Slapping the phone shut, (Pitbull) says, “A DJ once taught me, ‘The masses are asses. Give ’em stupid shit, ’cause that’s what they want.’ I used to put so much time into working on one tight verse, one punch line.”
When Pitbull was a kid, his father would place him up on the bars of Little Havana to recite the poetry of José Martí. “But now, I don’t hesitate to lower myself to get on the radio,” Pitbull says. “I know ‘Culo’ is stupid.
“You have to cater to, to get catered to,” he adds. “Give them what they want now and get more later. I still slip some heavy stuff in there.”
He can and eventually will write about his formidable relationship with his father and his own situation of having two children to support — “with separate mothers, lots of problems,” he says, shaking his head. This life of responsibility is far-removed from the subject matter of M.I.A.M.I.’s opening tracks: “Culo,” “She’s Freaky” and “Shake It Up.”
“But I understand guys just want to get out on the dance floor, jump behind a beautiful girl and watch her move her thing. So that’s why I lower my standards,” Pitbull explains. “Lil Jon taught me about the fun.”
(Quoted from here)
I just finished my review of Pitbull’s “M.I.A.M.I.” (link soon) and I have to say I was impressed with the high banger/filler ratio. His guest list is tops, with Fat Joe, Bun B and most importantly Trick Daddy on “Melting Pot,” the album’s sharpest track. As indicated above it’s really a club album, but a few tracks (particularly the insightful “Hustler’s Withdrawal”) suggest Pitbull may be able to do more than just drop some Spanish verses and shout catchy choruses periodically.
I called it the missing link between Miami bass and crunk, but if someone out there with a deeper understanding of Miami booty and bass music can connect some of the finer lines here, it would be appreciated.