Throw Your Hands Up
Teddybears STHLM Lyrics

Chi town girls have di badonkadonk (Oh!)
Girls from Chicago have a voluptuous behind

A-T-L junk in di trunk a bounce (Oh!)
Ladies from Atlanta have a lively and jiggly booty

Jamaican girls pat yuh front a clump (Come on!)
Jamaican girls move their body to the beat and vibe with confidence

Miami girls let mi see yuh jump, jump (Yep)
Girls from Miami show their energy and enthusiasm by dancing and jumping around

New York girls can shake that ass (Oh!)
Ladies from New York are skilled at moving their buttocks seductively

St. Louis girls mi see yuh shake it fast (Come on!)
Women from St. Louis impress everyone with their ability to shake their booty quickly

Midwest girls can shake that ass (Yep)
Girls from the Midwest region of the US know how to dance provocatively

Ele and Kelly won't let dem pass, come on!
Elephant Man and Kelly make sure everyone notices their dancing skills and performance

We got the place surrounded y'all (Scoobay!)
The entire venue is captivated by their performance

Mic check (Ladies) One two I can't hear myself (Turn it up)
The sound system needs to be louder to fully experience the music and enjoyment

One two I can't hear myself (Turn it up) One two I can't hear myself (Turn it up)
The performer is emphasizing the need for the volume to be increased

So a, turn it up (Oh!) turn it up (Oh!)
The crowd is urged to increase the volume by turning it up

I like it when your booty go bump, bump Ladies)
The artist finds it appealing when a woman's buttocks move in a bouncy manner

Girl make your booty go bump, bump (Come on)
The singer encourages a woman to showcase her booty by making it bounce

How you make your booty go bump, bump
The artist is curious about how a woman can make her buttocks move in that manner

You got a whole lot a junk in your trunk, trunk (Come on)
The singer acknowledges that the woman has a generous amount of curves and volume in her backside

Girls shake your booty don't stop, stop (Yep)
The artist instructs the ladies to keep moving their buttocks energetically without pausing

Turn around and make your booty pop, pop (Uh huh)
The performer suggests that women should also emphasize their buttocks when they turn around, making it visibly attractive

Make it clap (Clap) clap (clap) clap, clap
The crowd is encouraged to applaud and clap in response to the women's excellent dancing

Haven't seen a booty like that since the rump shake
The artist compares the woman's impressive booty to a memorable dance style known as the rump shake

That's the kind of booty that makes your bed break
The artist humorously suggests that a woman's curvaceous behind is so incredible that it could break a bed

Girl hit the floor turn out the party
The singer encourages a woman to confidently show her dancing skills and intensify the party atmosphere

Love it when you shake and wind your body
The artist expresses their admiration for a woman's ability to shake and move her body gracefully

You got me wantin to be with you all the time
The artist feels a strong desire to spend time with the woman due to her captivating dance moves

You make me wanna pass them chips girls you are so fine
The artist considers the woman so attractive and impressive that they are compelled to give her their full attention

How 'bout me and you go jump in my car(Oh)
The artist suggests a playful idea of getting into their car together and spending time together

Talk about our future in my car
The singer proposes the idea of having an intimate conversation about their future while being inside the car

Take a ride to my spot in my car (Oh)
The artist invites the woman to go to their personal space or home together, using the car as transportation

Now you in my bed screamin' dada (Oh)
The artist humorously describes the woman being intimate with them in their bed

Don't make no sense how you bring your body down now
The artist recognizes that the woman's dance moves are so impressive it is hard to believe how she can move her body in such a way

Bring it back up and roll it all around now
The artist encourages the woman to continue her dancing, bringing her body back up and moving it in various directions

Clap clap your so good clap clap (Clap Clap!)
The audience applauds and appreciates the woman's incredible dancing and performance

The way your bendin' it over clap clap (Alright)
The artist acknowledges and praises the woman's ability to bend her body sensually, which the audience responds to with applause

Your the girl in the top five videos
The artist suggests that the woman is so talented and visually appealing that she could be featured in the top five music videos

By tomorrow this will be number one
The artist confidently predicts that the song featuring the woman's dance moves will quickly ascend to the top position in music charts

In or way upside down on the pole
The artist refers to the woman's impressive pole dancing skills, suggesting that she can perform acrobatic moves

Pretty mama you know your dead wrong (Get jiggy gal)
The artist playfully acknowledges that the woman's dance moves are so enticing and captivating that it is hard to resist

Girl you roll it like a boat, when you shake it to the floor
The artist compares the woman's dance moves to the rocking and rolling motion of a boat when she shakes her body towards the floor

When I get you in the door this murder she wrote
The artist suggests that once he is able to have a private moment with the woman, it will be a memorable and pleasurable experience

See you the hottest chick in the club, sexy superstar hands up
The artist recognizes and declares the woman as the most attractive and popular female in the club, earning her status as a sexy superstar

Girl you bump it like that ass is a truck
The artist compliments the woman's ability to move her buttocks as if it were a powerful and attention-grabbing truck

Roll it around like, that ass on dubs
The artist suggests that the woman moves her butt in a circular motion, similar to how flashy car rims ('dubs') roll

Back to how she a wiggle di wiggle di booty like a pro
The artist refers back to how skilfully the woman moves her booty, likening her proficiency to that of a professional

(Back it up) Mek Kelly go so whooa
The artist encourages the woman to back up her booty and make it bounce, elicit a reaction of surprise or excitement

She mek di richter scale mek yuh head point Oh
The artist playfully suggests that the woman's dancing is so intense it could register on the Richter scale, causing the listener's head to turn in awe

Like Christina Milian yuh fi dip it low
The artist compares the woman's ability to dip her body low, similar to how Christina Milian did in her popular song

(Forget di aftaparty) Let's roill
The artist suggests forgetting about any other activities after the party and simply roll (continue) the party elsewhere

There's no wait no more let's go
The artist emphasizes the eagerness and no time to waste, encouraging everyone to continue with the partying

(Show love) Qid Jamaicans, Haitians, Bajans
The artist invites the crowd to show appreciation for people from Jamaica, Haiti, and Barbados

(Full to capacity) No more accommodation
The venue has reached its maximum capacity and there is no more room available for additional people

How dat gal deh a wine a must a Jamaican
The artist observes a woman dancing seductively and confidently, assuming she must be Jamaican due to her skill in wine-dancing

How she shake dat booty yuh can tell a who a di fake one
The artist can determine who is not a skilled dancer by observing how they shake their booty, indicating the authenticity of their moves

(Earthquake) Girl shake yuh booty mek yuh body shake
The artist compares the impact of a girl's booty shaking to the intensity of an earthquake, causing her whole body to shake vibrantly

(Earthquake) So yuh shake yuh body so yuh wreck di place
The singer emphasizes how the woman's captivating body movements can have a destructive effect, metaphorically wrecking the venue due to her powerful and energetic dancing

(Earthquake) Yuh melk everybody evacuate
The artist humorously suggests that the woman's booty shaking is so intense that it causes everyone to feel the need to evacuate the area, like in an actual earthquake

Heavyweight ma let yuh booty shake, shake
The artist celebrates the woman's impressive dancing abilities, referring to her as a heavyweight and encouraging her to continue shaking her booty

Shake, riba, riba, shake it senorita
The artist instructs the woman to shake her booty in a rhythmic and flirtatious manner, addressing her as 'senorita'

Shake it like yuh come from Costa Rica, mamita
The artist suggests the woman shakes her booty as if she comes from Costa Rica, using 'mamita' as an endearing term

All of the ladies think I'm sexy
The artist acknowledges that all the women in the venue find him attractive and desirable

Cause when I walk through the club I gets lots of love
The artist receives a significant amount of attention and admiration from the ladies in the club when he enters

OOh Kells your the one that I'm dreamin' of
The artist refers to himself as 'Kells' and reveals that he is the one that women in the club dream about

Girl all I wanna be is your fantasy
The artist expresses his desire to become a woman's fantasy and fulfill her wildest dreams

In your dreams take you to my ecstasy
The artist invites the woman to imagine being taken to a state of euphoria and pleasure in her dreams

All alone in my room just you and me
The artist fantasizes about being alone with the woman in a private setting, where they can intimately connect

When we awake it will be a reality
The artist believes that once they both wake up from their individual dreams, their fantastical connection will become a reality

Girl I'll have your body singin' oOh la la
The artist assures the woman that he will provide her with a pleasurable experience, causing her body to react with sounds of pleasure ('oOh la la')

Once I turn it over and hit it real hard
The artist promises to intensify the experience once he takes control and engages in sexual activity with the woman

Boo my only mission is to make you see stars
The artist's primary objective is to provide the woman with such intense pleasure that she experiences a euphoric sensation ('see stars')

Put me up to bat and I'm a knock it out the park
The artist compares himself to a baseball player, confident that he will excel in achieving their mutual satisfaction

Shake ya ass riba riba like your Mexican
The artist encourages the woman to shake her booty in a lively, energetic manner, using 'riba riba' (possibly borrowed from Latin music) and referencing Mexican culture

(Uh Oh uh Oh) The way your frakin' it
The artist expresses surprise and admiration for the woman's incredible booty shaking skills

(Uh Oh) The way your doppin' it (Uh Oh)
The artist is captivated by the woman's ability to drop her booty in a seductive and impressive manner, expressing surprise ('uh oh')

And when you bring it back up and move it in slow motion
The artist acknowledges the woman's ability to control her booty smoothly and gracefully, appreciating the way she brings it back up and moves it slowly

(Earthquake) Make me wanna move a little closer
The artist admits that the woman's incredible booty shaking makes him want to be closer to her, metaphorically causing him to move towards her like during an earthquake

(Earthquake) Get you out of here and get somewhere and stroke it
The artist suggests taking the woman away from the current location and finding a private place to enjoy each other's company, using 'stroke it' as a suggestive term

(Earthquake) Because the way you move it's out of control
The artist emphasizes that the woman's dance moves are so captivating and intense that they appear to be uncontrollable

All of the sexy ladies in this club (Ladies yuh lookin' like a mermaid)
The artist addresses all the attractive women in the club, comparing their beauty and allure to mermaids

Throw your hands up come on throw your hands up
All the women are encouraged to raise their hands in the air, expressing excitement and enthusiasm

And if the DJ is rockin' this club (Ladies, come on)
The artist acknowledges the DJ's role in creating an energetic and enjoyable atmosphere, specifically for the ladies

Throw your hands up come on throw your hands up
The crowd is encouraged to continue raising their hands in response to the DJ's music

I like it when your booty go bump, bump
The artist finds it appealing when a woman's buttocks move in a bouncy manner

Girl make your booty go bump, bump
The singer encourages a woman to showcase her booty by making it bounce

How you make your booty go bump, bump
The artist is curious about how a woman can make her buttocks move in that manner

You got a whole lot a junk in your trunk, trunk
The singer acknowledges that the woman has a generous amount of curves and volume in her backside

Girls shake your booty don't stop, stop
The artist instructs the ladies to keep moving their buttocks energetically without pausing

Turn around and make your booty pop, pop
The performer suggests that women should also emphasize their buttocks when they turn around, making it visibly attractive

Make it clap (Clap) clap (clap) clap, clap
The crowd is encouraged to applaud and clap in response to the women's excellent dancing

Elephant Man and, the are, AKA talkin' for the ladies
Elephant Man and Kelly, who is mentioned earlier, represent the male perspective and speak on behalf of men as they appreciate and support the women's dancing

Let me know that, we like to feel when, the junk in the trunk
The artists express their preference for feeling and experiencing the moves and curves of a woman's backside

Goes like bop, bop, bop, and clap, clap, clap
The artists describe the desired movements as rhythmic and repetitive, emphasizing the sound and visual effect of the booty bouncing and clapping

Hey yo Jamaica meets
The artists hail and show appreciation to Jamaica