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LaToya

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    California, US

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  1. Ouvintes mensais não quer dizer nada, é só um termometro da popularidade atual do artista. A Mariah chegou a 25kk de ouvintes mensais no fim do ano passado e agora tá em 9kk
  2. O Michael apoiou a Mariah quando ela estava sendo pisoteada pela Sony e fez o mundo saber que o Tommy Mottola estava acabando com a carreira dela. Então a pergunta que fica é: Ela deve algum tipo de apoio ao Michael?
  3. LaToya

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    Ué, por que mudaram meu nome de usuário?
  4. LaToya

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    Aumentaram 30 minutos na contagem. kkkkkkkkkkkkkkkkkkkkkkkk
  5. A No No é tão boa que o público não quis comprar e nem ouvir no Spotify.
  6. E tá indo muito bem, afinal de contas, ela tem 60 anos e não é da era digital. Em compensação, o Madame X em pré venda tá tendo o desempenho melhor que o Caution quando foi lançado no itunes. Album: Madame X Apple Music: #2 Brazil #4 Poland #5 Greece #5 Spain #5 Sweden #6 Bulgaria #7 Argentina #7 Portugal #8 Mexico #8 Nicaragua #9 Chile #10 Italy #10 Netherlands #11 Israel #12 Czech Republic #13 Hungary #13 Peru #15 Costa Rica #15 Slovenia #15 Turkey #17 Norway #19 United Kingdom #19 Bahrain #19 Cyprus #20 Colombia #20 Honduras #21 Ireland #22 Taiwan #23 China #23 Russia #24 Belgium #28 Australia #29 Finland #29 Germany #29 Paraguay #30 Switzerland #31 Ukraine #33 France #34 Denmark #35 Thailand #36 Austria #39 Armenia #43 Singapore #44 Romania #46 Azerbaijan #46 Slovakia #47 Belarus #47 Lithuania #48 Malaysia #50 Dominican Republic #51 Philippines #52 Lebanon #59 El Salvador #59 United Arab Emirates #68 Canada #69 Vietnam #79 Panama #80 Guatemala #94 Estonia #95 Malta #104 New Zealand #109 Ecuador #114 Latvia #123 Saudi Arabia #157 South Africa #161 United States #168 India #193 Fiji #257 Indonesia #261 Luxembourg #285 Japan
  7. 7.0 On the sequel to last year’s Eat My Pussy, the Chicago rapper’s songwriting is at times more brazen and at others more introspective. Queen Key is not about subtleties. Last year, when the Chicago rapper born Ke’Asha McClure released her bold and brash mixtape Eat My Pussy, the title alone caught plenty of attention. It was an exhibition of Key’s raw talent, particularly her knack for party-rap hooks and her star-making sense of humor. The premise for its follow-up is simple. “You ate my pussy once. It was good… so eat it again,” Key told a “Vice Live” interviewer, beaming as she explained her latest choice of title. Her new album, Eat My Pussy Again, is a clear progression of Key’s songwriting, at times more brazen and at others more introspective. Key’s prime asset, and the main way she gets jokes off, is her deadpan delivery. Her idea of a punchline is to casually point out, “I don’t like people/I smack niggas,” in a laidback and assured drawl, as if she’d hit the recording booth after smoking a blunt or two. She may not be a rapid-fire spitter like Megan Thee Stallion or as outrageously raunchy as CupcakKe, but Key’s superpower is to inject the most unbothered energy into the fewest possible words. On “Ratchett,” she raps, “I got cash on flash/If he ask, I don’t have it/Nigga tragic,” releasing the last word with the withering disdain of someone who’s just shared a screenshot of your private texts to the group chat. Key is at her best when she’s riding a hard beat. Eat My Pussy Again’s standout tracks are modeled off current trends in Texas rap, where songs like 10k.Caash’s “Aloha” or Megan’s “Sex Talk” are constructed of monstrous bass, claps, and not much else. In January, a questionably authorized version of “Ratchett” appeared with the bass cranked all the way up, sounding like a distorted fart from a shitty car speaker. Mistake or not, the crunchy, unprofessional production worked with the song’s hook (“Make these hoes get ratchet”), and the idea of turning a “bass-boosted” edit into a studio version suited Key’s brash humor. The first “Ratchett” was scraped from the internet, presumably to make room for the newly mixed album version, where you can actually hear Key’s ridiculous punchlines (“Got head from a nerd, I knock off that nigga glasses”). But if Eat My Pussy Again has a failing, it’s that it tries to present a polished version of Key, who thrives when she’s uninhibited. Still, Eat My Pussy Again proves Key isn’t only a party girl. On “I Like Me Better” and “Ms. Understood,” she rattles off anxieties about her rising popularity and distrust of others over jazzy, lyrical beats, more Mick Jenkins than Chief Keef. “My heart telling me that this is all where it begins/So don’t lose myself becoming one those who lose and win,” she cautions. “Misunderstood, but it’s all good,” she chants on the hook, as though convincing herself that she’s going to be OK. While her commitment to keeping it 100 usually manifests as comedy, “I Like Me Better” explores the idea earnestly, revealing that it’s part of her larger goal for self-improvement. “I like me better when I listen/I like me better when I learn,” she raps. When she’s rowdy and audacious, Queen Key is exhilarating. But her jokey swagger and hard persona is almost like a setup for the true pay-off: when Key bares her heart. https://pitchfork.com/reviews/albums/queen-key-eat-my-pussy-again/
  8. LaToya

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    Me falaram que a estreia do novo fórum teve que se adiada, porque a administração estava colocando um sticker da LaToya, mas ainda não tinham chegado a conclusão de qual foto da Deusa eles colocariam, já que ela mudou demais com o passar dos anos.
  9. Amore, existe vários tipos de fado. Atualmente até isso é considerado fado.
  10. Madonna channels the essence of Lisbon’s Fado music in ‘Crave’ A low-key moment which nods vaguely back towards the heartbreak of ‘Like A Prayer’, and yet sounds nothing like it Blending mumble-rap with a mournful core, ‘Crave’ throws yet another Madonna-sized curveball in the run-up to the superstar’s 14th album ‘Madame X’. Madonna permanently relocated to Lisbon last year, where she posted this faux-tragic picture of herself sipping champagne alone; “Would anyone like to sip Cham-Pain with me?” she asked wryly with a crying emoji – it was all very tongue-in-cheek. So far the influence of her latest hometown stretches as far as the Euro-pop flavour of lead single ‘Medellin’, but in the opening lines of ‘Crave’ she appears to be tackling loneliness and unfamiliar surroundings with a new vulnerability. “I’m tired of being far away from home,” she sings over gently picked guitar, “far from what can help, far from where it’s safe”. And while Madge’s Mike Dean-produced auto-tuned vocals might cause a minor controversy in a tiled old Taberna, ‘Crave’ certainly draws on elements of Lisbon’s traditional Fado music. Sure, Madonna’s not belting it out like she’s filling up a town square with her intense melancholy, but even so, there’s a vulnerability to ‘Crave’ which also shares the genre’s resignation and fatefulness. “You know I just can’t change, this is how I’m made,” she sings in unison with an understated Swae Lee. “I’m not afraid, take me to that place”. The connection makes sense: Madonna’s been hanging out in Fado bars for at least the last year… https://www.nme.com/blogs/madonna-crave-swae-lee-madame-x-track-review-2486323#gwPsFiOMw6GiY3Gg.99
  11. LaToya

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    Então pelo visto, vai sair no mesmo dia que o fórum Pandlr 2.0 for lançado.

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