털 다운로드를 기록한 업템포 댄스 넘버 “Yeah 3x”, US R&B/힙합차트 3위에 랭크된 히트 트랙 “No BS”, Deuces와 No BS에 이은 감미로운 발라드 “Up To You”, 미니멀한 비트와 버스타 라임즈의 속사포 랩이 어우러진 힙합 트랙 “Look At Me Now”,

크리스 브라운(Chris Brown) – Look At Me Now 가사

Yellow model chick Yellow bottle sipping Yellow Lamborghini Yellow top missing Yeah yeah That sh-t look like a toupee I get what you get in 10 years, in two days Ladies love me I’m on my cool J If you get what I get what would you say She wax it all off, Mr Miyagi And them suicide doors, Hari Kari

[Hook] Look at me now, look at me now Oh, I’m getting paper Look at me now Oh, look at me now Yeah, fresh than a muthaf-cker

Lil n-gga bigger than gorilla Cause I’m killing every n-gga that Try to be on my sh-t Better cuff your chick if you with her I can get her And she accidentally slip fall on my d-ck Ooops, I said on my d-ck I aint really mean to say on my d-ck But since we talking about my d-ck All of you haters say hi to it I’m Done

[Busta Rhymes] Ayo Breezy Let me show you how to keep the dice rolling When your doing that thing over there, homie Aye, Aye, Aye, Aye, Aye, Aye, Aye Lets go cause I feel like I’m running and I’m feeling like I gotta get away, get away, get away better know that I don’t and I won’t ever stop cause you know I gotta win everyday day, goooo see they don’t really wanna pop me just know that you will never flop me and I know that I can be a little cocky, nooo you aint never gonna stop me everytime I come a n-gga gotta set it then I got it going then I gotta get it, than I gotta blow, and than I gotta shudder any little thing the nigga think that he be doing cause it doesnt matter cause I’m gonna dadadadada then I’m gonna murder every thing and anything a badaboom a badabing I gotta do a lot of things, and make it clearer to a couple n-ggas that I’m always winning and I gotta get it again and again and again and I be doing it to death and now I move a little foul a n-gga better call a ref, and everybody know my style and niggas know that I’m the best when I come to doing this and I be banging on my chest and I bang in the east and I’m bangin’ in the west and I come to give you more and I will never give you less you will hear it in the street or you can read it in the press do you really wanna know whats next, lets go see the way we on, when we all up in the race and you know we gotta go, don’t try to keep up with the pace we struggling and hustling and sending in and getting in and always gotta do it and take it to another place gotta taste it and I gotta grab it and I gotta cut all through this traffic just to be at the top of the throne better know I gotta have it

[Hook] Look at me now, look at me now Oh, I’m getting paper Look at me now Oh, look at me now Yeah, fresh than a muthaf-cker

[Lil Wayne] Man f-ck these bitch ass n-ggas how yall doin? I’m Lil Tunechi, I’m a nuisance, I go stupid, I go dumb like the 3 stooges I dont eat sushi, I’m the shit, no I’m pollution, no substitution Got a bitch that play in movies in my jacuzzi, p-ssy juicy I never give a f-ck about a hater got money on my radar Dress like a skater, got a big house, came with a elevator You n-ggas aint eatin, f-ck it, tell a waiter Marley said shoot em, and I said ok, If you on that bullshit then I’m like ole’ I dont care what you say, so don’t even speak Your girlfriend a freak like Cirque Du Soleil That’s word to my flag, and my flag red I’m out of my head, bitch I’m outta my mind from the bottom I climb You aint hotter than mine, nope, not on my time and I’m not even trying Whats poppin Slime? nothin five, and if they trippin f-ck em five I aint got no time to shuck and jive, these n-ggas as sweet as pumpkin pie Ciroc and sprite on a private flight Bitch I been tight since guiding light, and my pockets white and my diamonds white And my mommas nice and my daddy’s dead You faggots scared cause I’m too wild, been here for a while I was like f-ck trial I puts it down I’m so young money if you got eyes look at me now bitch

[Hook] Look at me now, look at me now Oh, I’m getting paper Look at me now Oh, look at me now Yeah, fresh than a muthaf-cker

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Chris Brown finds “F.A.M.E” By Chantel C. Embers

Over the last few years, Chris Brown has been nothing less than a public relations nightmare.

At first it was all of the controversy surrounding his domestic battery case for assaulting his ex-girlfriend Rihanna.

Then, he caught a lot of heat for going on a homophobic rant during an argument on Twitter.

Radio stations had just begun to put his music back into regular rotation when he decided to throw a temper tantrum on the set of “Good Morning America.” However, the immense amount of talent Brown showcases on his latest album, “F.A.M.E,” proves he is still a force to be reckoned with in the music industry.

Brown declared “F.A.M.E” stands for “fans are my everything.” The album debuted at number 1 of the Billboard charts and serves up a plate of perfectly blended musical genres. It effortlessly transitions from gritty hip hop tracks like “Look at Me Now,” to infectious dance tracks like “Yeah 3X,” as well as radio friendly pop tracks like “Next 2 You” which features Justin Bieber.

Thanks to Brown, many people have found themselves humming to the catchy and melodic chorus of his hit song “Duces.” He even samples Michael Jackson’s “Human Nature” on his latest single “She Ain’t You.”

“F.A.M.E” also features appearances from Ludacris, Lil Wayne, Busta Rhymes, Tyga, Kevin McCall and Benny Benassi.

Brown’s voice is never overbearing or overshadowed by the heavy bass and 808’s heard throughout the album.

His versatile voice is soothing and hypnotizing on ballads like “Up to You” and “All Back,” but also vibrant and striking enough to shine through on up tempos such as “Say it With Me” and the newly popular “Beautiful People.”

On the mid tempo “Should’ve Kissed You,” Brown expresses his frustration with not being fearless enough to share his feelings with someone he has a crush on. He switches things up when he raps and sings on the dance track “Oh My Love,” a song very reminiscent of the style of music the Black Eye Peas are known for releasing.

“F.A.M.E” goes back and forth between light-hearted and innocent lyrics to more explicit adult content. Brown sings about dancing, partying and having fun, as well as being in love, falling out of love and everything in between.

Surprisingly, he steers away from addressing any of his most recent personal experiences on this album. So listeners expecting to gain insight to some of his erratic behavior will come up empty. Still, “F.A.M.E.” is so jam packed with feel good music it is easy to forget about all of his controversy. Unlike the Usher’s and the Beyonce’s who sometimes come off as unauthentic and contrived, Brown convincingly delivers an effortlessly eclectic album.

“F.A.M.E” by Chris Brown receives an 8 out of 10.

크리스 브라운(Chris Brown) – Look At Me Now 뮤비/뮤직비디오/가사 감상

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yasbxxgie · 7 years

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Comedy legend Paul Mooney will forever be linked with longtime friends Richard Pryor and Dave Chappelle, but he's racked up an impressive career outside those fruitful collaborations, both as a writer for shows like In Living Color and as an influential stand-up comedian. Mooney's early show-biz career included stints as a ringmaster for the Charles Gody Circus and a performer with the incendiary anti-Vietnam War "FTA" (Fuck The Army) troupe alongside Jane Fonda, Donald Sutherland, and Peter Boyle. A chance meeting with Pryor irrevocably shaped Mooney's career; he began writing for Pryor, in a fruitful partnership that led to classic comedy albums, performance films, and the Pryor-directed autobiographical drama JoJo Dancer, Your Life Is Calling. As a writer on The Richard Pryor Show and In Living Color, Mooney gave big breaks to acts like Robin Williams, John Witherspoon, Sandra Bernhard, and Jim Carrey. Mooney recently experienced a surge in popularity via his prominent appearances on Chappelle's Show in the popular segments "Ask A Black Dude" and "Negrodamus." The A.V. Club recently spoke with Mooney—whose new comedy DVD is titled Know Your History: Jesus Was Black… So Was Cleopatra—for a rambling, digressive conversation about misbehaving primates, Richard Pryor, the N-word, and being asked to host on the DVD Chappelle's Show: The Lost Episodes.

The A.V Club: You have an archetypal story, in that you ran away from home as a teenager to join the circus.

Paul Mooney: Oh yeah. I go down in black history, I was the first black ringmaster. This is way before the Black Circus and all this stuff, back in the day. It was called the Charles Gody Circus. We had all the animals from television: Gentle Ben, the cross-eyed lion, all that stuff. You're probably too young. Daktari was a hit then. The black man that starred in that, I forget his name, 'cause I'm getting old. I don't have Alzheimer's, I have "sometimer's": Sometimes I remember, sometimes I don't. They used to think I was hep, and they called me "Hollywood."

AVC: Did you run away and join the circus because you were unhappy at home?

PM: I quit my job. I was working at Joseph Magnin's in Century City. I was working with Candy, Aaron Spelling's wife Candy. Aaron used to come in all the time to see her. She had this big engagement ring, and I said to her, "Who's that ugly white man that keeps coming here to see you?" She said, "I'm going to marry that ugly white man."

AVC: Was it a big circus? Did they have a freak show?

PM: It wasn't like Barnum & Bailey, or anything like that. It was just a circus, a miniature little circus. We'd go to different places and perform.

AVC: Did you enjoy the circus life?

PM: I found out how they tortured the animals. No wonder circus animals do what they do: They tortured them. And you know the only ones they can't control? It's the chimpanzees. You can't control them. That's why you never see a gorilla in a movie, because the gorilla may decide there'll be no filming. Yeah, but the elephants and all this other stuff, they train everything else. They torture them. That's why they do the same thing, over and over night. That part, I didn't like.

AVC: What did you like about the circus?

PM: I liked the kids coming and all that. It just made the kids so happy.

AVC: Were there circus groupies?

PM: Oh, of course! They used to follow the circus around. Yeah, of course.

AVC: How did you make the transition from being a ringmaster to doing comedy?

PM: I was a ringmaster, and I was funny. I was doing comedy before. I just did that to make some money. I was a shoe salesman, I worked at Joseph Magnin's, an expensive store in Century City, and it was good money. Let me tell you something about Hollywood you may not know. Back in the day, we did everything we could to pay the rent. We didn't give a damn. There was a lot of us that did The Dating Game, we were married or we were with somebody, we still did it because it was scale, and we had to pay our phone bill and our rent. I also worked for Playboy for five years. I did Playboy After Dark.

AVC: Really? How was that?

PM: It was great. I know all the dirt. Barbi Benton, Hugh Hefner's girlfriend, she had just met me. Her daddy was a doctor. Janice Pennington, from The Price Is Right, and Lindsay Wagner, The Bionic Woman, we all come out of Playboy. Oh, it was great. We got to know everybody, we got to meet every star. Every star that there ever was came to the mansion. It was the place, it was the thing. The big thing was the Playboy Mansion and the Playboy Club, and Laugh-In, that was during that time. That was the big deal. Sinatra, everybody, came to the private clubs and to the Mansion.

AVC: Did you do stand-up comedy at Playboy After Dark?

PM: No, I wasn't doing comedy. I was one of the pretty people.

AVC: You were there just to stand around and look good?

PM: Yeah. We were there just for the party, to dance and all that stuff. We were like atmosphere. Hang out with Hef and go on the private jet with all the bunnies. That was back in the day. But I was still doing stand-up when I wasn't on the show. And I was writing for Richard.

AVC: What was your early stand-up like?

PM: I found myself at the clubs. What's the little Jewish lady's name? What's her name? I just saw her again, she's so funny, she was so funny back in the day. I'll think of her name in a minute, I'm getting old. It was at Ye Little Club, where we all used to go and perform. That's how I met Sandra Bernhard when she was 18 years old. And I told her she was a cigarette come to life. And that's before full lips were in. They used to call her "nigger lips." She had those big lips, and they were just jealous of her. That's why they used to put lipstick on those little tiny lips of theirs. I told her, before it's all said and done, big lips would be in. And my prediction came true. Joan Rivers! It was Joan Rivers. She used to come in all the time at the Ye Little Club. That's where she got her start. We all used to go in there and work out.

AVC: Richard Pryor's early stand-up was a lot more conventional, a lot more in the Bill Cosby mode. And then he moved into a different direction. Were you, basically, the same kind of comedian back then that you are today?

PM: No. I learned all my tricks at Ye Little Club. I found myself working there because I wouldn't have my friends come in. I'd just do what I found myself. I worked it out there. It was always there. It was always a nuclear bomb, I just wasn't in control of it. And from working in that club, and working by myself, and taking all the yes and nos, all the "We like you, we don't like you," I found out who I was.

AVC: You learned how to harness your gift?

PM: Yeah. Then I held onto who I was. When you know who you are, you know who you are. That's the real dangerous thing in Hollywood, because they all want to create you and mold you. They have Frankenstein syndrome here. But as in the Frankenstein story, the monster always hates the doctor.

Did you ever see the black-and-white original Frankenstein? Okay, the doctor has all the dialogue, you know: "You think I'm crazy? I'll show you crazy. I created it with my own hands!" He talks throughout the whole movie, am I right or wrong? Frankenstein said one thing—less is more. "Aaaah!" And all you remember is the monster.

AVC: In the early '70s, you toured with FTA, which stood for Fuck The Army.

PM: With Jane Fonda, Peter Boyle, and Donald Sutherland. That was my second time around, because I came out of Second City with Peter Boyle. We toured all over the United States. Avery Schreiber was our director. And before that, I was with the improvisational group in San Francisco, the first black improvisational group. It was called the Yankee Doodle Bedbugs.

AVC: What was it like touring the country with Jane Fonda and Donald Sutherland?

PM: It was the best. She was very smart, and very pretty. I loved being with Jane.

AVC: Was she as divisive of a figure back then as she would become? Were people angry about her message and her politics?

PM: She was right. She was right. Since then, she's been saying she was used, but she wasn't. She was used by God. Because her daddy being a movie star, and all this other stuff, they wanted to kill her. They wanted to murder Jane Fonda. I was right there with her. They did not like it, they didn't like that white woman that had everything, talking up against that war, which she should've. That war, we shouldn't have been there, just like we shouldn't be in the one we're in now. People don't want to hear the truth, they never do. They wanna live in some kind of fantasy. And then when they get caught up in it, they start being in denial because they don't want to be wrong. She was right in doing what she did. She was right in bringing all the attention and all the controversy to it, because we needed that. America does not like losers. Look how we treated those soldiers who came back from Vietnam. Because they lost. America likes winners.

AVC: Because you were a part of something radical and overtly anti-war, were you subject to a lot of harassment?

PM: Not really. I only did that because I believed in it. So, majority doesn't rule. One person can change the history of the world. It wasn't Harriet Tubman and her cousins, it was Harriet Tubman. And people just have to have the chutzpah to make that stand. If you don't stand for something, you'll fall for everything. Everyone doesn't have that in them. It's pretty sad, but that's the way it is. People do many things for many reasons. Sometimes, what you do you have no control over, because it's predestined. It's gonna happen in spite of you. There's nothing you can do about it.

[pagebreak]

AVC: How did the soldiers respond to your performances?

PM: Oh, some loved it. Some didn't. Because they were caught up in it. They were part of the war. Some people hated it, they hated us. They could have killed us. And I understand that, too, because you don't want to feel like you're doing something wrong, that you're risking your life for nothing. You don't want that feeling. Look at the Vietnamese. What a hell of an audition for a manicure and pedicure. That war, what a hell of an audition.

AVC: What was your first impression of Richard Pryor? When did you first meet him, and what were you thinking?

PM: I was living with my half-sister, who was the first black diva on the cover of Vogue, French Vogue. She was the first black woman that was ever put on the cover of any white magazine. You can go to the library, you can look her up. We were living in a cheap hotel on Sunset, and it was during the Motown days. Tammi Terrell was a good friend of my sister's back in the day. Gladys Knight and The Pips, everyone came because they had had no money. They all stayed at our cheap place, slept on the floor, wherever. Richard was dating a girl that was working at the telephone company. She was moonlighting, what they called it at night, dancing go-go at the Whisky with my sister. And Richard came by. I'd heard about Richard Pryor. It was during the mid-'60s and that hippie shit, he said "Let's all get in the bed and have a freak thing." It was like Bob, Ted, Alice, and Lassie in those days, where everyone got in the bed together. And I threw him out of the room. And in his book, he says, "I didn't know that was Paul's sister, I never would've said that." Then two weeks or two and a half weeks later, I went to a Trini López concert in West Hollywood, and Richard was there. We met, had a drink, and the rest is history. And also his first white wife, Shelley, the first one he married because he had a child already, she was working at a theater as a ticket girl where I was assistant manager, the Tiffany Theater on Sunset Boulevard. We just hooked up, and the rest was history.

AVC: What was your working relationship with him like? Did you write together? Would you bounce ideas off each other?

PM: It was like Lone Ranger and Tonto, Lucy and Ethel, any group that you can think of. Bonnie and Clyde, that was us. We were the perfect marriage, because I was Richard's biggest fan. When you listen to all Richard's old albums, you'll hear me laughing.

AVC: So how would you work together in terms of writing?

PM: It's so funny. When I met Richard, he was probably 28, 27, somewhere around there. He once stood in front of a TV set and said to me, "Do you think I can act? I want to be an actor." I said he was the best actor that I know, I said, "You're an Academy Award performer." He said, "What makes you say that?" I said, "You've convinced everybody you're not crazy." And he started laughing. Shelley Winters gave him his first movie role. He played a hippie. Wild In The Streets.

AVC: What was it like writing for Richard Pryor during his first appearance on Saturday Night Live?

PM: I was Richard's black writer. Richard took me everywhere. We went there and we wrote that. All of that stuff, all that stuff that's classic. That's what they call it, "classic." Yeah, but it's interesting, isn't it, that they call it a classic? I find it so interesting, because there was no such thing as a black comedy writer. They flew me into Miami and cross-examined me like I was trying to get over the border.

AVC: Who cross-examined you?

PM: Lorne Michaels and all the little big shots.

AVC: Is it true that Richard Pryor didn't get along very well with Chevy Chase?

PM: Oh no. Chevy Chase, he wanted to knock his teeth out. He was the golden boy.

AVC: It seems like everyone kind of hated Chevy Chase at that point in his career.

PM: Yeah. It was all crazy. First of all, Richard was on the drugs. He was getting high. Everybody on that show was high. They were all addicts. I should have turned them all in, because I don't do drugs. I was slow. I should have turned them all in.

AVC: Was it pot, mainly? Was it cocaine?

PM: Coke. Coke. You're naïve. It was really cocaine. Weed too. It was secondary. It's like smoking cigarettes. But they were into that coke.

AVC: So why didn't you do drugs? That's relatively unique in the comedy field.

PM: I've been around a lot of drug addicts. Redd Foxx, Flip Wilson, all of 'em. I don't do drugs. Because my grandmother raised me. I think like an old, black, Southern woman. If I'd have done coke, I'd probably be cooking pancakes.

AVC: Do you think Richard Pryor was satisfied with the way his film career went?

PM: I think that Richard was an Academy Award performer. I think that he picked the wrong scripts, because he was really a good actor. But the drugs had a lot to do with it too, I think. And choices, it was unfortunate. But Richard was like a little boy, really. That's one of his plusses. He had the heart of a little boy.

AVC: Do you think genius and self-destructiveness go hand in hand?

PM: It comes with the territory. There's a yin for the yang. There's a price that people pay.

AVC: You've vowed to stop using the N-word.

PM: I won't be using that, no. That's a no-no.

AVC: What was the reasoning behind that?

PM: Well, Michael Richards, his meltdown. His nervous breakdown is what did it.

AVC: How so?

PM: Well, it was something else. I heard about it, and then I saw the video, and it freaked me. I'm not easily freaked. And the way I used the word, I was an ambassador for the word. The way I used the word, I was a part of it too. It became an equal-opportunity word. All the little white kids, all the little Latin kids, the Asians, the Mexicans, they were all using it. And it shouldn't be equal opportunity. Even though some people say "We use the n-a, not the n-e," it doesn't matter. A goat's a goat. Whether you sauté or barbeque it, it's still a goat. And there were layers to his breakdown, to Michael. I've known Michael for over 20 years. There were layers to it. This came out of Michael. Michael's a victim of America. There are a lot of white people who have this stuff inside them. It just takes the right situation to bring it out. White America should take responsibility for it like I'm taking responsibility for it. I'm not saying it. You have to say no to it. I was married to the word, I was the ambassador for the word and now I'm not saying it any more.

AVC: Didn't Richard Pryor stop using the word at some point as well?

PM: Yes, but when he said it, I couldn't see the n-word for the trees. Richard went to Africa. I hadn't been to Africa. He said he didn't see any N-words there, so when he got home, he said he wasn't going to say it any more. He was touched. Now I'm touched. You can't pick when you're touched. You can't pick the time. It just is. It's the reality. What it is, is. I can't change the past. I can only deal with the present and the future.

AVC: Why do you think the word continues to have such power?

PM: It's because of the way it came about. That's why. I understand why people don't want to give it up. It's like Richard's old joke: "Let me check my penis to make sure you haven't taken that."

AVC: Has it been difficult weaning yourself off the N-word? You used it very, very liberally in your last special.

PM: I'm backing off it now. I have to tell you a story. Whoopi Goldberg called me when all this was going on, and said, "Paul, you're the ambassador for the N-word, but I'm going to have to ask you for a week pass. I have to cuss some black folks out on Friday, but after that, I won't say it any more." That's a true story, and I gave her a pass because she asked for one. I haven't used it. I did a show with Dick Gregory in The Lincoln Theater in D.C. I've been doing shows, being onstage for two hours, two-and-a-half hours, and I haven't used it. I'm a creature of habit, and I have an N-word jones, but I've figured it out. If I ever have an N-word jones, I'll just say "Arnold Schwarzenegger." He is my governor.

AVC: You're strongly associated with Dave Chappelle, whose stand-up seems strongly influenced by your own. Would you describe yourself as a mentor to him?

PM: There are a lot of people I've influenced, a lot of people I've worked with. I've worked with the best, from Moms Mabley to Redd Foxx to Flip Wilson to Bill Cosby to Eddie Murphy to Richard Pryor to Sandra Bernhard to Robin Williams to Johnny Witherspoon… Chris Rock, Chris Tucker. I've worked with them all. The king of comedy is dead. Richard Pryor was the king of comedy. The rest of them are the king of copycats.

AVC: Were you at all angry at Chappelle for ending the show so abruptly?

PM: No. That's his show. That's not my show. They asked me to host some "lost tapes" or something. I told them no, If Dave doesn't approve it, I don't want to do it. You have to have some loyalty somewhere. That was his choice and his show. I wasn't angry about that. It was a smart move. It put him on the A-list. And then he went to Africa. He did what white people have been telling me to do for years: go to Africa. So that really caused controversy. And he turned down that money. That stressed people out. Millions. People in America worship money, and a white man's face on a green piece of paper does not make me wealthy. My health makes me wealthy. I used to work at a hospital, so I know the real deal.

#paul mooney #comedy #black comedy #the a.v. club #the av club #interview #interviews

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dillydallydance · 7 years

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Let’s say I synced my year on the lunar calendar, which will give a kind of excuse for this year’s delay in publishing lists (an exercise that still tickles my rational/irrational relationship to music).

This year saw the beginning (and then a complete neglect) of dddance+microclimat office playlists. The year in music then revolved much more than usual on single songs, one-hit discoveries, music blogs, spotify+deezer recommendations, etc. A few numbers explanation: In a way the list could have been quite long, but here are the 100 most played/curious songs. Ranking mattered only for the first 75, so it starts in alphabetical order. This is a much different exercise than ranking albums: I focus on replays, songs I shared, songs that were contagious to others.

Here is the playlist in full:

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via SPOTIFY

ALSO ON DEEZER HERE

Adult Jazz – Eggshell

Bess Atwell - Cobbled Streets

Cass McCombs - Opposite House

Drake - One Dance

Explosions in the Sky - Desintegration Anxiety

Flume - Smoke & Retribution (feat. Vince Staples & Kučka)

Francis and the Lights - Friends (feat. Bon Iver)

Griefjoy - Scream Structure

Her - Five Minutes

Honus Honus – Santa Monica

Justice - Safe and Sound

La Femme - Le Sphynx

Lady Gaga – Joanne

Mark Pritchard - Beautiful People (feat. Thom Yorke)

Masasolo - Really Thought She Loved Me

Midnight Faces - Heavenly Bodies

Miya Folick - I Got Drunk

Nicolas Jaar - Killing Time

Niki & the Dove - So Much it Hurts

Plants and Animals - No Worries Gonna Find Us

Two Door Cinema Club - Bad Decisions

We Are Wolves - Wicked Games

Wilco - If I Ever Was a Child

Wild Beasts - Get My Bang

Wild Nothing - Reich Pop

75. Adele - Send My Love (To Your New Lover)

Always start the list with a pretty good joke. I know this album is 2015, but this single is 2016, and I danced on that in the office, sang it in a Karaoke in Tokyo and here I am a single-only Adele fan !

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74. Rihanna - Work (feat. Drake)

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73. Leonard Cohen - You Want it Darker

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72. Larry Gus - At Your Desk

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71. Moby & The Void Pacific Choir - Are You Lost In The World Like Me

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70. Childish Gambino - Redbone

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69. Car Seat Headrest - Fill in the Blank

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68. Suuns – Translate

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67. Radiation City – Separate

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66. Preoccupations – Anxiety

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65. Massive Attack - Voodoo in My Blood (feat. Young Fathers)

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64. Bat For Lashes - Sunday Love

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63. Animal Collective - Golden Gal

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62. Islands - The Joke

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61. James Blake - I Hope My Life

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60. Kendrick Lamar - untitled 06 | 06.30.2014

59. The Avalanches – If I Was a Folkstar

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58. Yeasayer - Gerson's Whistle

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57. Peter Bjorn and John - Breakin' Point

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56. Palace Winter - Positron

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55. Prism Tats - Death or Fame

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54. Deakin - JUST AM

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53. Funeral Suits - Tree Of Life

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52. Los Porcos - Do You Wanna Live?

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51. Dinner - Turn Me On

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50. Bibio – Petals

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49. Local Natives - Past Lives

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48. Izzy Bizu - Someone That Loves You

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47. LUH – I&I

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46. The Kills - Doing It To Death

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45. Blood Orange - “Best to You” (ft. Empress Of)

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44. Cullen Omori - Synthetic Romance

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43. Metronomy - Back Together

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42. Methyl Ethel - Idée Fixe

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41. PJ Harvey - The Wheel

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40. Father John Misty - Real Love Baby

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39. Mind Enterprises – Girlfriend

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38 Devendra Banhart - Middle Names

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37. Money - You Look Like a Sad Painting on Both Sides of the Sky

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36. James Supercave - Virtually a Girl

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35. Christine and the Queens - It

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34. Beyonce - Formation

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33. Austra - Future Politics

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32. The Palms - Push Off

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31. Michael Kiwuanuka - Love & Hate

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30. Porches - Be Apart

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29. The Weeknd - Starboy (feat. Daft Punk)

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28. Globelamp - Controversial/Confrontational

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27.The 1975 - Somebody Else

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26. The XX - On Hold

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25. Yoko Ono - Soul Got Out of the Box (feat. Portugal. The Man)

24. Anohni - Drone Bomb Me

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23. Kanye West – FML

22. Júníus Meyvant - Color Decay

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21. Operators - Cold Light

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20. David Bowie - Blackstar

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19. Julien Doré - Le Lac

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18. Rae Sremmurd - Black Beatles (feat. Gucci Mane)

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17. Jarryd James - Do You Remember (feat. Raury)

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16. Andrew Bird - Left Hand Shake (feat. Fiona Apple)

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15. Hamilton Leithauser + Rostam - In a Black Out

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14. Georgia - Move Systems

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13. Empress Of - Woman Is a Word

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12. Beck – Wow

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11. The Last Shadow Puppets – Aviation

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10. Glass Animals - Life Itself

Glass Animals discuss How to be a Human Being with sass and swag, tackling the ridicule of some scenes of “life itself”, with a sense of derision felt equally in lyrics, synths and guitars. You can bounce your ass off as he admits “I can't get a job so I live with my mum / I take her money but not quite enough / I make my own fun in grandmama's basement / Said I look mad, she said I look wasted”.

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09. Edward Sharpe & The Magnetic Zeros - Hot Coals

This band involves quite a bunch of people, but rarely do they connect as much as they do on "Hot Coals", a jazzy, expansive number that breezes through a tickled intro, sexy and lively arrangements, percussive transitions, a piano-horns climax and a quiet landing that revolves around one of Alex Ebert’s rare displays of seriousness and humility (he’s usually quite annoying). The line "Stay the fuck in my heart" is aggressive, while the massive build-up is softly supporting it. The song is in full possession of the band’s collective skills.

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08. Damien Jurado - Exit 353

Visions Of Us On the Land marks the end of a prolific album trilogy. Jurado’s voice is unique: tearful and brittle on acoustic songs. It’s also interrogative and existential, when he tackles the grandeur of of a spiritual journey, as on “Exit 353”. “You were with me all along / I let go and you held strong” is a transcendent contrast to the final part of the song where he acknowledges, in a loop, “I was alone there / I was alone then”. His state of grace, on the land, in the country, or within himself, becomes ours in a true grasp of communal beauty.

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07. Loney Dear – Hulls + SOHN – Rennen

I don’t know how to characterize Loney Dear’s music, especially as I discovered him with “Airport Surroundings”, a song quite at odd with the rest of his catalogue. But this guy can haunt with all sorts of minimalism (hear the early “Harm” and “Distant”). ‘Hulls’ does that in a ferocious way, disturbing with piercing pulses and sharp words about estrangement. It climaxes subtly, sharing in part the tortured violence of not being loved back.

“Rennen” from Sohn picks up the same mood as with his previous album, Tremors. It’s isolated (this time literally, as Christopher Taylor secluded himself in Northern California to record his new album). It’s icy, nocturnal and pretty damn soothing. As the rest of the album again shows him to be clumsy in motives and styles, his voice is self-assured of its beauty, and emerges as one of the most pristine foreground to the kind electronic anxieties he puts forward.

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06. Radiohead Burn the Witch – Daydreaming - Decks Dark - Present Tense

I always use the stupid first-grade imagery of music that makes you float, but if a band truly has the power to challenge gravity’s configuration, Radiohead reshuffle again the palpable arrangements of upright rock/electronic music, with guitar, bass, synth and drum sounds all muddled to uplift Yorke’s newfound transparency. It’s not to say that the band settled on a desirable balance between clarity and ambiguity, but a few, scarce moments of contrast bring the most rewarding seconds on the album: as “Identikit” is set afloat by Ed’s back vocals (and that choir!), Jonny conflicts the tones up and down with one of his crudest electric solo (see also the final of “Decks Dark”, with raw bass and guitar lines framing an highlight on the album). It’s Jonny too that, bringing magnificent string orchestrations, makes the record sound pastoral and idyllic even in its gloomiest moments. The contrasts are truly atmospheric, and serve as a support to a clear theme of “lightness”, persistent in the lyrics (am I really writing about Radiohead and lightness?). “Present Tense” offers such mutation in the singer’s cynicism, in a way that one can actually believe him when he sings “Don’t get heavy / Keep it light and / Keep it moving”, backed with some of the loveliest and charming music ever penned by the band (choir vs. echoed vocals vs. old-fashioned continental fingerpicking). Such words ultimately make me the most liberated too, as if I’ve watched old cousin struggle for more than 20 years, reaching a point where he embraces enlightenment: “With my spirit light / Totally alive / Totally released”.

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05. M83 – Solitude

The retro-looking music of M83 always toyed with a form of adolescent, dream-like purity. It’s lovely when it’s innocent and doesn’t make sense. The whole world discovered that it could also be exhilarating with 2011’s “Midnight City”, or saturated with immature happiness on Hurry Up, We’re Dreaming. M83 gives the music for those who want to feel small and silly in a big world. But this year’s Junk also proved that the cool-irony gets clumsy when that vintage obsession is overblown. Yet, “Solitude” is all that: it’s excessive and immoderate. It’s superb, grandiose, melodramatic, and lavish. And to the credit of Gonzales, it’s also immensely skilled and savvy.

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04. The Tallest Man on Earth – Rivers

A sweeter voice, less Dylan, evermore Matsson. Fingerpicking magic. The song is delicate and poignant. The bareness of its first half is slowly lifted by soft horns and subtle piano notes. This guy is steadily good.

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03. Whitney - No Woman

At the moment when I feel that indie music has not many ways left to re-characterize itself (indie is a ‘character’, right?), two former Smith Westerns guys come out with the perfect indie-folk song, making that indie thing as relevant as ever. And they do so without reinventing a single ingredient: a vacillating falsetto, inexpensive Em-A-G chords known for bringing down cynicism in an instant, a mythic-american narrative of isolation and drifting the land looking for a sense of purpose. It’s solitude without pathos (thanks to those horns). It’s sad and beautiful. It’s humble and hopeful. It knocks you down in less than 4 minutes, simple, competent and candid. I shared this song the most this year, usually with the same immediate response: “yeah, I’m hooked too”.

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02. Frank Ocean - Pink + White

The fact that I’m not so passionate about R&B or soul music kept me unreasonably distant from Frank Ocean. It trickles down also (shamefully) as an involuntary estrangement with some of the most relevant black voices elevating the contemporary cultural discourse. I mean, I can go to sleep to Billie Holiday’s “Strange Fruit” and wake up to Kendrick’s “Alright”, but I missed out on the latest of D’Angelo, Miguel, and yes, Solange and Beyonce. “Channel Orange” is revered on every sides of the universe, but it surprisingly never gave me the thrills. I read of how much of a talented singer-songwriter he is, and can’t deny any of the praises thrown at his relevance and his voice. But a few blogposts from him also hinted at a profound humanity, which kept me curious to whatever he (seldom) chooses to sing about. And here I am in 2016, finally joining the collective applauses, abusing of his ineffable empathy, worshiping the true beauty of his sensibility. Compared to the previous album, the R&B tag isn’t that obvious, probably due to the album’s deliberate minimalism. He dissolves any need for labels, cuts instead his flesh open, and makes his bowels sing along some of the most creative melodies of the year. It’s raw yet meticulous, comforting yet secretive, avant-garde yet immediately rewarding. Blond ended up as one of the albums I replayed the most this year. The combination “White Ferrari” and “Seigfried” are so well crafted in introspection and intimacy, it’s like you can hear him bleed (also, thanks Jonny Greenwood). I’m guilty of choosing also the duo of “Ivy” and “Pink+White” in particular, especially as the latest is the most immediately likable song here. But damn, how willingly am I grooving along the pristine voice, breezing with the chill and sensuous summer melody. It’s 2016’s song for walk-grooving on bass and piano tempos, set adrift on dreamlike lyrics and imageries. This is smooth smooth smooth. I’m glad I’m now fully onboard with this Ocean guy.

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01. Bon Iver - 33 "GOD"

What the fuck is this guy singing about? “Holocene” was arguably one of the prettiest songs of the last decade, but there is this line about “laying waste on Halloween” that makes it surprisingly mundane. The whole ‘mood’ of such songs aligns with the Divine, yet any attempt to dissect it (maybe no one should) shows rather a collection of references to everyday places and times. It is an undeniable signature of Justin Vernon that whichever mediums he works with (may it be the resonance of elementary guitar chords, the cold echoes of autotune, or stretched electronic pulses), human-scale alienations will dominate, and will be collected into a transcendent ‘mood’. And for me Vernon is exactly that: not much of a skilled musician, but a skilled collector, a curator. Fragments of sounds and words are built in such a universal and relatable image-space; vaporous lines draw contours of quotidian episodes; passages are momentarily crafted between memories and estrangements. He gives order to what are merely fleeting impressions of the world. In “33, ‘GOD’”, when Vernon juggles aptly from sacred allusions (“I could go forward in the light”) to everyday realisms (“Well I better fold my clothes”), his questions, struggles and uncertainties briefly take shape as an engaging and responsive ghost figure. The most enduring appeal of Vernon is to do so without veering into overconsciousness, without sounding like a self-professed guru of ‘crystal healing’ bullshit (or in the case of this song, “bird shit”). Like most, I breastfeed shamelessly on the allusive accessibility of the opening piano line, or the immediacy of words like “I’d be happy as hell if you stayed for tea”. But later these tangible trajectories quickly dissolve in foreground/background disorienting dialogues. Vernon’s vision traces a mythical path in such conflicting suggestions, a path that varies with each listening, and probably will vary with the next albums to come. His voice, as always, will remain the only trustable, guiding structure.

In only 10 years, Vernon positioned himself as that father figure, for me and the music industry. Has it been only 3 albums? He gave voice to many with his own festival in Eau Claire, and assured his presence through numerous collaborations of all scales (from Kanye to this year’s Francis and the Light). Bon Iver were once revered as an easy folk band, but it appears ‘logical’ and ‘in line’ with this ascension that “22, A Million” is their most experimental and obscure record. It’s quite claustrophobic in fact compared even to the cabin made “C Em Am Em” sing-along progressions. This voluntary opacity isn’t a surprise also for bands struggling with 2nd or 3rd albums, panicked with stardom (or grammys). The result is too often a naive form of conceptual obscurantism, a way to shout something like: “People give me credits, but I’m not obvious. I’m genuine. I’m fucked up. I’m a dark creator.” To be honest, it is slightly the case here: the album’s cryptic visuals and song titles are mysterious (or fucked-up) for about 2 minutes, but perdure as uninteresting, unnecessary packaging gimmicks. Still, the album, and “33, ‘GOD’” in particular, ranks on the good side of the catchy-experimental trend, as Vernon got us accustomed to use his pervasive vulnerability as the code-cracking tool to float over the opacity of his text. It is an intimate, subtle, relationship, and here again his trademark voice will succeed to draw you as close as always.

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LISTEN TO THE COMPLETE PLAYLIST HERE

via SPOTIFY

ALSO ON DEEZER HERE

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