Female Texan Musicians Who Use Their Music to Make Statements on Controversial Topics

March, march to my own drum
March, march to my own drum
Hey, hey, I’m an army of one
Oh, I’m an army of one
March, march to my own drum
March, march to my own drum
Hey, hey, I’m an army of one
Oh, I’m an army of one

Brenda’s packin’ heat ’cause she don’t like Mondays
Underpaid teacher policin’ the hallways
Print yourself a weapon and take it to the gun range
(Ah, cut the shit, you ain’t goin’ to the gun range)
Standin’ with Emma and our sons and daughters
Watchin’ our youth have to solve our problems
I’ll follow them, so who’s comin’ with me?
(Half of you love me, half already hate me)

March, march to my own drum
March, march to my own drum
Hey, hey, I’m an army of one
Oh, I’m an army of one
March, march to my own drum
March, march to my own drum
Hey, hey, I’m an army of one
Oh, I’m an army of one

Tell the ol’ boys in the white bread lobby
What they can and can’t do with their bodies
Temperatures are risin’, cities are sinkin’
(Ah, cut the shit, you know your city is sinkin’)
Lies are truth and truth is fiction
Everybody’s talkin’, who’s gonna listen?
What the hell happened in Helsinki?

March, march to my own drum
March, march to my own drum
Hey, hey, I’m an army of one
Oh, I’m an army of one
March, march to my own drum
March, march to my own drum
Hey, hey, I’m an army of one
Oh, I’m an army of one

Released in June 2020, at a time of political unrest and turmoil, “March March” is an unforgettable, punchy response to the injustices and social issues taking place across the United States at the time (and even still to this day). The song addresses issues such as school shootings, gun control, reproductive rights, climate change, and political controversies.

The lyric “Brenda’s packin’ heat ’cause she don’t like Mondays” refers to Brenda Spencer, who is believed to be the first female school shooter in the United States (1979). Spencer infamously said that her ” reasoning behind the shooting was she “just don’t like Mondays.” The following lyric, “Underpaid teacher policin’ the hallways,” refers to the idea of teachers, who are chronically underpaid, being armed with weapons in order to protect students in the case of a school shooting. Additionally, the lyric “Standin’ with Emma and our sons and daughters” refers to Emma (now referred to by the name X) Gonzalez, who is a survivor of the 2018 shooting at Marjory Stoneman Douglas High School.

The lyrics “Print yourself a weapon and take it to the gun range/(Ah, cut the shit, you ain’t goin’ to the gun range)” refers to growing concerns about individuals’ ability to 3D print guns. These guns are not able to be controlled in the same ways as conventional firearms, which presents a concern regarding regulation of these new guns. The Chicks also imply that individuals who are 3D printing guns may say that they are taking them “to the range,” but they are actually using them to cause violence.

The lyrics “Tell the ol’ boys in the white bread lobby/What they can and can’t do with their bodies” refers to the white, male politicians that aim to pass legislation that restricts women’s rights to reproductive healthcare, such as abortion. The point here is that the individuals who are trying to limit women’s access to reproductive healthcare are individuals who would never need to use such services because they are men.

The lyric “Temperatures are risin’, cities are sinkin’” refers to the fact that climate change is contributing to the rise of temperatures worldwide and the sinking of several cities, including New Orleans.

The lyric “What the hell happened in Helsinki?” refers to a meeting that took place in Helsinki, Finland between former United States President Donald Trump and Russian President Vladimir Putin. This meeting is a tradition between the presidents of the United States and Russia, but this particular meeting carried a lot of controversy since it followed years of ongoing allegations that Russia interfered with the 2016 United States Presidential election.

In addition to what the lyrics reference, the music video for “March March” also packs a punch. The video begins with the quote “If your voice held no power, they wouldn’t try to silence you.” The visuals include images of police brutality, school shooting protests, X (formerly known as Emma) Gonzalez, Malala Yousafzai, Greta Thunberg, climate change protests, anti-war protests, women’s suffrage protests, anti-racism protests, LGBTQ+ protests, fires decimating forests, roadways being swallowed by water, women’s rights protests, gender equality protests, and Black Lives Matter protests, as well as phrases such as “All Black Lives Matter,” “Black Trans Lives Matter,” “#EndWhiteSilence,” and “Say Their Names.” The video goes on to list the names of black individuals who have been killed by police officers in the United States. The list includes:

• George Floyd
• Breonna Taylor
• Michael Lorenzo Dean
• Tony McDade
• Rayshard Brooks
• Ahmaud Arbery
• Trayvon Martin
• Sandra Bland
• Philando Castille
• Tamir Rice
• Alton Sterling
• Eric Garner
• Eric Reason
• Alteria Woods
• Amadou Diallo
• David McAtee
• Botham Jean
• Chris Beaty
• Italia Marie Kelly
• Dion Johnson
• Jamel Floyd
• William Green
• Troy Hodge
• Darrien Hunt
• Kalief Browder

Several hundred more names flash across the screen for over a minute, with the names flashing faster and faster.

The video ends with the phrase “use your VOICE. use your VOTE.“

With the release of the album that “March March” is on, Gaslighter, the Chicks dropped the word “Dixie” from their name. The change came from wanting to distance themselves from the connotations of the word “dixie,” which is often used to refer to slavery, racism, and the Confederate-era South.

*As an additional note, I would like to point out that the music video for this song cannot be embedded due to being “age-restricted,” despite containing no images or phrases that violate YouTube’s guidelines.

If you save yourself for marriage
You’re a bore
You don’t save yourself for marriage
You’re a horrible person
If you won’t have a drink
Then you’re a prude
But they’ll call you a drunk
As soon as you down the first one

If you can’t lose the weight
Then you’re just fat
But if you lose too much
Then you’re on crack

You’re damned if you do
And you’re damned if you don’t
So you might as well just do
Whatever you want

So, make lots of noise (hey)
Kiss lots of boys (yup)
Or kiss lots of girls
If that’s something you’re into
When the straight and narrow
Gets a little too straight
Roll up a joint, or don’t

Just follow your arrow
Wherever it points, yeah
Follow your arrow
Wherever it points

If you don’t go to church
You’ll go to hell
If you’re the first one on the front row
You’re self-righteous son of a-

Can’t win for losin’
You’ll just disappoint ’em
Just ’cause you can’t beat ’em
Don’t mean you should join ’em

So, make lots of noise (hey)
Kiss lots of boys (yup)
Or kiss lots of girls
If that’s something you’re into
When the straight and narrow
Gets a little too straight
Roll up a joint, or don’t

Just follow your arrow
Wherever it points, yeah
Follow your arrow
Wherever it points

Say what you think (Say what you think)
Love who you love (Love who you love)
‘Cause you just get so many trips ’round the sun
Yeah, you only
Only live once

So make lots of noise (hey)
Kiss lots of boys (yup)
Or kiss lots of girls
If that’s what you’re into
When the straight and narrow
Gets a little too straight
Roll up a joint, I would

And follow your arrow
Wherever it points, yeah
Follow your arrow
Wherever it points

In opposition of traditional country music themes, “Follow Your Arrow” contains several potentially divisive lyrical talking points. The song is about self-acceptance. It implores listeners to focus on their own happiness rather than focusing on whether others judge their life choices. The song tackles several controversial topics, including misogyny, sexual orientation, marijuana use, and religion.

The lyrics “If you save yourself for marriage/You’re a bore/You don’t save yourself for marriage/You’re a horrible person” refers to opposite ideas of what a woman should do sexually. If a woman decides not to have sex before she gets married, some individuals would criticize her for remaining chaste in an age where sex has become normalized. On the other hand, if a woman decides to have sex before marriage, other individuals would say that she is going to hell because she disobeyed “the word of God” (or other religious equivalents).

The lyrics “Kiss lots of boys (yup)/Or kiss lots of girls/If that’s something you’re into” refers to the acceptance of different sexual orientations. Considering that country music fans tend to be conservative, this lyric caused a lot of controversy because Musgraves preached the acceptance of the LGBTQ+ community, which is often a community neglected and disowned by conservatives.

The lyrics “When the straight and narrow/Gets a little too straight/Roll up a joint, I would” refers to Musgraves’ use of marijuana. The use of marijuana has been a controversial topic in recent years, especially with the increasing amount of individuals jailed for possession/distribution of the drug. Conservatives tend to be opposed to the legalization of marijuana, another stance that Musgraves opposes.

The lyrics “If you don’t go to church/You’ll go to hell/If you’re the first one on the front row/You’re self-righteous son of a-” refers to opposite ideas of what a person should be doing religiously. If you don’t attend church, some individuals would say that you’d go to hell because you didn’t repent for your sins and worship God. On the other hand, if you participate heavily in church activities, other individuals would say that you’re self-righteous and criticize others because they defy “the word of God.”

“Follow Your Arrow,” although considered controversial in conservative country music communities, was named Song of the Year at the 2014 Country Music Association Awards. Rolling Stone later ranked the song number 39 on its lists of “100 Greatest Country Songs of All Time.”

Don’t touch my hair
When it’s the feelings I wear
Don’t touch my soul
When it’s the rhythm I know
Don’t touch my crown
They say the vision I’ve found
Don’t touch what’s there
When it’s the feelings I wear

They don’t understand
What it means to me
Where we chose to go
Where we’ve been to know
They don’t understand
What it means to me
Where we chose to go
Where we’ve been to know

You know this hair is my shit
Rolled the rod, I gave it time
But this here is mine
You know this hair is my shit
Rolled the rod, I gave it time
But this here is mine

What you say, oh?
What you say to me?
What you say to me?
What you say to me?
What you say to me?
What you say to me?
What you say to me?
What you say to me?
What you say to me?

Don’t touch my pride
They say the glory’s all mine
Don’t test my mouth
They say the truth is my sound

They don’t understand
What it means to me
Where we chose to go
Where we’ve been to know
They don’t understand
What it means to me
Where we chose to go
Where we’ve been to know

You know this hair is my shit
Rolled the rod, I gave it time
But this here is mine
You know this hair is my shit
Rolled the rod, I gave it time
But this here is mine (mine)

What you say, oh?
What you say to me? (24x)

“Don’t Touch My Hair” details the encounters black women across the country have with white people trying to touch their “ethnic” hair, an action that has become a micro-aggression. Black women often wear their hair in protective styles, such as buns, plaits, chignons, cornrows, Bantu knots, locs, braids, and two strand twists. These hairstyles affirm a sense of community and identity. Even some legislatures have recognized these hairstyles as an “inherent part of Black identity.”

In the song, Solange commands an individual (presumably a white individual) to stop touching her hair. Her hair represents her feelings and soul, and she doesn’t want the individual to “touch” those parts of herself. Additionally, her hair is referred to as a crown, a term often used when referring to someone who speaks some truth or stands up for something/someone through their actions or words.

Solange goes on to say how the individuals who “touch” her hair don’t understand what her hair means to her. In black communities, one’s hair represents their pride in their heritage and culture. She reinforces this idea later in the song when she commands the individual not to touch her pride.

All my n*ggas in the whole wide world
All my n*ggas in the whole wide world
Made this song to make it all y’all’s turn
For us, this shit is for us

All my n*ggas let the whole world know
Play this song and sing it on your terms
For us, this shit is for us
Don’t try to come for us

All my n*ggas got the whole wide world
Tell them n*ggas that it’s all our turn
This us, some shit is a must
Some shit is for us

When you know you gotta pay the cost
Play the game just to play the boss
So you thinking what you gained, you lost
But you know your shit is taking off, oh
When you driving in your tinted car
And you’re criminal, just who you are
But you know you’re gonna make it far, oh

When you feeling all alone
And you can’t even be you up in your home
When you even feeling it from your own
When you got it figured out
When a n*gga tryna board the plane
And they ask you, “What’s your name again?”
Cause they thinking, “Yeah, you’re all the same”
Oh, it’s for us

All my n*ggas in the whole wide world
Made this song to make it all y’all’s turn
For us, this shit is for us
Some shit is a must
This shit is for us

When it’s going on a thousand years
And you pulling up to your crib
And they ask you where you live again
But you running out of damns to give, oh
I hope my son will bang this song so loud
That he almost makes his walls fall down
Cause his momma wants to make him proud
Oh, to be us

And all my n*ggas in the whole wide world
Made this song to make it all y’alls turn
For us
This shit is for us
Sometimes we don’t trust
This shit is for us

And we bomb on sight, on sight we must charge
Host of my emotion, it’s your call
Liquor in my system, we must crawl
Addiction, disobey the law
Don’t clip my wings before I learn to fly
I didn’t come back down to Earth to die

All my n*ggas in the whole wide world
Made this song to make it all y’all’s turn
For us, this shit is from us
Get so much from us
Then forget us

Don’t feel bad if you can’t sing along
Just be glad you got the whole wide world
This us
This shit is from us
Some shit you can’t touch

Ooh, oh baby
For us baby
Yeah
It’s all for us baby
Nobody else, baby
All for us baby

In “F.U.B.U.,” which stands for “for us by us,” Solange addresses her frustrations with a country that disvalues black life while benefitting from the art, innovations, and political progress that black individuals have contributed to American society. Throughout the song, she describes scenarios in which black individuals are mistreated purely based on their skin color.

The lyrics “When you driving in your tinted car/And you’re criminal, just who you are” describes a scenario in which black individuals are driving a car with tinted windows, so they are assumed to be criminals. Unfortunately, this scenario is a reality for black individuals every day all across the country. Even without tinted windows, black individuals are being pulled over by officers purely for being black, even if the “official” reason is a burnt out taillight or an expired car registration. Minor offenses such as these give officers a legal reason for pulling black individuals over so that the officers can look for any signs of illegal activity within the car, even if the officers’ unofficial reasoning is the skin color of the driver.

The lyrics “When a n*gga tryna board the plane/And they ask you, “What’s your name again?”/Cause they thinking, “Yeah, you’re all the same”” describes a scenario in which a black individual is stopped by TSA agents under suspicion of illegal activity, although the reasoning for the stop is because the black individual is “suspicious” because of his skin color. Solange also sings that these agents think that all black individuals are the same, so of course they must all be criminals.

The lyrics “And you pulling up to your crib/And they ask you where you live again” describes a scenario in which a black individual pulls up to their house, but another individual asks if they really live in the house because they don’t believe that the black individual could possibly live in the house. This scenario is more relevant for upper-class black individuals because some people don’t believe that a black individual could possibly afford a house in an upper-class neighborhood.

“F.U.B.U.” has earned praise from several prominent individuals, including Hollywood actresses and Black Lives Matter activists.

Y’all haters corny with that Illuminati mess
Paparazzi, catch my fly, and my cocky fresh
I’m so reckless when I rock my Givenchy dress (stylin’)
I’m so possessive so I rock his Roc necklaces
My daddy Alabama, Momma Louisiana
You mix that negro with that Creole make a Texas bama

I like my baby heir with baby hair and afros
I like my negro nose with Jackson Five nostrils
Earned all this money but they never take the country out me
I got a hot sauce in my bag, swag

I see it, I want it, I stunt, yellow-bone it
I dream it, I work hard, I grind ’til I own it
I twirl on them haters, albino alligators
El Camino with the seat low, sippin’ Cuervo with no chaser

Sometimes I go off (I go off), I go hard (I go hard)
Get what’s mine (take what’s mine), I’m a star (I’m a star)
Cause I slay (slay), I slay (hey), I slay (okay), I slay (okay)
All day (okay), I slay (okay), I slay (okay), I slay (okay)
We gon’ slay (slay), gon’ slay (okay), we slay (okay), I slay (okay)

I slay (okay), okay (okay), I slay (okay), okay, okay, okay, okay
Okay, okay, ladies, now let’s get in formation, cause I slay
Okay, ladies, now let’s get in formation, cause I slay
Prove to me you got some coordination, cause I slay
Slay trick, or you get eliminated

When he fuck me good I take his ass to Red Lobster, cause I slay
When he fuck me good I take his ass to Red Lobster, cause I slay
If he hit it right, I might take him on a flight on my chopper, cause I slay
Drop him off at the mall, let him buy some J’s, let him shop up, cause I slay

I might get your song played on the radio station, cause I slay
I might get your song played on the radio station, cause I slay
You just might be a black Bill Gates in the making, cause I slay
I just might be a black Bill Gates in the making

I see it, I want it, I stunt, yellow-bone it
I dream it, I work hard, I grind ’til I own it
I twirl on my haters, albino alligators
El Camino with the seat low, sippin’ Cuervo with no chaser

Sometimes I go off (I go off), I go hard (I go hard)
Take what’s mine (take what’s mine), I’m a star (I’m a star)
Cause I slay (slay), I slay (hey), I slay (okay), I slay (okay)
All day (okay), I slay (okay), I slay (okay), I slay (okay)
We gon’ slay (slay), gon’ slay (okay), we slay (okay), I slay (okay)

I slay (okay), okay (okay), I slay (okay), okay, okay, okay, okay
Okay, okay, ladies, now let’s get in formation, cause I slay
Okay, ladies, now let’s get in formation, cause I slay
Prove to me you got some coordination, cause I slay
Slay trick, or you get eliminated

Okay, ladies, now let’s get in formation, I slay
Okay, ladies, now let’s get in formation
You know you that bitch when you cause all this conversation
Always stay gracious, best revenge is your paper

“Formation” is mainly about giving the proverbial middle finger to those who dismiss her success. However, those who had dismissed her often did so because they did not believe that a black woman could be so successful. Clearly, she has proven them wrong. Additionally, Beyoncé speaks about her pride in her cultural identity, noting that she doesn’t care if others don’t like it.

The lyrics “My daddy Alabama, Momma Louisiana/You mix that negro with that Creole make a Texas bama” refers to Beyoncé’s heritage. Her father, Matthew, was born and raised in Alabama and comes from African-American heritage. Her mother, Tina, was born and raised in Texas but comes from Louisiana Creole heritage. Beyoncé talks about her heritage by saying that she was the resulting of mixing “that negro” (her father) with “that Creole” (her mother). “Texas bama” refers to Texas and Alabama, the states in which her parents grew up. It can also be interpreted as representing Beyoncé herself since she is the product of her parents.

The lyrics “I like my baby heir with baby hair and afros/I like my negro nose with Jackson Five nostrils” refers to Beyoncé’s daughter Blue Ivy (her “heir”) as well as typical black hairstyles (baby hair and afros). It also demonstrates Beyoncé’s pride in her heritage as she says she likes her “negro nose with Jackson Five nostrils.” The term “Jackson Five nostrils” refers to the nasal features of the members of the band the Jackson Five, an all-black musical group.

The lyric “Earned all this money but they never take the country out me” refers to the fact that Beyoncé grew up seeing lower-class communities in Texas, Alabama, and Louisiana. She explains that even though she has earned so much money that she would never have to live near communities like that ever again, the cultural identity she gained from them will never go away, regardless of her financial status.

I’m goin’ back to the South
I’m goin’ back, back, back, back
Where my roots ain’t watered down
Growin’, growin’ like a Baobab tree
Of life on fertile ground, ancestors put me on game
Ankh charm on gold chains, with my Oshun energy, oh
Drip all on me, woo, Ankara Dashiki print
Hol’ up, don’t I smell like satya, Nag Champa incense?
Yeah, pure ice (ice), ice (ice), buss down
Uh, flooded (flooded), flooded (flooded), on my wrist, ow
Ooh, goin’ up, goin’ up, motherland, motherland drip on me
Ooh, melanin, melanin, my drip is skin deep, like
Ooh, motherland, motherland, motherland, motherland drip on me
Eeya, I can’t forget my history is her story, yeah
Being black, maybe that’s the reason why they always mad
Yeah, they always mad, yeah
Been passed ’em, I know that’s the reason why they all big mad
And they always have been

Honey, come around my way, around my hive
Whenever momma says so, momma say
Here I come on my throne, sittin’ high
Follow my parade, oh, my parade
Talkin’ slick to my folk (my folk), nip that lip like lipo (lipo)
You hear them swarmin’, right? Bees is known to bite
Now here we come on our thrones, sittin’ high
Follow my parade, oh, my parade

On fours, all black
All chrome, black-owned
Black tints, matte black
Walked by, my window down, let ’em see who in it
Crack a big smile (ding)
Go figure, me and Jigga, fifty ‘leven children
They like, “Chick, how?”
I charge my crystals in a full moon
You could send them missiles, I’ma send my goons
Baby sister reppin’ Yemaya (Yemaya)
Trust me, they gon’ need an army
Rubber bullets bouncin’ off me
Made a picket sign off your picket fence
Take it as a warning
Waist beads from Yoruba (woo)
Four hunnid billi’, Mansa Musa (woo)
Stroll line to the barbeque
Put us any damn where, we gon’ make it look cute
Pandemic fly on the runway, in my hazmat
Children runnin’ through the house and my art, all black
Ancestors on the wall, let the ghosts chit-chat
(Ancestors on the wall, let the ghosts chit-chat)
Hold my hands, we gon’ pray together
Lay down, face down in the gravel
We wearin’ all attire white to the funeral
Black love, we gon’ stay together
Curtis Mayfield on the speaker (woo)
Lil’ Malcolm, Martin, mixed with momma Tina (woo)
Need another march, lemme call Tamika (woo)
Need peace and reparation for my people (woo)
Fuck these laid edges, I’ma let it shrivel up (shrivel up)
Fuck this fade and waves, I’ma let it dread all up (dread all up)
Put your fists up in the air, show black love (show black love)
Motherland drip on me, motherland, motherland drip on me

Honey, come around my way, around my hive
Whenever momma says so, momma say
Here I come on my throne, sittin’ high
Follow my parade, oh, my parade
Talkin’ slick to my folk (my folk), nip that lip like lipo (lipo)
You hear ’em swarmin’, right? Bees is known to bite
Now here we come on our thrones, sittin’ high
Follow my parade, oh, my parade

We got rhythm (we got rhythm), we got pride (we got pride)
We birth kings (we birth kings), we birth tribes (we birth tribes)
Holy river (holy river), holy tongue (holy tongue)
Speak the glory (speak the glory), feel the love (feel the love)
Motherland, motherland drip on me, hey, hey, hey
Motherland, motherland drip on me, hey, hey, hey
I can’t forget my history, it’s her story
Motherland drip on me, motherland, motherland drip on me

Honey, come around my way, around my hive
Whenever momma says so, momma say
Here I come on my throne, sittin’ high
Follow my parade, oh, my parade
Talkin’ slick to my folk (my folk), lift that lip like lipo (lipo)
You hear ’em swarmin’, right? Bees is known to bite
Now here we come on our thrones, sittin’ high
Follow my parade, oh, black parade

Released on Juneteenth (June 19th), a holiday that commemorates the end of slavery in the United States, in 2020, “Black Parade” is a song celebrating blackness. The song is full of references to African heritage, conveying the pride that Beyoncé has in being of African descent.

In the first verse of the song, Beyoncé talks about going back to where her roots aren’t watered down, alluding to the fact that Americans have watered down African culture. She continues on, referencing traditional African artifacts, such as Baobab trees (an African tree species that stores water in branches and roots), the Ankh (an ancient symbol that represents the key of life), Oshun (a Yoruba Orisha who is seen as the goddess of femininity and fertility), and Ankara Dashiki (colorful shirts that have vibrant patterns). Beyoncé also describes her complexion, talking about the melanin in her skin.

The second verse of song adds on to the discussion of her African heritage, referencing Yemaya (a Yoruba water goddess and patron saint of expecting mothers), waist beads from Yoruba (accessories that are associated with spiritual protection, rites of passage, and sexuality), white funeral attire, the charging of crystals under a full moon, and the encouragement of the ghosts of her ancestors to chat amongst themselves in her home. Additionally, Beyoncé doesn’t beat around the bush in regard to her thoughts on police brutality. She says that rubber bullets, which are often used by police as a form of a nonlethal weapon, bounce off of her, signifying that police efforts to stop her protesting their brutality are futile. She goes on, saying that she made a picket sign of someone’s picket fence. This alludes to the “white picket fence” symbol of American life, and Beyoncé takes a part of this fence to make a protest sign, signifying that American life has been destroyed because of the events and actions that led to the need to protest. Several prominent figures are named throughout this verse, including Mansa Musa (the tenth emperor of the Mali Empire), Curtis Mayfield (a soul singer who explored the struggles of Black America in his music), Malcom X (a civil rights activist), Martin Luther King Jr. (also a civil rights activist), Tina Knowles (Beyoncé’s mother), and Tamika Mallory (a Black Lives Matter activist).

In addition to commentary on racial issues, Beyoncé mentions the COVID-19 pandemic, referencing the healthcare workers that had to wear hazmat suits for their own protection. One of the most quoted lyrics of “Black Parade” is located near the end of the second verse, where she demands “peace and reparation” for the black Americans who have suffered for hundreds of years and continue to suffer from racism. Finally, at the end of the second verse, she tells listeners to put their fists in the air, a symbol commonly associated with solidarity and resistance, and to show black love.

“Black Parade” was a huge success, being the most nominated song at the 2021 Grammy Awards. The song was nominated for Record of the Year, Song of the Year, and Best R&B Song, and won Best R&B Performance.

You sure like me, when I’m sitting quiet
You sure like me, when I’m sitting quiet
But, then I raise my voice, or too opinionated
Can’t fucking stand when my team is celebrated
I’m not trying to bring you down, man

Don’t tell me it’s not relevant
Don’t tell me it’s not relevant
‘Cause we’re still oppressed
We are getting paid less
Judged by the looks and the way we dress
I don’t want to bring you down, man
I just want us to meet in the middle

I am, I am a feminist
Yo soy, yo soy feminista
Je suis, je suis une féministe
Ich bin eine feministin
私はフェミニストです
I am a feminist, yeah!

I don’t hate men, I just love women
I don’t hate men, I just love women
You’ve got the wrong idea
You’ve got the wrong impression
I’m getting fucking tired of the outright oppression
I’m no feminazi
This ain’t no twatstika

I am, I am a feminist
Yo soy, yo soy feminista
Je suis, je suis une féministe
Ich bin eine feministin
私はフェミニストです
I’m a feminist, yeah!

I am, I am a feminist
Yo soy, yo soy feminista
Je suis, je suis une féministe
Ich bin eine feministin
私はフェミニストです
I’m a feminist, yeah!

I am, I am a feminist
Yo soy, yo soy feminista
Je suis, je suis une féministe
Ich bin eine feministin
私はフェミニストです
I’m a feminist, yeah!

I am, I am a feminist
Yo soy, yo soy feminista
Je suis, je suis une féministe
Ich bin eine feministin
私はフェミニストです
私はフェミニストです！
私はフェミニストです
Oh, yeah!

“Feminazi” is a punchy, explicit, unapologetically direct jab at racists, sexists, and xenophobes (most notably Donald Trump).

The first verse sharply points out men who prefer women to be silent and submissive rather than be loud and opinionated.

The second verse talks about inequalities that women still face to this day, such as the pay gap and double standards that women face in regard to the way they look and act. An example of these double standards is the difference in how men and women are treated regarding how many sexual partners they have had. If a man has had many, he is seen as a “player” or a “stud,” while a woman who has the same amount is seen as a “whore” or a “slut.”

The third verse (and my personal favorite) contains the lyrics “I’m no feminazi/This ain’t no twatstika.” The word “feminazi” has been used derogatorily by sexists to describe feminists that they deem to be so strong in their beliefs that they are compared to Nazis. Additionally, the term “twat” is vulgar slang for “vagina,” and the term “swastika” refers to the symbol used by the Nazi regime. Therefore, the word “twatstika” can be interpreted as metaphorically referring to one’s vagina as a horrific, oppressive, cult-like regime, which is how sexists view feminism.

The music video for “Feminazi” is just as punchy as the lyrics. The visuals include various historical images of of women going to protests and rejecting the social norms imposed on them by men. The video shares numerous quotes and headlines about several different topics. They are as follows:

• “You’ve called women you don’t like: fat pigs, dogs, slobs, and disgusting animals.” – a reporter speaking to Donald Trump, former US president
• “The Indian, Pocahontas.” – Donald Trump in reference to Elizabeth Warren
• “Gov. Scott Walker Repeals Wisconsin Equal Pay Law”
• “The safe house is a haven for women who have scaped from domestic abuse or forced marriages.” – Amanda Pike, The Center for Investigative Reporting
• “Outrage Over 6-Month Sentence for College Rapist” – in regard to Brock Turner
• “A city in which a woman is raped every 14 hours… They want things to change.” – in regard to Delhi, India
• “The Democrats have invented this phony ‘War On Women.'” – Steve Doocy, Fox News Commentator
• “The Women’s Movement is still necessary and more alive than ever.” – Gloria Steinem, journalist and activist
• “Legitimate rape” (as if there’s such as thing as illegitimate rape) – Todd Akin, former US representative for Missouri
• “Something that God intended” – Richard Mourdock, former Indiana state treasurer, in regard to pregnancy resulting from rape
• “Young and beautiful piece of ass.” – Donald Trump
• “You once told a contestant on Celebrity Apprentice, ‘It would be a pretty picture to see her on her knees.'” – a reporter speaking to Donald Trump
• “I don’t frankly have time for total political correctness.” – Donald Trump
• “Gang rape victim ‘so beautiful’ he wishes he has ‘been first.'” – Rodrigo Duterte, former Filipino president
• “Duterte admits it was a bad remark, but says that is just the way he speaks.” – regarding Rodrigo Duterte not willing to apologize for inappropriate remark about rape
• “There has to be some form of punishment [for the woman].” – Donald Trump regarding abortion

So what if her shirt is low cut
And her jeans are tight
Tell me why, tell me why, do you think that it’s alright
When she puts up a fight?

Abre más las piernas (Open your legs more)
Abre, abre, abre, abre (Open, open, open, open)
Abre más las piernas, eres sucia y eres perra (Open your legs more, you’re dirty and you’re a bitch)

No soy culpa, ni ramera (I am not guilty, nor a harlot)
Ni soy puta, mujerzuela (I’m not a whore, slut)
No soy zorra, no soy perra, solo soy mujer (I’m not a bitch, I’m not a bitch, I’m just a woman)
No soy culpa, ni ramera (I am not guilty, nor a harlot)
Ni soy puta, mujerzuela (I’m not a whore, slut)
No soy zorra, no soy perra, solo soy mujer moderna (I’m not a bitch, I’m not a bitch, I’m just a modern woman)

She’s walking home after having a few drinks
It must have been her fault
It’s so sad, it’s too bad you’re a man and you can’t control it
She wasn’t asking for it
She wasn’t asking for it

Abre más las piernas (Open your legs more)
Abre, abre, abre, abre (Open, open, open, open)
Abre más las piernas, eres sucia y eres perra (Open your legs more, you’re dirty and you’re a bitch)

No soy culpa, ni ramera (I am not guilty, nor a harlot)
Ni soy puta, mujerzuela (I’m not a whore, slut)
No soy zorra, no soy perra, solo soy mujer (I’m not a bitch, I’m not a butch, I’m just a woman)
No soy culpa, ni ramera (I am not guilty, nor a harlot)
Ni soy puta, mujerzuela (I’m not a whore, slut)
No soy zorra, no soy perra, solo soy mujer moderna (I’m not a bitch, I’m not a bitch, I’m just a modern woman)

Abre, abre, abre, abre, abre, abre, abre (Open, open, open, open, open, open, open)
Abre, abre, abre, abre, abre, abre, abre, abre, ¡no! (Open, open, open, open, open, open, open, open, open, no!)

No, porque es mi cuerpo (No, because it’s my body)
No, por puro respeto (No, out of respect)
No, porque yo dije que no (No, because I said no)
No, ’cause I fucking said so

Abre más las piernas (Open your legs more)
Abre, abre, abre, abre (Open, open, open, open)
Abre más las piernas, eres sucia y eres perra (Open your legs more, you’re dirty and you’re a bitch)

No soy culpa, ni ramera (I am not guilty, nor a harlot)
Ni soy puta, mujerzuela (I’m not a whore, slut)
No soy zorra, no soy perra, solo soy mujer (I’m not a bitch, I’m not a bitch, I’m just a woman)
No soy culpa, ni ramera (I am not guilty, nor a harlot)
Ni soy puta, mujerzuela (I’m not a whore, slut)
No soy zorra, no soy perra, solo soy mujer moderna (I’m not a bitch, I’m not a bitch, I’m just a modern woman)

Soy mujer moderna (I am a modern woman)
Soy mujer moderna (I am a modern woman)
Soy mujer moderna (I am a modern woman)

“Mujer Moderna” tackles the topics of consent and rape culture head on.

The first verse asks men why they think it is okay to touch a woman when she clearly puts up a fight. Regardless of if she is wearing a low cut shirt and tight jeans, men should not be touching women without their consent. A scantily clad outfit is not an invitation for men to do whatever they want with women.

The second verse describes a woman who is walking home drunk. F.E.A. mocks the excuses that men make up for raping women by saying that it “must’ve been [the woman’s] fault” for being drunk, and that it’s “so sad” that men cannot control their sexual urges. Clearly, men should be able to do whatever they want whenever they want with a woman because they are just sexual beasts with needs (to be clear, this sentence is blatant sarcasm and I absolutely do not believe this)!

The third verse lists multiple reasons why men should not touch women:

• It’s her body and she gets to decide what she does with it
• Out of respect for her
• Because she said no
• Because she “fucking said so” (which should be reason enough!!!)

This is my favorite song out of all of the ones on this post because of the rageful, unapologetic, raw energy that the lyrics and the song itself emits. Rape culture is one of the most problematic issues plaguing the United States that needs to have more rage and attention directed towards it.

Sources