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Even with the way I dress, I’m slowly wearing more dress shirts and I never used to wear low-tops at all, and I’m starting to wear low-tops. Some things remain, but a lot of things get a facelift. Is that something you shed over time?Ī lot of things just go away with time, and you kind of change and rearrange things in your life. You used to have an umlaut in your last name, too.
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It was a time in my life, and it was cool while it lasted, but it’s not my thing. So you’re no longer singing your own name on songs? I didn’t give her the control, she insisted! She was like, “Please, please, please, please, let me do it!” And I was like, “Nah! I’m done with that!” She said, “But it’s me singing it, not you!” I was like, “All right, cool, but I’ve got to sing your name.” She said, “Good, of course!” Was it nerve-wracking to give her control? You’re known for singing your own name on your songs, but on “Painkiller,” your duet with Meghan Trainor, she sings it. If we trade hearts, we could really understand how each other felt. And, maybe if we could trade hearts I could understand why you lie to me or why you’re crying, or maybe you’d understand why I’m silent and why I can’t stand to be around you. Sometimes, men don’t understand women, and vice versa. A lot of the songs are about newfound lust or love or the possibility of finding something new-there’s a song called “Trade Hearts” that’s about, Maybe if we were able to trade hearts, maybe this would have worked. Through my experiences, people can find themselves and are able to relate and enjoy the music for different situations in their life. It’s always been that way, that’s how I write songs, and it’s always been this way. It’s not that I want to necessarily do it, it’s that I have to. Yeah…ĭo you worry that opens your personal life up to scrutiny, given that some exes might be well-known? Every single song on this album is real talk. Do you write songs with specific individuals in mind?Įvery single one. You have a song on your album, “X2CU,” about an ex-girlfriend. I didn’t want to call it 4, because that didn’t tell enough of what the meaning was to me. This is that time in my life, it’s a new beginning, the sense of completion of one chapter and the beginning of another. The number four is a sense of completion, almost. In music, four is the number that every measure is-four by four, four beats to every measure. I could go down the list, it being so relevant in music. Why does it keep coming up in album titles?
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To answer the song’s plea for a sensual partnership, there’s no absolutely question about whether his girlfriend really wants him or not-or what “wanting” looks like in action.Beyoncé and One Direction both have albums named 4 or Four. The temperature in the room at this point? Let’s just say its hotter as they thrust and grope and paw each other. (His midsection is strategically covered.) His girl, clad in skimpy lingerie, is going through similarly sexual motions on her own. As it opens, we see Derulo’s bare torso as he writhes and churns and caresses himself in bed. Leaving even less to the imagination is the song’s video. The chorus: “Girl, you’re the one I want to want me/And if you want me, girl, you got me/There’s nothin’ I, no, I wouldn’t do, wouldn’t do/To get up next to you.”Īnd then the second verse: “You open the door/Wearing nothing but a smile fell to the floor/And you whisper in my ear, ‘Baby, I’m yours’/Ooh, just the thought of you gets me high, so high.” That simmering ambient air temperature apparently amplifies Derulo’s internal heat, which is near the boiling point: “I got one foot out the door/ … I’m in the back of the cab/ … Get me there fast/ … I got your body on my mind/I want it bad.” It begins with Derulo sleepless (and clothes-less) in bed: “It’s too hard to sleep/I got the sheets on the floor/Nothing on me/And I can’t take it no more/It’s a hundred degrees.” But does that earworm appeal really have to serve up another heaping helping of his lust? Not only is Derulo’s falsetto (which he uses throughout the song) eerily reminiscent of Michael Jackson’s, the synthesized chord progression in his chorus is practically a sample from Whitney Houston’s 1987 smash “Wanna Dance With Somebody.” Then there are the lyrics, the titular lines of which echo Cheap Trick’s “I Want You to Want Me.” (OK, that song’s live version charted in 1979, but it’s close enough.)ĭerulo’s “Want to Want Me” mixes ‘n’ mingles all those throwback elements in an admittedly catchy next-gen pop song. My second time through, I figured out exactly why. On my first listen to Jason Derulo’s lead single from his fourth album, I thought, Man, this sounds like the ’80s.