S&M

Rihanna's "S&M" operates on two primary levels of meaning. The most direct and explicit interpretation is an anthem of sexual liberation and an exploration of BDSM (Bondage, Discipline, Sadism, and Masochism). The lyrics are unabashedly provocative, with lines like "Sticks and stones may break my bones but chains and whips excite me" and "Sex in the air, I don't care, I love the smell of it." The song openly discusses themes of finding pleasure in pain and subverting conventional ideas of romance. It's a statement about owning one's desires without shame or apology, celebrating sexual agency and consensual power dynamics.

However, Rihanna herself has stated that the song is also a metaphor for her fraught relationship with the media and critics. In this interpretation, the 'chains and whips' symbolize the harsh words and constant scrutiny of the press. Rihanna explained that the song is about the 'love-hate relationship with the media,' where the constant criticism, though painful, becomes a source of motivation and a perverse kind of pleasure. She describes it as being impervious to rumors and criticism, turning the negativity into a form of empowerment. The music video for the song, directed by Melina Matsoukas, heavily leans into this metaphorical meaning, portraying Rihanna as both a victim and a controller of the press, literally leashing celebrity blogger Perez Hilton.

The narrative begins with a provocative declaration, celebrating the thrill of being 'bad' and acknowledging that there's no turning back from this path. The protagonist finds pleasure in what might be perceived as pain, a sensation that is unparalleled and intensely desirable. This feeling is described as an 'affliction' that paradoxically leaves her wanting more, highlighting a departure from conventional notions of love and relationships, moving 'out the box' and 'outta line'.

The central chorus acts as a bold and unapologetic anthem. Here, the singer explicitly states that while she may be considered 'bad,' she excels at it. The atmosphere is thick with a palpable sexual energy that she revels in, completely indifferent to judgment. The classic childhood taunt, 'sticks and stones may break my bones,' is twisted into a statement of erotic preference: 'but chains and whips excite me.' This refrain serves as the song's core message, a direct and confrontational embrace of BDSM themes.

Following the chorus, a catchy, repetitive chant of 'Na-na-na, come on' coupled with the admission 'I like it, like it' reinforces the song's theme of enthusiastic consent and enjoyment. It’s a taunting, playful, and confident expression of her desires, leaving no room for ambiguity about her feelings.

The song revisits the idea that conventional love is 'fine,' but the real thrill lies in crossing boundaries and exploring the 'affliction of the feeling' that keeps demanding more. The second chorus powerfully reiterates the initial defiant statements, cementing the song's themes of sexual liberation and the love of the forbidden.

A distinct bridge shifts the tone slightly, introducing a more direct and intimate address to a partner. The lyrics 'Oh, I love the feeling you bring to me, oh, you turn me on' and the plea to 'give it to me strong' reveal a layer of personal connection within the power dynamics. The invitation to 'meet me in my boudoir' makes the scenario more concrete, a personal space where these desires can be fully realized, leading to physical ecstasy. The spelling out of 'S' and 'M' in the outro serves as a final, explicit confirmation of the song's subject matter, stripping away any remaining pretense or metaphor and leaving the listener with the core, undisguised theme of sadism and masochism.

"S&M" was written by American songwriter Ester Dean in collaboration with the Norwegian production duo Stargate (Mikkel S. Eriksen and Tor Erik Hermansen) and French producer Sandy Vee. The track was recorded in 2010 during Rihanna's Last Girl on Earth tour at various studios, including Roc the Mic in New York City, Westlake Recording in Los Angeles, and The Bunker in Paris. Ester Dean revealed that she wrote the song on a Sunday, humorously asking for forgiveness due to the raunchy subject matter. The initial inspiration came from the children's rhyme 'Sticks and stones may break my bones,' which she twisted into the now-famous hook, "But chains and whips excite me." Dean initially had Britney Spears in mind when writing the song, but Rihanna claimed it for herself. Ultimately, Spears would be featured on a highly successful remix of the track, which helped propel it to number one on the Billboard Hot 100 chart. The song was released on January 23, 2011, as the fourth single from Rihanna's fifth studio album, Loud (2010).

"S&M" is built on a high-energy, four-on-the-floor dance rhythm, with a tempo of 128 beats per minute (BPM), which is typical for the Eurodance and dance-pop genres. The rhythmic foundation is a powerful, driving kick drum and claps, creating an insistent pulse that is both danceable and aggressive. The song is composed in common time in the key of E-flat minor. The rhyme scheme is relatively straightforward, primarily using couplets (AABB) in the verses (e.g., "bad"/"back", "fine"/"line"). The chorus follows a similar pattern: "'Cause I may be bad, but I'm perfectly good at it / Sex in the air, I don't care, I love the smell of it / Sticks and stones may break my bones / But chains and whips excite me." The internal rhyme and assonance in lines like "now the pain is my pleasure 'cuz nothing could measure" add to the lyrical flow. The rhythmic delivery of the vocals is crucial, often pushing and pulling against the strict beat, especially in the playful, taunting post-chorus of "Na-na-na, come on... I like it, like it." This interplay between the steady musical rhythm and the more syncopated vocal rhythm enhances the song's dynamic and provocative feel.

"S&M" employs a range of musical and literary techniques to achieve its provocative and energetic impact. Musically, it's an uptempo Eurodance and Hi-NRG track driven by a pounding dance beat, heavy bass, and snarling synthesizer hooks. The arrangement demonstrates a strong use of dynamics, contrasting louder, fuller choruses with more subdued verses to build and release tension. Rihanna's vocal performance is key; she uses a "sexually aggressive tone" and shifts between a powerful, belted delivery in the chorus and a thinner, more teasing voice in the verses. The song also features an interpolation of the synth riff from The Cure's 1982 song "Let's Go to Bed," adding a layer of new-wave influence. Lyrically, the song uses the literary device of a double-entendre, allowing the song to be interpreted as being about both BDSM and her relationship with the media. The use of the well-known idiom "sticks and stones" is subverted for shock value and thematic emphasis. The repetitive hook "Na-na-na, come on" is a classic pop technique, creating an infectious and memorable motif that adds to the song's club-anthem quality.

"S&M" had a significant cultural impact, largely due to its controversial subject matter and provocative music video. Upon its release, the song was banned from daytime radio play in some countries and its music video was restricted or banned in eleven countries and on YouTube. In the UK, BBC Radio 1 renamed the song "Come On" and edited out explicit words for airplay. This controversy, however, only fueled its popularity. The song became Rihanna's tenth number-one single on the US Billboard Hot 100, a milestone achieved with the help of a remix featuring Britney Spears. This made Rihanna the youngest solo artist to accumulate ten number-one hits, breaking a record previously held by Mariah Carey. The song was a massive commercial success, topping charts in countries like Australia and Canada and reaching the top ten in over twenty others. The track and its video sparked widespread discussion about censorship, sexual expression in pop music, and BDSM. It remains one of Rihanna's signature songs and a defining track of the 2010s dance-pop era, remembered for its bold themes and its role in normalizing conversations around sexual empowerment. The video also led to a lawsuit from photographer David LaChapelle, who alleged copyright infringement, which was settled out of court.

The primary symbolism in "S&M" revolves around the dual meaning of its title and lyrics, representing both literal BDSM and a metaphorical relationship with fame and the media.

• Chains and Whips: On the surface, these are direct references to sadomasochistic activities. Metaphorically, they represent the painful, yet thrilling, criticism and scrutiny from the media that Rihanna endures. She finds an exciting, empowering challenge in the constant attacks.
• "Sticks and Stones May Break My Bones": This classic playground rhyme is subverted to introduce the central theme. While words (and sticks/stones) can cause harm, the song's persona finds excitement in a different kind of 'pain,' whether physical or emotional.
• "Sex in the air, I don't care, I love the smell of it": This line symbolizes a complete immersion in a hedonistic and unapologetic atmosphere. It’s a metaphorical middle finger to those who criticize her for being too sexual or provocative. It represents an environment of pure, unadulterated passion and freedom from judgment.
• The Music Video: The video, directed by Melina Matsoukas, is rich with symbolism. Rihanna is seen bound by reporters in a press room, symbolizing her feeling of being trapped by the media. She also takes control, leashing blogger Perez Hilton like a dog, reversing the power dynamic. The vibrant, candy-colored aesthetic contrasts with the dark themes, suggesting a playful and conscious engagement with these powerful forces rather than being a passive victim.

Several recurring phrases and motifs are central to "S&M"'s structure and meaning. The most significant is the title phrase itself, spelled out in the outro, "S-S-S-and-M-M-M," which explicitly grounds the song in its theme of sadomasochism. The line "Sticks and stones may break my bones but chains and whips excite me" is a critical lyrical motif that reoccurs in the chorus, acting as the song's most provocative and memorable thesis statement. The chant-like hook "Na-na-na, come on" and the repetitive confession "I like it, like it" form a playful, taunting post-chorus that reinforces the themes of enthusiastic consent and unapologetic desire. This motif serves as a catchy, pop-friendly counterpoint to the more aggressive themes of the chorus. Musically, the driving synth bassline and the pounding kick drum act as a recurring instrumental motif, establishing the track's relentless energy from the beginning.