I would like to begin this post by stating how very pissed off I am with the reception that this song has been getting, from so-called fans and outsiders alike. So as anyone with contact to the outside world should know, Beyonce has recently previewed some new material from her upcoming 2013 album, namely, Bow Down. Let me say, this track is VERY different from the musician’s previous work in that it is far more vociferous, a million-fold more arrogant and plays home to more cursing than we have become accustomed to from “Queen Bee”. I must say that I thoroughly enjoy the 58 seconds of the track that has been released, which makes the whole controversy around it even more inane – we have only 58 goddamn seconds of the music and already the likes of Rush Limbaugh ( American radio host) and Wendy Williams (host of the lacklustre Wendy Williams Show) are passing their uninformed criticisms. With that having been said, the little bit of the song that we do in fact have goes a long way in expression of its meaning – well, I would assume it would for anyone with even the most minimal degree of comprehensive skills:
“ I know when you were little girls you dreamt of being in my world,
Don’t forget it, don’t forget it.
Respect that – bow down bitches.
I took some time to live my life, but don’t think I’m just his little wife.
Don’t get it twisted, get it twisted.
This my shit – bow down bitches…
… I’m on that H-Town*
Coming, coming down.
I’m coming down dripping candy on the ground. ”
Rush Limbaugh’s interpretation of otherwise very clear lyrics is nothing short of shocking. The man insists that Beyonce is calling women to make subservient obeisance to their husband and boyfriends – I point you to the lyric’s fourth line. So it should be clear that the track is in no way anti-feminist, which would have been in direct contradiction to the fundamental establishment of Beyonce’s musical career. Should I remind those of little faith: Single Ladies, Irreplaceable, Independent Women and Survivour are all ‘power-to-the-woman’ pieces – Bow Down simply follows suit, although in a (yes) much novel manner.
Secondly, many are up in arms about Beyonce coming off too abrasive and unnecessary offensive. What bullshit!! She is using the medium of hip-hop to voice the opinions of this particular piece of music – this is how it is done in the respective genre! It does not make her uneducated; in fact it makes her pretty goddamn smart.
I really wished to abstain from my own public interpretation of the song before the full track was released, but I know feel the need to chip in my two cent. I seem to link it to bullying that Beyonce may have encountered during her teenage years; the reference to “H-Town” points me to such a conclusion. In the very little that I know about hip-hop, it seems common practice among the genre’s artists to make reference to the “hoods” in which they grew up. In a lyric I have excluded Beyonce sings to whom she calls “H-Town bitches” – I didn’t take that she meant it in an endearing or affectionate manner and therefore understand that she is sort of flexing her muscles at those people. Furthermore, the accompanying art (left) she put forward with the track is one of her in her teens – if that does not point to teenage bullying, then I don’t know what does.
Anyhow, I have said what I needed to say, and I hope that I have shed some light on the unnecessary controversy surrounding what I feel is a strangely, but exceptionally empowering song – even if it only be 58 seconds an all at present.
JOHN CADAVER – Namaste.