Single Review: Jennifer Lopez “Get Right”

Get Right
Album: Rebirth
Year: 2005

After titling her second album, clothing line and perfume J-LO, Jennifer Lopez is now Jennifer Lopez. “I’m not J.Lo, she’s not a real person. She was just a bit of fun that got really crazy. I’ve never been anyone but Jennifer,” Lopez said, according World Entertainment News Network. Her PR person needs to stop watching Buffy reruns. Apparently, this fake J-LO people been seeing is someone who is addicted to the press, talks about her private life constantly, and claimed she was a real on a single called “I’m Real.” With this reasoning, her PR wants people to believe it was a robot like Buffy in season five. Robot Buffy had sex with bad boy vampire Spike. Everybody thought it was Buffy. But it was a only pretend Buffy and thus, didn’t count.

People aren’t idiots. She should be working the “rebirth” angle to her advantage. She could very well could’ve said “this is a new me” and tells people who Jennifer Lopez is. Instead, she keeps talking about the J-Lo label and how much she dislikes it.

In “Get Right,” she’s telling people how to act to get on her good side. She chides a guy for staring and standing right next to her (“Ya lookin’ just a little too hard at me/Standin’ just a little too close to me”). The real Jennifer Lopez is somewhat outgoing (“Ya sayin not quiet enough to me”). But in order to be a friend of J-Lo’s, a person has to down their drink and flaunt their personality (“Ya sippin’s just a little too slow for me/No doubt ya playin’ around cool homie”). She wonders how she work this to her advantage and tells the guy to go out there and have fun. The real Jennifer Lopez is apparently a control freak. Geez. (“Got me thinkin’ what is it you can do for me/So let ya self go and get right with me”).

Lopez is going to make over, er, be nice to them anyway (“I’m about to sign you up, we can get right/Before the night is up, we can get/get right, get right/we can get right”).

The guy is calling Lopez on her flaw and she retorts with the childish “I can do whatever I want” (“Ya lips talkin’ bout I play too much/Can’t a woman take advantage of what she wants”). She decides to fall for him and asks him to sign a contract (“All I need is you here right by my side/Take whatever ya want, baby let’s ride/And whatever ya want so you need to sign/Just put ya name on the dotted line”). The real Jennifer Lopez also sees relationships as buisness deals. No surprise there. First there was Puffy, which led to her music career in the first place. Then, Ben Affleck which was supposed to give her movie career credibility. Now Marc Anthony who’s there to regain credibility.

Lopez wants to talk to him all night and she asks him to not forget her (“So much we’ve got to say/But so little time/And if tonight ain’t long enough/Don’t leave love behind”).

The horn in the song is like a tuneless, broken alarm clock. It doesn’t stop blaring the same notes for three minutes. Lopez isn’t doing herself any PR favors with the single. She’s comes across as narcissitic, controlling and out of touch with reality.


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