"Crazy In Love" - Beyoncé featuring Jay-Z, 2003

 This is the third time Beyoncé has appeared in this project.  (Check out 2020's "Savage" and 2001's "Bootylicious")  If a random sampling of no.1 songs has her popping up thrice, you know she has to be a serious player.  Ans today's subject simply adds fuel to that fire.  2003's "Crazy In Love" is considered one of the greatest pop songs ever written.....at least in this millennium.  Hopefully, this analysis can shed a little light as to why.

"Crazy In Love" comes from Beyoncé's debut solo record.  It incorporates a few musical styles into one slick pop package.  It has won Grammys, topped charts and has earworms that, to this day, permeate dance floors and festive gatherings. [1] If my own highly biased opinion means anything to anyone, I rather enjoy this song.  It literally has a little bit of something for everyone.  Let's get in the weeds and see why this song is regarded so highly.

June 22nd - September 7th, 2003: "Crazy In Love" by Beyoncé, featuring Jay-Z, cements itself as a SCC with an 8 week run at no.1!

One thing that stands out right away is the form.  Going by the numbers, there's a little bit of quirk happening right up front.  The intro, comprised of the horn line, sampled from 1970's "Are You My Woman (Tell Me So)" by The Chi-Lites, [2] happens 3x times, is interrupted with a vocal hook, and then returns for one more 2 measure refrain.

The total length of the intro is 12 bars, but the arrangement of 6-4-2 is unusually asymmetrical.  After that, things even out and we get an 8 measure verse, an 8 measure chorus and a return to the 4 measure vocal hook.  The cycle then starts again, until....

The second statement of the chorus is 10 measures long, which is 2 measures longer than you would expect.  It's a cool little twist that brings in Jay-Z and his 3rd verse rap.  This verse is another great example of unusual grouping.  He raps for 8 measures on the verse feel. Then, there is a 2 measure interruption on the chorus changes.  It gets back to the verse feel for 8 more measures.  18 measures is a long time to rap for and thanks to that interruption, Jay-Z has no problem holding your attention.

Out of the rap, we get to the bridge.  This might be my favorite part of the song and features some ridiculous vocal arranging.  And, once again, the section clocks in at an unexpected number of measures.  We get 6 measures of the chorus changes followed by 4 measures of the verse change.  I love the way the horn sample (chorus) is chopped up into these uneven groupings, much like the original, where it used sporadically.  

The songs ends in somewhat predictable fashion, a double chorus followed by the horn riff fading out.  In terms of the form, this is how the songs elevates itself into the upper echelon of pop genius.  It has predictable elements (4 measure phrases) presented in an unexpected way.  Great stuff!

Chord Progressions

With so much going on in the form, it's not surprising that there are only a few changes happening.  The primary change, built on the sample, happens in the intro and choruses, with appearances in the bridge and rap.  It is driven by the horn line with a pulsing bass line underneath.

Horn Line with Bass

If you focus on this 2 measure riff alone, it doesn't really indicate a clear key center.  You might think Bb, indicating I-VI, which wouldn't be completely out of the question as far pop harmony is concerned.  I saw one analysis that called G7 the I chord, which also wouldn't be out of the question. [3]  This doesn't become clear until it finally resolves during the vocal hook:  Dmin/F.

The D minor chord, with an F in the bass, is the true feeling of home and puts the tune in the key of D minor.  With those parameters more clear, the opening chord change plays out to be:

Bb    /    G7    
bVI /    IV

While each of these chords are common in minor tonalities, they are not usually found back to back and as the primary pillars of the harmony.  The end result is a unique sound that, with the horns, helps this song stand out.  

While we're at it, the horn melody uses (almost) the same figure on both of the chords, a D minor scale over Bb and a D alt scale on G7, only going as high as the 5th of D.

Once the Dmin/F chord arrives, we hear another element of The Chi-Lites sample, a slamming drum part with a moving conga line:

Drums and Percussion

  As the song progresses, this part undergoes some variation, but this represents the foundation.  A solid 2/4 snare part with subtle bass drum hits lie perfectly underneath the 16th note conga assault.  It also contributes to the multiple flavors of musical style, another aspect that certainly sets the tune apart.  It's funky, it's poppy, it's rappy, it's Latin, it's Beyoncé, it's a damn good tune!

Melody

"Crazy In Love" features so many hooks and cool melodies that it's slightly mind boggling.  I will admit, I did not tackle every one, but tried to cover the most important ones.  The first vocal melody comes in the "hook."

Hook

 We see alternating motion from root to 5th.  The second time it gets repeated, the A gets bumped up to Bb and back, a hint at the opening harmony.  Super cool stuff.

Beyoncé's first verse starts low in her range, confirming the tonal center of D minor.  For the first 4 measures, she only touches on D, C and E, root, minor 7 and 2 of the key, all of which mostly resolve to D.  This line would also be R-2-3 in C major.  C major over D minor?  In the second 4 measures, she ventures up to G, quickly working her way down the scale to C.  The result is a C/D sound that is still D minor, but flavored to sound just outside of the tonality. 

Verse 1

Rhythmically, the phrases are similar and use 8th and 16th note syncopation.  Verse 2 follows suit with a few variations, but basically lives in the same space.

The chorus picks up with similar rhythm and syncopation, shifting the pitch up to F.  Here, the pitch moves between F, D and G, shared chord tones of Bb and G7 (save G on the Bb).  In measures 2 and 3, we get a background melody that uses C and A, min7 and 5th of Dminor.  This could also indicate C pentatonic.  Mixed in the arrangement, they don't sound "off," but provide a great color to the whole package.

Chorus - meas. 1-4

The second half of the chorus kicks things up another notch with some added harmony to Beyoncé's lines:

Chorus - meas.5-8

Added to the previous melodic theme are higher harmonies on the A note, established with the previous background vocal part.  It also creates some cool intervals over the moving melody notes.  In the last two measures, Beyoncé shifts up to a G and we get a Gminor chord in the vocal harmony.  This sounds especially cool over the G7 horn part, which eventually resolves to a G9.  Once again, it's all about the subtle color of the melody against the harmony.  

In the second chorus, there are some additional background lines that continue to add shades of brilliance.  Check out Beyoncé's contributions to the 10 measure chorus 2:

Chorus 2 extras

The triplet figure outlining a G7alt is totally hip.  Her next run, a D minor pentatonic thing, resolves on G, once again bringing in that color over the Bb chord.  She then goes completely high in her range, hitting F-D, firmly reestablishing the D minor tonality.  In the extra two measures she harmonizes up a 4th from the melody note, again touching on a new color, hinting at Dmin7, or even C7/G when you account for the other harmonies that are there.

The third chorus is filled with more stuff just like this, featuring B lay down some serious vocal work and color these harmonies with all the shades you don't expect.  

Jay-Z's third verse comes at the perfect time, acting almost like a bridge, giving us a few seconds to recover from the impressive vocals we just heard.  He starts by introducing not only a rhythmic theme, but a call back to the hook from earlier in the tune.

Verse 3 - meas.1-8

 Measures 1-4 use the same rhythm and then depart to more adventuresome syncopation in measures 5-8.  Jay-Z's flow is definitely unique.  He is way behind the beat, often entering just a 16th note after the downbeat.  His delivery is tonal, but maintains a spoken character.  He is also good at creating temporary rhythmic displacement, like in measure 6 when he sprinkles in the triplet feel.  He knows just when to vary the pitch to keep the momentum going forward and make his cadences seem logical.

Measures 9-10 are the return to the horn line and he uses that feel change to change up his flow the second half.  His new theme comes in measure 11.  Here we see a new rhythmic pattern plus new pitches.  

Verse 3 - meas.9-18

 He briefly returns to his initial feel in measures 13-14 which ties things together.  The last four measures are the most different, and actually take me out of the rap a little bit. He reverts to mostly speaking and again returns to shades of the triplet feel.  After that, it's several 16th note assaults as he places his finishing blows.  This rap sort of cleans the harmonic slate we have been given and just punches you in the face with rhythm.  It is the perfect contrast for what comes next, the bridge.

Beyoncé returns with a 4 note melody; D, A. G and F.  Like the verses and chorus, she keeps her phrases similar in rhythm and pitch.  We do get some added harmony, once again resulting in some close intervals and decided G7 chords.  Measure 6 ventures the furthest away with a run that moves C-G, a similar harmony to the very end of chorus 2.      

Bridge - meas.1-6

After 6 measures of the bridge melody over the horn riff, the harmony slams on the D minor feel from the verse.  Here, we get the climax of the tune and some KILLER vocal arranging.

Bridge - meas.7-10 +1

The melody clearly moves to D minor with full harmony supporting the chord.  Similar syncopation and repeated phrases make the part flow naturally and the drama of the stop rhythm just makes this section so powerful.  

In the last measure of the bridge, we get a countermelody that directly borrows from the vocal hook from way back when.  That lies underneath Beyoncé once again hitting the high F, this time descending to D through the E, emphasizing D minor once more.

 The final chorus goes on to include many more melismatic adventures that lead the tune off into the sunset.  The bridge, though, is definitely the climax and highlight of the song.

Lyrics

 Many songs lose it for me in the lyrics department.  While "Crazy In Love's" lyrics are not groundbreaking or transcendent, they are fun and filled with lots of Easter eggs.

Beyoncé's verses are standard fare, offering rhyming couplets where she admits and partially questions her infatuation with the song's protagonist.

The choruses repeat the hook twice and then subtly alter it.  There's even a nostalgic reference of "got me hoping you'll page me right now."  The words are fun to say in succession, an intangible "it" factor of good lyrics.  The statement "got me looking so crazy right now" is intriguing on its own and when put in the frame of reference with another's love, it takes on a new dimension.  

Jay-Z's rap is filled with references.  He drops several self references ("Hova," "R.O.C." and "Big Homie") and affirms his credibility with comparisons to other heavyweights, like Tony Soprano.  The Lyric Genius page will explain all of it better than I can.  It's an entertaining read!   

The bridge is not only the musical climax of the song, but is the lyrical turning point as well.  Here, Beyoncé gives up on questioning the infatuation and just lets it all hang out:

And baby you're making a fool of me

You got me sprung and I don't care who sees

When we get back to the final chorus, we know it's too late for her and she is totally "Crazy In Love."

Common Threads

What are the common musical threads no.1 hit songs share?  In each round of analyses, I try to answer this question by observing like musical elements and investigating their presence in other songs.  In this round, "on the 3's," I have started somewhat fresh, using my last analyses, "Blurred Lines," as the starting point.  Using those common threads, let's see what "Crazy In Love" adds or subtracts to the mix.

Repetitive Melody - There is so much repetition happening here.  We see repeated pitches, rhythms, phrases and counter melodies.  Many sections include references to previous parts of the song.  

Polytonal Melody - the melody definitely ventures outside of pure Dminor.  This is partially due to non-diatonic chords, but the verses are both Dminor and C major.  

Single Repeated Chord Sequence - Two Harmonic Sequences - There are two prominent harmony sections: the horn riff and the verse riff.

Multi-layered Percussive Accompaniment - Congas float over the top during the verses.

Features Rap/Spoken Vocal - My first Jay-Z transcription!  I am a fan so far.

Melodic Bass Line - The bass plays three notes in the entire song :(  

Vocal Harmony - With a bullet!  I may possibly even add in Vocal Countermelodies 

Non-Linear Form - I'm not sure how I want to word this one, but it's worth mentioning the form has some stats you may not expect. There are some groupings outside the standard 4, 8 or 12 count.  

Chord Count - 3 - Bb, G7 and Dmin/F - not an unusual number for chords, but unique in that these three chords are displaced over two different sequences.

Final Takeaways

"Crazy In Love" stands the test of time.  It is a damn good pop tune.  It has non-diatonic harmony that is approachable and funky as hell.  It has melody that stretches the limits of our ear and adds colors you don't normally see in pop music.  It also has all the elements you expect to hear in pop music from repeated lines, powerful vocals and lyrics that you can relate with.  

I have played this song for years in various bands.  I never minded it, even when I was in the throws of rejecting popular music.  There is something about it that I always liked, even though the bass line I was playing was just about as simple as it gets.  Maybe it's because the song is clearly minor, but it doesn't feel minor?  It's poppy but funky?  It's predictable but edgy?  In any case, this is a keeper for me and I'm sure I will encounter Beyoncé in this project again!

Up next time, continuing "on the 3's," we head to 1993.  July 24th - September 4th, 1993.  "Can't Help Falling In Love" by UB40 goes on a 7 week rampage at no.1.  I remember hating this song back in the day and I am confident I will find some musical value in it almost 30 years later.  Let the reggaetone take effect!

[1]https://www.nme.com/blogs/nme-blogs/beyonce-crazy-in-love-best-song-why-2316762  

[2]https://www.whosampled.com/Chi-Lites/Are-You-My-Woman%3F-(Tell-Me-So)/ 

[3]https://www.hooktheory.com/theorytab/view/beyonce/crazy-in-love-ft-jay-z 

"Savage" - Megan Thee Stallion Featuring Beyoncé, 2020

 I am hoping this entry will unlock some of the mysteries that have me perplexed regarding how a song becomes no.1 on the Billboard Hot 100 chart.  "Savage" is first released by Megan Thee Stallion in March, 2020.  The song becomes popular, largely spurred by a Tik Tok dance and accompanying video by Stallion herself, but doesn't chart very high on the hot 100.  

Somewhere along the lines, Beyoncé hears the track and decides to do a remix.  She takes the base track and gives the tune a major overhaul, essentially turning out a completely different song.  The end result is a record setting no.1 hit for both ladies. [1] 

Herein lies the mystery.  In my opinion, "Savage" is the epitome of bad pop music, banking on a simple backing track, limited melodies and cringe-worthy lyrics that play exclusively to pop culture's lack of sophistication and dignity.  It is, however, damn catchy.  Even after hearing the original Megan Thee Stallion version, and being very unimpressed, I came away with the hook stuck in my head.....a hook that is devoid of melody.  What is going on in this song then?  Why is it so popular?  Hopefully this analysis can shed some light on that mystery.

May 30th, 2020: "Savage" by Megan Thee Stallion, featuring Beyoncé, hits no.1 for one week!

After analyzing several songs from 2020, a clear trend in simple forms is seen.  This one goes verse-chorus, verse-chorus, bridge, verse-chorus.  There is a nice wrinkle in Beyoncé's verses, 12 measures versus Megan Thee Stallion's 8 measures.  

The 4.5 measure intro looks strange, but the .5 accounts for a 2 beat pickup that leads to Beyoncé's opening lines.  

The bridge feels like a verse, featuring vocalizations from both singers that are similar to their previous contributions.  The structure sets it apart.  It begins with 4 measure of MTS rapping, which leads into melodic singing from Beyoncé.  After 4 measures, MTS takes the reigns again before we get a final verse from Queen B.  

There is a natural evolution embedded in the form.  MTS primarily handles the first verse and chorus.  Beyoncé takes verse two and contributes a little more on the second chorus.  The bridge is double booked and Bey gets the third verse.  The final chorus is also a double feature.  This form is a good example of evolution of a song, or hearing the same thing without hearing the same thing.

Chord Progressions

The entire song is based on two alternating chords:

Base Chord Progression

These two chord are played on a keyboard sounding synth in very close voicing.  The ninth on top with the minor 7th in the mix makes them very dense.  Because of this, they key, and even tonal center, is hard to pin down with certainty.  

Sometimes, the song feels like it's in the key of Ebmin, in which case this progression is: i bii

From a melodic standpoint, it aligns closer with Bb minor, moving the progression to: iv bv

The relative major of Eb minor is Gb major, moving the progression to: vi bvii

The relative major of Bb minor is Db major, moving this progression to: ii biii

No matter how you slice it, it's two alternating chords.  We never get any more harmonic clues to cement us firmly in any camp.  I am reminded of Drake's "In My Feelings" (2018) where there were two alternating half steps, but the melody was clearly rooted in a key.  As we will see, the melody of "Savage" strongly indicates Db major and Bb minor triads, with pentatonic lines, hence the key choice of Bb minor.  

Melody

"Savage's" melodic content ranges from spoken rap segments to full on singing and several moments somewhere in between.  Beyoncé's opening 4 measures foreshadows elements we will here for the remainder of the tune:

She begins with a melodic motif that moves between F and Eb, sitting very low in her range, almost spoken, but undeniably on a pitch.  F against Ebmin9 serves as the 9th and the Eb against the Emin9 is a major 7th, which further adds to the dense dissonance of that chord.  She introduces the bulk of the rhythmic content in the song, strings of 16th note syncopation.   We also get a preview of the background/production elements.  There are some high harmonies appearing intermittently as well as the echoing "okay" and "yeah."  The 4th harmonies here will also carry through most of the tune.

Megan Thee Stallion follows up Bey's intro with the rap laden first verse:

Verse 1 - MTS

Megan's verse contains elements foreshadowed in the intro.  We see many 16th note combinations.  Throughout the verse we get vocal responses reminiscent of the into, as well as some harmonic enhancements to words in the rap.  

The chorus is certainly the focal point of the song and home to the catchy hook "I'm a savage...."  Each time the chorus happens, it is presented differently.  The first time features MTS following up on her rapped verse.  The second and third times feature additional background vocals/noises and responses from Beyoncé.  The third time even features a very low vocal mixed over the spoken rap, reinforcing the natural high/low flow of the spoken part.  The following is a representation of most of the combined elements across the three statements of the chorus:

Chorus - combined elements

 The chorus has much more melodic space than the verses.  The harmonic elements generally occur on "I'm a savage," strengthening the title hook.  We also see the vocal responses grow in frequency and complexity as the chorus moves along.  Noteworthy too, is the overall structure, a repeated 4 bar segment based off a repeated 2 bar phrase.  The chorus is very repetitive and predictable, possibly accounting for mass appeal.  

*Check out the third chorus, which features a building "ooh" from Beyoncé.  She builds a chord with Eb, F and Ab, creating this Ebmin11 (or Fmin / Ebmin) sound that is very compelling.  

After the first chorus, Beyoncé gets the 2nd verse and truly begins to transform the song.  All of the elements foreshadowed in the intro, first verse and chorus are enhanced even further with this 12 measure verse.

Verse 2 - Beyoncé - meas.1-4

The first 4 measures are spoken and develop 16th note rhythmic themes with varying entrances (beat 2 and beat (1)+), eventually getting faster with 32nd note syncopation.  We continue to see harmonized and response background vocals, usually incorporating the parallel 4th sound.  The vocalizations in the opening bars outline a Bb minor/Db major arpeggio.   

The next four measures expand the rhythmic adventure, throwing in 16th/32nd note syncopation.  We also see a return to a theme from the intro, the repeated F and Eb pitches.  In the 4 measures below, the bottom staff represents a new synth element that toggles between Eb and Bb.  There is also a rhythmic vocal in this line, occurring on all the upbeats, that reminds me of something out of the "Lion King" or "Moana."  

Verse 2 - Beyoncé - meas.5-8

The final 4 measures return to mostly straight 16th notes and give a clear key indication in the last two measures.  There, we see a Bb minor pentatonic line, complete with parallel 4th harmonies.  

Verse 2 - Beyoncé - meas. 9-12

Beyoncé's 3rd verse is along the same lines as this verse and uses many of the same conventions: 16th note rhythmic passages with harmonized words and sang responses.  

The bridge, which is an honorary verse, begins and ends with Megan Thee Stallion.  She comes in rapping hard about her impending credibility, courtesy of Bey.  She also ends the bridge by rapping 4 measures that were included in the original version of "Savage."  Aside from the chorus, this is the only part from the original that makes it into the remix, for better or worse.

In between MTS's bridge work, Beyonce interjects what may be the most interesting part of the song.  It is different enough to warrant calling this section a bridge, and is even labeled as such in the YouTube Video lyric description. 

Bridge - Beyoncé - meas.5-8

Notably, the entire section is sung on a pitch, separating it from the rapped verses.  The opening melismas are centered around Bb minor pentatonic, getting us closer to a tonal center.  We also hear plenty of harmonized 4ths throughout this short section, so though different, it ties in close to previous material.  

Musical Sticking Points

The musical element that sticks out to me most is the evolution of the track from beginning to end.  It starts sparse with just the piano.  The drums trickle in and eventually add the bass tones.  This eventually falls apart, giving way to another synth or vocal element before returning later on.  The textural landscape of the song is ever changing, despite the static harmonic elements.  

There is some nice complimentary syncopation happening between the primary piano line and the drums and bass.  

developed drums/ base harmonic progression

The drum programming is very deep and there are even claves hiding in there.  At various times, accents stick out in the drum programming, mostly revolving in the higher frequencies and cymbals.  The above accents can be heard in the first chorus on the high hat.  Perhaps it's these slight nuances that keep your attention throughout the song, though I would imagine this is subconscious.  

The melodic content in the song is, generally speaking, not very strong.  Rhythmically, it is very complex, but melodically is touch and go.  I am reminded of "Love the Way You Lie" by Eminem and Rihanna (2010).  In that tune, the choruses had a strong melody while the verses housed the rhythmic rapping.  There was a little something for everyone.  This tune has that, but it's mixed in a little here and there. 

 Consider this analogy: If music was like a Thanksgiving dinner, Rihanna provides the melodic meat and potatoes while Eminem throws in all the favorite side dishes, on a separate plate.  Beyoncé is the meat and potatoes, but they are mixed up with some of the side dishes, and then Megan Thee Stallion throws her side dish right onto the same plate, then they start to mix it all together.  Obviously this is a tasty concoction, but sometimes I just want to enjoy the elements individually, or at least with less confusion.

  

Lyrics

Here's where I really lose it with this song.  I generally get turned off from songs that are braggadocious for the sake of being braggadocious.  The remix lyrics, while offensive in many respects, are actually a step up from the original, which is not intended to be a compliment.  Both versions feature lyrics that hype up the singers to the nth degree of hype.  

When reading these lyrics, I had many questions....what does bougie mean?  What does ratchet mean?  Why is she so proud to be a savage?  Here's what I found

Bougie: Aspiring to be a higher class than one is. Derived from bourgeois

Ratchet: a slang term in hip hop that, in its original sense, referred to an uncouth woman, and may be a Louisianan regiolect version of the word "wretched" or a variation of the word "ratshit."

I think the consensus is that while she is classy and aspires to reach beyond her current means, she is, at the core, streetwise.  This article sheds a little light on the situation. [2]  Megan actually says it best in her verse:

Hood, but I'm classy, rich, but I'm ratchet 

Beyoncé's verse are laced with advertisements.  She references Tik Tok, "demon time" and "Fans Only" in her verse, as well as her own clothing line, Ivy Park.  she also references her famous hips and gives a shout out to her mother, Tina Knowles (sadly not Tina Turner, who I assume is admired by current pop singers for her contributions?)[3]

While I am not a fan of the lyrical content, they are crafted very well.  Internal rhymes are all over the place and perhaps best seen in the chorus:

I'm a savage, classy, bougie, ratchet

Sassy, moody, nasty 

 Common Threads

This round "on the 0's" has more data points than any round to date!  I have analyzed one song from 1960, 1970, 1980, 1990 and 2000; two songs from 2010 and this marks the third song from 2020.  For each of these 10 analyses, I have kept a list of common elements present.  Here is how "Savage" fits into this puzzle.  

• Repeated melodic motifs 
• Strong harmonic motion from V to I  -This song could be the least harmonically sensible song analyzed in this project....
• Background singers contribute to melodic/harmonic texture - the background vocals set the remix far apart from the original.  They are integral to the texture of the song.  
• Modulation -  
• New material presented at the end 
• Hook that uses the title of the song   
• Contains a lyrical refrain  - "I'm a savage" could be considered a lyrical refrain as it appears in the hook, at the very end of the song and gets callbacks in the verses. 
• Evolution of musical elements -  This common thread has been eluding this list and has been an important element present in multiple songs.  

5/8 elements is a good showing for this song, in a musical sense.  In the wrap up (potentially the next entry), these elements will be analyzed and flushed out a little further, trying to uncover musical elements present in no.1 hit songs, regardless of the decade.

Final Takeaways     

This is a tough one.  Part of me really likes this song.  It has attitude, which earns it a point when scoring with my anti-authority side.  The rhythmic hook is easy to reproduce, especially considering you can speak the words and not be bound to any sense of pitch.  The background vocals and harmonies are cool and the 4th sound is very appealing to me, especially against the minor half stepping progression.  

Another part of me can't stand that this song is so popular.  The lyrics are not good and generally offensive, at least when it comes to playing it for my kids.  The music, while appealing to me, is kind of boring after a while.  I generally gravitate towards good changes and this one just doesn't deliver.  

Then there's Tik Tok.  I do not use Tik Tok but have a general knowledge of how it works.  In viewing YouTube videos, I get instantly hot when I see comments that say "only like if you didn't come from Tik Tok."  First off, who cares?  It's music.  Tik Tok is only 15 seconds long, which is not remotely enough time to really make a true assessment of any song.  Secondly, why does it matter if you are familiar from Tik Tok or not?  I don't like to stand on a soapbox about frivolous social fads, but this one leaves me scratching my head.   

What do you think of "Savage?"  Is it possible to like the song for the song, or do you need to do the dance?  How does the original compare to the remix?  Leave me a comment!

Up next time:  If "Rockstar" remains at no.1 for the week of August 8th, 2020, I will compile the data into a round 3 wrap up.  If there is a new song at no.1, I will analyze that and then complete the round 3 wrap up.  Whew, what a round!

   

[1]https://www.wmagazine.com/story/beyonce-megan-thee-stallion-savage-number-one/

[2]https://www.songmeaningsandfacts.com/savage-by-megan-thee-stallion/