Review: Miley Cyrus' 'We Can’t Stop' Is A (Ratchet) Trojan Horse

Mollies are a bit easier to swallow when Miley's singing about them

Within the well-calculated pop world, it’s the go-to move to achieve that all-important street cred. First, you recruit the hottest ‘hood-praised producer in the game, log some studio time, and record a track that cleverly blurs the line between PG-rated summer anthem and a turn-that-shit-up! banger. Miley Cyrus’ “We Can’t Stop,” produced by former Trap Music king turned populist conductor Mike WiLL Made It, doesn’t quite hit that sweet spot (Future’s “Turn Out the Lights” remains the hit-man’s perfect musical storm). But it does something else: It thoroughly completes Miley’s bad-girl-next-door evolution.

“If you not ready to go home, can I get a hell no?” the artist formerly known as Hanna Montana queries the party people. Yes, lyrically this is a far cry from those Disney Channel days with some of the talk of liquor-filled red cups, big butts and strippers, dancing with Molly and witnessing club goers do lines in the bathroom. But this is Trojan horse stuff… a melody that is cut from the same non-threatening cloth as Miley’s 2009 hit “Party In The U.S.A.,” but laced with the fuck-yeah attitude of Rihanna. There’s even a chorus that shouts out the 1985 rap standard “La Di Da Di” (in a karmatic world, Doug E. Fresh and Slick Rick are cashing some serious publishing checks). Indeed, the real achievement of “We Can’t Stop” is that this genre-crossing experiment is actually fun—in that check-your-music-snobbery-at-the-door kind of way. —Keith Murphy (@murphdogg29)

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Cardi B Explains Why She Wants To Trademark “Okurrr”

Cardi B hopes to secure as many “bags” as possible. In response to backlash and burning questions surrounding her decision to file to trademark “okurrr,” the 26-year-old rapper took to social media Friday (March 22) to defend her latest money move.

Since people tend to ask Bardi to use what has become her signature catch phrase, she figured that it was time to cash in. “You think I ain’t gonna’ profit off this sh*t? B*tch white folks do it all the motherf**king time,” she said. “So you gon’ be mad at me ‘cuz I want to get some motherf**king money?

“While I’m still hear I’ma secure all the fucking bags,” Cardi continued before adding that there are a “lot of ways to get rich” in 2019.

The Bronx native caught heat for wanting to trademark the word because she wasn’t the first to say “okurrr.” Cardi already revealed that she started using it after she heard Khloe Kardashian saying it, but the word was originally popularized in drag culture -- most notably by Rupaul’s Drage Race contestant Laganja Estranja, in 2014.

However, Rupaul attributed the word to Broadway actress, Laura Bell Bundy, who used it in YouTube skits dating back to 2010. In the skits, Bundy pretends to be a hairdresser named “Shocantelle Brown.”

Although Bundy caught criticism for her little character, which was deemed racist, she typically gets credit for bringing “okrrr” (different spelling) to the internet a full decade before Cardi made it mainstream.

No matter the origin, it looks like Cardi will be the only one profiting off of “okurrr.”

 

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#CardiB on why she decided to trademark “Okurr”

A post shared by the Jasmine BRAND (@thejasminebrand_) on Mar 22, 2019 at 5:32pm PDT

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Kanye West, EMI Working Towards Private Settlement

Kanye West and EMI could be close to settling their legal drama. Each party filed documents requesting a stay of the case to “explore the potential for a resolution,” The Blast reports.

West sued EMI in an effort to “gain freedom” from his contract, and to own his publishing. In the lawsuit, ‘Ye argued that his contract ended in 2010 under California law, which bars entertainers from being tethered to an agreement for more than seven years. The multi-Grammy winner, who signed the deal back in 2003, also accused the company of slavery because the contract doesn’t allow him to retire.

“Even if the contract were not lopsided in EMI’s favor (it is), even if its terms valued Mr. West’s artistic contributions in line with the spectacular success he has achieved for EMI (they do not), and even if EMI had not underpaid Mr. West what it owes him (EMI has), he would be entitled to be set free from its bonds,” the lawsuit reads.

EMI hit back with a countersuit filed in New York, instead of California. The suit pointed out that the 41-year-old rapper signed multiple contract extensions, in addition to accepting millions in advances.

According to The Blast, West and EMI now feel that putting a hold on the legal proceedings will be beneficial to both sides “and the Court by enabling the parties to engage in meaningful discussions in an attempt to resolve this action without having to incur the burden and expense of litigation and motion practice.”

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Megan Thee Stallion Mourns Loss Of Her Mother

According to a recent post on Megan Thee Stallion's Instagram account, her mother, Holly Thomas, has passed away.

The rapper revealed the news of her mother's death in an Instagram post on Friday (March 22), publishing a photo of herself with "the strongest woman on the planet."

"The best mom in the whole world," she wrote. "...I can't even put complete sentences together rn RIP mama."

The best mom in the whole world. The strongest woman on the planet. I can’t even put complete sentences together rn RIP mama

A post shared by Hot Girl Meg (@theestallion) on Mar 22, 2019 at 10:49am PDT

Just like the Tina Snow artist, Thomas was a rapper who went by the name of Holly-Wood. With no doubt that her lyrical abilities rubbed off on her daughter, Thomas refused to let the "Tina Montana" emcee rap professionally until she turned 21. Beyond their bond, Megan Thee Stallion's mother doubled as her first assistant and manager.

In VIBE's NEXT feature, the 24-year-old artist revisited the moments her mother listened to her music. “Sometimes when we’re in the studio, I get her so hyped that she’s like, ‘Megan, I’m about to get in the booth and come out with another mixtape,’” she said.

There are currently no reports stating the cause of death.

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