Lizzo is stepping back into the music world with a bold statement: her upcoming album is titled “Bch.” But the announcement hasn’t landed with the celebratory fanfare she might have expected, instead sparking a complex conversation about feminism, reclamation, and the weight of recent allegations.
The singer retreated from public life in 2023 following accusations of harassment from former backup dancers – claims that fundamentally altered the public’s perception of an artist once celebrated as a champion of body positivity and female empowerment. She has vehemently denied the allegations, but the shadow of the lawsuit remains.
Lizzo frames the album title as an act of defiance, a deliberate attempt to “reclaim” a word historically used to demean women. She envisions transforming a term of insult into a “declaration of confidence and unapologetic self-love,” echoing the efforts of artists like Meredith Brooks and Missy Elliott who previously embraced the word with empowering intent.
However, many see the move as jarringly out of step with the current cultural landscape. The idea of “reclaiming” the word feels dated, a tactic more aligned with feminist discourse from a decade ago than the nuanced conversations happening today.
The history of the word is fraught with negativity. Originating as a term for a female dog, it evolved into a derogatory label for women as early as the 1400s, eventually becoming synonymous with accusations and dismissive criticism. Its sting is deeply ingrained in the collective consciousness.
The word’s power to wound was vividly illustrated during the 2016 US presidential election, with hateful merchandise like “Trump that btch” surfacing. Hillary Clinton, in her memoir, described the word as embodying “rage, disgust, hatred” – the weapon of choice for those threatened by a woman’s success.
The controversy also flared with Kanye West’s infamous declaration about Taylor Swift, claiming he “made that btch famous” and suggesting she owed him for her career. The ensuing fallout, including a disturbing music video, highlighted the word’s capacity for both public humiliation and veiled threats.
Interestingly, Swift herself has increasingly incorporated the term into her music, reflecting a shift in its usage within certain communities. The word has found a new life as a term of endearment among women and within the LGBTQ+ community, a testament to the power of reappropriation.
Lizzo has long used the term, even trademarking the phrase “100% That Bch” from her hit song “Truth Hurts.” Yet, some fans feel the album title feels defensive, a reaction to the allegations rather than a genuine expression of empowerment.
Critics suggest the move smacks of “ragebaiting,” a calculated attempt to generate attention through controversy, especially after a recent mixtape failed to gain traction. The strategy feels uninspired and, to some, insulting.
Ultimately, the album’s messaging feels disconnected from the current moment. The “girl power” ethos, while once revolutionary, feels insufficient in the face of a rising gender divide and the challenges posed by the modern “manosphere.”
Adding to the sense of disconnect, stylistic choices like using “U” instead of “you” feel dated and awkward. Even the album artwork has been criticized as visually jarring. While Lizzo’s vocal talent remains undeniable, the timing and approach raise questions about the album’s resonance.
With the lawsuit still pending, the echoes of the allegations linger, diminishing the impact of familiar feminist talking points. Lizzo’s attempt to reclaim a word feels less like a powerful statement and more like a throwback to a different era of empowerment.
