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In June 2013, the film was retitled from Happy Smekday! to Home.
#Guy dancing to rihanna work movie
In September 2012, 20th Century Fox and DreamWorks Animation announced that the movie will be released for November 26, 2014.
![guy dancing to rihanna work guy dancing to rihanna work](https://i.ytimg.com/vi/NdGQpxDIaLA/maxresdefault.jpg)
Rihanna put in her three and a half minutes of work now pay her what you owe her.In June 2012, it was revealed that Rihanna would star as the lead role in the film Happy Smekday!, alongside American actor Jim Parsons. At the end, the song makes the unfashionable move of simply fading out. Unlike a lot of radio pop, “Work” is about small modulations, a singer and a producer and a rapper plugging along as we all must do. Boi-1da does create some sense of escalation-another drum beat for the second chorus, flashes of flutes, autotuned harmonies, and far-off piano.
![guy dancing to rihanna work guy dancing to rihanna work](https://i.ytimg.com/vi/OkxkVz8jwQs/maxresdefault.jpg)
The verses, choruses, and bridge mostly bleed into each other, forgoing soft-to-loud explosions or exciting rhythmic changes. The song’s undeniably catchy, but it also has a strangely unfinished quality. Drake being as popular as he is right now will be yet another incentive for radio playlist makers to keep this song in rotation, possibly giving it the activating energy needed to become a hit.Īnd to be sure, it will need a good deal of exposure to reach the success levels of Rihanna’s previous smashes. “If you had a twin I would still choose you” is the only real attempt at a memorable line. Rihanna has found her next great nonsense syllable, another “ooh na na” or “ella ella eh.”Īs for Drake’s verse, it strikes me as pretty terrible-the disappointed lounge singer schtick from “Hotline Bling,” but without the silken melody or sense of surprise. I’ve seen a lot of commenters say she’s copying the mumbling trend that’s taken hold among younger pop vocalists like Ariana Grande, but the truth is that Rihanna helped popularize the notion of liquifying words in the name of catchiness. “Work” becomes “dirt” becomes “love” becomes “turn,” but the modulations don’t matter-Rihanna has found her next great nonsense syllable, another “ooh na na” or “ella ella eh.” Her singing in the verses, where she dresses down some guy who isn’t meeting her expectations, is actually rather pretty. After a few quick notes in yet another up-and-back pattern, she gets stuck, like a needle in a groove, for “work work work work work.” There’s no stopping this getting in your head. Rihanna’s hook conjures a different kind of monotony. It all adds up to the feeling of a lot of bustling in one spot-activity, but not necessarily movement. When Rihanna’s voice comes in, so do some signifiers of ’80s and ’90s dance and rap: digital handclaps, distorted shouting.
![guy dancing to rihanna work guy dancing to rihanna work](https://upload.wikimedia.org/wikipedia/commons/c/c2/Rihanna_Fenty_2018.png)
The percussion is subtle, rendered with a skittering sound that recalls the shaking of a kettle. Electronic notes on the low end burble out a more asymmetrical pattern recalling reggae, but they too have the general shape of ascending and descending. A keyboard ping anchors the downbeat and then climbs up, up, down, down, returning to its starting point. The producer Boi-1da’s bright, bubbly beat creates a see-sawing sensation out of a few sounds. But there’s something fascinating about the tune, something that elevates it beyond ringtone status. You might call the way it goes about attaining this goal brazen for anyone else but Rihanna: Tempting accusations of boringness, hackiness, and crimes against art, the song offers a hook that practically parodies pop’s love of repetition-and then repeats it, a lot. It is also, of course, designed to get her that paycheck. Days ago, Rihanna took a picture of herself listening to the new album in $9,000 Versailles-inspired headphones.Īnd now, there’s her hugely anticipated single titled “Work.” It’s about working for a paycheck no matter what else is going on in your life. There was the Samsung tie-in, as unapologetic a corporate partnership as a major working musician has ever attempted. There was “Four Five Seconds,” about the necessity for leisure to be undertaken only in the capitalistically proscribed zone between Friday afternoon and Monday morning. There was “American Oxygen,” about material ambition. There was “Bitch Better Have My Money,” about debt repayment. The long and confusing hype cycle for her new album, Anti, has taken this cash craze to new levels.