This song could be the rapefugee anthem. Listen to young women, really listen, and you’ll come to realize the ancients were wise to cut women off from political influence.
A quick Crimson Pilled analysis of the lyrics.
Ohhh Ohh Ohhh Ohhh Ohhhh Ohhhh
She’s orgasming just anticipating the noncommittal attention of a bad boy.
Ask me to stay and I’m not gonna leave
Don’t make me wait with my heart on my sleeve
Cause I won’t go ‘less you want me to
I’d surrender it all for you
She would sacrifice her first-born for the love of a bad boy.
Friends turn to foes I don’t know who to trust
You say I worry, I worry too much
But I can’t help what I’m feeling now
I just want us to be somehow
Is her bad boy cheating? Careless whispers! Suspicion of his unfaithfulness only intensifies her love for him.
I said there’s somethin ’bout the bad boys
That makes the good girls
Fall in Love
They are bad, ergo they are lovable.
Clear as a crystal or sharp as a knife
Words will be words ’til you bring them to life
Show the whole world that you’re mine alone
Tell them girls to go find their own
Female preselection boosts male sexual market value. She loves that other girls are after her bad boy, but her erotic power is so complete he ignores the others to be with her. Or so she tells herself.
(and if you’re no good for me)
Don’t leave me stranded
She can only take so much foot-dragging (measured in prime years wasted).
(and if you’re no good for me)
Don’t lead me on
Shit or get off the pot.
(and if you’re no good for me)
I’d rather feel abandoned
Better to have loved and lost a bad boy, than to never have known a bad boy’s love at all.
(and if you’re no good for me)
Please be gone
She has to beg her intransigent bad boy to dump her, because she doesn’t have the inner strength to do it herself. This is a good time to remind yourself that hot girls have no trouble dumping non-bad boys on the flimsiest of pretexts.
PS Zara Larsson, the singer, is Hey Nineteen in this video.
