Bad Music Theology: "Blurred Lines" by Robin Thicke (feat. Pharrell and T.I.)

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 lines

The 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 you
Let 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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Bad Music Theology: “I Knew You Were Trouble” by Taylor Swift

She is super serious...and pouty

by Ben Howard

Now we bring you Bad Music Theology, one man’s quest to over interpret bad music in a quixotic attempt to make vaguely mediocre theology.

Once upon a time a few mistakes ago
I was in your sights, you got me alone
You found me, you found me, you found me
I guess you didn't care, and I guess I liked that
And when I fell hard you took a step back
Without me, without me, without me

In the opening lines of the song, Taylor makes an interesting theological turn. She seems to be talking about a crisis in her life that is the result of some sort of sin, but instead of discussing the ideas in terms of individual acts, she personifies the sinful nature which she finds herself battling against.

She represents this personification of failure as a stalking predator, who had her in his “sights” and got her “alone”. Next we see the baiting relationship as the personification entices Taylor with its illicit promises before removing those promises as she takes the bait.

And he's long gone when he's next to me
And I realize the blame is on me

In retrospect Taylor realizes the folly of this course of his action, acknowledging her own culpability in her pain…

'Cause I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
'Til you put me down, oh
I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
Now I'm lying on the cold hard ground
Oh, oh, trouble, trouble, trouble
Oh, oh, trouble, trouble, trouble 

Just look at the desperate loss in her eyes

Ah, what agony, what ecstasy! The knowing and willful ignorance of a situation you should have avoided in the first place. But oh, who can resist the temptation of metaphorically flying “to places I’d never been” only to find yourself “lying on the cold hard ground” listening to layered Dubstep to simulate the earthquake of emotions you’ve experienced. Was there e’er of tale of such woe? Eh, it is Taylor Swift, it seems apropos.

No apologies, he'll never see you cry
Pretend he doesn't know that he's the reason why
You're drowning, you're drowning, you're drowning
Now I heard you moved on from whispers on the street
A new notch in your belt is all I'll ever be
And now I see, now I see, now I see 

In a quest to restore her lost dignity in the face of her own disappointment, Taylor attempts to hide her pain. She seems lost, lonely. Here we see the plight of the modern church which has overly emphasized the shame one should feel in the face of failure. Instead of sharing her pain with her friends, family and community, Taylor finds herself “drowning” in tears, hiding from the world. She hears rumors, whispers, and watches as she is reduced to a “notch in your belt.” Only now does she truly see, see, see.

He was long gone when he met me
And I realize the joke is on me, yeah! 

It’s not a joke Taylor. Oh no. This is no laughing matter. Yeah!

I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
'Til you put me down, oh
I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
Now I'm lying on the cold hard ground
Oh, oh, trouble, trouble, trouble
Oh, oh, trouble, trouble, trouble 

With her recognition and anger reaching a fevered pitch, Taylor continues to reflect on how she could have been so taken in by this, this, thing, this personification of wanton desire. Oh how she, “knew you were trouble when you walked in.” She feels shame and she feels troubled. 

And the saddest fear comes creeping in
That you never loved me or her, or anyone, or anything, yeah 

Taylor comes to the profound realization that she is not the ultimate victim in this situation, but that her confused, angry, personification of evil and sin can never feel warmth, can never love anyone. Poor personification. *tear*

Taylor with a jaunty hat

I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
'Til you put me down, oh
I knew you were trouble when you walked in (you were right there, you were right there)
So shame on me now
Flew me to places I'd never been
Now I'm lying on the cold hard ground
Oh, oh, trouble, trouble, trouble
Oh, oh, trouble, trouble, trouble 

I think this is where Taylor goes off the rails, and the rest of Christian thought as well. Instead of reflecting on the sadness inherent in this personification of evil, Taylor redoubles her own cries of anger, heartbreak, shame and victimization. With the ability to finally uncover new metaphysical understandings of how the world functions in its brokenness, Taylor, like the wider Christian world, succumbs to the shallow desire to focus on self in the interest of protection.

I knew you were trouble when you walked in
Trouble, trouble, trouble
I knew you were trouble when you walked in
Trouble, trouble, trouble

All nuance is lost as Taylor rides off into the sunset reducing the personification of sin which has given her so many problems to mere “trouble, trouble, trouble”. Ah, if only we were to wrestle with the true implications of this pain and not dismiss it all as trouble.

Peace,

Ben

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