While ASCAP and BMI are fierce competitors in most areas, they are united in saying that the consent decrees are in dire need of updating and issued a joint statement saying so in February.
While the two organizations differ on some points, they both have long agreed that the consent decrees are in dire need of modernization. ASCAP and BMI’s responses to those questions, which were obtained by Variety, are expansive, complex and exceed 30 and 40 pages respectively. A short description of their comments follows.
“The four provisions are:
"ASCAP, BMI and other licensors of music, will remain subject to the same antitrust laws that govern other businesses in the marketplace;
"Nonetheless, BMI would support maintaining certain provisions of the Decree to help transition the industry without disruption."
However, this right should be contingent upon licensees providing ASCAP and BMI with necessary business information and an automatic, fairer, and less costly mechanism for the payment of interim fees. “Allow all music users to continue to have automatic access to the ASCAP and BMI repertoires with the immediate right of public performance.
"Competition in music rights management and public performing rights licensing has proliferated;
"Modern antitrust policy, case law, and enforcement are incompatible with the Decree;
“Preserve the current forms of licenses that the industry has grown accustomed to beyond the traditional blanket license, such as the adjustable fee blanket license and the per-program license.”
Its primary points include:
"The way music is made and consumed has changed dramatically since ASCAP and BMI entered into consent decrees with the Department of Justice (DOJ) in 1941;
Today was the deadline for the submission of public comments on the process — solicited by the DOJ from “interested persons, including songwriters, publishers, licensees, and other industry stakeholders" — seeking to answer the following questions:
 
Are existing antitrust statutes and applicable caselaw sufficient to protect competition in the absence of the Consent Decrees?
Last year, Makan Delrahim, Assistant Attorney General for the Anti-Trust Division of the Department of Justice, announced that he will be examining the consent decrees to determine their validity. (Earlier this week, 12 free market organizations asked the DOJ to strengthen the consent decrees, arguing that the “inherently anti-competitive” music industry needs those regulations.)
"BMI strongly disagrees with the assertion by some music users that their businesses are reliant on the Decree and that they would be unable to survive in its absence;
ASCAP CEO Elizabeth Matthews said in a statement, “The way music is made and consumed has changed dramatically since the ASCAP and BMI consent decrees were implemented nearly eight decades ago. The time has come to modernize these decrees so we can move toward a more innovative, flexible, and competitive marketplace that is fair to both music creators and licensees."
For its part, BMI said in the introduction to its comments:
Both organizations advocate the following in a proposed transition from the existing consent decrees:
"The music industry, particularly music distribution, has consolidated, shifting the balance of power;
Are there differences between ASCAP/BMI and PROs that are not subject to the Consent Decrees that adversely affect competition?
Which ones and why? Are there provisions that are no longer necessary to protect competition? Do the Consent Decrees continue to serve important competitive purposes today? Are there provisions that are ineffective in protecting competition? Which ones and why? Why or why not?
"The music industry, DOJ and Congress agree we are in critical need of a licensing framework that promotes innovation and efficiency in a free market;

What, if any, modifications to the Consent Decrees would enhance competition and efficiency?
“ASCAP and BMI will continue to receive non-exclusive U.S. rights from our writers and publishers, which allows licensees, songwriters, composers and publishers to continue to negotiate direct deals if they so choose.
“BMI believes that the Decree has become an impediment to innovation and should be substantially modified, and ultimately terminated, to remove unnecessary restrictions that do not further a legitimate public interest and constrain BMI’s ability to best serve songwriters, composers, music publishers and music users. The Decree reflects an outdated model of antitrust enforcement by regulation. It imposes an inflexible contract structure and a judicial rate-setting process that are unresponsive to market needs, impede BMI (and other music industry participants) from adapting to changes in the marketplace, stifle innovation, and are unnecessary to preserve competition.
If so, should termination be immediate or should there instead be a sunset period? What, if any, modifications to the Consent Decrees would provide an efficient transitionary period before any decree termination? Would termination of the Consent Decrees serve the public interest?
"Technology has revolutionized music use, distribution, and licensing;
Hatch-Bob Goodlatte Music Modernization Act (MMA). “Retain the rate court process for resolution of rate disputes, as recently reformed by the Orrin G.
performing rights organizations, ASCAP and BMI, have been operating under separate consent decrees that govern how music is licensed by the two PROs (although not their competitors, SESAC and Global Music Rights). Since 1941, the two largest U.S. The consent decrees were designed to protect competition but nearly all involved parties agree that they have long become obsolete, particularly since the advent of the internet.
 ” />
Do differences between the two Consent Decrees adversely affect competition? How?
ASCAP’s primary points in its comments include:
“To help facilitate that orderly transition, and to protect both music creators and licensees alike, ASCAP and BMI are recommending four key provisions that would encompass newly formed decrees. Like all modern consent decrees, the new decrees would contain a sunset provision.
Removal of the consent decrees will not impede a functioning marketplace; "Without the outdated consent decrees, ASCAP and BMI will be able to better compete and innovate to benefit our songwriter members and licensing partners.
But music creators deserve to be compensated fairly for the use of their work. "PROs and licensees all have the same goal—to keep the music flowing to the public.
"To be effective, the regulatory system has to reflect the realities of today’s digital music marketplace;

The reactions of the hundreds of music industry people affected range from disappointing head-shaking to downright furious. That's because everyone aside from the members works with both performing-rights organizations (PROs).
Each organization schedules its pop awards and film awards on back-to-back evenings, so that New York executives from both can attend, which further complicates the booking issue. BMI has its pop awards the night before the shared film/TV date, on May 14, while ASCAP's pop awards will go down the night after the screen kudos, May 16. "There were conversations at the highest level," said one executive (who spoke on background) about the foulup.
Longtime observers say this is the first time that the two big black-tie affairs have coincided. ASCAP will hold its annual shindig at the Beverly Hilton, while BMI will hold its party at the Regent Beverly Wilshire.
How could two major music organizations manage to tick off an entire community of music industry people?
Basically, nobody blinked. Privately, officials of both organizations are claiming they were first to book their respective venues and that it was impossible to move to a different date once they discovered the rival group had booked the same night.
And it's leaving the many would-be attendees who have to make a tough choice between the two humming an unhappy tune. ASCAP and BMI — the two largest performing-rights societies in the U.S., which represent the vast majority of film and TV composers and songwriters — will both hold their annual film-music awards dinners this Wednesday.
We will work with ASCAP to ensure that this doesn't happen again." Said BMI: "While it's unfortunate that there is an overlap in dates this year, we fully expect to have a terrific evening that celebrates our many talented composers and pays tribute to our special honorees.
This doesn't affect actual ASCAP and BMI members — those who will be honored that night at their respective ceremonies — as much as it does virtually everyone around them: their agents, managers, publicists, attorneys, studio executives, music contractors, music supervisors, music publishers and even members of the music press.
Another prominent member of the music community, who has multiple clients in both organizations, told Variety: "It seems that BMI has always held their dinner during this timeframe, so I’m not sure why ASCAP didn’t check this fact out before booking.
"What is a bit maddening to me is that it forces people to choose and also causes unnecessary confusion and bad blood at a time when the music industry is struggling a bit to be collegial towards composers, musicians and the employers we all must work alongside.
Said ASCAP: "We want the spotlight to be on all of the amazing composers being honored on May 15th so that they can experience one of the best nights of their lives as we come together to celebrate their stellar musical contributions to film, television and visual media before their peers."
We truly wish this were not the case, and we’re sensitive to the position this puts people in. That said, our dinner has always been about celebrating our talented family of composers and we are excited to do just that.” Doreen Ringer Ross, BMI's VP of creative for film, TV and visual media, conceded: “The overlap has certainly caused a conflict for the industry in that many will have to make a choice about which event they attend. Both ASCAP and BMI officials insisted that this would not happen again.
Contacted by Variety, each organization offered a terse prepared statement.
BMI is honoring composers Terence Blanchard and William Ross. ASCAP is honoring composers Michael Giacchino and Pinar Toprak, along with the songwriting team of Benj Pasek and Justin Paul. Dozens of other awards will be handed out to composers at both events.
"Choosing loyalty to one side or the other is something we shouldn’t need to be thinking about, i.e., which composers are more important, which agents should we see, etc. Sadly, many of us will loose the ability to share in our one night of the year that brings us all together despite our personal or professional allegiances."
That's really amazing."” /> The whole town is getting together to celebrate the people that compose it. ASCAP senior VP, film and TV music and new media Shawn LeMone put this positive spin on the dilemma: "We're hoping, in a way, that it will be an evening of the industry celebrating music for film, television and games.
As one prominent agent told Variety: “There are 364 alternate dates that would allow industry folks to support composers from both PROs. I'm surprised ASCAP and BMI couldn’t coordinate between themselves to figure it out.” Adds another disgruntled regular attendee of both events, "They're doing a disservice to their own members."

“Much like last year’s Film and Television Careers Summit, our goal is to provide these talented students with interactive and engaging programing that helps them take the first steps toward building a successful career in music, and create networking opportunities with industry leaders who are championing diversity and inclusion within their companies and the industry at large.” “Nashville is a dynamic city with a vibrant music community, making it the ideal setting for us to launch our first music industry-specific career event,” said CAA’s Ruben Garcia.
The event was named in honor of industry icon Barbara “Mother” Hubbard, Executive Director of the American Collegiate Talent Showcase (ACTS), whose program provides scholarships to students pursuing careers in the performing arts.
Among the participating industry leaders are Universal Music Nashville Chairman and CEO Mike Dungan; CAA Managing Partner and Head of Music Rob Light; Travis Myatt, Senior Director at music publisher Parallel Entertainment; Lou Taylor, Chief Executive Officer of Tri Star Sports and Entertainment Group; plus BMI songwriters/artists Cameron Bedell and Alex Hall, along with producer David Hodges, among others. As part of the event, participants will have the opportunity to learn from and meet with key executives representing a variety of business sectors; recruiters will also host workshops, providing attendees with insights into the tools and skills needed in today’s job market.
Additional sponsors include Concert Ideas, Pretty Polly Productions, How To Concerts, Babco Entertainment LLC, and More Music Group. Southwest Airlines and Lyft are the official airline and travel partner, respectively, of the event. The Hubb, hosted at CAA’s Nashville office beginning this past weekend, includes visits to Universal Music Group, Tri Star Sports and Entertainment Group, and BMI.
In an effort to promote diversity in the music business, Creative Artists Agency today announced the Hubb, which is described as an invitation-only networking and professional development summit designed to provide diverse internship- and career-ready college students with the tools and resources needed to successfully enter the music business.
CAA says that in the past five years, roughly 43% of the interns in CAA’s global internship program have been ethnically diverse* and nearly 50% have been women.*” />

As in the House, the new Senate bill combines three separate pieces of legislation:
– The Music Modernization Act of 2018, S.2334, introduced by Hatch and Senator Lamar Alexander (R-TN) in January, which updates licensing and royalties as pertains to streaming.
“That the Senate has wisely decided to import the version of the bill that passed the House 415-0 is a strong signal that this bill has achieved the necessary support and consensus in the Senate to have a similar path of passing with a very large margin,” Israelite told Variety, noting there has been no serious opposition among senators. The industry applauded this latest move to update the nation’s music laws.
We look forward to working with the sponsors and the entire community of stakeholders that built accord on this package to make it law.” “Taken together, the elements of this legislation will strengthen and protect the rights and interests of creators — the artists, songwriters and producers whose music enriches our lives – and it will improve engagement between the creative community and the digital services whose businesses rely on their work. “On behalf of the 150,000-plus music creators represented by SoundExchange, we are grateful to Senator Hatch for building this consensus legislative package that will benefit the entire music ecosystem,” SoundExchange president and CEO Michael Huppe said in a statement.
“In this case everybody recognizes that this is a complicated bill and so late in Congress – this is an election year – Judiciary Committee chairman Chuck Grassley (R-IA) and Senator Hatch were very smart to make the decision [to adopt the House bill]. “This is exactly what we were hoping they would do,” Israelite said of the Senate move.
Having opposed the House version, background music company Music Choice as well as SiriusXM are those expected to oppose Senate passage, but they are among a small minority; the industry overwhelmingly supports the bill Hatch called “crucially important” earlier this year, stating, “our music licensing laws are convoluted, out-of-date, and don’t reward songwriters fairly for their work. They’ve also failed to keep up with recent, rapid changes in how Americans purchase and listen to music.”
Mike O’Neill, BMI. This legislation represents an unprecedented collaboration among music creators and users, and represents an historic opportunity to make meaningful music licensing reform which will benefit America’s creative communities." President & CEO, said: “BMI applauds the introduction today, by Senators Hatch and Grassley, of the Music Modernization Act.
– The AMP Act  (or Allocation for Music Producers Act), introduced in March by Senate Judiciary Committee Chairman Chuck Grassley(R-LA) and ranking committee member Dianne Feinstein (D-CA.) with the support of and Senators Bob Corker (R-TN) and Kamala Harris (D-CA).
– The CLASSICS Act (or Compensating Legacy Artists for their Songs, Service, & Important Contributions to Society Act), introduced in February by Chris Coons (D-DE) and John Kennedy (R-LA) to ensure that songwriters and artists receive royalties on pre-1972 songs.
The fact that the bill was introduced prior to the scheduled hearing is also seen as a fast-tracking move. The Senate bill is expected to go into markup and get the full Senate vote next month, and then on the president’s desk to be signed into law.
The fact that the Senate bill, S.2823, is virtually identical to HR 5477 – the House MMA bill passed unanimously on April 25 – signals all systems go for smooth passage and an update to music laws that the industry has been laboring to update for the past decade. Senator Orrin Hatch (R-UT) today introduced the Music Modernization Act.
This legislation is critical to ensuring songwriters have a pathway to fair compensation so they can sustain their livelihoods and create the next great songs. We look forward to the Senate’s vote and eventual passage of the MMA.” We applaud the leadership of fellow songwriter Senator Hatch, along with Senators Alexander and Whitehouse, for spearheading this effort in the Senate and to Chairman Grassley and all other co-sponsors for being champions of American songwriters. ASCAP CEO Elizabeth Matthews said, “After a unanimous vote to pass the MMA in the House, we are thrilled to see such ardent, bipartisan support for music creators in the Senate.
 ” />
“The introduction of the comprehensive MMA in the Senate before the hearing is an important step to ensure all music creators are treated fairly in the law. Songwriters, performers and producers are grateful to Senator Hatch for his leadership,” Recording Academy chief industry, government and member relations officer Daryl Friedman told Variety.
Hatch is a composer and member of ASCAP, with ditties like “The Answer’s Not in Washington” (“…We legislate, we demonstrate, but when all is said and done, the answer’s not in Washington”) and the love ballad “Everything and More,” recorded by country artist Billy Gilman on his 2005 album. Hatch, like his counterpart House MMA champion Bob Goodlatte (R-VA), has announced he will retire at the end of this session, making the Music Modernization Act initiative a swansong for both men.
The bill has been assigned to the Senate Judiciary Committee and has been scheduled for hearing Tuesday.

[Intro: Tory Lanez]
Mhm
This why you love me, baby
Fargo
I swear, as soon as she walked out
I seen it, I was like look…
Uh, wait, okay

[Hook: Tory Lanez + Trina]
Ass on "What the fuck you got up in them jeans, girl?"
Goddamn, how the fuck it’s bustin’ out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shawty
Ass on "What the fuck I got up in them jeans, boy?"
Goddamn, how the fuck it’s bustin’ out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shawty

[Verse 1: Tory Lanez]
She a fuckin’ stunna
100 percenter, ain’t no one can front
‘Cause horty, you be doin’ somethin’ to me in that Yves when it’s all-blue
Like it when you got it on and love it when it’s on you
Yeah, and you know this shit for you, yeah
Split it, flip it, get ’em corners, hit it with you, yeah
You was who I was gon’ bring all this shit to, yeah
And you knew I was gon’ give this shit to you, so baby, yeah
G4 pilot, flyin’ private in the Lear
I been on an island, shorty, wildin’ over here
Ma, sit your pretty ass down in a chair
‘Cause you know how they stare, ’cause shorty got a

[Hook: Tory Lanez + Trina]
Ass on "What the fuck you got up in them jeans, girl?"
Goddamn, how the fuck it’s bustin’ out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shawty
Ass on "What the fuck I got up in them jeans, boy?"
Goddamn, how the fuck it’s bustin’ out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shawty

[Verse 2: Trina]
My Giuseppe game is on CSI
Pullin’ up in somethin’ tinted, you can’t see inside
Mirror, mirror on the motherfuckin’ wall
Who the flyest of them all? Oh my gosh, you can see it’s I!
Black label like I’m BMI
50 thousand just so she can fly
Then I’m hoppin’ off a jet
On my celly, no R. Kelly, motherfucker, just believe I fly!
Tell them bitches that it’s D or die
Ghetto booty, still chicken wings and seasoned fries
Too much clinking, she can’t see, she blind
Motherfucker, can you see me now?

[Hook: Tory Lanez + Trina]
Ass on "What the fuck you got up in them jeans, girl?"
Goddamn, how the fuck it’s bustin’ out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shawty
Ass on "What the fuck I got up in them jeans, boy?"
Goddamn, how the fuck it’s bustin’ out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shawty

I wish I could have met you again a few years ago
Before you met & married someone you didn’t know
I always thought that you’d be mine
Somehow we both lost track of time
The sad thing is we lost track of each other
I could have been your lover
I should have been your lover

I know she doesn’t know you as well as I once did
We were well beyond our years for a couple kids
But I could see inside your dreams
And you’ve achieved most everything
But I know we’re yearning for each other
I could have been your lover
I should have been your lover

Who knows who we finally end up with
We don’t always choose the one that’s right
Love can lead us even when it’s blind
With it’s never-ending burning light

I still have a lover’s share of hope inside
When you said you were happy, I just know you lied
I saw it on your face today
That you had something else to say
So I’m here tonight for you to rediscover
If I can be your lover
Let me be your lover

I can be your lover
Let me be your lover

C Belton Uncle Music, BMI

[Intro: Tory Lanez]
Mhm
That’s why you love me, baby!
Thugga (Thugga)
I swear, as soon as she walked out
I seen that I was [?]
Uh, way, OK!

[Hook: Tory Lanez (Trina)]
Ass on "What the fuck you got up in them jeans?" girl
Goddamn, how the fuck it’s bustin out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shorty!
(Ass on "What the fuck I got up in them jeans?" boy
Goddamn, how the fuck it’s bustin out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shorty!)

[Verse 1: Tory Lanez]
She a fuckin’ stunna
100 percenter, ain’t no one can front her
Shorty, you be doin’ something to me in that Yves when it’s all-blue
Like it when you got it on and love it when it’s on you
Yeah, and you know this shit for you, yeah
Split it, flip it, get ’em corners, hit it with you, yeah
You was who I was gon’ bring all this shit to, yeah
And you knew I was gon’ give this shit to you, so baby, yeah!
G4 pilot flying private in the Lear
I been on an island, shorty, wildin’ over here
Ma, sit your pretty ass down in a chair
‘Cause you know how they stare, ’cause shorty got a

[Hook]
Ass on "What the fuck you got up in them jeans?" girl
Goddamn, how the fuck it’s bustin out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shorty!
(Ass on "What the fuck I got up in them jeans?" boy
Goddamn, how the fuck it’s bustin out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shorty!)

[Verse 2: Trina]
My Giuseppe game is on CSI
Pulling up in something tinted you can’t see inside
Mirror, mirror on the motherfucking wall
Who the flyest of them all? Oh my gosh, you can see it’s I!
Black label like I’m BMI
50 thousand just so she can fly
Then I’m hopping off a jet
All myselly, no R. Kelly, motherfucker, just believe I fly!
Tell them bitches that it’s D or die
Ghetto booty, still chicken when you season fries
Too much clink and she can’t see, she blind
Motherfucker, can you see me now?

[Hook]
Ass on "What the fuck you got up in them jeans?" girl
Goddamn, how the fuck it’s bustin out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shorty!
(Ass on "What the fuck I got up in them jeans?" boy
Goddamn, how the fuck it’s bustin out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shorty!)

(Intro – Tory Lanez)
Mhm
This why you love me, baby
Fargo
I swear, as soon as she walked out
I seen it, I was like look…
Uh, wait, okay

(Chorus – Tory Lanez & Trina)
Ass on, what the f**k you got up in them jeans, girl?
Goddamn, how the f**k it’s busting out the seams, girl?
Jumping up and down just to fit it in your jeans, girl
I see what you looking at when you be in the mirror, shawty
Ass on, what the f**k I got up in them jeans, boy?”
Goddamn, how the f**k it’s busting out the seams, boy?
Jumping up and down just to fit it in my jeans, boy
You see what I’m looking at when I be in the mirror, shawty

(Verse 1 – Tory Lanez)
She a f**king stunna
100 percenter, ain’t no one can front
Cause horty, you be doing something to me in that Yves when it’s all-blue
Like it when you got it on and love it when it’s on you
Yeah, and you know this s**t for you, yeah
Split it, flip it, get em corners, hit it with you, yeah
You was who I was gong bring all this s**t to, yeah
And you knew I was gong give this s**t to you, so baby, yeah
G4 pilot, flying private in the Lear
I been on an island, shorty, wildin over here
Ma, sit your pretty ass down in a chair
Cause you know how they stare, cause shorty got a

(Repeat Chorus)

(Verse 2 – Trina)
My Giuseppe game is on CSI
Pulling up in something tinted, you can’t see inside
Mirror, mirror on the motherf**king wall
Who the flyest of them all? Oh my gosh, you can see it’s I!
Black label like I’m BMI
50 thousand just so she can fly
Then I’m hopping off a jet
All myselly, no R. Kelly, motherfucker, just believe I fly!
Tell them bitches that it’s D or die
Ghetto booty, still chicken when you season fries
Too much clink and she can’t see, she blind
Motherf**ker, can you see me now?

(Repeat Chorus)

[Intro: Tory Lanez]
Mhm
That’s why you love me, baby!
Thugga (Thugga)
I swear, as soon as she walked out
I seen that I was [?]
Uh, way, OK!

[Hook: Tory Lanez (Trina)]
Ass on "What the fuck you got up in them jeans?" girl
Goddamn, how the fuck it’s bustin out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shorty!
(Ass on "What the fuck I got up in them jeans?" boy
Goddamn, how the fuck it’s bustin out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shorty!)

[Verse 1: Tory Lanez]
She a fuckin’ stunna
100 percenter, ain’t no one can front her
Shorty, you be doin’ something to me in that Yves when it’s all-blue
Like it when you got it on and love it when it’s on you
Yeah, and you know this shit for you, yeah
Split it, flip it, get ’em corners, hit it with you, yeah
You was who I was gon’ bring all this shit to, yeah
And you knew I was gon’ give this shit to you, so baby, yeah!
G4 pilot flying private in the Lear
I been on an island, shorty, wildin’ over here
Ma, sit your pretty ass down in a chair
‘Cause you know how they stare, ’cause shorty got a

[Hook]
Ass on "What the fuck you got up in them jeans?" girl
Goddamn, how the fuck it’s bustin out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shorty!
(Ass on "What the fuck I got up in them jeans?" boy
Goddamn, how the fuck it’s bustin out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shorty!)

[Verse 2: Trina]
My Giuseppe game is on CSI
Pulling up in something tinted you can’t see inside
Mirror, mirror on the motherfucking wall
Who the flyest of them all? Oh my gosh, you can see it’s I!
Black label like I’m BMI
50 thousand just so she can fly
Then I’m hopping off a jet
All myselly, no R. Kelly, motherfucker, just believe I fly!
Tell them bitches that it’s D or die
Ghetto booty, still chicken when you season fries
Too much clink and she can’t see, she blind
Motherfucker, can you see me now?

[Hook]
Ass on "What the fuck you got up in them jeans?" girl
Goddamn, how the fuck it’s bustin out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shorty!
(Ass on "What the fuck I got up in them jeans?" boy
Goddamn, how the fuck it’s bustin out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shorty!)

[Intro: Tory Lanez]
Mhm
This why you love me, baby
Fuck ’em
I swear, as soon as she walked out
I seent it, I was like look…
Uh, wait, okay

[Hook: Tory Lanez + Trina]
Ass on “What the fuck you got up in them jeans, girl?”
Goddamn, how the fuck it’s bustin’ out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shawty
Ass on “What the fuck I got up in them jeans, boy?”
Goddamn, how the fuck it’s bustin’ out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shawty

[Verse 1: Tory Lanez]
She a fuckin’ stunna
100 percenter, ain’t no one can front her
Shorty, you be doin’ somethin’ to me in that Yves when it’s all-blue
Like it when you got it on and love it when it’s on you
Yeah, and you know this shit for you, yeah
Split it, flip it, get ’em corners, hit it with you, yeah
You was who I was gon’ bring all this shit to, yeah
And you knew I was gon’ give this shit to you, so baby, yeah!
G4 pilot flyin’ private in the Lear
I been on an island, shorty, wildin’ over here
Ma, sit your pretty ass down in a chair
‘Cause you know how they stare, ’cause shorty got a

[Hook: Tory Lanez + Trina]
Ass on “What the fuck you got up in them jeans, girl?”
Goddamn, how the fuck it’s bustin’ out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shawty
Ass on “What the fuck I got up in them jeans, boy?”
Goddamn, how the fuck it’s bustin’ out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shawty

[Verse 2: Trina]
My Giuseppe game is on CSI
Pullin’ up in somethin’ tinted, you can’t see inside
Mirror, mirror on the motherfuckin’ wall
Who the flyest of them all? Oh my gosh, you can see it’s I!
Black label like I’m BMI
50 thousand just so she can fly
Then I’m hoppin’ off a jet
All myselly, no R. Kelly, motherfucker, just believe I fly!
Tell them bitches that it’s D or die
Ghetto booty, still chicken when you season fries
Too much clink and she can’t see, she blind
Motherfucker, can you see me now?

[Hook: Tory Lanez + Trina]
Ass on “What the fuck you got up in them jeans, girl?”
Goddamn, how the fuck it’s bustin’ out the seams, girl?
Jumpin’ up and down just to fit it in your jeans, girl
I see what you lookin’ at when you be in the mirror, shawty
Ass on “What the fuck I got up in them jeans, boy?”
Goddamn, how the fuck it’s bustin’ out the seams, boy?
Jumpin’ up and down just to fit it in my jeans, boy
You see what I’m lookin’ at when I be in the mirror, shawty