But Tweet is in a close second thanks to her commercial deal with Sprint (I am still wondering how Missy and Timbo worked that out). This makes the competition for R&B Princess stiff, with Ashanti in the lead. Tweet’s second single, “Call Me” uses the same appetizing formula as “Oops”, making it an unequivocal club hit. Not only were the lyrics necessarily seductive, giving women a sweet sense of power, they were coupled with one of the craziest beats from the dangerous duo since Missy’s “Get Ur Freak On”. Oops, Tweet’s first single is a grown folks song exploring the things women do, “ oh my” when our shirts go over our head and our skirts drop to our feet. At this time, the audience is supposed to wonder who is that mystery girl singing and playing the harp in the video? Before our curiosity makes us restless, they drop the bomb. Next they followed the logical steps of introducing Tweet to the world on Missy’s “Take Away”.

As much as people hate to it admit it, including myself sometimes, Missy and Timbaland have mastered the art of the catchy beat. So it is only fitting that the weirdly hypnotic production duo, Missy and Timbaland use their keen sense of what sells to manufacture a charming, long-legged songbird, Tweet. Where talent fits in the recipe, I am unsure, but these days it isn’t talent that makes an R&B singer popular.

Blige.īut the recipe doesn’t seem that hard: take an attractive woman, let her sing about love over a catchy beat, have her seductively dressed in a video and bam - you have an R&B princess. At least someone is smart enough not to have them compete against the reigning queen of hip-hop/soul, Mary J. Dre’s Truth Hurts, and Missy and Timbaland’s Tweet, making it hard for the average listener to discern one common voice from the next. Several different musical camps are pushing their nomination to the throne with Murder Inc.’s Ashanti, Dr. If there were a show on UPN to catalog the recent trend in the world of R&B, it would be called the Making of an R&B Princess.

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