Pitbull’s Discography Recut into an Ironic Eleven Song Concept Album

I listen to a lot of Pit Bull.
1. Rain Over Me
An introduction to the Pitbull character (“girl my body don’t lie”/”I’m riding so high”) that is, in effect, a long establishing shot. First mention of his desire for a heteronormative relationship (“I want a girl . . . [that’s] classy . . . [and] sexy”). The sweeping, almost orchestral form implies the start of a journey; similar, in effect, to Bon Iver’s Perth.
2. I Know You Want Me (Calle Ocho)
Makes explicit the implications that there is something missing from the life of Pitbull. Although he spends all night at the club getting laid, he still finds himself beset by insecurities, being forced to remind an abstraction of himself that (“I know [they] want me”). This song also functions as a prelude to the club scenes we’ll see later: in effect, this track is just Pitbull talking to himself in a mirror, trying to find the validation that doesn’t exist within himself.
3. Hey Baby (Drop it To the Floor)
Notice the syntactical simularities between this and the last; both include parantheses, implying that there is something missing from both suppositions; in the first it subverts the original sentence (“I know they want me, but do they?”) and in the second it implies a sort of desperation not inherent to usual greetings (“hey woman, let’s do the sex please please”). Nonetheless, this song is Pitbull arriving at the club: he’s again speaking to himself, trying to reinforce the false supposition that these meaningless hook-ups are the objects of his desire.
4. Hotel Room Service
Here Pitbull’s desperation crystalizes, it’s almost begging for a human connection (“[Please] meet me at the hotel room”). Pitbull is so pursuant of validation that he continues to pursue emptiness until it becomes almost mechanical and inhuman: (“Two plus two I be undressing you/Three plus three you be undressing me”) and devoid of joy.
5. Timber
Pitbull meets Kesha. Something about her captivates him and causes Pitbull to elevate her to a position different than the other women. She’s not just a hook-up, she’s singing the whole hook. But still, despite his new feelings, both Pitbull and Kesha realize that their uneasy alliance could collapse at any second (“It’s going down/I’m yelling timber”) and both have the knowledge that their relationship won’t workout. However, Pitbull will cherish her memory forever (“I’ll be the one you can’t forget”) as she forced him to realize that, for Pitbull, the only path to validation and happiness is through a loving relationship, not hookups. Kesha sings herself out, repeating that she won’t be forgotten, and disappears forever.
6. Celebration
Pitbull is ecstatic with his newfound understanding of self and celebrates through the only way he knows how; living it up at the club. However, this joy is undercut (in a way) by insecurity: Pitbull worries that his jetsetting lifestyle would destroy a relationship (“we go vroom vroom all around the world . . . hard to see these ladies when your middle name equator”) but does not let it turn him away from his newfound goal.
7. Give Me Everything
Pitbull begins to worry that he won’t be able to find a woman who will “give [him] everything” and worries that he’s wasting his time, as he “may not live to see tomorrow”. This unhappiness manifests itself as distracted lyricism (rhyming “Kodak” with “Kodak”) and repeated assertions that Pitbull may “drink a little more than [he] should”. In this song, we also hear an isolated female vocal track mirroring Pitbull’s sentiment: this is the female protagonist, they just haven’t met yet. She sings in mirror of Pitbull’s sentiment, reminding us “Nothing is enough/until I have [Pitbull’s] love”. Towards the end of the song, it makes an abrupt cut into a delicate piano solo: this signals the meeting of the two protagonists.
8. Live it Up
The two protagonists meet: Pitbull feels like he’s known her for his entire life, already referring to her entire name and history (“she still Jenny from the block”) as well as identifying their like interests (“she screaming yolo”). However, Jenny makes it clear that she wants the same things as Pitbull (“[I am] ready to go . . . ready to blow”) while simultaneously establishing herself as an equal (“you push me harder/I do the same”). The two immediately feel a connection.
9. Wild Wild Love
Pitbull falls in love with Jenny and it’s nothing like he’s felt before (“this wild wild love of ours can’t be tamed”) but he still must deal with his insecurity. After what he went through with Kesha and her sudden disappearance, Pitbull occasionally disappears into his persona (“I’ll make you lose your heart and your mind at the same time”) while beginning to let his guard down, telling Jenny his real name (“Armando Christian Perez”). As the song goes on, the Pitbull verses are subsumed by the bridge, the Pitbull character disappearing and becoming part of the sweeping love he now feels.
10. Time of Our Lives
Pitbull reminisces about his time before he met Jenny, how he suffered through a period of emotional and literal poverty. This is contrasted against the further development (in the current timeline) of his relationship with Jenny, “[I found] that she a freaky girl [just like] I a freaky man”) and the two begin two make plans to get married (“We didn’t [yet] go to church, but I got blessed”). The titular “Time of Our Lives” refers to the deep happiness that Pitbull feels with Jenny.11. We are One (Ole Ola)
Pitbull and Jenny get married and symbolically become “One”. Pitbull throws the biggest party of all and “invites the whole world to play” and celebrate the happiness he feels with Jenny. Pitbull finds happiness (“It’s my world today”) and validation with his romantic equal, Jenny. The song ends with someone else rapping a Spanish-language verse, signalling that Pitbull no longer feels the need to pander towards American commercialism, like he was forced to do back in Calle Occho. Pitbull is validated and he is finally, mercifully, happy.

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