There Are No “Blurred Lines”

Have you ever heard “Blurred Lines” play on the radio? You may never be able to sing along and enjoy this song again… 

“Blurred Lines” is an American pop single that was released March 26, 2013, through Star Trak Records. The hit single was written and performed by recording artists Robin Thicke, Pharrell Williams and T.I. Rising to instant popularity, the single was nominated for two Grammys at the 56th annual Grammy Awards, including “Record of the Year” and “Best Pop Duo/ Group Performance.” It was the longest running number one single of 2013 in the United States. With sales reaching 14.8 million, the song became one of the best-selling singles of all time. Alongside the single, two music videos were released. Both directed by Diane Martel, the original music video featured 3 topless models, while the other censored nudity. The media both reflects and reinforces traditional gender roles – therefore, analyzing female representation through media, including music, is crucial. On grounds of lyrical content, and the accompanying music videos, “Blurred Lines” is easily one of the most controversial songs – even being called misogynistic and earning the title of “the rape anthem.” Through its lyrics and music videos “Blurred Lines” depicts some of the dominant discourses of sexuality – including patriarchy, hypersexuality of women and male regulation of female bodies.

Patriarchy defines and regulates gender norms. These gender norms include the dominance of masculinity over femininity and the patriarchal demand that all women consent to male hegemony (Overall, 2004). Such gender norms are clearly depicted through the lyrics, and visual accompaniment, of “Blurred Lines.” For instance, the song suggests that a female’s explicit consent is not necessary before engaging in sexual activity. The song equates a female’s flirting, or manner of dress, with sexual consent; as such, the phrase “I know you want it” is mentioned 18 times throughout this single. This phrase illustrates the male dominance, as he is the one who “knows” what the female’s desires are and will therefore act as he sees fit. Explicit sexual consent is not needed because, for these men, consent is given through perceived desire and not by direct communication.

Furthermore, the concept of dominance demands a powerful party and a powerless one. It is those with power that have the privilege of gaze. In the music videos for “Blurred Lines” there are two specific instances that demonstrate the male gaze.  The first occurs when the three women walk in a single file past the three musicians who are leaning against the wall. As the models walk by, the men stare at their backsides – once again demonstrating that the female body is the object of the male gaze. The second instance occurs at the very end of the music video. The conclusion of the music video includes the three male singers standing in-between the three models and the camera. This positioning blocks the models from the viewer and focuses the attention on the males – once again depicting that the only important gaze is that of the male. Berger mentions in his article, “Ways of Seeing,” that “men act and women appear” (1977). Women are objects of the gaze. Men do the looking. Andrew Doris wrote an article for the John Hopkins Newsletter in which he describes that feminists are “accusing the lyrics to Blurred Lines of endorsing rape and sexual assault, with one going so far as to call it a ‘rape anthem…about male desire and male dominance over a woman’s personal sexual agency’”(2013). Furthermore, Doris points out that the risqué nature of the music videos that accompany this pop song is objectifying and demeaning to women. Also, it casts the female identity in a hypersexual light – another serious issue with this song.

In a patriarchal society, the image of sexuality presented is highly influenced by a heterosexual male perspective. Women are portrayed in the media as sex-driven animals. It is as though the sexual inclinations cannot be tamed by a woman – but rather, she must act upon them and pursue them (Baker, 2005). The lyrics of “Blurred Lines” does a wonderful job reiterating this stereotype. Rapper T.I. sings to a female model, “not too many women can refuse this pimpin’ [sic]…” while Robin Thicke sings to another model that he will release her “but you’re an animal, baby it’s in your nature….” The comparison of the female to an animal does not end there. Both he and T.I. call the models “bitches”- a gender-laden slur. Also, in various frames the models ride a stuffed goat but never did the male entertainers display such behaviour.

Furthermore, the wardrobe for the females in this video ranges from semi-nude to nude, while the male singers remain fully dressed the entire time. When the models do wear a skirt or dress it is made of transparent plastic – again, illustrating the misconception that females are over-sexual beings. Christine Baker did a systematic analysis of the degree of sexuality portrayed by men and women through various media outlets. In “Images of Women’s Sexuality in Advertisements: A Content Analysis of Black- and White-Oriented Women’s and Men’s Magazines” she concludes that the media reinforces how the ideal woman should look and behave. Furthermore, she concludes that, in the media the “ideal woman” is an object that solely exists to satisfy men’s sexual desires. Baker further explained that women in the media are typically placed in submissive positions and are depicted as sex objects (2005). The contrast between the nude females and dressed males in this music video is a great example of the female role as sex objects in mainstream media. The blog “The Feminist Midwife” chimes in on the controversy surrounding “Blurred Lines.” One writer, Stephanie, comments, “most women in music videos are required to wear next to nothing, while men have the privilege of keeping their clothes on and earning the same degree of attention, or more. It’s not ironic to put women naked in a music video because it’s an extension of… the same old sexist garbage” (2013).

Also, the video displays female submission by having the models work for the men. For example, in the video, Robin Thicke leans against a wall with a cigarette in his mouth waiting for the model to come and light it for him. The media’s portrayal of women as submissive sex objects reinforces the gender hierarchy. It is no surprise that in the gender hierarchy the male is the dominant figure and the female is the submissive one. As a consequence, men feel as though they have the right and authority to regulate female bodies and appearances, since they are placed in a position of power.

Through patriarchy the female is regulated and disciplined – this is achieved through the regulation of female bodies and appearance, and the elimination of female voice and opinion. It is no surprise that every female featured in this music video has the typical model physique. As a sex object to be desired, the female’s body must be desirable. According to society’s standards, only tall, slim, busty women are to be desired – of which featured model Emily Ratajkowski is the epitome. Another visual representation of the regulation of female appearance occurs when rapper T.I. brushes one of the model’s hair in the music video. More striking, however, is the lack of female voice in both the lyrical content and the music video. In the book “Women and Media”, Byerly and Ross critically examine the female voice through mainstream media. Not surprisingly, they conclude that women in media serve the sole purpose of male desire. Their voices are not to be heard but they are to sit there to look pretty and be prepared to fulfill the male demand (2006).  To have a voice is to have an opinion. To express an opinion is to display one’s autonomy and independence – and this is powerful. The three male singers wrote the lyrics and use their voices to vocalize them in the videos. They have vocabularies. They have voices. They have opinions. They have power. A lone female meows. That is all that is given. Meow. The only opportunity given to a female throughout this song to express any emotion or opinion is wasted through a meow. Once again, we see this comparison of female and animal. The female body and voice is secondary to the male’s. Her voice is less important and doesn’t need to be heard. The male “knows” without the female needing to express. As Robin Thicke kindly reminds us throughout the song, “[He] knows you want it.”

The song “Blurred Lines” by Robin Thicke, T.I. and Pharrell has been a topic of great controversial debate. Some argue that the pop single is a musical depiction approving of date rape, while others argue that feminists analyze the lyrics with over-scrutiny. Katie Baker, an author for the website “Jezebel,” juxtaposed the lyrics for this catchy hit with verified rapist rhetoric (2013). Very quickly does one realize that the lyrical content of the song is certainly one that does not condone date rape but idolizes it. Through its lyrical content and visual accompaniment, “Blurred Lines” depicts patriarchy, hypersexuality of women and male regulation of female bodies. Patriarchy founds the importance of the male gaze, while objectifying the female body. The song’s constant use of the male’s visual fixation on barely-dressed models is an illustration of this patriarchal male gaze. The heterosexual male perspective, also founded upon patriarchy, is made evident through the song’s portrayal of women as sex-driven animals. Such a portrayal is achieved through the song’s lyrical content (for example, “but you’re an animal, baby it’s in your nature…”) and video accompaniment (having the female models ride stuffed goats). Finally, through patriarchy the female body and appearance is regulated, and the female voice and opinion is eliminated. Throughout the song we continuously hear the three male singers’ opinion and voices; however, the only time a female’s voice is heard is when she meows. Advertisements continuously promote the message that a woman’s ultimate goal is to attract men. It is important to study the portrayal of female sexuality because it has been suggested that sexuality is the root cause of gender inequality (Baker, 2005). I guess it’s true when they say that the uplifting beat, accompanying modern day music, distracts us listeners from (the occasionally revolting) lyrical message the song communicates.