Why Big Sean's Song "MILF" Isn't Funny

Pictured: Big Sean and a Mom he'd like to have intercourse with.
Big Sean casually throws a skit in the middle of his sophomore album, Hall of Fame. It's called "Freaky" and borrows a portion of "The Sensuous Black Woman Meets the Sensuous Black Man"--an 18 minute audio Kama Sutra of sorts. Following the skit, Big Sean gives us a track called "MILF." We all know what the acronym stands for. And intuition can at least paint a silhouette of a sexy independent woman.

However, according to "MILF," Big Sean's not really into that. His preference leans towards toothless crackhead mothers on welfare. But that's cool. Because the song's just a joke, right? Yes. It is. That's what makes it all the more troubling.

See also: Live: Big Sean Cuts Through The Clutter At The Best Buy Theater

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Win Tickets to Big Sean's Super Duper Extra Secret Album Release Show

Categories: Big Sean

Big Sean Hall of Fame
Kendrick "Best Verse" enabler and undisputed champion of the ass pun Big Sean is dropping an album next week, Hall of Fame. Along with it, naturally, a super secret album release concert/party is scheduled to take place the night of the 27th. Very secret. Like, we could get in trouble just telling you about it secret. We're talkin' secret password secret on some Illuminati Skull and Bones type shit. In fact, we can't even tell you the venue yet. But we've got tickets. Want them?

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New On The Hot 100 This Week: Taylor Swift's "Ronan," PSY's "Gangnam Style," And More

This week's Hot 100 debuts include big names and the viral video of the year—and, surprisingly, a nearly year-old track by Beyoncé. "Dance For You" was released on the deluxe version of 4 a little less than year ago and has been on the Hot R&B Songs chart since April; for a good but nowhere near great record, it's showed remarkable staying power.

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The Top 3.9 Hip-Hop Songs Of The Week

The philosopher Jiminy Cricket once famously said, "Just look at the morning paper. Turn to any page. You'll find the whole world worryin' about some future age. But why get so excited? What's gonna be is gonna be. The end of the world's been comin' since 1903. That's, uh, B.C., of course." Dr. Cricket, Esq.'s argument was simple: every generation thinks the next signals Armageddon. But hip-hop's gradual deterioration has been overstated; rappers who are barely able to drink, like Black Hippy and Joey Bada$$, are putting out incredible music. Which isn't to slight the elder statesmen who are holding it down—like Jay-Z, who lends some bars to a track from Kanye West's G.O.O.D. Music compilation.

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Chris Brown Dedicates Video To MCA, Misses The Point (Yet Again)

Today the perpetually troubled R&B brat Chris Brown released the video for "Till I Die," a collaboration with Wiz Khalifa and Big Sean that waxes semi-poetic about the joys of getting fucked up and eating shrimp-laden pasta. (Is that a sex metaphor? Please say no.) The song itself sounds like a reverse-engineered version of the Karmin cover of Brown's hit "Look At Me Now," only with lyrics to prove that he's still a badass, y'all; the video has a lengthy section that brings to mind the Go-Gos' iconic clip for "Our Lips Are Sealed," only with some Disney-flick-like CGI that dances around the three principals' heads in an effort to represent just how fucked up the substances of which they sing have made them. There is also a dedication to Adam "MCA" Yauch, the recently deceased Beastie Boy slash activist slash all around great guy. Which is a nice gesture! Except when you look at it in the context of not just this video, but Brown's very recent behavior.

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Radio Hits One: Beyoncé, Nicki Minaj, Rihanna, And Other Urban Radio Staples Turn To Clappers

beyonce_countdown_smiling copy.jpg
Why is this woman smiling? Because you're clapping along with her song.
Lately, when I turn on a hip-hop station, I feel like I'm being applauded, and I don't always feel like returning the favor. I'm not referring just to the default use of handclaps (sampled or, more likely, emulated by drum machines) as snare drums in beats, which has been a common practice and has been prevalent since Lil Jon's reign in the mid-2000s. I'm referring to the fast and steady eighth note clap-clap-clap-clap pattern running through several current hits on Billboard's R&B/Hip-Hop Songs chart, including Big Sean's remix of "Dance (A$$)" featuring Nicki Minaj, which recently peaked at No. 3, and Rihanna's controversial Chris Brown-assisted remix of "Birthday Cake," which rocketed to No. 4 last week after only five weeks on the chart. I like to call these songs "clappers" in homage to both the sound-activated light switch and to the '60s Northern Soul scene, in which British fans of American R&B gravitated toward heavily rhythmic "stompers" that had a snare drum hit on every quarter note (think "I Can't Help Myself" by The Four Tops).

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Radio Hits One: "Baby Got Back" And 20 Years Of Ass-Themed Hits

20 years ago, the Seattle-based rapper Sir Mix-a-Lot was doing pretty well as a mid-level star of the burgeoning west coast hip-hop scene, coming off of two successful albums and a series of rap radio staples like "Posse On Broadway" and "My Hoopty." In February 1992 he'd just released his third album, Mack Daddy, and its moderately popular lead single, "One Time's Got No Case," when he made a decision that would change his life—and, dare I say, the world: He released the track "Baby Got Back" as a single, and spent most of the attendant video standing astride a gigantic prop ass. Within a few months, the song had topped the Hot 100. (No other Mix-a-Lot single before or since has reached higher than No. 70.) That put "Baby Got Back" in the anal annals of history as the most famous butt-themed hit song of all time, though it's had ample competition in the two decades since.

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Live: Big Sean Cuts Through The Clutter At The Best Buy Theater


Big Sean
Best Buy Theater
Monday, September 19

Better than: Playing video games alone in your mom's basement.

Earlier this summer, the Detroit rapper Big Sean played show at Irving Plaza that could have been described with the word "pandemonium. Know that last night's Big Sean concert—a launch party for Gears Of War 3 attended by backpack-toting fanboys, a paltry smattering of ladies and Xbox suits—could not have been further from that experience. I easily breezed to the front of the venue and enjoyed what felt like an intimate living-room performance by the pretty boy ambassador of snapbacks and hashtag rhymes, who put on quite a lengthy set compared to most corporate-sponsored fare. But it was clear from the onset that attendees were more interested in zapping members of the Locust Horde and scuffling over tie-in swag than enjoying good hip-hop. Several people even somehow managed to play the game with laser focus during the entirety of Sean's set. Talk about commitment!

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Big Sean and Kanye West Bring a Pinup Calendar to Life in the "Marvin Gaye and Chardonnay" Video


The up-from-the-mixtape-depths MC Big Sean's sexytime summer jam "Marvin Gaye and Chardonnay" now has a Hype Williams-directed video, one in which Sean and his hip-hop patron Kanye West mug for the camera in front of brightly hued walls while women who might very well have been plucked from pinup calendars printed on super-glossy paper vamp around them. It all looks not dissimilar to the Williams-lensed clip for Lady Gaga and Beyoncé's "Video Phone," except with more stuttery edits, which, admittedly, pair well with the back-and-forth squeaks that provide the song's rhythm. Clip below.

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Live: Big Sean Tears Down (And Tears Up At) Irving Plaza


Big Sean
Irving Plaza
Tuesday, June 21

Better than: Being trampled at the Adidas store.

Two weeks ago, Kanye West hopped onstage at the listening party for Big Sean's Finally Famous and told an industry crowd that "what Beyoncé is to R&B, Big Sean can be to hip-hop." It was a bold statement from a man who lacks an indoor voice, a headliner writing headlines.

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