by Ben Howard
Every so often I come across a pop song so catchy that I can't stop listening to it, but with lyrics so terrible that I hate myself every time I press play. Such is the case with "Blurred Lines" by Robin Thicke. I'm contractually obligated at this point to mention that Robin is the son of TV's Alan Thicke (He's Canadian!) making him the almost-brother of uber-conservative crazy person Kirk Cameron. The 80's were fun.
Since I can't seem to stop listening to Robin Thicke's misogynistic ode to sexing up the ladies, I've decided to do the next best thing: wildly re-interpret it using theological language that has almost no connection to the intended reality of the song. Follow me as we over-interpret, under-interpret, make associations based on the most tangential of evidence and generally wreck Holy Havoc on this pop music phenomena.
This is Bad Music Theology.
If you'd like to listen to the song as you read you can find the video here. Note: Video is probably NSFW.
(Warning: strong language, sexual imagery)
Everybody get up
Everybody get up
Hey, hey, hey
Hey, hey, hey
Hey, hey, hey
Pharrell introduces himself as our herald by directing us all to "get up" for we are about to hear from an important person. He beckons us with the attention-grabbing and familiar "Hey" repeated in a treble of trebles to reassert that we should be listening closely to what we will hear.
If you can't hear what I'm trying to say
If you can't read from the same page
Maybe I'm going deaf,
Maybe I'm going blind
Maybe I'm out of my mind
With our attention suitably directed, our main speaker enters the stage. He immediately questions our ability to hear and understand, then our ability to read and comprehend. In mock indignation he questions his own abilities of comprehension. Perhaps he is "deaf" or "blind" or going out of his mind.
OK now he was close, tried to domesticate you
But you're an animal, baby it's in your nature
Just let me liberate you
Hey, hey, hey
You don't need no papers
Hey, hey, hey
That man is not your maker
Here we are given a clue into the identity of our speaker. He speaks to a woman and argues that her desires of her nature should overwhelm attempts to "domesticate" her. It is at this point that we recognize the speaker as the Serpent from the Garden of Eden addressing us as a metaphorical Eve. He wishes to "liberate" her with the fruit of the forbidden tree. She need sign no contracts, simply eat the fruit. The man, Adam, or perhaps a patriarchal reference to God, is not her "maker".
And that's why I'm gon' take a good girl
I know you want it
I know you want it
I know you want it
You're a good girl
Can't let it get past me
You're far from plastic
Talk about getting blasted
I hate these blurred linesThe Serpent announces his intentions. He wishes to "take" Eve, the "good girl." He knows that she desires the fruit and he refuses to let her "get past" him. He reminds her that she is flesh and blood, full of desires and "far from plastic." Doesn't Eve, like the Serpent, "hate these blurred lines"? Doesn't Eve wish to know the truth of good and evil? Doesn't she wish to know the mind of God?
I know you want it
I know you want it
I know you want it
But you're a good girl
The way you grab me
Must wanna get nasty
Go ahead, get at me
This second half of the chorus highlights the shadow side of the Serpent's temptation. While tempts Eve's desire to know the truth beyond "blurred lines," he also believes that she is full of lustful desires. The Serpent says that she "must wanna get nasty" and beckons her ahead to her doom.
What do they make dreams for
When you got them jeans on
What do we need steam for
You the hottest bitch in this place
The Serpent becomes increasingly cocky as his seduction continues. He appeals to the vanity of this metaphorical Eve. He rhetorically points out her desirability. Not only is she filled with animalistic desires, she spurs these desires as well.
I feel so lucky
Hey, hey, hey
You wanna hug me
Hey, hey, hey
What rhymes with hug me?
Hey, hey, hey
In these words you can sense the Serpent beckoning Eve further and further towards her doom. He begins to reveal his own motivations more and more. He is not merely trying to "liberate" and save Eve from a world of "blurred lines," the Serpent is trying to satisfy his own desires.
OK now he was close, tried to domesticate you
But you're an animal, baby it's in your nature
Just let me liberate you
Hey, hey, hey
You don't need no papers
Hey, hey, hey
That man is not your maker
Hey, hey, hey
Our speaker repeats his earlier lines, but as the narrative deepens these words taken on a darker more sinister tone. Instead of the cajoling playful sense given on first pass, they now feel predatory and verge on mocking. They are no longer words which attempt to seduce, they are words that attempt to suppress. The Serpent knows he has won over his victim, he must merely close the deal.
And that's why I'm gon' take a good girl
I know you want it
I know you want it
I know you want it
You're a good girl
Can't let it get past me
You're far from plastic
Talk about getting blasted
I hate these blurred lines
I know you want it
I hate them lines
I know you want it
I hate them lines
I know you want it
But you're a good girl
The way you grab me
Must wanna get nasty
Go ahead, get at me
Once again the Serpent repeats himself from earlier. However, where the earlier version seemed friendly and cajoling, this reiteration of the language is revelatory, basking in the victory of seduction and debauchery. The Serpent has conquered.
One thing I ask of youLet me be the one you back that ass to
Yo, from Malibu, to Paribu
Yeah, had a bitch, but she ain't bad as you
So hit me up when you passing through
I'll give you something big enough to tear your ass in two
Swag on, even when you dress casual
I mean it's almost unbearable
The Serpent reveals his true form as a monster and a scoundrel. Where earlier he appealed to the considerations of the woman, her desire to be a "good girl," her desire to be true to her desires and her nature, her desire to live a life beyond "blurred lines," the Serpent now reveals that all of this has been his attempt to conquer her for his own selfish ambitions. Instead of appealing to her, he now points out how he would like her to satisfy him.
Then, honey you're not there when I'm
With my foresight bitch you pay me by
Nothing like your last guy, he too square for you
He don't smack that ass and pull your hair like that
So I just watch and wait for you to salute
But you didn't pick
Not many women can refuse this pimpin'
I'm a nice guy, but don't get it if you get with me
The Serpent continues mocking his victim. He's "nothing like your last guy" for he is abusive and controlling ("wait for you to salute"). He even says that it was never a choice. She "didn't pick" because "not many women can refuse this pimpin'." Even the illusion of control has been ripped away from our victim.
Shake the vibe, get down, get up
Do it like it hurt, like it hurt
What you don't like work?
The Serpent/Satan/The Abusive One continues to mock and belittle our victim. He demands her to "shake the vibe" and mocks her for the pain she has received.
Baby can you breathe? I got this from Jamaica
It always works for me Dakota to Decatur, uh huh
No more pretending
Hey, hey, hey
Cause now you winning
Hey, hey, hey
Here's our beginning
Our speaker makes his final statement. He no longer cares for the welfare of his prey. Mockingly questioning "Baby can you breathe?" There will be "no more pretending" for this is the beginning of his reign of dominance. He has conquered his prey and taken what he wanted. He has manipulated us all to his whims.
I always wanted a good girl
I know you want it
I know you want it
I know you want it
You're a good girl
Can't let it get past me
You're far from plastic
Talk about getting blasted
I hate these blurred lines
I know you want it
I know you want it
I know you want it
But you're a good girl
The way you grab me
Must wanna get nasty
Go ahead, get at me
This final refrain summarizes the story and places a cynical and depressive frame around the story. This is not a tale of redemption, but is instead a warning to us all. Though many will appeal to us through our desires and wants, we must be cautious that we are not being manipulated to their abusive whims. Our desires and wants can be healthy, but they can also be the weakness which leads us into a dark and oppressive story.
Everybody get up
Everybody get up
Hey, hey, hey
Hey, hey, hey
Hey, hey, hey
Our herald returns beckoning us to listen, hear and reflect on the message of this tale.
Peace,
Ben
Ben
Howard is an accidental iconoclast and generally curious individual
living in Nashville, Tennessee. He is also the editor-in-chief of On Pop
Theology and an avid fan of waving at strangers for no reason. You can
follow him on Twitter @BenHoward87.
You can follow On Pop Theology on Twitter @OnPopTheology or like us on Facebook at www.facebook.com/OnPopTheology.
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