It was 2011. You couldn't turn on a radio without hearing that "Na-na-na, come on" hook. It was catchy. It was colorful. And for a lot of people, it was deeply uncomfortable. When Rihanna dropped "S&M," the third single from her Loud album, it didn't just climb the charts; it set them on fire. But while everyone was hyper-focused on the Rihanna chains and whips lyrics, they mostly missed the point she was actually trying to make.
Honestly, the song is a masterpiece of subversion. It’s got this Eurodance pulse that makes you want to hit the floor, while the words are basically screaming at the paparazzi. Most people heard "chains and whips excite me" and assumed she was just talking about a Friday night in the bedroom.
She wasn't. Or at least, not just that.
The Metaphor Behind the Bondage
Basically, Rihanna was at a turning point in 2011. She was tired. Tired of the headlines, the judgment, and the way the media scrutinized her every move after the events of 2009. If you look at the music video directed by Melina Matsoukas, it’s not just a bunch of random kinky imagery. It’s a literal press conference from hell.
Rihanna is wrapped in plastic. She’s taped to a wall. Reporters are gagged.
When she sings about how "sticks and stones may break my bones, but chains and whips excite me," she’s talking about the "sadomasochistic" relationship she has with the press. The media attacks her (the pain), and she turns it into a #1 hit (the pleasure). It’s a power play. She took the very things people used to shame her and wore them like a badge of honor.
What the Lyrics Actually Say
Let's look at the specific lines that caused all the drama:
- "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 "sticks and stones" part is a classic nursery rhyme, right? Usually, it ends with "but words will never hurt me." Rihanna flips it. She admits the words do hurt, or at least they’re supposed to, but she’s found a way to thrive in the chaos. It’s about resilience. It’s about being "bad" in the eyes of society but knowing you're "perfectly good" at being yourself.
The "Come On" Controversy and Global Bans
The song was too much for some people. Way too much. In the UK, BBC Radio 1 actually renamed the track "Come On" because "S&M" was considered too provocative for daytime listeners. They even edited the Rihanna chains and whips lyrics to remove the more explicit references.
Think about that for a second. A song about personal empowerment through the lens of kink was so scary to the mainstream that they had to change its name.
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It got even wilder elsewhere. The music video was banned in 11 countries. Eleven! In 2011, that was a huge deal. YouTube flagged it as "adult content," though they eventually lifted the restriction. Director Melina Matsoukas later told MTV News that she didn't necessarily set out to get banned, but she did want to make something provocative. Mission accomplished, I guess.
The Legal Headache Nobody Talks About
While the public was arguing about the morals of the song, Rihanna was getting hit with lawsuits. This is the part people usually forget. Famed photographer David LaChapelle sued her for copyright infringement. He claimed the video’s "concept, feel, tone, mood, theme, colors, props, settings, decors, wardrobe and lighting" were ripped directly from his photographs.
If you look at his "Striped Face" photo and the scene in the video with the pink and white striped walls, the resemblance is... well, it's a lot. They eventually settled for an undisclosed amount, but it wasn't the only claim. A German photographer named Philipp Paulus also sued over the scene where she’s taped to the wall under plastic.
It’s ironic, really. A song about the media attacking her ended up being attacked by creators claiming she stole the very imagery she used to defend herself.
Why It Still Matters in 2026
You might think a fifteen-year-old pop song is ancient history. It’s not. "S&M" was a bridge. It took Rihanna from being a pop princess to being the "unapologetic" mogul we know now. It was the first time she really leaned into the "bad girl" persona that would define her career for the next decade.
Also, we have to talk about the remix. Adding Britney Spears to the track was a stroke of genius. It brought together two women who had been absolutely dragged by the media and let them sing a duet about loving the "pain." It was a meta-commentary on fame that most people just danced to without thinking.
Quick Stats on the Song's Impact
- Billboard Peak: #1 (Her 10th #1 single).
- The Britney Factor: The remix with Britney Spears helped propel the song to the top spot.
- Record Breaker: Rihanna became the youngest artist to achieve ten #1 hits, beating Mariah Carey’s record at the time.
How to Listen to It Differently Now
Next time this song comes on a throwback playlist, don't just think about the leather and the latex. Listen to the defiance.
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Look for the parts where she talks about "the affliction of the feeling leaves me wanting more." That’s not just about a relationship; it’s about the adrenaline of the spotlight. It’s about the addiction to the cycle of public scrutiny and the defiant joy of winning anyway.
If you're a songwriter or a creator, there’s a massive lesson here: take your critics' best shots and turn them into your best work.
Actionable Insights for the Rihanna Navy and Beyond:
- Read the Subtext: Always look at the director’s intent in music videos; the "S&M" video is a critique of tabloid culture, not just a fashion show.
- Study the Songwriting: Ester Dean, Mikkel Eriksen, and Tor Hermansen (Stargate) wrote this. Notice how the "Na-na-na" hook is used to make a "taboo" subject radio-friendly.
- Check the Legal History: Understanding the LaChapelle lawsuit is a great primer on the "line" between inspiration and copyright infringement in visual art.
- Revisit the Loud Era: If you only know the hits, go back and listen to the full album to see how "S&M" fits into the narrative of Rihanna reclaiming her voice.