From verse one, "I can tell by looking at you, that thing is good." That’s anything you could be into. "So Good” lyrically from beginning to end is everything that initiates great sex. It was anything I wanted to do with that person, because they were that amazing, and the sex was that amazing that we had to take it there. So on the hook where I’m, it could be the sex or let’s get on this private jet and bolt to Paris real quick. Now we’ve crossed a whole entire line of what we’re about to do. Initially, it really was just a physical connection, but now all I ever do is think about this person-whether it’s the sex, whether it’s the conversations. I just wanna be with you, and whatever that takes is what I’m willing to do. Right now, I don’t care about all of these feelings and emotions. I don’t know who’s over there, and I don’t care if you have another chick. When that song starts, you know what it’s about to be.Ī track that comes to mind is “With You.” I’m on my way to your house. “Freakin Me” was one of those moments, so thank you Jamie Foxx for having that level of sexual intensity during the song where people believed that’s what was going on. I totally understand, but there are other songs for those moments. It’s not love though, which is how I think so many situations get misconstrued, because you’re all in your feelings because of some good penis. So by the time you get to the end of the song, it’s almost like you find this level of passion where for that split second you’re in love. Don’t tease me let’s just do it and suffer the consequences tomorrow. We started flirting with each other, so what are we waiting on? Your lips are already pressed on mine. So that was my cocky way of saying I don’t really want to get to know you. I had never had sex with this person before, and the approach was that a part of me wants a part of you. So when I’m singing, it feels very much wrapped in sweaty silk bedroom sheets or laying on a beach at midnight getting bit by every mosquito, but you don’t care because you’re having the best sex ever. But during the moment, definitely dim the lights. The lights come on after when I want to actually see who I’m having sex with to this song. For some reason, I can’t concentrate with the lights on. If I’m in the booth, I need them to please turn off all the lights. This is where I start to get real bougie with it. So when you listen to it, it feels like that’s what’s happening to your body. And that sparked how I approached that song. It’s almost like a breath… he inhaled my entire body, spat on me, smacked me in the face, and put it in really really deep. For example, when we created “69,” there’s a vocal sample that one of the producers uses, Kosine (of Da Internz). Now that you know her secrets, what will you do with them? Keep bangin…ĭepending on the producer I’m working with, there has to be a level of sexual tension for me to go in and get out of them what I need be. She breaks down her sexual strategy below. Ambrosius has also laced many a rapper's cut with her sexual innuendos, working with the likes of Game, Nas, Common, Outkast, Kanye West, Fabolous, and the list goes on. Her recently released EP FVCK & LOVE is full of them (not to mention her forthcoming full length, Friends & Lovers, out in July), but Ms. Marsha Ambrosius, the Queen of the Fuck Track gave us perhaps the greatest step-by-step guide on how she creates her fuck tracks. So you see, if your fuck tracks suck, then that’s the only thing that will be sucking that evening. Then I bolted out of there, leaving him with a parting gift of blue balls. Who in their right mind would choose Lauryn Hill’s first and last feminist anthem of self-love when I’m sitting here trying to revenge fuck? I got too overwhelmed by the “Don’t be a hard rock when you really are a gem” sentiment and promptly sat up (smacking my head on the wood panel of the top bunk). Why do you care about any of this? Because.
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