Showing 39 posts tagged kesha

That’s it for me. Thank you everyone for indulging me for a week, or at least not unfollowing the blog. And thank you to Hendrik for letting me do this. It’s been tremendous fun. Merry Christmas and get sleazy.

So, sorry for blowing up your Dash on a Saturday like that, but I had to get it all out. You should all be partying anyway.

In lieu of writing a big long conclusion (which I WAS planning, and now I have nowhere to use “every morning, rising like a noble phoenix from the dumpster”) I’m going to leave you with these thoughts.

PoP Singer “Kesha” complete WHORE and Terrible roll model for little girls all across the world. Tramp, Slut, PIG!!!!

Ke$ha | 650 up, 296 down

See: crackwhore

Sometimes referred to as street trash.

Ke$ha is a crackwhore

Why are people so quick to call Ke$ha a talentless whore?

She actually has a beautiful voice and has some pretty nice songs. i.e. “kesha n friends sing dead flowers” is her singing live and its pretty nice. And she has beautiful songs like goodbye, let me go, lucky, do you wanna know, and others.

1 year ago Report Abuse

Kesha is a gay whore and deserves to be stabbed in the face repeatedly.

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$elena | 14 | I Love Ke$ha| My Dream is to meet @keshasuxx I hope that comes true | I will always be an Animal |#TeamAnimal K$ tweeted me on 2/15/12!

@keshasuxx im soooo sad right now, can you tweet me or follow me…that will make better :’(

I would love for her firs single to be called “Dance Till We Die”

I made up a song in my head, the verses a similar to Crazy Beautiful Life with that Oh-Ah-Oh thing, and then the first chorus is similar to cannibal chorus in the way that there is not much music in the background and it has the same melody as the first verse as her Suicide. I dunno, its hard to explain, it sounded good in my head

It’s unclear what makes Ke$ha a star, so I’m comfortable assuming it’s her eagerness to get on her back for everyone in the music industry, from record execs to the guys that sell bootleg t-shirts outside concert venues.


Is Mcjagger Ke$has dad??

answer this question

justinfoeva posted 2 years ago

Cameron10 said:

It’s possible. Her mother Pebe Sebert is a performer and used to tour w/ Mick Jagger and the Rolling Stones. Pebe does not know who Kesha’s father is, therefore leading to speculation that Mick Jagger could quite possibly be him. I’m not implying Pebe is a slut, but I have no doubt in my mind that she slept around w/ the band.

Reference: Kesha’s official myspace.

“I’m not saying @keshasuxx and i had sex or anything I’m just sayin I love that ‘fuck everybody else’ attitude. She dresseshow she wants she performs the way she wants, she does HER,” 

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Would you agree that Kesha is the most talented musician/artist we have today?

2 years ago

Best Answer - Chosen by Asker

Please see Dr.Phil.

Goddamnit, Ke$ha. I hate your music and your voice, and then you also make me hate myself because I get giddy when you look ugly in pictures, which is just a terrible way to feel about someone. And then I got confused because your somewhat recent song “Take It Off" — a partied-up reimagining of "There’s a Place in France Where the Naked Ladies Dance" — has actually started to grow on me, even though I do technically hate it. Or something! I guess I don’t. *Rests head in hands.*

Anyway, Ke$ha (thank you for reading The Hairpin, btw), last night a new, Bangladesh-produced single called “Sleazy” leaked off your upcoming Cannibal (out November 22). Oh, and it’s so bad. You rap in it, Ke$ha. Ke$ha! Your voice is horrible! You know what it sounds like? It sounds like a foreign person imitating an American with the intent to insult. Urr, hurr, durr. All clunky-mouthed and affected. Well, this new song is also terrible! Except the hook is actually pretty good! And I’ve listened to it several times now, just to figure out why I keep listening to it! Ke$ha! Why are you doing this to me!?

Don’t Think Twice It’s Alright (Bob Dylan)

A response I wrote to Marc Hogan regarding his piece for SPIN on Ke$ha’s cover of “Don’t Think Twice It’s Alright”, but did not send because I reread and realized how much of a fanboy it made me sound:

On yr nice SPIN piece: 1. Isn’t Ke$ha covering Dylan inherently offensive to polite rockist tastes? She understands her brand power and I don’t think a Dylan cover in full glitter mode would’ve revealed much more than the cover in its current state. 2. “I’m gonna do whatever the fuck I want” is central to the character, and condemning her to a career with no potential for artistic evolution or at least experimentation reconstructs her as the Owned rather than the Owner. Especially as her music’s image is built on the careers of such a wide range of influences. Every performer has the right to grow themselves up, and most long careers are spend doing just that, to varying degrees of critical applause – it’s only in pop music that we insist a young female singer stay 23 forever and that they reject their natural yearning to follow their art. I mean, she has no agency, right? We might as well make sure we keep her properly molded to keep on churning out the minimal goodness we need from her. Don’t think anyone would ever say that St. Vincent or Washed Out NEED to keep making music superficially like their first album because that’s what they’re good for. Anyway, she’s fucking openly crying in a song that’s a part of a compilation with 80+ other artists. Her very willingness to pull an emotional personal Nebraska for a project that is fundamentally collaborative, celebratory, and intended for a wide audience that is too old to know of her or too rockist to not revile her, is subversive.

A Brief Compendium of Unreleased Demos You May Want to Peruse

This is only a start. You can find yourself swimming through her demos for hours. Many of these are, at the very least, very catchy, showing off her predilection towards pure pop melody. And she knows her way around a double entendre or two.

Fuck Fake Hippies – Melodically, resembles “Dead Flowers.” Only track where the backup vocals sound like someone else. Lyrics = self-explanatory.

Singing the Stones’ “Dead Flowers” with a large room of people in a very posh looking apartment. Her voice is beautiful here.

Baby, It’s You – Straight up country. What might have been.

Invisible – A song she recorded for the movie “The Barbie Diaries” in 2005. It’s wonderful.

Mouth – Fan favorite, also a bit parallel universe.

She means her vagina. Lmao.

MarcussLine 7 months ago

Bootycall — Maddeningly catchy and entirely in character, surprised it wasn’t a bonus track.

Paris Hilton’s Closet – Class warfare pt. 0. A true story. Nearly everything she says in an interview about her life before stardom shows up in these demos. Also Mel Gibson.

Mr. Watson – Lovely, lovely bonus track on off Animal, similar to “Stephen” except she’s in love with her teacher. And she makes “khaki pants” a punchline.

Hallucination – I just really like this one, perfect teenpop.

Alice Cooper ft. Ke$ha - What Baby Wants

She also provided guest vocals for an Alice Cooper song. She plays the devil. She wrote her own words.

Choice quotes from the Guardian interview, in which they both play their part in the promotional cycle:

"A lot of people in the business look at the two types of music we make and wonder how they can go together," Cooper says. "But I’m like you, Ke$ha, when people tell me no, I immediately want to do it."

Ke$ha, when you first came along, did people miss the sense of play about what you do?

Ke$ha: They missed the tongue-in-cheek aspect. What I’m doing is art – it’s low-brow art but there’s a magic in that.

You’re both into ghoulish stuff. Is it to wind people up?

Ke$ha: No. A song like Cannibal where I like to dismember one of my dancers and pour his blood in my mouth and spit it at people – that came about because I really do devour men at a very rapid speed, and usually – by the time I’m done with them, I’ve literally sucked the blood out of their hearts.

Cooper: When Ke$ha and I sat down to write the lyrics to our song, the more disturbing ones were hers. The ones about, “I’ll bathe in your blood” and “I’m gonna chew through you” – all Ke$ha.

Is it weird, Ke$ha, to have gone so quickly from thinking about fame and success to actually living it?

Ke$ha: I’ve always lived as though I’m a fucking god. It never had to do with money, though. I grew up with no money, but I never went without anything, it just made me creative and crafty. I used to just steal shit, or sneak into places. I would drive around LA in a Mercedes that some dude gave me. When you have the mentality that you’re going to live a lavish lifestyle, [not having] money can’t stop you.

It was sort of a softball, but sure, here you go.

The Guardian:
Ke$ha, are you satirising teen America, their voraciousness and bloodlust when it comes to consumption and sex?

Absolutely! And you either get it or you don't.

The Veronicas - This Love

My response to learning that Ke$ha wrote this song was mostly a series of squeals because THE VERONICAS YOU GUYS, THIS SONG, OMG

I mentioned them before, but I’ll reiterate: The Veronicas, in addition to being perfect teenpop vocalists, worked with rock-based pop production in its most perfect form, and if K$’s next album is in any way similar it might just be fantastic. “This Love” was the followup to “Untouched”, their only top 20 hit Stateside, and one of my favorite pop songs of the decade. And it’s also great, in large part for both the lyrics and the relatively complex structure for a 4/4 song.

And Ke$ha’s version is on YouTube, because bless YouTube. Click through for almost a thousand comments arguing which version is better. 

Shots on the Hood of My Car [unreleased]

Here’s Ke$ha’s ACTUAL pop apocalypse song, which leaked before “Dance” and was similarly mistaken as a single. Even by us at the Jukebox. Even though it’s clearly demo-quality, we still gave it a high score and managed to write a million thoughts about it.

What I wrote: You aren’t pop in 2011 unless you chart with a low-self-esteem vaccination AND an apocalypse celebration, so it’s about time Ke$ha releases the latter as a single. And it’s not surprising to me that her entry into that canon is unlike the rest, with its solemn contemplation, or at least the admission that death still might be sort of sad, guys. It actually considers the apocalypse itself rather than using it as a pickup line or an excuse. So I’m enthusiastic about “Shots” on that symbolic level, because of course Ke$ha would do this instead of that and I just need her to keep on with her subtle destructions of pop’s microtrends. But the music doesn’t match the emotion at all, until, fittingly, the few bars of rap that sound vulnerable in their clarity and the vocal robo-breakdown in her voice — she sounds most human here. I’m alright with scrubbing away the friction that defines her bangers, but this deserves better production and some tightening up.

If you click the link, make sure to read Alex Ostroff’s review. Fuck, I’ll just post it, because it’s necessary:

Is a Ke$ha song that sparkles and glows so shiny and pretty still a Ke$ha song? Can it be any good? Cannibal so expertly distilled the sleaze, glitter and vomit that spattered Animal that it was easy to forget that there was more to Ke$ha than a gloriously trashy, dizzy dance commander. Nonetheless, the best clue to “Shots On The Hood Of My Car” and “Whither next, Ke$ha?” is the gently apocalyptic title track that closed out both her previous releases. After the party is over, but before she wakes up in your bathtub, front lawn or closet, Ke$ha looks out with wonder over what she has wrought — people letting their inside animals out just for tonight, dancing the last dance like it’s the end of time. (Remember, she penned Britney’s latest world-ender.) It’s her MO. If every night is the end of everything, drink until last call, until it feels like it; fuck like you mean it; party like it’s your last chance; and abandon your shame, because you won’t need it where you’re going. “Shots On The Hood Of My Car” is confusing at first, because we’ve heard this story from her a thousand times before, streaked with grime and detuned vocal processing. The Animal/Cannibal party was visceral, and the desperation and spirituality remained implicit until the DJ stopped blowing our speakers up. Here, Ke$ha looks back through the haze and spells it out for us, laying bare the ephemerality that drives her. We go down like shooting stars — bright and hot, but quickly gone. Most nights Ke$ha sees the sun rise, but parties through “the nighttime while the world’s still ours.” By the time she wakes up, the world isn’t hers anymore — not until the next evening. For now, she’s stuck in a world where shots on the hood of your car no longer code as living in the moment, but as irresponsible and immature. She’s told us all of this before; “Tik Tok” made it clear that the DJ built her up and broke her down. It’s the reason she needs to party hard, but also the only reason she can party as hard as she does. The party don’t start till she walks in, but her heart beats with the music. She pleads, “Don’t Stop!” because once the party’s over, Ke$ha is too.