Driven

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About Driven

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    11:30

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  1. here

    If, your album is great. But when you open your mouth to sing live and you sound like crap. No f**king thanks....

    1. AGNTEA

      Thought about that recently. But I think there is a right for albums to exist even though the singer might not be the best

  2. here

    Trade in singing for modeling, hmm it could work out. tay1 *Sell my soul, let my handle do all the work. lol*

  3. Why, isn't this guy in mental health place or taking pills.
  4. 77. Aaliyah Aaliyah (Blackground/Virgin America 2001) For her third and final act, Aaliyah made her strongest and most important offering. Her very tragic and untimely death shortly after the release of this self-titled album made it difficult and haunting for most people to listen to. But Aaliyah is a revelation that projects an effortlessly cool aesthetic coupled with the actual vulnerability that comes with being cool. The compositions on the forward-thinking album, most by Stephen Garrett (Static Major), were complex and futuristic, much more so than any other R&B records released at the time, and the way Aaliyah perfectly embodied Garrett's songwriting is astounding. You'd never think that she didn't write these songs herself. On this album, Aaliyah continued the legacy of soprano singers like Minnie Riperton and Mariah Carey, and simultaneously set the stage for artists like Kelela and Solange to emerge. In the process, Aaliyah became a catalyst and bridge that created a smooth transition from '90s style R&B into Modern PBR&B.
  5. 89. Shania Twain Come On Over (Mercury Records, 1997) Whether you love or hate today's mainstream country, you gotta give it up to Shania Twain for inventing its urbane sensibility and much of its forward-thinking sound. Her blend of country and pop, including big rock drums and dance-music synthesizers, revolutionized the genre — but only because her songs and delivery made those innovations feel right to country listeners. Instead of a nostalgically wistful cowboy in a turquoise belt buckle and ten-gallon hat, here was a modern woman in leopard skin prints and pumps she kicked off after a hard day conquering the workplace (which, in Twain's case, was the recording studio — she deserves credit as a true collaborator there with her then-husband, producer Robert "Mutt" Lange). Twain provided the worldview that made her and Lange's sonic innovations work in a tradition-minded genre. Her songs about equality in marriage (her "9 to 5" update "Honey, I'm Home"), femininity that was never passive ("Men's shirts, short skirts, oh, really go wild," she sang in "Man! I Feel Like a Woman!," perfecting the Southern gal-on-a-bender trope that persists throughout country to this day), and mutually satisfying sex ("If You Wanna Touch Her, Ask!" she sang, lending her trademark positivity to the feminist idea of consent). With Come on Over, Twain's third album, she and Lange got her balance of home truths and forward thinking totally right — and shipped 40 million copies worldwide, making this the best-selling country album of all time.
  6. Melodrama, i love it on my first listen.
  7. French kiss Brooke Candy
  8. Celeb News

    Already been known.
  9. It's her darkest and soulful era.
  10. This is nothing new with him, it's a thing with him.
  11. here

    Touch my body
    Put me on the_____
    Wrestle me around
    Play with me some more

     

    *Time to be dirrty*

    @Sylk @Taylor