Most Shocking Lyrics on the Album

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«I got diamonds beneath my thighs where his ego will find bliss.»

beyonce ego music video

Beyoncé in «Ego,» the 15th track on «I Am… Sasha Fierce (Deluxe).»


Beyoncé/YouTube



Song: «Alien Superstar»

The third track of «Renaissance» is when Beyoncé starts to get pretty randy. This line in particular seems to reference her own 2009 single «Ego,» which uses the title as a double entendre for a penis.

Interestingly, it also seems like a reference to Maya Angelou’s famous feminist poem «Still I Rise» («Does my sexiness upset you? / Does it come as a surprise / That I dance like I’ve got diamonds / At the meeting of my thighs?»).

«Hypersonic, sex erotic / On my body, boy, you got it / Hit them ‘draulics while I ride it / Got me actin’ hella thotty.»

beyonce renaissance press photo

«Cuff It» is the fourth track on «Renaissance.»

Mason Poole


Song: «Cuff It»

When Beyoncé casually throws out the phrases «sex erotic» and «hella thotty» on track four, you know the album will be a wild ride.

«Must be the cash ’cause it ain’t your face / It must be the cash ’cause it ain’t your face.»

beyonce jay-z

Jay-Z and Beyoncé attend a 2020 event for Roc Nation.

Kevin Mazur/Getty Images for Roc Nation


Song: «Church Girl»

As if this line wasn’t devastating enough, Beyoncé decided to repeat it twice in a row.

This might be a cheeky reference to «Family Feud,» Beyoncé’s 2017 collaboration with her husband Jay-Z, on which he raps, «Ain’t no such thing as an ugly billionaire, I’m cute.» 

It’s also an interpolation of the 1992 track «Where They At» by DJ Jimi, who’s credited as a cowriter on «Church Girl» («It must be the pussy ’cause it ain’t your face»).

«Motorboat, baby, spin around / Slow-mo coming out my blouse.»

beyonce renaissance press photo

«Virgo’s Groove» is the ninth track on «Renaissance.»

Mason Poole


Song: «Virgo’s Groove»

The longest song on «Renaissance» is also one of the most graphic. «Virgo’s Groove» delights in specific sexual acts like «motorboating», celebrating the physical pleasures of intimacy (or, as Beyoncé puts it, «nudity and ecstasy»).

«Only a real one could tame me / Only the radio could play me / Oh, now you wish I was complacent.»

beyonce lemonade

Beyoncé in «Don’t Hurt Yourself,» the third track on «Lemonade.»

Tidal


Song: «Heated»

In a rare moment of venom, Beyoncé seems to reference the betrayal detailed on her previous album.

Her refusal to be tamed, played, or complacent strongly recalls both «Don’t Hurt Yourself» and «Sorry,» the third and fourth tracks from «Lemonade» — blistering kiss-off anthems that address a cheating husband.

«Dimples on my hip, stretch marks on my tits / Drinking my water, minding my biz / Monday, I’m overrated, Tuesday, on my dick.»

beyonce renaissance press photo

«Heated» is the 11th track on «Renaissance.»

Mason Poole


Song: «Heated»

It’s always a thrill when Beyoncé goes into full-on flex mode, and «Heated» boasts her best take-down of tabloids and critics since the opening lines of «Formation» («Y’all haters corny with that Illuminati mess / Paparazzi, catch my fly, and my cocky fresh.»)

This lyric also contains a brazen nod to growth and motherhood, conflating stretch marks with power, much like the earlier track «Cozy» («Kiss my scars because I love what they made»).

«Get your money, money, cunty, hunty.»

beyonce Renaissance press photo

«Pure/Honey» is the 15th track on «Renaissance.»

Carlijn Jacobs


Song: «Pure/Honey»

Even though «cunty» and «hunty» are both words commonly deployed in drag, ballroom, and queer house music («Pure/Honey» samples Kevin Aviance’s «Cunty» and Moi Renee’s «Miss Honey»), it’s still felt like a small electric shock the first time I heard Beyoncé use them.

«If you make my body talk, I’ma leave you in a trance / Got you walking with a limp, bet this body make you dance.»

beyonce portrait renaissance press photo

«Summer Renaissance» is the 16th and final track on «Renaissance.»

Mason Poole


Song: «Summer Renaissance»

Beyoncé closes the album with a disco-house track that flips gender roles from the very first line: «I wanna house you and make you take my name.»

In the pre-chorus, Beyoncé promises to get her lover «walking with a limp,» subverting a common phrase that assumes a woman’s submissive role during sex.



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