"Stop Calling Me" is a pop, r&b song written by Reno Nicastro, Simone Stacey and Naomi Wenitong, produced by Nicastro for Shakaya's first album Shakaya (2002). The song is about relationships, about "boyfriends who keep calling after the relationship is over". It was released as the album's first single on 18 January 2002 as a CD single. It became Shakaya's most successful single in Australia peaking in the top five on the Australian ARIA Singles Chart, and its music video, was well received.
The song is about real-life experiences Stacey and Wenitong have had, and states that it is basically talking about boyfriends who keep calling after the relationship is over. They wrote the song when they were discussing with friends about stories of how to get unwanted attention away from ex-lovers, so they thought it would be fun to write a song about it. Stacey states "The message in this song is also about being straight up with people and just simply saying 'Look mate, just stop calling me' instead of leading a person on. This goes out to guys and girls."
This is considered to be Shakaya's signature song.
Read more about Stop Calling Me: Music Video, Promotion and Chart Performance, Track Listing
Famous quotes containing the words calling me, stop and/or calling:
“It is as real
as splinters stuck in your ear. The noise we steal
is half a bell. And outside cars whisk by on the suburban street
and are there and are true.
What else is this, this intricate shape of air?
calling me, calling you.”
—Anne Sexton (1928–1974)
“Could truth perhaps be a woman who has reasons for not permitting her reasons to be seen? Could her name perhaps be—to speak Greek—Baubo?... Oh, those Greeks! They understood how to live: to do that it is necessary to stop bravely at the surface, the fold, the skin, to adore the appearance, to believe in forms, in tones, in words, in the whole Olympus of appearance! Those Greeks were superficial—out of profundity!”
—Friedrich Nietzsche (1844–1900)
“Every man who has lived for fifty years has buried a whole world or even two; he has grown used to its disappearance and accustomed to the new scenery of another act: but suddenly the names and faces of a time long dead appear more and more often on his way, calling up series of shades and pictures kept somewhere, “just in case” in the endless catacombs of the memory, making him smile or sigh, and sometimes almost weep.”
—Alexander Herzen (1812–1870)