(note: This is one of the first instances in which Brooke re-appropriates words formerly used as a means of degradation and turns them into a proud identity. “Faggots,” a pejorative term for gays, is now a reason to fly one’s own freak flag. Brooke is unapologetic, fearless, and talking about the future of the world as a place where people aren’t afraid to be themselves and get what they want)
Lyric explanations @ RAPGENIUS
Intro:
Uh yo yo what up it’s Brooke Candy
Mother fucking freaky princess
Brooke rap style is the queen of Italy
Amount of candy, the price is right
Double D’s, these are real titties
Lady T-H-C, Betty Blow
Hoodrat Drew Barrymore
I’m repin’ fags, mo all day
Mother fucking faggots taking over the industry
Mother fucking faggots running the world
Verse 1:
I’m a super bitch, I fuck it up, I do this shit
You say that I’m a slut
It ain’t your business who I’m fucking with
A dude could fuck 3 bitches and they’d say that he’s the man
But I get it in with twins, she’s a whore
That’s what they saying
It’s time to take the back “Slut” is now a compliment
A sexy-ass female who running shit and confident
Lady who on top of it, a female with a sex drive
Lyrically don’t fuck with me, the greatest in the world
Live living on my pussy, all my ladies let me hear you
I’m a CEO, Dream girl, Drug Dealer
Real just like my titties you can even cop a feel-a
Finger licking good, treat my pussy like a meal-a
Talk about my tit size I need to see your dick size
Show me what you’re working with I better win a big prize
Next time they call you a slut
Brooke Candy tell you not to give a fuck
[Hook]
All the dudes wiggle your dicks for Brooke Candy
All the hoes jiggle your tits for Brooke Candy
If you gotta blunt, bitch don’t let it pass me
Looking for the realest bitch? tell the world
DAS ME
Tell ‘em thats me,, tell ‘em tell ‘em Das me
Tell ‘em thats me,, tell ‘em tell ‘em Das me
Looking for the realest bitch? tell the world
Das me
Tell ‘em thats me,, tell ‘em tell ‘em Das me
Eh I’m coming back in
[Verse 2]
I could kill a bitch man, I’m so fucking crazy
Gotta gun, to your dome, foaming mouth rabies
Baby that’s some real shit, I’m a Mob Boss
Take a knife to your dick, I’m a cut your fucking loss
Don’t say a word, put the money in the bag
I’m a tie you up bitch, yeah I like it when you gag
Don’t try nothing funny, bitch I came for the money
I’m a rascally rabbit, rap game Bugs Bunny
Trust no ho bitches out to get ya
Staring at me so hard you need to take a picture
It’ll last longer you’re so fucking late
It’s easy for you talking shit from that far away
I’m on top of the world I’m on top of the game
They don’t show me respect they best remember the name
Brooke Candy, the haters love to doubt me
Candy is my name but there’s nothing sweet about me
[Hook]
[Bridge]
Fag Mob killing shit/Brooke candy realest shit
Tight two/white hot/feel this shit/feel this shit
Gotta blunt/roll it up/Liquor store/hold it up
Uzi in my hand bitch/blow it up/blow it up
Fontella Bass (July 3, 1940 – December 26, 2012) was an American soul singer, best known for the 1965 R&B hit “Rescue Me”, which she also co-wrote.
FONTELLA BASS “RESCUE ME” – A few years ago a portable jukebox was discovered which belonged to John Lennon in the 1960s. The jukebox conntained a tracklist of 40 records – soul, R&B and Rock ‘n’ Roll – written in Lennon’s own handwriting. These are the songs which shaped his musical education and they reveal many of the original sources of inspiration for his later songwriting.
Rose Murphy may well be an acquired taste, and indeed her performances here border, at times, on the bizarre. My father, however, “on the scene” throughout the 1940s, had this to say: “There was nobody in L.A. would could touch Tatum or Nat Cole, but there were three ladies that we listened to a lot, Julia Lee, Nellie Lutcher and Rose Murphy. Murphy was into strange novelty vocals, but when she was in the mood, boy, could she play!” These two films are part of a longer set, made by Standard Pictures Corporation in early 1944. At this time that Murphy was playing at the Valley Lodge in North Hollywood. These films were apparently not intended for jukebox use, but were to be made available through film libraries to “road showmen” who could rent or purchase various music items to accompany the other films on their programs.- via
If you never heard Rose Murphy, you would be completely mystified when Ella Fitzgerald, at mid-fifties concerts like her famous 1958 birthday set Ella In Rome, takes a very strange detour in the middle of I Can’t Give You Anything But Love. After the opening chorus, the First Lady of Song makes mysterious noises, chirping like a butterfly would, if it could sing, twitting about on the nonsense phrase chee chee.
If Fitzgerald fans were puzzled by this in 1958, their kids were fully flabbergasted when, in 1962, they heard Frankie Valli and the Four Seasons sing the same song. Here too, Valli intones the Jimmy McHugh melody in a voice even more stratospherically high – and sexually ambiguous – than usual, and here too he dwells on that mysterious phrase: chee chee.
Even while Valli is chee-chee-ing in the foreground, the other singers, presumably the other three “Seasons,” repeat the phrase over and over, as if it were some kind of spiritual mantra or magical incantation. Like Fitzgerald, Valli here produces high-pitched, non-verbal noises that apparently originated in the animal kingdom, sounds more like humming birds and purring kittens than pop singers doing the songbook or the blues.
Fitzgerald and Valli are both, of course, affectionately imitating that famous femme follower of Fats, Rose Murphy, who was once billed as The Chee Chee Girl, and recorded an album called Not Cha Cha But Chi Chi Ok, it’s spelled slightly differently, but I think Murphy was chee chee long before it was chi-chi. via
Rose Murphy (born April 28, 1913 in Xenia, Ohio, USA–died November 16, 1989 in New York City, USA.) was a pianist and vocalist most famous for the song ‘Busy Line’.
Described by Allmusic’s Scott Yanow as having “a unique place in music history”, Rose was known as “the chee chee girl” thanks to her habit of regularly singing the phrase “chee chee” in many of her numbers. She was also known as ‘The Girl with the Pale Pink Voice’ She began her musical career in the late 1930s, playing intermission piano for such performers as Count Basie, and achieved strong popularity in both the US and UK in the late 1940s. Despite being a very talented pianist, she is best known for her high pitched singing style, which incorporated a range of jazz style ad lib scat, giggling, and percussive sound effects.‘Busy Line’, one of her most well known songs, made use of perhaps her most famous vocal sound effect: the ‘brrp, brrrp’ of a telephone ring. A version of the song was later used in 1990 by BT (British Telecom) in one of their television adverts. The advert was such a success that RCA reissued Rose’s original recording of the song.
Her recording of “Pennies From Heaven” was used on the soundtrack of the otherwise-silent award-winning 2011 film The Artist.
From the fifties to the eighties, Rose continued to play at “many of the top clubs of New York, like the Cookery, Michael’s Pub, Upstairs At the Downstairs, and was “usually accompanied by bassist Slam Stewart or Morris Edwards.”These were interspersed with engagements in London and tours of the Continent. During a two week engagement at Hollywood Roosevelts Cinegrill in June 1989, she became ill and returned to New York City.
She was 76 when she died, and, though married 4 times, left no direct descendants.