Boys by Lizzo Lyrics Meaning – Embracing Diverse Masculinity and Sexual Freedom
Lyrics
You tryna play coy like a Gameboy?
Hit my phone boy, is you home boy?
Are you alone boy? Come give me dome, boy
Got a boy with degrees, a boy in the streets
A boy on his knees, he a man in the sheets
Sheesh, it’s all Greek to me
Got this boy speaking Spanish, ay Papi
Baby, I don’t need you
I just wanna freak you
I heard you a freak, too
What’s two plus two? (four, three, two, ow)
Boys, boys, boys
Make a girl go crazy (four, three, two, ow)
Boys, boys, boys
Make a girl go crazy (four, three)
I like big boys, itty bitty boys
Mississippi boys, inner city boys
I like the pretty boys with the bow tie
Get your nails did, let it blow dry
I like a big beard, I like a clean face
I don’t discriminate, come and get a taste
From the playboys to the gay boys
Go and slay, boys, you my fave boys
Baby, I don’t need you (I don’t need)
I just wanna freak you (want, I want it bad)
I heard you a freak, too (that’s right)
What’s two plus two? (four, three, two, ow)
Boys, boys, boys
Make a girl go crazy (four, three, two, ow)
Boys, boys, boys
Make a girl go crazy (four, three, two, ow)
Four, three, two, woo
Boys, boys, boys
Make a girl go crazy (four, three, two, done lost your mind)
Boys, boys, boys
Make a girl go crazy, ow
Lizzo’s ‘Boys’ is an unapologetic anthem of inclusivity and sexual liberation, delivered with the singer’s signature blend of sass and soul. Amidst the groove-laden track, Lizzo deftly dismantles traditional notions of masculinity and offers a refreshing celebration of love’s varied spectrum.
The song is more than just a playful rundown of male types; it is a statement on embracing diversity and the power of women owning their desires. Lizzo’s lyrics are a brazen, tongue-in-cheek exploration of gender and the joy of personal preference, encouraging listeners to relish their individual tastes without shame.
A Rolodex of Rendezvous: Lizzo’s Diverse Taste in Men
Lizzo’s inventory of ‘boys’ serves not as a trivial checklist but as a bold assertion that preference knows no bounds. She rolls through a catalog of character sketches: the educated, the streetwise, the sartorially savvy, and the various archetypes in between.
Implicit in her lyrics is the rejection of a one-size-fits-all approach to attraction. Each line is an individual vignette, painting a picture of a multifaceted romantic landscape where one is free to desire without limitations or societal judgments.
The Sonic Melting Pot: Beats Bridging Boundaries
The musical composition of ‘Boys’ is as varied as the individuals it represents, fusing elements of funk, hip-hop, and pop in a kaleidoscopic soundscape. This confluence of genres mirrors the song’s celebration of diversity, both in sound and sexuality.
Lizzo’s clever use of rhythms and beats compels the body to move, just as the lyrics incite the mind to consider a broader scope of who and what is desirable, both culturally and personally.
‘I Just Wanna Freak You’: The Celebration of Sexual Autonomy
Central to ‘Boys’ is the unabashed embrace of sexual agency. Lizzo doesn’t need a man; she wants one on her own terms. This represents a powerful shift from a narrative of dependence to one of empowerment.
Reiterating that she’s heard ‘you a freak, too,’ the singer aligns herself with her potential partners in mutual desire, setting the stage for encounters that are equally satisfying, free from the constraints of traditional courtship.
The Hidden Meaning: Subverting Gender Stereotypes
Beneath its buoyant chorus, ‘Boys’ plays a deeper tune dismissing gender stereotypes. Lizzo’s celebration of male vulnerability (‘a boy on his knees’) and grooming (‘get your nails did’) implicitly challenges the rigid standards of manliness often peddled by society.
Moreover, the inclusion of ‘gay boys’ alongside ‘playboys’ foregrounds an often-overlooked inclusivity in pop music, defying heteronormative expectations and broadening representation within the lyrical narrative.
Memorable Lines: From Pickup Lines to Punchlines
Lizzo’s lyrical wit shines brightest in her playful interrogatives—’What’s two plus two?’—and her seamless sliding from braggadocio to bilingual come-ons—’Got this boy speaking Spanish, ay Papi.’
The vivacity and humor in these lines do more than just entertain; they cleverly disguise the undercurrents of a liberated sexual politic and a profound message of personal freedom. Each word is an invitation to revel in one’s own skin, to love without restraint or apology.
