Adam Levine, Robin Thicke, and the Soundtrack to Rape Culture

I think it’s fair to say that the most common themes in music, throughout every decade of music existing as a pop culture commodity, have been lust and heartbreak. These are two of the most raw and relatable human emotions, leading to their frequent expression through artistic mediums. Often in music, these emotions are taken to their extremes when expressed, and become expressions of dark fantasies or drastic retaliations. The fact that these kinds of songs happen isn’t news and it’s not shocking that it still happens, however, there needs to be a distinction between art or expression and commercialized perpetuations of sexual violence.

The two most recent um, artists (?), that I want to compare are Maroon 5/Adam Levine + Friends, and Robin Thicke/Robin Thicket because that’s what Microsoft Word wants to call him and I like it better.  Both Levine and Thicket (I won’t stop, really It’s so much better) have a popular recent history of criticism for their videos.

Adam Levine sparked controversy first with Maroon 5’s video for “Misery” which features him being chased down and abused by his girlfriend (then real life girlfriend), and then again in the most recent video for “Animals,” in which he is a meat butcher who stalks a woman (his real life wife) while singing about preying on her and telling her not to deny the animal he brings out inside of her. These videos both are highly, highly, problematic. “Misery” completely trivializes domestic violence as some kind of entertaining game, while also using the woman as the aggressor to somehow make the act seem like a less significant offense, while hyping up the woman’s sexuality to give the whole thing more sex appeal. Then in “Animals,” the woman is sexualized again, compared to an animal and a piece of meat, however I would argue that now there’s an extra layer of complexity given that Levine, the male, is sexualized to an equal extent as the female. Also, while the woman is suggested to be desired like a piece of meat, Levine’s stalker character is the only character in the video to be visually equalized to meat, the main signifier being that he’s hanging off the meat hooks half nude and covered in blood in an attempt to make him indistinguishable from the dead cow carcasses. This all fits into a sick rape fantasy by Levine’s character, participating in a “rape culture” which works within patriarchy to foster acceptance sexual harassment and violence against women. But it has to be understood that this is a fictional narrative, with the purpose of telling a horror story. Maybe framing the story as a horror narrative, something is done in the psyche to inform the audience that yes, stalking and intent to rape is a horrific thing. That still doesn’t justify the lyrics and oversexualization, but it can’t be completely ignored. No part of rape culture can be justified, however I would argue that because Maroon 5’s “Animals” has levels of complexity, is attempting to tell a narrative story to the point that they hired the director of the latest Nightmare on Elm St. to direct the video, it has artistic merit. While it perpetuates rape culture, and that is problematic, it is not indulging in it the way that Mr. Thicket’s video is.

So now we get to Robin Thicket. This fucking guy. First he releases his most popular hit “Blurred Lines” which promoted rape, yes not just participated in rape culture but indeed PROMOTED RAPE AND SEXUAL HARRASMENT, using lyrics like “You Know You Want It,” and then the accompanying video was just him in a suit, in a room, surrounded by naked women acting like dogs. Or something. They’re doing some shit with their hands. Just… the video’s stupid and super misogynistic ok, just trust me here or watch it for yourself. Anyways… the genius Thicket follows up the controversy over his promotion of sexual assault by releasing a song/video called “Get Her Back” that publicly humiliates his ex-wife Paula Patton and makes private information between them public at her expense. To be clear, he is publicly sexually harassing and humiliating Paula Patton and attempting to frame himself as a heartbroken romantic, and a victim at the hands of Patton. This theme of harassment encompassed his entire tour, continuing the current phase of his career as one big public harassing.

The comparisons between “Animals” and “Blurred Lines” were quick to be made online, however I think we need to understand that these are two very different things. While there is an overarching problem of rape culture persisting in popular media, videos like “Animals” that attempt to express sexually aggressive but vague and generic sentiments, even when highly misogynistic, still are fictional narratives. “Animals” in particular is explicitly a horror narrative, meant to be horrific, which may be a positive aspect of it that stalking and raping are seen as horrific and creepy, and not happy and a man’s right to do. On the other side of this is the Uber-creep Thicket whose content is not “suggestive” at all, but is instead very directly and openly misogyny and harassment. He is directly harassing and violating a human being in the public eye. If you were pissed about Jennifer Lawrence’s nudes being leaked, then you should be equally pissed about the privacy violation that Paula Patton is being subjected to.

There is room to discuss how the work of both Levine and Thicket are problematic, but it needs to be understood that Adam Levine is creating a fucked up attempt at art, which is much more complex and worthy of discussion about how it can contribute to rape culture and what needs to change, while Thicke (real name now cause we’re gonna bring it on home) is openly taking pride in his participation, privilege, and perpetuation of rape culture. Thicke is not creating art, or any kind of narrative to interpret. He is making his personal life public at Paula Patton’s expense and attempting to commercialize her misery and his stalking/abuse.

There is no question as to the artistic merit of Thicke’s work, because there is no art. There is complete product: sexual assault being sold to the masses. Levine should be discussed in an attempt to change the system of production that continuously creates rape culture products. Thicke should be thrown out of the system entirely.

Both of these choices are left up to the consumer. The silver lining in these stories seems to be that for now, consumers aren’t buying Thicke’s gross product, which means that product will fail, and the market will have to find something new. So maybe the discussion is working, and the market will change soon. Maybe not, given that the music industry has a long history of these types of rape culture productions. In the end though, the consumer has the power to vote with their dollar in telling the content producers what they want to see.

But hey, no one even pays for music anymore anyways and the companies get money from views on YouTube videos like the ones I’ve provided, which have to happen so that we can even discuss everything that I’m trying to talk about here. So who fucking knows what the future holds?

Discussing Appropriation: Dear White People, Mastadon, and Halloween.

Note: This you may want to check out last week’s post on appropriation of “booty,” which this post will somewhat be a continuation of. 

On the lead in to Halloween, college campus student organizations and social media outlets of more liberal minded folk attempt to raise as much awareness as they can about the racism behind dressing up as another culture as a Halloween costume. This usually includes things like white folks wearing black face, or sombreros, or knockoff Native American head dresses and garments, all as costumes, with no respect to the fact that they are portrayals of non-white races, ethnicities, cultures and experiences for the sake of entertainment and exploitation by (usually) white people outside of those groups. Dressing up like this, on Halloween or any other day, means that those people dressing up are committing a racist act, and therefore an act of violence against another group.

Sold online at Spirithalloween.com

So first of all, I want to take a moment personally to say fuck you to those people. But second of all, I want to make it clear, now that Halloween is over, that my “fuck you,” along with the social justice work done by people trying to raise awareness for this issue constantly, is falling on deaf ears.

On Friday night as I drove down to Old Town Ft. Collins’, where the costumed student population congregated for Halloween festivities, I saw three individuals who were proudly dressed as two Ku Klux Klan members, in full hoods and robe, each holding the ends of a rope that was wrapped around the neck of the third individual, an African American male, with a smile on his face. And don’t misunderstand this as a white person in black face, to be absolutely clear it was two white men and one black man, participating hand in hand, or more accurately neck in rope.

Read that again and let it sink the fuck in, please. ‘Cause I still haven’t completely come to terms with it, myself.

These folks, mingling joyfully with the crowd, were the bright racist cherry on top of a day filled with loads of kids on and around campus wearing their sombrero/poncho combos (#1 Most Common Offender I saw), and cheap colorful “Native” feathers (#2). I would hope that in a perfect world, someone said something to the KKK triplet, and that the reason they were walking away wasn’t because of crowd dispersal but was because they were publicly shamed. I’d like to say that these costumed white people were just ignorant, waiting to be informed about the problems with their poor decision, and recognizing why it was wrong. However, I don’t think we live in a perfect world. I don’t believe that it’s right to slight someone for ignorance, but it is acceptable slight them for refusing to amend it. These people all most likely saw or heard warnings against cultural appropriation on Halloween, and although ignorance and lack of understanding as to why it’s wrong may still may be a part of it, they didn’t think twice about the concerns of marginalized groups, and that’s just pure, mean, disrespectful hate.

Author Bell Hooks describes the commodification of Otherness, which is what is happening here with the appropriation of cultures and ethnicities as costumes, as being a spice or “seasoning that can liven up the dull dish that is mainstream white culture” (from Eating the Other: Desire and Resistance). Ethnicities that have become “Othered” to reinforce white supremacy become commodities to be consumed and exploited by dominant white culture, which is the mechanism through which appropriation expresses itself. Appropriation is a violent display of power and consumption, fueled by ignorance and lack of understanding of cultural contexts and historical injustices, with complete disregard by the participating individuals to correct their mistakes, or educate their ignorance.

So backtracking a little bit, the timely release of the independent film “Dear White People” directly dealt with the issue of appropriation. SPOILER ALERT. The climax of the film was a frat party, based off of numerous real parties that are displayed in the end credits, where white students get together in full black face, costumed as various “black” caricatures such as rappers and gangsters, in order to push back against black students who are protesting campus racism. In the climactic scene, much of the films “say more show less” style flips around, and the implications of what is happening are left to sit with the audience for contemplation. The only moment of the scene where a character directly articulates any kind of way to feel toward the audience is when CoCo says that for a night, the white people got what they wanted, which was to be black. Ultimately, the character is suggesting that appropriation happens because white people really just want to be black.

Now this is a complex scene, with much more being communicated visually than just this sentiment, however because it’s the only verbally articulated understanding of the situation, it’s worth addressing. I would argue that it is overly simplified, and problematic to communicate to a white audience who has no problem with cultural appropriation.

While it seems that in pop culture, there is a need to be more “black” coming from artists like Miley Cyrus, Taylor Swift and Iggy Azalea, who have appropriated aspects of hip-hop that are tied historically to black female artists, and who have claimed they were looking for a “black sound” while relegating black people to the background of their videos, none of this is as simple as just wanting to “be black.” There is a massive commodification of styles, and more importantly sexual features, that have been condemned on the black bodies that they have been linked to, but are now being sold as products on the white bodies that are trying to claim ownership of them. The root of these changes is not artists wanting to be black, its artists and their companies wanting to make money by exploiting the Other.

The appropriation by white female artists trying to sell their bodies by promoting enhanced sexuality that has been condemned on black female bodies has sparked a pushback by Black female artists like Nicki Minaj and Beyoncé to attempt to take control and ownership of their bodies, and their previously condemned sexuality which they recognize is being commodified for whites. While it is still debatable about what they are accomplishing by claiming feminism and sexual liberation, it is clear that they are attempting to regain control of their own bodies, suggesting that if commodification is going to happen, then they will be the ones who will have control and power over their product.

But even this resistance is now appropriated, as evident by the video for Mastadon’s single “The Motherload,” in which Minaj-esque dancers saturate the screen, with full slow motion twerking and booty shaking, culminating in a dance battle with their dancing bodies on full display. This video is evident of the same kind of ignorance based power play that comes with dressing up to mock another Race or culture. Mastadon is appropriating the visuals, no matter how problematic they may be, that Nicki Minaj attempted to use to regain control of the black female body. “Motherload” delegitimizes and mocks her attempts at agency, while profiting off of the trendiness of her image and video. The drummer for Mastadon told Pitchfork that he hadn’t seen the Minaj “Anaconda” video, which if honest, still leaves the director and all other band members to know exactly what they are capitalizing on.

Submission from Mastadon’s “twerking” contest.

Mastadon received pushback, and controversy was created, but they took that opportunity to further capitalize, launching a contest that encouraged their largely white male audience to display their best “twerking,” leading to pictures openly mocking the Minaj visuals once again, as well as creating “asstadon” booty short, and a t-shirt of an enlarged-booty witch, with a pumpkin taking the place of her butt, just in time for Halloween.

This appropriation in pop culture is coming from the same place as Black Face. Whether it’s Mastodon appropriating black bodies to recall images of “Anaconda,” or white female pop-stars singing about their booty and desire for a “black sound,” it’s the same supremacist philosophies behind different forms of expression, and it continues to happen.

When it comes to pop culture, you have the option to vote with your dollar. You have the option to not participate in the exploitation race and culture by not buying what their selling, and by not contributing to corporations profits so that they produce more of the same at the expense of Others.

However, when it comes to the micro-scale, like seeing friends and colleagues dressed as “Mexicans” and “Indians” as Halloween costumes, the struggle to do the right thing increases as the desire to avoid personal confrontation weighs down. But we need to be able to have these discussions and tell these people what they’re doing is wrong. And if these messages continue to fall on deaf ears, then maybe we need to step up our game. Maybe we meet their pushback with more pushback, by any means necessary. Or maybe we just keep having the conversations with hopes that it all works out in the end… That doesn’t seem likely, but I’m not really sure there’s a definite answer.

I know that one thing you can do is go see movies like “Dear White People,” and let studios and people in power know that we want more of that kind of media made available, because while it’s not perfect, and no movie ever will be, we need to support more media that continue to try to have discussions about race, gender, sexuality, and class in ways that audiences can comprehend, and that keep a healthy and constructive conversation going.