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Bad Girl Song

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♫ Just call me Mary "Wanna"
And Mary's got some scary little games to play! ♫
"So come on, baby, let down your guard.
When your date's in the bathroom,
I'll slip you my card!
I can tell just by looking
That you've got it hard—
For ME!"
— "Special", Lucy the Slut from Avenue Q.

A subtrope of the "I Am" Song, in which a female character establishes her character... and her character is all about living freely, especially sexually. How explicitly that sexuality is addressed mostly depends on how old the musical is.

In musicals, usually sung by the secondary female character (soubrette). She might be anything from a prostitute to a Good Bad Girl. Not to be confused with a Villain Song by a female villain, though the two may overlap if she's The Vamp.

This may double as a Seduction Lyric, if the Bad Girl is currently engaged in exerting her badness on a potential partner; her line may well be "I'm good at being bad and you'll enjoy it".



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  • Lots of The Millionaires songs. Their remix of My Chick Bad might be the best example.
  • "Private Dancer" by Tina Turner.
  • "Call Me" by Blondie. The singer is a girl, and she's asking for a call. Get the picture?
  • "Lady Marmalade" by Labelle, as well as the cover version by Christina Aguilera, Pink, Mya and Lil Kim.
    • Really, any Lil Kim song.
    • Also basically any Azaelia Banks, though the crown definitively goes to 212, where she basically tells any girl who thinks she is hotter than her to go down on her.
  • "Bad Girls" by Donna Summer, anyone?
    • Also MIA's "Bad Girls"
  • Pretty much any song by Beyoncé after her split from Destiny's Child. Girl Power attached to a danceable beat and long legs.
  • "Ta-ra-ra Boom-de-ay":
    Ere my verses I conclude
    I'd like it known and understood
    Though free as air, I'm never rude
    I'm not too bad and not too good!
  • Tata Young's "Sexy, Naughty, Bitchy"
  • The Pussycat Dolls "Don't Cha"
  • "Shove" by L7 from the Tank Girl soundtrack.
  • "None Of Your Business" by Salt N Pepa.
    If I wanna take a guy home with me tonight, it's none of your business
    And if she wanna be a freak and sell it on the weekend, it's none of your business
  • A lot of Marina Diamandis's songs, particularly from the concept album Electra Heart, but Bubblegum Bitch and Homewrecker deserve special mention.
    "I'm only happy when I'm on the run
    I broke a million hearts just for fun
    I'm the image of deception."
  • The Lady In Red by Allie Wrubel:
    "The fellows are crazy for the lady in red
    The lady in red is fresh as a daisy
    When the town is in bed."
  • "Bad Woman Blues," by blues singer Beth Hart. Enjoy.
  • Dolly Parton's version of "The House of the Rising Sun" is about a prostitute and the titular brothel that's "been the ruin of many a good girl".
  • "Bad Girl" by Madonna from Erotica, as evidenced in the lyrics:
    Bad girl, drunk by six
    kissing someone else's lips,
    I smoked too many cigarettes a day
    Not happy when I feel this way...
  • Britney Spears' gender-flipped cover to Bobby Brown's "My Prerogative" definitely fits, while the original didn't make much of a stir back in the day. Double Standard anyone?
  • Christina Aguilera's Dirrty, which opens with the words "too dirty to clean my act up!"
  • Many Missy Elliot songs, but mostly Pass That Dutch.
  • Eartha Kitt's "I Want to Be Evil" is a variant, describing how tired she is of playing the good girl and how much more fun it will be to be bad in (mostly) Poke the Poodle ways.
    "I wanna be horrid, I wanna drink booze
    (I wanna be horrid, I want to make news)
    And whatever I've got, I'm eager to lose"

    Professional Wrestling 
  • GLOW's set of bad girls had a Crowd Song called "Nasty & Mean", which was them revelling in their bad girl ways.
  • Sometimes if a female wrestler makes a Face–Heel Turn, she'll get a brand new theme song to emphasise this:
    • Naomi originally had a fun dance tune to fit with her 'Funkadactyl' gimmick. When she turned heel, she adopted a Bragging Theme Tune called "I'm Amazing".
    • Torrie Wilson replaced her "I Need A Little Time" theme - which was a smooth ballad - with "Not Enough For Me", sung from the perspective of The Tease. The theme would eventually become this for Michelle McCool and later Layla.
    • One without lyrics but Alexa Bliss had a sparkly theme called "Blissful" to represent her 'fairy princess' gimmick. After a heel turn, the theme got a remix to now be called "Spiteful".

  • "I Cain't Say No" from Oklahoma!.
  • "You Can Always Count on Me" from City of Angels.
  • "The Real Love of My Life" from Brigadoon.
  • "It's All the Same" and "Aldonza" from Man of La Mancha.
  • "Special," from Avenue Q.
  • "My Body, My Business" from The Life.
  • "Out Tonight" and Maureen's half of "Take Me Or Leave Me" in RENT.
  • "Bring On The Men" from Jekyll & Hyde. Also "The Girls of the Night," which is a lament sung by prostitutes about their circumstances.
  • "Queenie Was A Blonde" for Queenie and "Look At Me Now" for Kate, from Andrew Lippa's The Wild Party.
  • In "Always True to You (In My Fashion)" from Kiss Me, Kate, Lois sings that even though she's sleeping around, she's still true to Bill somehow.
  • "Does Your Mother Know?" in Mamma Mia!- almost a subversion of the trope, since it's more of a "you're not going to get it from me" song even though Tanya spends the scene teasing the male characters.
  • "I Want To Be Bad" from Follow Thru. The song was also sung by Helen Kane.
  • "Shady Lady Bird" from Best Foot Forward.
  • Variation (and/or possible subversion)- The song "Toucha Toucha Toucha Touch Me" in The Rocky Horror Picture Show is sung by Janet "SLUT!" Weiss who is both the main female character and a pretty innocent girl... until Frank gets to her, that is.
  • "Lovely Ladies" from Les Misérables, which is literally about prostitutes.
    • Deconstructed in the final verse with Fantine, who sings about how awful sex work makes her feel.
      Don't they know they're making love to one already dead?
  • "Tire Tracks and Broken Hearts" from Whistle Down the Wind: "Those good girls never know what they're missing / But us bad girls almost always do." (What exactly it is they're missing ranges from peroxide hair to "some real good times.")
  • "A Little Brains, A Little Talent" from Damn Yankees.
    • "Whatever Lola Wants"
  • "I Wanna Be Good 'N' Bad" from Make a Wish.
  • "Please Don't Make Me Be Good" from Fifty Million Frenchmen.
  • "I'll Show Him" from Plain and Fancy, in which an Amish maiden vows to do "sinful" things to get her man.
  • "A Lady Must Live" from America's Sweetheart.
  • "Raunchy" from 110 in the Shade. Although it is sung by the main character, who is DEFINITELY not a bad girl, she sings it while flirting with the idea of being one for a while.
  • "Turn Back O Man" from Godspell is traditionally performed this way.
  • "Reciprocity" from Seventeen, a Good Bad Girl's interpretation of The Golden Rule.
  • "Any Kind Of Man" from Sometime. (Mae West was singing this number in 1918.)
  • "The Lorelei" from Pardon My English, except in the original production, which made the ill-advised decision to change it into a more generic comic duet. No wonder it flopped.
  • "Twice in Love Every Day" from The Likes of Us.
  • "There Are Worse Things I Could Do" from Grease.
  • "My Picture in the Papers" from The Golden Apple, where Helen celebrates with the men about town her transformation into an "ultra-physical and slightly aphrodisical" Hard-Drinking Party Girl.
  • "Hey, Big Spender" from Sweet Charity. About dancers (including those of the lap variety), not prostitutes, but certainly about the fun, laughs and good times that you can have with said dancers.
    • Though it is a bit of a subversion in that none of the girls singing are happy about it - the song is traditionally performed with very deadpan, bored faces and singing styles, despite the bouncy, seductive song.
  • Natalie's section of "Wish I Were Here" in Next to Normal; she's gone from a stressed student to an even more stressed club-goer who routinely steals medication from her bipolar mother.
  • Depending on the version of the musical, "A Lotta Locomotion" from Starlight Express has elements of this: except for Dinah, who establishes herself as a wholesome, hardworking waitress, the coaches characterize themselves in terms of the vices they enjoy. ("A Whole Lotta Locomotion," however, is a Chorus Girls song.)
  • "The Heat is on in Saigon" from Miss Saigon has a few verses sung by the prostitutes, along with the soldiers.
  • "The Girl Gets Around" from Footloose.
  • "Laura de Maupassant" from Hazel Flagg.
  • "Nonono" from the Slovak musical Adam šangala.
  • "Good Little Girls" from the revue Two's Company, a song about all the exciting places "smart little girls" would rather go to than Heaven.
  • "Candy Store" from Heathers is one for all three of the Heathers, though it best applies to Heather Chandler.
  • Six: The Musical has two.
    • First, "Don't Lose Ur Head" for Anne Boleyn, in which she playfully and proudly boasts about her beauty, and her affair (and eventually marriage) to Henry. Her flirtatiousness and hot temper eventually lead to her execution, but she still seems to think it was Worth It.
    • Then we get "All You Wanna Do" for Katherine Howard, and it's a complete deconstruction. Katherine starts out enjoying her flings, completely oblivious to how bad it is that adult men are willing to sleep with her when she's thirteen. She genuinely believes each of the men love her, and that "this guy is different," only to be proven wrong. By the end, she's utterly broken by the realization that men just see her a sex object, not a real person, especially when she realizes that Thomas, who she thought of as a best friend, was only trying to get in her pants.
  • "Nur kein genieren" (Don't Be Embarrassed) from Elisabeth has Madame Wolf and Lucheni presenting the prostitutes and their specialties, and promising a great time with the ladies.
  • "Our Lady of the Underground" is this for Persephone in Hadestown.
  • "Noel's Lament" from Ride the Cyclone is a parody of the genre sung by the character Noel Gruber — the only out gay teen in the entire town of Uranium, Saskatchewan, who has just died in a tragic roller coaster derailment with the rest of his high school choir. His "lament" is a cabaret-inspired number where he fantasizes about living as a "hooker with a heart of black charcoal" in post-war France. He describes his ideal life as a troubled but beautiful lady of the night: murdering Johns who mess with him, drinking himself into oblivion, "writing poems to burn by moonlight," getting addicted to opium, catching typhoid, and dying in an alley.
    For I sing songs until the break of day,
    I embrace a new man every night!
    My life's a never ending carnival,
    A whirl of boozy-floozy-flashing lights!
    I want to be that Fucked. Up. Girl.
  • "Charming" from Natasha, Pierre, and the Great Comet of 1812 has Hélène flatter the innocent, engaged Natasha into going to a ball without her betrothed, in order to push her towards her lustful brother. It's sung as if Hélène herself was flirting with Natasha (especially since she is labeled "a slut" in the opening number). Doubles as Villain Song.

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