R&b Song Quotes

You know what? I'll Beyonce him. Not as powerful as a nineties R&B breakup song, but stronger than a Taylor Swift.

Ten Best Song to Strip 1. Any hip-swiveling R&B fuckjam. This category includes The Greatest Stripping Song of All Time: "Remix to Ignition" by R. Kelly. 2. "Purple Rain" by Prince, but you have to be really theatrical about it. Arch your back like Prince himself is daubing body glitter on your abdomen. Most effective in nearly empty, pathos-ridden juice bars. 3. "Honky Tonk Woman" by the Rolling Stones. Insta-attitude. Makes even the clumsiest troglodyte strut like Anita Pallenberg. (However, the Troggs will make you look like even more of a troglodyte, so avoid if possible.) 4. "Pour Some Sugar on Me" by Def Leppard. The Lep's shouted choruses and relentless programmed drums prove ideal for chicks who can really stomp. (Coincidence: I once saw a stripper who, like Rick Allen, had only one arm.) 5. "Amber" by 311. This fluid stoner anthem is a favorite of midnight tokers at strip joints everywhere. Mellow enough that even the most shitfaced dancer can make it through the song and back to her Graffix bong without breaking a sweat. Pass the Fritos Scoops, dude. 6. "Miserable" by Lit, but mostly because Pamela Anderson is in the video, and she's like Jesus for strippers (blonde, plastic, capable of parlaying a broken nail into a domestic battery charge, damaged liver). Alos, you can't go wrong stripping to a song that opens with the line "You make me come." 7. "Back Door Man" by The Doors. Almost too easy. The mere implication that you like it in the ass will thrill the average strip-club patron. Just get on all fours and crawl your way toward the down payment on that condo in Cozumel. (Unless, like most strippers, you'd rather blow your nest egg on tacky pimped-out SUVs and Coach purses.) 8. Back in Black" by AC/DC. Producer Mutt Lange wants you to strip. He does. He told me. 9. "I Touch Myself" by the Devinyls. Strip to this, and that guy at the tip rail with the bitch tits and the shop teacher glasses will actually believe that he alone has inspired you to masturbate. Take his money, then go masturbate and think about someone else. 10. "Hash Pipe" by Weezer. Sure, it smells of nerd. But River Cuomo is obsessed with Asian chicks and nose candy, and that's just the spirit you want to evoke in a strip club. I recommend busting out your most crunk pole tricks during this one.

i’m very expressive. i deserve to feel pretty. i kissed the blarney stone. i am strong. i am brave. im a good friend. I’m a good sister. I’m a good wife. i am a good in-law. I’m a good daughter. i am a good niece. I’m a good beagle mother. i am a good granddaughter. i work hard for it, honey. im superfly TNT motherfucker. im a pilot of the airwaves. im a better third baseman that brooks robinson. I B-E-A-G-G-R-E-S-S-I-V-E. i have exceptionally beautiful feet, eyes, ears, hips, hair, teeth, breasts. and shoulders. and fingernails. in a different pen, she added, and eyelashes and eyebrows, plus in yet another pen, and nose. and chin.

The LORD Is My Strength and My Shield Of David.     PSALM 28 To you, O LORD, I call;          j my rock, be not deaf to me,     lest, if you  k be silent to me,         I become like those who  l go down to the pit.     2  m Hear the voice of my pleas for mercy,         when I cry to you for help,     when I  n lift up my hands          o toward your most holy sanctuary. [1]     3 Do not  p drag me off with the wicked,         with the workers of evil,      q who speak peace with their neighbors         while evil is in their hearts.     4  r Give to them according to their work         and according to the evil of their deeds;     give to them according to the work of their hands;          s render them their due reward.     5 Because they  t do not regard the works of the LORD         or the work of his hands,     he will tear them down and build them up no more.     6 Blessed be the LORD!         For he has  u heard the voice of my pleas for mercy.     7 The LORD is my strength and  v my shield;         in him my heart  w trusts, and I am helped;     my heart exults,         and with my  x song I give thanks to him.     8 The LORD is the strength of his people; [2]         he is  y the saving refuge of his anointed.     9 Oh, save your people and bless  z your heritage!          a Be their shepherd and  b carry them forever.

The LORD Is My Rock and My Fortress To the choirmaster. A Psalm of David,  f the servant of the LORD,  g who addressed the words of this  h song to the LORD on the day when the LORD delivered him from the hand of all his enemies, and from the hand of Saul. He said: PSALM 18 I love you, O LORD, my strength. 2 The LORD is my  i rock and my  j fortress and my deliverer, my God, my i rock, in k whom I take refuge, my l shield, and m the horn of my salvation, my n stronghold. 3 I call upon the LORD, who is  o worthy to be praised, and I am saved from my enemies. 4  p The cords of death encompassed me; q the torrents of destruction assailed me; [1] 5  p the cords of Sheol entangled me; the snares of death confronted me. 6  r In my distress I called upon the LORD; to my God I cried for help. From his  s temple he heard my voice, and my cry to him reached his ears. 7 Then the earth  t reeled and rocked; the foundations also of the mountains trembled and quaked, because he was angry. 8 Smoke went up from his nostrils, [2] and devouring  u fire from his mouth; glowing coals flamed forth from him. 9 He v bowed the heavens and w came down;  x thick darkness was under his feet. 10 He rode on a cherub and flew; he came swiftly on  z the wings of the wind. 11 He made darkness his covering, his  a canopy around him, thick clouds b dark with water.

David's Song of Thanks     8  f Oh give thanks to the LORD;  g call upon his name;          h make known his deeds among the peoples!     9 Sing to him, sing praises to him;         tell of all his wondrous works!     10 Glory in his holy name;         let the hearts of those who seek the LORD rejoice!     11  i Seek the LORD and his strength;         seek his presence continually!     12  j Remember the wondrous works that he has done,          k his miracles and the judgments he uttered,     13 O offspring of Israel his servant,         children of Jacob, his chosen ones!     14 He is the LORD our God;          l his judgments are in all the earth.     15 Remember his covenant forever,         the word that he commanded, for a thousand generations,     16 the covenant  m that he made with Abraham,         his sworn promise to Isaac,     17 which  n he confirmed to Jacob as a statute,         to Israel as an everlasting covenant,     18 saying,  o “To you I will give the land of Canaan,         as your portion for an inheritance.”     19 When you were  p few in number,         of little account, and  q sojourners in it,     20 wandering from nation to nation,         from one kingdom to another people,     21 he allowed no one to oppress them;         he  r rebuked kings on their account,     22 saying, “Touch not my anointed ones,         do my  s prophets no harm!”     23  t Sing to the LORD, all the earth!         Tell of his salvation from day to day.     24 Declare his glory among the nations,         his marvelous works among all the peoples!     25 For  u great is the LORD, and greatly to be praised,         and he is to be feared  v above all gods.     26 For all the gods of the peoples are worthless idols,          w but the LORD made the heavens.     27 Splendor and majesty are before him;         strength and joy are in his place.     28 Ascribe to the LORD, O families of the peoples,          x ascribe to the LORD glory and strength!     29 Ascribe to the LORD the glory due his name;         bring an offering and come before him!      y Worship the LORD in the splendor of holiness; [2]         30 tremble before him, all the earth;         yes, the world is established; it shall never be moved.     31  z Let the heavens be glad, and let the earth rejoice,         and let them say among the nations,  a “The LORD reigns!”     32  b Let the sea roar, and all that fills it;         let the field exult, and everything in it!     33 Then shall the trees of the forest sing for joy         before the LORD, for he comes to judge the earth.     34 Oh give thanks to the LORD, for he is good;         for his steadfast love endures forever! 35 c Say also:     “Save us, O God of our salvation,         and gather and deliver us from among the nations,     that we may give thanks to your holy name         and glory in your praise.     36  d Blessed be the LORD, the God of Israel,         from everlasting to everlasting!”  e Then all the people said, “Amen!” and praised the LORD.

You do understand what I mean!” he exclaimed, pleased to see Maude responding to his song. “I chose Nina Simone to show you something else. Just like you, Nina Simone had a classical background. When she was younger, she wanted to become a concert pianist. Her skill was beyond measure and she used it in a wide repertoire of jazz, blues, and R&B songs. And I think you can do the same. Music knows no limits and I truly understand why James insisted on signing you, Maude.” Maude remained silent, still thinking about his rendition of Nina Simone. “All you have to do is dig deeper. Try finding some suffering in you. Don’t sing the Cenerentola with a smile. Although you look like a girl who’s had it all. You know, the nice girl from the North of France, who grew up in a quiet, small town with her loving mom and dad and brothers and sisters, always top of her class, quick-tempered when things didn’t go her way. A bit spoiled, I guess. You have to put all that—” “Spoiled?” Maude blurted in utter disbelief, the word echoing through her mind. Of all the things he could’ve said about her, spoiled was the last word that could have appeared remotely appropriate to describe her. As for suffering, she’d had plenty of that, too, which is why she didn’t want to think about it. Not while she was so happy in New York and Carvin and the Ruchets were the last thing she wanted in her head. She painfully pushed the Ruchets away from her mind and turned to Matt, eyes flaring up again. “You know nothing about me, Matt,” she said, her voice quivering with emotion. “And you obviously know nothing about suffering, or you wouldn’t idealize it the way that you do. You see it as a romantic notion that seemingly gives depth to songwriting. And it does. Not because the singers actually thought of woe in a purely aesthetic way, but because that’s how they actually lived. You will never understand that,” she finished, trembling from head to toe. And with that, she grabbed her bag, coat, gloves, scarf, and stormed out of Matt’s Creation Room, slamming the door behind her.

There’s a great story that Roger Hawkins tells. He’s the drummer on some of Aretha Franklin’s most iconic songs, like “Respect” and “Chain of Fools.” As part of a group of studio musicians in Muscle Shoals, Alabama, he was drumming on hugely important R&B songs when he was just a teenager, far too young to have any sense of, or ego about, his talent. So one day Hawkins was playing on a session that Jerry Wexler from Atlantic Records was producing. Out of the blue, Hawkins claims, Wexler walked down from the control room and into the studio and told him, “Roger, you are a great drummer.” Wexler wasn’t involved in some larger conversation with Hawkins. He just wanted to tell him. Hawkins’s reaction to it, in his own words: “So I became one.” That story always made sense to me. I’ve had that same moment of feeling like everything’s changed because of one compliment, one tiny bit of encouragement. That, in a nutshell, is what Peter Buck did for me. Not that he ever walked into the studio just to tell me how great I was. No, but he made me feel like an equal.

When deployed in rap vernacular, the word villain feels slightly anachronistic, particularly when prefaced by the adjective mother-fuckin’. It’s a little old-timey. But there simply wasn’t a word that better described N.W.A’s public aspirations with such accuracy. I suppose gangsta is the only other word that came close, a modifier so flexible it could even be used to describe how rappers operated their cars. If you lowered the seat and tilted your body toward the vehicle’s passenger side, the posture was referred to as the “gangsta lean.” Spawned in 1972 by forgotten R&B wunderkind William DeVaughn, “gangsta lean” is an amazingly evocative term, particularly to those who did not initially know what it meant. But once you unpacked the definition, it merely outlined a villainous way to drive your jalopy to White Castle, operating from the position that appearing villainous was an important way to appear at all possible times. This was very, very important to the members of N.W.A. It was the only thing they seemed to worry about. Everything they attempted had to possess criminal undertones. I can only assume they spent hours trying to deduce villainous ways to microwave popcorn (and if they’d succeeded, there would absolutely be a song about it, assumedly titled “Pop Goes the Corn Killa” or “45 Seconds to Bitch Snack”).

pitch axis theory, which I learned in high school from my music teacher Bill Westcott. It is a compositional technique that was actually developed at the turn of the last century, so this is something that had been around for a long time. I remember Bill saying, "I'm going to teach you this very cool compositional technique," and he sat me down at the piano, and he went, "Watch this: I'll hold this C bass note, and then I play these chords, and each chord will put me in a different key, but it will sound like C 'something' to you . . ." I was fascinated by it, because I thought, "That is the sound I'm hearing in my head." To me it sounded very "rock," because rock songs don't travel around in too many keys, and it was the antithesis of the modern pop music that had been around for fifty years. It was the total opposite of most commercial jazz, but not all jazz, as I learned when I started really listening closely to modern jazz. I realized, "Wow, John Coltrane is using pitch axis theory. Not only is he doing that, but he’s going beyond it with his 'sheets of sound' approach," where in addition to building modes in different keys off of one bass note, he was building modes off of notes outside the key structure as well. He had taken it a step further. But that’s not what I was looking for, except for in a song like "The Enigmatic," which has that sort of complete atonal-meetspsycho melodic approach. I was more interested in using the pitch axis where you really could identify with one key bass note, in a rock and R&B sort of fashion. Then all the chords that you put on top would basically put you in different keys. So on Not of This Earth, you have these pounding E eighth notes on the bass, and your audience says, "Okay, we're in the key of E." But the chords on top are saying, "E Lydian, E Minor, E Lydian, E Mixolydian in cyclical form." And I thought, "Well, this gives me great melodic opportunities, I'm not stuck with just the seven notes of one key. I've got seven notes for every different key that I apply on top of this bass note." And I just love that sound, so I applied it to quite a lot of my music.

The way he tapped on the steering wheel; the way he hummed along to a song playing in the cassette deck. ‘Don’t Wanna Be a Player’ by Joe, as the tape sleeve said. Followed by ‘Natural Woman’ by Mary J. Blige and Shai’s ‘If I Ever Fall in Love’. ‘Wait, “Mo’s mix”?’ April parted her lips in mock astonishment. ‘I didn’t take Morag for an R&B type of gal.

Indigenous Lives Holding Our World Together, by Brenda J. Child American Indian Stories, by Zitkala-Sa A History of My Brief Body, by Billy-Ray Belcourt The Falling Sky: Words of a Yanomami Shaman, by Davi Kopenawa and Bruce Albert Apple: Skin to the Core, by Eric Gansworth Heart Berries, by Terese Marie Mailhot The Blue Sky, by Galsan Tschinag Crazy Brave, by Joy Harjo Standoff, by Jacqueline Keeler Braiding Sweetgrass, by Robin Wall Kimmerer You Don’t Have to Say You Love Me, by Sherman Alexie Spirit Car, by Diane Wilson Two Old Women, by Velma Wallis Pipestone: My Life in an Indian Boarding School, by Adam Fortunate Eagle Split Tooth, by Tanya Tagaq Walking the Rez Road, by Jim Northrup Mamaskatch, by Darrel J. McLeod Indigenous Poetry Conflict Resolution for Holy Beings, by Joy Harjo Ghost River (Wakpá Wanági), by Trevino L. Brings Plenty The Book of Medicines, by Linda Hogan The Smoke That Settled, by Jay Thomas Bad Heart Bull The Crooked Beak of Love, by Duane Niatum Whereas, by Layli Long Soldier Little Big Bully, by Heid E. Erdrich A Half-Life of Cardio-Pulmonary Resuscitation, by Eric Gansworth NDN Coping Mechanisms, by Billy-Ray Belcourt The Invisible Musician, by Ray A. Young Bear When the Light of the World Was Subdued, Our Songs Came Through, edited by Joy Harjo New Poets of Native Nations, edited by Heid E. Erdrich The Failure of Certain Charms, by Gordon Henry Jr. Indigenous History and Nonfiction Everything You Know About Indians Is Wrong, by Paul Chaat Smith Decolonizing Methodologies, by Linda Tuhiwai Smith Through Dakota Eyes: Narrative Accounts of the Minnesota Indian War of 1862, edited by Gary Clayton Anderson and Alan R. Woodworth Being Dakota, by Amos E. Oneroad and Alanson B. Skinner Boarding School Blues, edited by Clifford E. Trafzer, Jean A. Keller, and Lorene Sisquoc Masters of Empire, by Michael A. McDonnell Like a Hurricane: The Indian Movement from Alcatraz to Wounded Knee, by Paul Chaat Smith and Robert Allen Warrior Boarding School Seasons, by Brenda J. Child They Called It Prairie Light, by K. Tsianina Lomawaima To Be a Water Protector, by Winona LaDuke Minneapolis: An Urban Biography, by Tom Weber

She took me to the pasture and let me milk a mammoth brown cow. She taught me how to drive a tractor. We rode horses through the woods. We smoked weed on the roof and pointed out clouds that looked like penises. We fed tiny chunks of raw chicken to her brother’s Venus flytrap. We fucked each other with fresh-picked ears of corn. We built a fire under a billion stars and told ghost stories. We took bets to see how many cigarette butts the rooster would eat. We let the goats hop on top of our backs and nibble our hair. We built an altar of stones, sticks and berries at the top of a hill, and when we hummed a family of deer came to us, licking our palms and nuzzling our cheeks. We bathed in streams and made bread from scratch. We pulled ticks and leeches off each other’s backs. We wrote rap songs about farm life and smoking meth. We stayed up a whole night watching movies about vampires and warlocks. We left clumps of hair, string and silver buttons for a family of crows. When it stormed for three days and we lost power, I rocked her gently in the dark and told her I loved her.

case, I wanted to create a mind trip—a journey of emotions with sustained tension, like a bolero.

As a woman and a performer, your persona has to be in line with who you are and your true personality. You have to communicate with an audience with your body and eyes and face.

Then Barry came up with our opening line: “You never close your eyes anymore when I kiss your lips.” MANN: My heart had been broken a few times before I met Cynthia, so it wasn’t a stretch to feel that lyric.

Hours, packaged as “Bowie’s R&B album,” went equally deep. “Seven,” “Survive,” and “Thursday’s Child” felt like Babyface and Toni Braxton doing Young Americans. The major flaw of these records, one that many listeners understandably found (and still find) impossible to get past, was the butt-ugly guitar sound of Tin Machine leftover Reeves Gabrels, which was even more irritating than the techno effects. It would have been great to hear Bowie redo these songs with a better band and better production. I played them a lot anyway.

They wanted to manipulate our songs—our fantastic, well-written songs with a soulful drive—beautiful English R&B—and turn them into pop rubbish. We might as well have been writing children's lullabies for all that did for me. We had to get away from that asshole.

Neuroscience-based studies show that songs from decades ago have the power to relax us, stir up nostalgic feelings, and unconsciously rekindle memories we associate with those recordings.

Being inside of you feels like I’ve ascended to Heaven without the loss of my heartbeat. You’re warm. You’re tight. I feel safe to drip my paint all over your walls. You are real estate for my soul and I want to feel you forever like the hook from an R& B song. Now stuff your fuckin’ panties into my mouth, choke me, and ride this dick hard enough to break it.

In a note on one of his copies of Songs for the Philologists my father wrote: ‘, B, Bee and (because of the runic name of ) Birch all symbolize mediaeval and philological studies (including Icelandic); while A, and Āc (oak = ) denote ‘modern literature’. This more pleasing heraldry (and friendly rivalry and raillery) grew out of the grim assertion in the Syllabus that studies should be “divided into two Schemes, Scheme A and Scheme B”. A was mainly modern and B mainly mediaeval and philological. Songs, festivities and other gaieties were however mainly confined to .

I think that Denny was part of the rock ’n’ roll-folk-R&B axis of the band,” Laurence suggested, “and you get it right from the get-go, even with ‘Go Now,’ which is an R&B song that Denny brought into a kind of an English consciousness. And then you add Denny’s folkiness to it; he’s like a soul-folk musician. So I think that Denny was a part of the balance of the band, you know, as much as Linda was bringing her New York rock ’n’ roll sensibility to things. And Paul could be influenced by that. Even Denny’s voice modulates Paul’s voice in a way that John Lennon would modulate Paul’s voice. You need that extra dimension sometimes just for variety, and in the context of the band. And I think that was an important factor. It wasn’t like we were just hired to be Paul’s backup musicians; we were encouraged to have a band consciousness. And I think that Denny was our kind of anchor within that.”35

Okay, you’re at the club, right? There’s, like, a sick R&B song playing or whatever. You’re vibing.” I start bopping my head to nonexistent music. He stares at me in dismay. “Oh no. I’m not approaching you if that’s how you’re dancing.” I stare back. “Do you want me to play your game, or can I go find Ryder and be on my way⁠—” “Fine, let’s continue. You ready?” “I guess so?” I don’t know what it is about hockey players, but I find that all of them are insane. Sexy but insane. Shane moves to the doorway, cracks his knuckles, and then fully commits to his character by striding toward me exuding sheer confidence. He casts that smile again. Tucks one hand in his pocket, all cool-like. “Hey,” he says. “Hey,” I play along. “I’m Shane.” “Gigi.” “Tell me something, Gigi.” He slants his head. “Are you an organ harvester? Because you’ve stolen my heart.” Dead silence crashes over the room. Then I keel over with laughter.

On 29 October 1955, Billboard – then the leading music industry magazine – included a release by the little-known Little Richard in its ‘Reviews of New R&B Records’. These were ranked in order: at the top came Piano Red’s jump boogie ‘Gordy’s Rock’, followed by the Cadillacs’ tricksy doo-wop song ‘Speedoo’; sixth down, ‘Tutti Frutti’ was awarded 76 points – ‘Good’ in Billboard terms, ‘a cleverly styled novelty with nonsense words delivered rapid-fire. The singer shows a compelling personality and an attractive vocal style.