{"id":479,"date":"2026-06-12T14:07:14","date_gmt":"2026-06-12T14:07:14","guid":{"rendered":"https:\/\/cityrelocationnews.com\/?p=479"},"modified":"2026-06-12T14:07:14","modified_gmt":"2026-06-12T14:07:14","slug":"lizzo-in-the-age-of-backlash","status":"publish","type":"post","link":"https:\/\/cityrelocationnews.com\/?p=479","title":{"rendered":"Lizzo in the Age of Backlash"},"content":{"rendered":"
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How\u2019s a bitch doing, really? I don\u2019t quite mean women or craven men\u2014not anyone who\u2019s been named one, shamed as one, not even the ones who have, in the usual idiom, reclaimed<\/em> insult for affirmation. No, I mean \u201cbitch,\u201d the word; or, \u201cBITCH,\u201d as Lizzo stylizes her fifth studio album, released this past Friday. In the title track, Lizzo interpolates two elder singer-songwriters, Missy Elliott and Meredith Brooks, who each flipped the slur into biting hooks in the late nineties. From the former comes a statement of fact, expressed and embraced on behalf of some third party: \u201cShe\u2019s a bitch<\/em>,\u201d Lizzo spits like Missy, with whom she collaborated for \u201cTempo,\u201d in 2019. Brooks, whose \u201cBitch\u201d was edgy enough for 1997, supplies those famous binaries\u2014bitch, lover, child, mother\u2014though Lizzo, as Lizzo would, replaces \u201cHell\u201d and \u201cdream\u201d with \u201cmess\u201d and \u201cqueen.\u201d Also all-Lizzo are the verses, rebutting the negativity of name-calling with lyrics like \u201cUh, you mean boss? \/ . . . If I lost some followers, it ain\u2019t a loss.\u201d<\/p>\n

Read more A Wondrous Array of Boundary Pushers at SummerStage<\/a><\/p>\n

\u201cBITCH\u201d\u2014both track and album\u2014isn\u2019t as bombastic as its acknowledged predecessors, including Lizzo\u2019s previous records. The caps-lock title and eff-you art work, in which the artist\u2019s image is transposed onto a hand as a triumphant middle finger, overshoots the tone. (The title track, for one, is more of a smirk.) The album revisits, but is not insistent on, familiar touchpoints, be it self-love after heartbreak or generic emulations of genre (the piano ballad; the emo plaint; the eighties, the nineties, the sixties), settling into these tropes as one would life\u2019s grooves. That is not to call this a great work, but neither is it an abysmal showing. Maybe something like an abeyance. \u201cBITCH\u201d is competent, measured, and medium, and therefore not usual for the artist who became known for saying it with her tits.<\/p>\n

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A read on the times, perhaps. For all the redux going \u2019round, it is no longer the nineties; it is not even\u2014culturally or otherwise\u2014the twenty-tens, the heyday for the marketable I\u2019ma-do-me positivity that composed the ill-fated ferment for Lizzo\u2019s fame. Her career suffices for a neat object lesson in what my peers have taken to calling, with dubious irony, Woke 1.0. Core memories of the era replay the commercial capture of identity, from Beyonc\u00e9\u2019s questionably feminist \u201c***Flawless\u201d to Meghan Trainor\u2019s whole thing, then unduly heralded as political action and now unduly blamed on people who found some of the music fun. Coterminous with that journey has been the artist\u2019s run-in with \u201cLizzo\u2019s Pass,\u201d a comedic yet profound coinage by the comedian Sam Taggart, who co-hosts the culture podcast \u201cStraightiolab.\u201d An artist on the come-up, so the paradigm goes, can either go in \u201ca cool direction\u201d or \u201cnot a cool direction,\u201d represented, respectively, by Pitchfork<\/em> and Target. The force of the example, as Taggart explains, lies in us forgetting that Lizzo was once an oddball rapper-flautist who was anointed by Prince; an indie artist with pipes who endeared herself to mean Brooklyn gays. Then<\/em> she chose Target. Though it might be as accurate to say that Target (and Old Navy and Cadillac and Macy\u2019s and Walmart and L\u2019Or\u00e9al and Pepsi and Royal Caribbean Cruise Lines, all of which used her music in commercials) chose her.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Lizzo\u2019s charting songs of herself, as encapsulated on her 2019 platinum record \u201cCuz I Love You,\u201d were infectious, if not cool; her fat and Black body, much as it became an avatar for white women with cellulite, could be viewed as a token of changed values. This assigned her music an unproven political heft, much to her (and associated brands\u2019) profit, with potential for a nasty recoil. It did not help that the music became too brazen in yanking from that particular money tree, juicing the juice of say, \u201cJuice,\u201d till the bit ran dry. Her fourth studio album, \u201cSpecial,\u201d capitalized on the mounting enthusiasm for what the critic Rawiya Kameir dubbed \u201cempowerment-core,\u201d epitomized by a song like \u201cGrrrls,\u201d a flip of the Beastie Boys song given such decaying lyrics as \u201cThat\u2019s my girl, we C.E.O.s \/ And dancin\u2019 like a C-E-ho.\u201d (This combo\u2014the flip and groan-worthy quip\u2014that\u2019s the Lizzo special. And results sure do vary.)<\/p>\n

Some in the pop commentariat will say that it was controversy and hypocrisy that transformed Lizzo into the sort of artist for whom polling the group chat\u2019s feelings about the new album serves to inform them of its existence. In 2023, former employees filed a series of lawsuits against Lizzo for a hostile work environment inclusive of sexual harassment, racism, and fatphobia. These latter two accusations got better play in the court of opinion, and, in hindsight, one gets the sense that we were ready for the unmasking of body positivity, now outmoded. I can believe that some superficial share of Lizzo\u2019s fandom abandoned her out of principle, though I also believe, out of an abundance of evidence, that lawsuits matter little when an artist is making music that people want to hear.<\/p>\n

Read more Why \u201cBook-Shaming\u201d Won\u2019t Solve the Children\u2019s Literacy Crisis<\/a><\/p>\n

Rather, I suspect it goes back to Target, and the cheery co-optation of diversity that helped relegate Lizzo to the realm of cringe. \u201cCringe,\u201d as the writer Charlie Markbreiter puts it, \u201cis the gap between how others see you and how you want to be seen.\u201d Target doesn\u2019t even want to be seen as \u201cwoke\u201d anymore, having recently scuttled much of its Pride merch\u2014perhaps a concession to our moment of right-wing, Christian revanchist escalation. On the other side, Lizzo\u2019s fame, refracted through Lizzo\u2019s sound, has become an unflattering reflection of liberal unseriousness in the face of such hostility. Of course<\/em> self-love won\u2019t solve all of this. How did anyone let mass culture run away with that idea? Nor does it matter whether the idea was Lizzo\u2019s in the first place\u2014her sound is inextricable from a bygone article of faith. That\u2019s her real liability.<\/p>\n

And maybe she knows it. Maybe to this we attribute the composure of Lizzo\u2019s \u201cBITCH,\u201d as ethos, as idea, as music. Songs like \u201cDon\u2019t Make Me Love U,\u201d \u201cShe Stole My Man,\u201d and \u201cLittle Black Cat\u201d breeze through power pop (\u00e0 la Tina Turner), pop punk, and rainy-day R. & B., tapping the usual beats of heartbreak. \u201cAnd it felt just like a crime \/ Broke my heart and stole my life,\u201d she sings over acoustic guitar on \u201cLike a Crime.\u201d Clich\u00e9 is not the issue\u2014heartbreak precisely reminds us how conventional and repetitive love is in its guaranteed permutations. (Olivia Rodrigo, darling of the moment, understands this to popular effect, as on recent, ramping singles \u201cDrop Dead\u201d and \u201cThe Cure.\u201d) But competence can engender yearning for its opposite, for a metabolizing, in-medias-res idea. In a recent interview with the New York Times<\/em>, Lizzo says she\u2019s never had the benefit of a persona to hide behind when the going gets tough, yet she admits that it is \u201cnot appropriate,\u201d in our cultural and political atmosphere, for stars to wax morose about their problems. If the real Lizzo is ever with us\u2014whatever \u201creal\u201d can mean in the surveilled world of pop stardom\u2014she would still rather us see her sparkle instead of sweat.<\/p>\n

Signs of something interesting can be found in some of Lizzo\u2019s other recent music, namely \u201cMY FACE STILL HURTS FROM SMILING,\u201d a mixtape from 2025 that I\u2019m sure my group chat also doesn\u2019t know about. It\u2019s not a perfect bunch of songs by any means, but the two-disc dump is rangy and untidy, groovy and funny and even a bit mean. Skip the first track, with its opening a-cappella instruction to \u201cprotect your peace,\u201d for another set of instructions on track two, during which Lil Jon repeatedly implores listeners to \u201cshut the fuck up, bitch\u201d and Lizzo\u2019s sing-talking adopts a bratty lilt: \u201cIf fatherless behavior is a problem \/ Be a dad.\u201d Her raps, heard on songs like \u201cBOP IT!,\u201d \u201cLACE LIFTERS,\u201d and \u201cYITTY ON YO TITTYS,\u201d hark back to a prior Lizzo, the Lizzo of her 2013 d\u00e9but, \u201cLizzobangers.\u201d I won\u2019t call it cool. Cringe remains\u2014it\u2019s Lizzo, after all. There\u2019s also abrasion and bad attitude. It is, dare I say, bitchy.\u00a0\u2666<\/p>\n

Read more \u201cMudville,\u201d Reviewed: An Atlanta Filmmaker\u2019s Expansive D.I.Y. Family Drama<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Lauren Michele Jackson writes about Lizzo\u2019s fifth album \u201cBITCH,\u201d and the artist\u2019s unproven political heft and retreating fan appeal.<\/p>\n","protected":false},"author":1,"featured_media":478,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[11],"tags":[],"class_list":["post-479","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop-music"],"yoast_head":"\nLizzo in the Age of Backlash - City Relocation News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/cityrelocationnews.com\/?p=479\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lizzo in the Age of Backlash - City Relocation News\" \/>\n<meta property=\"og:description\" content=\"Lauren Michele Jackson writes about Lizzo\u2019s fifth album \u201cBITCH,\u201d and the artist\u2019s unproven political heft and retreating fan appeal.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/cityrelocationnews.com\/?p=479\" \/>\n<meta property=\"og:site_name\" content=\"City Relocation News\" \/>\n<meta property=\"article:published_time\" content=\"2026-06-12T14:07:14+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"7 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=479#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=479\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/#\\\/schema\\\/person\\\/3e7ce0c0c60d21e12a5ac61fb2b786d4\"},\"headline\":\"Lizzo in the Age of Backlash\",\"datePublished\":\"2026-06-12T14:07:14+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=479\"},\"wordCount\":1426,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=479#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/cityrelocationnews.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/92e9503c01fda10e4c21e961ce0b9065.webp\",\"articleSection\":[\"Pop Music\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/cityrelocationnews.com\\\/?p=479#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=479\",\"url\":\"https:\\\/\\\/cityrelocationnews.com\\\/?p=479\",\"name\":\"Lizzo in the Age of Backlash - 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