So forget about your boyfriend and meet me at the hotel
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Hotel Room Service Remix
In this business, there are two subjects that will boost your page views like nothing else: Game of Thrones and Taylor Swift. One of them is a massive, multi-million-dollar enterprise filled with violence and betrayal, and the other airs on HBO. And, outside the legions of fans who eat up everything she puts out, no take on her ever stays solid for long. She was a precocious teenager, and the ultimate embodiment of white privilege.
And yet, unlike Madonna or Bowie, Swift got through the first 11 years of her career without any major reinventions. For , she embraced feminism and threw away the last vestiges of her Nashville sound, but those were basically just aesthetic changes. Swift — or at least the version of Swift on her albums — has remained largely the same person since her debut: a thin-skinned, bighearted obsessive, with a penchant for huge romantic moments. Listen to too many and you might ache again at the nagging feeling that those stories of yours have all been a bit uneventful and drab by comparison.
What sort of real life can stand up against fantasies like these? But I do recommend sampling as many of these songs as you see fit. She may not have the raw vocal power of some of her competitors, but what she lacks in Mariah-level range she makes up for in versatility and personality.
A carpetbagger from the Pennsylvania suburbs, she became an expert code-switcher early in her career and never looked back. And when it comes to writing instantly memorable pop songs, her only peers are a few anonymous Swedish guys, none of whom perform their own stuff.
I count at least ten stone-cold classics in her discography. Others might see more. The verses are vacuous, the insults have no teeth, and just when the whole thing seems to be leading up to a gigantic redemptive chorus, suddenly pop!
Other Swift songs have clunkier rhymes, or worse production values, but none of them have such a gaping hole at the center. Otherwise, this is a by-the-numbers holiday cover, complete with sleigh bells in the mix.
Points for ambition, but sometimes you just want to hear the old standards the way you remember them. Worst of all is this duet with po-faced Ulsterman Gary Lightbody, which feels about ten minutes long. But when they misfire, the results can be brutal. The lyric here indulges the worst habits of late-period Swift — an eagerness to play the victim, a slight lack of resemblance to anything approaching real life — attached to a schoolyard-chant melody that will never leave your head, even when you may want it to.
Though her backing vocals are very pleasant, this is percent a Tim McGraw song. Olympic team to greatness. They won 36 gold medals!
Would she come out? Would she come out and reveal she had once dated Karlie Kloss? Cut to the fateful day, and the news was … Swift, who is a pop singer, was releasing a new pop song.
The only silver lining? On brand! With only one take to get it right, she did not let the people of Haiti down. The crowd, not being idiots, responds with an enthusiastic yes. A spirited vocal performance in the outro saves the song from feeling like homework. Or was she a white woman playing the victim to demonize an outspoken black man? Most of them work. He produced her early demos, and she fought for him to sit behind the controls on her debut; the two would work together on every Swift album until , when his role was largely taken over by Max Martin and Shellback.
Listen to the screams during the chorus and try to guess where this one was recorded. If you had forgotten that this song came out in , she keeps the line about Tae Bo.
Max Martin and Shellback pack the track with all sorts of amusing audio doodads, but the melody is a little too horizontal to stick, and the lyrics have a touch of first draft about them. Perhaps too much — you get the sense it might work better as a Bleachers song. As if to reassure nervous country fans, the fiddle goes absolutely nuts. Swift often plays guessing games about which parts of her songs are autobiographical, but this one is explicitly a fantasy.
The slangy Trump jabs to say nothing of the slight West Indian accents in the chorus may read as a few years behind the times, but when it comes to straight pop stars penning gay-rights theme songs , you could do a lot worse. Inspiration works in mysterious ways. Despite the extravagant title, the date described here is charmingly low-key: The dude wears a T-shirt, and his grand gestures are showing up on time and being nice.
The production and vocals are appropriately restrained — sometimes, simplicity works. Turns out, adolescent self-mythologizing is the same no matter where you are — no surprise that Swift could pull it off despite leaving school after sophomore year. The high point comes when she contemplates forgiving a hater, then bursts into an incredulous guffaw. Reader, I laughed out loud.
The key to a good apology has always been sincerity, and whatever faults Swift may have, a lack of sincerity has never been one of them. No matter. As a slice of gothic pop-star paranoia, it gives a much-needed bit of edge to Bumped up a couple of spots for the line about vultures, which I can only assume is a shout-out.
Finally, at a pivotal moment she stands up in front of everyone and protests the impending union. Luckily the guy is cool with it, so we get a happy ending! Mostly for better. The way the whole song starts and stops is an obvious trick, but I like it.
In just her second album, she and Rose gave us this clear-eyed look at the emptiness of symbolic gestures, allegedly finished in a mere 45 minutes. Almost left off the album, but saved thanks to Shonda Rhimes. Here, we go from Kelly Clarkson verses to a roller-coaster chorus to a dubstep breakdown that dates the song as surely as radiocarbon — then back again.
Good to see you? Never mind that Red had its own sugary singles. Docked ten or so spots for the spoken-word bridge and cheerleader breakdown, which might be the worst 24 seconds of the entire album.
The exuberance of the lyrics is matched in the way she tumbles from line to line into the chorus. Accidents happen. But careers take hard work. Even as a teenager, Swift was savvy enough to know that country fans love nothing more than listening to songs about listening to country music. Are those fucking gunshots? The boys in the debut were just Nashville randos; this one was about a Jonas Brother, back when that really meant something. Obligatory fiddles aside, the original version is just about a perfect piece of pop-rock — dig how the guitars drop out at a pivotal moment — though the extended edition of Fearless also contains a piano version if you feel like having your guts ripped out.
Despite the dress-up games in the chorus, this is one of the rare Swift love songs to feel truly adult: Both she and the guy have been down this road too many times to bullshit anymore. They all come so naturally here. For a singer often slammed as being sexless, those sighs in the chorus tell us everything we need to know. Bumped up a few spots for the invigorating double-time bridge, the best on What a surprise it was, then, that Red opened with this big, expansive rock track, which sent dozens of Joshua Tree fans searching for their nearest pair of headphones.
Another surprise: that she never tried to sound like this again. Having proven she could nail it on her first try, Swift set out to find other giants to slay. Thompson gets a co-writing credit. Carly Rae Jepsen had a No. Freaking Gotye had a No. LMFAO had two. And yet Swift, arguably the biggest pop star in the country, had never had a No. And so she called up Swedish pop cyborg Max Martin, the man who makes hits as regularly as you and I forget our car keys.
Martin and Shellback bring their usual bells and whistles, but they leave enough empty space in the mix for the words to ring out. Swift gets this almost instinctively, and never more than on this early ballad about her freshman year of high school, which plays like a gentle memoir.
Feminism — and she knows how fantasies can sustain you when nothing else will. Virgins need love songs, too. There are few moments on Red better than the one where Swift jumps into her upper register to deliver the knockout blow in the bridge.
More than anything! I felt so bad for him at that moment. Swift would play both women in the video; she had enough self-awareness to know that most outcasts are not tall, willowy blonde girls. Account Profile. Sign Out. Tags: taylor swift rankings reputation music vulture lists vulture picks More.
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Hotel Room Service (Remix) Lyrics by Pitbull
In this business, there are two subjects that will boost your page views like nothing else: Game of Thrones and Taylor Swift. One of them is a massive, multi-million-dollar enterprise filled with violence and betrayal, and the other airs on HBO. And, outside the legions of fans who eat up everything she puts out, no take on her ever stays solid for long. She was a precocious teenager, and the ultimate embodiment of white privilege. And yet, unlike Madonna or Bowie, Swift got through the first 11 years of her career without any major reinventions.
In celebration of New York Magazine's 50th anniversary in , the editors have compiled a retrospective of its transformation from a weekly supplement to the New York Herald Tribune to a vibrant Read full review. More recently, New York has won forty-one National Magazine Awards since —more than any other magazine—and six General Excellence awards. Account Options Sign in. My library Help Advanced Book Search.
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When I was a little girl, my dad left me and my mum, and he never came back. And you're supposed to be gutted when that happens. But secretly I preferred it without him, cos it meant I had my mum completely to myself, without having to share her with anyone. And I sort of inherited all the affection she used to give to my dad - like he'd left it behind for me as a gift, to say sorry for deserting me. So says eleven year old Shruti of her broken home in suburban middle England. But hopes of her mother's affection are in vain: speaking little English, and fluent in only Hindi and Punjabi , Shruti's mother is lost, and soon falls prey to family pressure to remarry. To find another husband means returning to India and leaving Shruti behind. Meanwhile at school a new arrival, the indomitable Meena, dispenses with Shruti's bullying problems and transforms her day to day life. Desperate for companionship Shruti latches on to Meena to the point of obsession, following her through high school and on to university.
Hotel Room Service (remix) testo
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Pitbull - Hotel Room Service Lyrics
It was released to both iTunes and mainstream radio on June 16, The song references " Whatever You Like " by T. A version of the song titled "Super Clean Edit" was released to radio stations and features alternate lyrics in place of the 'egg whites' line. Amended: Yo' man just left, I'm the doctor tonight.
You're gonna take the hotel room tonight, Make some noise woo Meet me at the hotel room, Meet me at the hotel room Meet me at the hotel room, Meet me at the hotel room. Forget about your boyfriend And meet me at the hotel room You can bring your girlfriends And meet me at the hotel room Forget about your boyfriend And meet me at the hotel room You can bring your girlfriends And meet me at the hotel room. She like that freaky stuff, Two in the "O" and one in the eye That kinky stuff, you nasty, But I like your type. And like T. Now gimme that sweet, That nasty, that Gucci stuff.
Hotel Room Service
Pitbull - Hotel Room Service
Hotel Room Service
Hotel Room Service [Radio Edit; Edit]