Usher Dj Got Us Fallin In Love Again Mp3 Download

[Mariko Bloomgren]

ARISHAPIRO, HOST: Now to the Super Bowl, where a beloved singer will be taking center stage on Sunday.(SOUNDBITE OF SONG, "YEAH!")USHER: Peace up. A-Town down.SHAPIRO: Usher, the chart-topping singer/songwriter, will be this year's halftime performer. It's his first time on stage at the Super Bowl since a guest appearance in 2011. So how will he squeeze 30 years of music into just 13 minutes? NPR music editor Sheldon Pearce is here to talk about it. Hey there.SHELDON PEARCE, BYLINE: Hi, Ari.SHAPIRO: What's Usher been up to these days?PEARCE: Well, you know, Usher's stock is way up right now. It's sort of interesting. In the late 2010s, he was kind of just hanging around. He had a 2018 collaboration he released with the rap producer Zaytoven that felt pretty low-stakes and didn't quite land...(SOUNDBITE OF SONG, "STAY AT HOME")USHER: (Rapping) Till you been driving me crazy, till you been driving me crazy, who you been texting daily? Who you been texting daily?PEARCE: ...And in 2019, he returned to his swiveling chair on "The Voice."But post-pandemic, he has seen a bit of a resurgence. He had a viral moment right here at the Tiny Desk in 2022.(SOUNDBITE OF ARCHIVED NPR VIDEO)USHER: Watch this.(LAUGHTER)USHER: (Singing) Just when I thought I said all I can say, my chick on the side say she got one on the way. These are my confessions...PEARCE: And he's been doing this residency in Las Vegas that has been really, really successful, and he had another stint in Paris. He just dropped an album ahead of this Super Bowl performance, and it almost feels like it exists primarily to bolster that performance.SHAPIRO: What's the response to the new album been so far?PEARCE: I think it's been pretty positive.(SOUNDBITE OF SONG, "BOP")USHER: (Singing) Don't let this turn into a bop. Mi amor, ti adore - can't get you off my mind. I think about you all the time. Some days I lay in the dark and stay in the blind.PEARCE: It's kind of what you would expect from Usher - this supreme display of professionalism and polish. It explores a lot of the familiar Usher modes, but with great skill - sort of running the gamut as a R&B masterclass. And since much of modern R&B is about vibes and atmosphere, it can be refreshing to hear a seasoned artist be so, like, craft-focused. At the center is the club-adjacent pop R&B he has trafficked in throughout the late stages of his career and with songs like "Keep On Dancing," which feels both sort of retro and modern at the same time.(SOUNDBITE OF SONG, "KEEP ON DANCIN'")USHER: (Singing) When the music goes off and the DJ's going home, get back out on that floor and keep on dancing. Got to keep on dancing. Even if the music stops...PEARCE: Lyrics that speak directly to Usher's ethos of staying out on the dance floor as a metaphor for persevering through a turbulent romance - it all feels deeply connected to everything he's done up to this point.SHAPIRO: Every Super Bowl performance is a little bit different, contains some surprises. Any guesses of what we should expect from Usher's?PEARCE: Well, you know, I wouldn't be surprised to see Usher at least sort of test the waters for some of this new music, especially with a world tour coming up later this year. But I think his set will lean heavily on sort of the classics of his early discography. I wouldn't expect anything crazily groundbreaking - probably more in the realm of dramatic displays of virtuosity. He has a history of sort of connecting with the music of past entertainers. He's performed with James Brown, with Michael Jackson. At the 2020 Grammys, he did a tribute performance in the role of Prince.(SOUNDBITE OF 62ND GRAMMY AWARDS BROADCAST)USHER: (Singing) Don't have to be beautiful to turn me on.PEARCE: So I do expect whatever he does to connect his legacy work with that of Black pop music in general.SHAPIRO: Well, give us your predictions. What do you think is going to happen on Sunday?PEARCE: Well, you know, I can't imagine a world in which he doesn't do "Yeah!" So maybe he brings out Lil Jon and Ludacris with him.SHAPIRO: (Laughter).(SOUNDBITE OF SONG, "YEAH!")USHER: (Rapping) Yeah.LIL JON: (Rapping) Hey, hey, Luda (ph).USHER: (Rapping) Yeah.LUDACRIS: (Rapping) Watch out, my outfit's ridiculous. In the club looking so conspicuous...PEARCE: And maybe there's an Alicia Keys duet in the works.(SOUNDBITE OF SONG, "MY BOO")ALICIA KEYS: (Singing) I was there...ALICIA KEYS AND USHER: (Singing) And you were my baby.USHER: (Singing) It started when we were younger - you were mine.PEARCE: But I really do think it'll play strongly off the Las Vegas residency, which - those sets leaned into him being sort of this grown and sexy performer - you know, super fit, abs out, gyrating, some level of theatricality, maybe pyrotechnics, backup dancers and the like. But he has also said that he wants to connect with and honor artists in this performance, and the Vegas residency did see him bringing out R&B performers across eras - Keith Sweat, Teddy Riley, Robin Thicke, Faith Evans and Ashanti, even - so perhaps there is something in store that puts his music in conversation with the broader R&B legacy. I think, in either case, he plans to put the typical glitz and pageantry of Vegas on full display.SHAPIRO: NPR's Sheldon Pearce, thanks a lot.PEARCE: Thank you.(SOUNDBITE OF SONG, "DJ GOT US FALLIN' IN LOVE")USHER: (Singing) Cause baby, tonight, the DJ got us falling in love again - in love again. Yeah, baby, tonight, the DJ got us falling in love again - in love again. So dance, dance, like it's the last, last night of your life, life, gon' (ph) get you right.

Usher's "DJ Got Us Fallin' In Love" featuring Pitbull is a vibrant dance-pop track that captures the electrifying atmosphere of a night out. The song's lyrics describe the transformative power of music and the DJ's ability to reignite a sense of passion and excitement on the dance floor. The repeated chorus, "'Cause, baby, tonight, the DJ got us falling in love again," suggests a rejuvenation of spirits, as if the music has cast a spell that makes everyone feel alive and in love, even if just for the night.

The verses of the song paint a picture of a club scene where the week's fatigue is shed away, and people come back to life with the beat. The lyrics, "I feel like a zombie gone back to life," metaphorically express this revival. The song also touches on the theme of seizing the moment, with lines like "So dance, dance like it's the last, last night of your life," encouraging listeners to live in the present and enjoy life to the fullest.

Pitbull's rap verse adds a layer of playfulness and swagger to the track, with cultural references and clever wordplay. His lines, "My life is a movie and you just TiVo," and the playful "Yabba-dabba-doo, make her bed rock," showcase his signature style and contribute to the song's theme of carefree enjoyment and the pursuit of pleasure. Overall, the song is an anthem for letting go of inhibitions, embracing the moment, and allowing the music to guide one's emotions and actions on a night out.

This song is a horrific portrayal of the atrocities of war in a post-apocalyptic setting, and a critique of the abuses of power the Department of Justice is granted in America. It is quite a clever song, he is a master of the metaphor, which adds to its rich verbal depictions.

In the beginning, Usher is walking into the "club," which is a euphemism for a death camp. You can tell that there has already been a massive amount of murder that has taken place, so much in fact that the slightest movement causes the bodies he walks on to gently rock from side to side. He is thankful that another week has passed, even if he's not sure why, because he feels like a zombie only brought back to life by occasional moments of unspeakable terror.

Suddenly, a guard yells, "HANDS UP!" and every prisoner fearfully complies. Usher has no control over his body, they have taken even that from him. He seems to recognize the guard by his eyes, he is likely a former friend who is now on the other side. Suddenly, he is marched into the forced copulation room, where the Department of Justice (D.J.) has forced him to breed with a selected female. The guard taunts him, telling him to do the forbidden "dance" like it's the last night of his life, which he knows it well may be.

Usher briefly dreams of revenge as he is allowed his one drink of the day. He dreams of setting the camp on fire, even using the term "mother fucker" to describe it, a brilliant metaphor as the camp has never physically touched his mother. When the "music" (brilliant, again) of the surrounding stops, he is once more forced to put his hands up while the guard frisks him for any food or water he may be trying to feebly hold onto. Once again, he swears revenge to "get the guard right" while cursing the Department of Justice for making a mockery of love.

Pitbull then gives his account of what the death camps are like for Latin American citizens. You can see that because he is more familiar with these nation's histories of social and political turmoil, he pays little attention to the physical suffering around him, instead preferring to think of his now deceased wife, and how they used to fornicate while playing music loudly in his parent's basement, though he is sorry for her passing.

He tries to yell at Tyrone, the guard, screaming and "hollering" out in rage, telling him he could easily jump through these "foot hoops" that he is chained in. Instead, Tyrone informs him that the chains are intentionally left loose as a sign of false hope, telling him that the new world order is "global." Dispirited, Pitbull then recalls an earlier conversation he had with his wife in Spanish, when he joked about being her OBGYN.

In the end, the two simply remind the listeners of the abuses of power that may be allowed by the Department of Justice if nobody takes action to limit them. They will force people to constantly live every night like it is their last, cursing the D.J. that they will some day get what they deserve, and, with the final line of the song, sarcastically thanking them for all that they've done to these poor two men.

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