Why can't these pop hacks just STFU??

Janelle Monáe Calls on Women to Withhold Sex Until Men ‘“ Start Respecting the Vagina’

article.wn.com/view/2017/04/10/Janelle_Monae_Suggests_Women_Withhold_Sex_People_Have_to_Sta/

Just because you're a puppet on a string that performs for our entertainment, doesn't mean your opinion is worth anything. Stick to the day job.

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janelle is lesbo

>guy on internet upset that a woman who doesn't even know he exists wouldn't wanna sleep with him

every le anti feminist warrior in a nutshell

OP can't get any poon either way, that's why he's so salty.

>STOP INVADING MY SAFE SPACE

Man I miss her oldest R&B songs. This is nice but I'd love her to continue the Archandroid series

so when is she going to release her third album

Honestly going from Archandroid and Electric Lady to this is worse than Bowie's decline through the '80s.

gotta make $$$$$$$$$

it was just for a collab release by the entire record label

So y'all all gonna come at OP bitching, and not talk about how dumb Monae's statement is.
>"Listen girls everywhere, stop having sex."

>"Listen girls everywhere, stop having sex."
what girl is going to do this? idiot

Ask me how I know you plebs haven't read your Greeks baka

Unfortunately, bestiality is illegal in this country

no one wants to have sex with you op. that's the problem. girls also like having sex. just not with you.

The ArchAndroid (Bad Boy, 2010), a concept album that marked a quantum leap forward in musical ambition. Painstakingly organized and arranged, it displayed an even more eclectic musical intelligence, the natural heir to Lauryn Hill's project. To prove her point, Moane opens the album with the ominous symphonic music of Suite II Overture, only to follow it with the Brazilian and African overtones of Dance Or Die a frenzied rap that battles a celestial melody sung by a female choir while horns, strings, syncopated beats and digital sound effects sculpt a friendly, earthly soundscape. This segues seamlessly into the devilish guitar-driven dance of Faster whose thumping rhythm harks back to the age of jump blues and charleston. Locked Inside lowers the speed for a breezy melody taken straight out of easy-listening pop of the 1960s and a rhythm that owes something to Michael Jackson's Rock With You. Past the naive tip-toed ballad Sir Greendown that belongs to the age of the early teenage idols, and the temporary impersonation of a disco diva of the 1970s in Cold War, she travels to the age of James Brown for Tightrope, featuring Outkast's Bad Boi, en engrossing affair for funky guitar, choir and orchestra. The amount of musical history that she can cover within the space of a few songs is both entertaining and intimidating. Minutes later she's back to the early 1960s for Oh Maker in her best imitation of Dusty Springfield and Sandie Shaw. Next she's competing with the visceral rhythm'n'blues shouters of the 1950s in the frenzied Come Alive, except that tiny details such as vocal effects and chiming bells lend the song a disturbing psychological power. The sensual distorted melody and the rhythmic crescendo of Mushrooms & Roses sounds like a tribute to Purple Rain-era Prince.

This meme was never funny

Suite 3, a shorter six-song cycle, opens with another symphonic overture that segues into the languid Neon Valley Street (possibly the album's only misstep). The post-disco burner Make The Bus, a creation of Of Montreal's Kevin Barnes that exudes a bit of Pet Shop Boys-ian grandeur, is paired with the exotic ballet Wondaland, sung in a shrill voice, that harks back to Kate Bush and to synth-pop of the 1980s. Just when she seems to have exhausted all existing as well as non-existing genres, she intones the medieval-tinged hymn of 57821, one of the most poignant moments in the recording history of her generation. After a less successful tribute to Stevie Wonder's brainy soul music (Say You'll Go), she ends the album with the eight-minute BabopbyeYa in the manner of a late-night torch singer except that she's backed by a blaring symphony orchestra and that the music rapidly decays into a Brazilian samba, loose cacophony, a spoken-word recitation against a solemn female choir, and jazzy chamber music. The album is a breathless, dizzy run through the annals of pop, rock and soul (credit also producers Charles "Chuck Lightning" Joseph II and Nathaniel "Nate 'Rocket' Wonder'" Irvin III). That it remains cohesive despite all the jumps back and forth in time is a miracle. It feels like a stylistic tsunami, but one that builds instead of devastating.

>8/10

>lesbian telling straight women what to do with their sexuality.

She's a fucking retard.

>Implying we even talk to women
>Implying traps aren't better

it's a publicity stunt to get the yaaas girllll crowd to fawn over her instead of slayonce calling it now

You're really bright. I'm not talking about all women, just this chimp.