I’ve had more than one heated, triggering discussion about the lyrics of Robin Thicke’s “Blurred Lines,” and mostly what I hear just before I completely disengage from the discussion in self preservation is rape apologia, victim-blaming, and other such rape culture rhetoric.
An amazing person by the name of Sezin Koehler put together this undeniable proof that “Blurred Lines” not only promotes rape culture, it also attempts to normalize rape. In fact, his lyrics are things that repeatedly come out of real-life rapists’ mouths, as shown by selections from Project Unbreakable. There is absolutely nothing blurry about these lines. What Thicke sings about is coercive rape, period.
The following is a long excerpt, but please visit the source for the entire comparison, as well as the very eye-opening and highly disturbing comments that illustrate our rape culture more than anything else.
Robin Thicke’s summer hit Blurred Lines addresses what
he considers to besounds like a grey area between consensual sex and assault. The images in this post place the song into a real-life context. They are from Project Unbreakable, an online photo essay exhibit, and feature images of women and men holding signs with sentences that their rapist said before, during, or after their assault. Let’s begin.
I know you want it.
Thicke sings “I know you want it,” a phrase that many sexual assault survivors report their rapists saying to justify their actions, as demonstrated over and over in the Project Unbreakable testimonials.
You’re a good girl.
Thicke further sings “You’re a good girl,” suggesting that a good girl won’t show her reciprocal desire (if it exists). This becomes further proof in his mind that she wants sex: for good girls, silence is consent and “no” really means “yes.”
Calling an adult a “good girl” in this context resonates with the the virgin/whore dichotomy. The implication in Blurred Lines is that because the woman is not responding to a man’s sexual advances, which of course are irresistible, she’s hiding her true sexual desire under a facade of disinterest. Thicke is singing about forcing a woman to perform both the good girl and bad girl roles in order to satisfy the man’s desires.
Thicke and company, as all-knowing patriarchs, will give her what he knows she wants (sex), even though she’s not actively consenting, and she may well be rejecting the man outright.
Do it like it hurt, do it like it hurt, what you don’t like work?
This lyric suggests that women are supposed to enjoy pain during sex or that pain is part of sex:
The woman’s desires play no part in this scenario – except insofar as he projects whatever he pleases onto her — another parallel to the act of rape: sexual assault is generally not about sex, but rather about a physical and emotional demonstration of power.
The way you grab me.
Must wanna get nasty.
This is victim-blaming. Everybody knows that if a woman dances with a man it means she wants to sleep with him, right? And if she wears a short skirt or tight dress she’s asking for it, right? And if she even smiles at him it means she wants it, right? Wrong. A dance, an outfit, a smile — sexy or not — does not indicate consent. This idea, though, is pervasive and believed by rapists.
And women, according to Blurred Lines, want to be treated badly.
Nothing like your last guy, he too square for you.
He don’t smack your ass and pull your hair like that.
In this misogynistic fantasy, a woman doesn’t want a “square” who’ll treat her like a human being and with respect. She would rather be degraded and abused for a man’s gratification and amusement, like the women who dance around half naked humping dead animals in the music video.
The pièce de résistance of the non-censored version of Blurred Lines is this lyric:
I’ll give you something to tear your ass in two.
What better way to show a woman who’s in charge than violent, non-consensual sodomy?
Ultimately, Robin Thicke’s rape anthem is about male desire and male dominance over a woman’s personal sexual agency. The rigid definition of masculinity makes the man unable to accept the idea that sometimes his advances are not welcome. Thus, instead of treating a woman like a human being and respecting her subjectivity, she’s relegated to the role of living sex doll whose existence is naught but for the pleasure of a man.