‘Blurred Lines’ show offensive side of rap

There has been a recent wave of criticism over song lyrics some have called “rapey.” The controversy began with Maybach Music mogul Rick Ross’s lyrics in the song “U.O.E.N.O.” with Atlanta-based artist Rocko. The specific lines in question were, “Put Molly in her champagne, she ain’t even know it / I took her home and enjoyed that / she ain’t even know it.” Many feminists, critics and fans alike were infuriated by these lines. A media firestorm ensued, sparking a lot of backlash against Rozay — so much so that Reebok withdrew its endorsement deal with him.

Recently, the discourse continued with R&B crooner Robin Thicke’s immensely popular “Blurred Lines.” The song features lyrics telling a woman she is “the hottest b-tch in this place” and a constant entreating of, “I know you want it.” The lyrics appear rather tame, until juxtaposed with the unrated video for the song, which depicts Thicke, Pharell and T.I. following topless vixens in thongs, chasing them with giant syringe needles and a set of balloons that spell out the phrase, “Robin Thicke has a big d-ck.”

In both instances, each artist deserved his fair share of criticism for the blatant misogyny they displayed in their music. The gray area, however, is why the intensity of media’s charges of misogyny changes from one artist to the other. Though Reebok dropped its endorsements deal with Ross, the creators of “Blurred Lines” didn’t receive the same punishment from CoverGirl, and the song is as popular as ever. Maybe Thicke and his “Blurred Lines” are more likeable than Ross and his “U.O.E.N.O.” creation, so his sexually violent undertones are easier to dismiss. Some would argue it’s because Thicke is an R&B singer versus Ross who is a rapper. Others might say that Thicke’s lyrics are not as bad as Ross’, making the case that slipping women MDMA is far more improper than barraging them with alcohol. There might even be a racial component lodged in there somewhere. So it’s easy to see that the lines are indeed blurry.

The looming problem these songs highlight is explaining why voices are louder during some instances and not others. No one came for blood when 2 Chainz said, “I take ya girl and kidnap her / Feed her to my mattress.” No one felt compelled to police music when Miguel wastes no time asking a girl at the club “How many drinks would it take you to leave with me?” No one grabs their pitchforks or lights their torches when it comes to the material of artists such as Odd Future’s Tyler the Creator, whose lyrics are too vulgar to mention.

There aren’t any simple answers when questioning how one both engages in and fights against misogyny. Yet one still needs to be astute enough to interrogate one’s own sense, sensibilities and critiques toward mainstream culture from time to time. Rape-allusive lyrics should be considered wrong no matter who says them. If not, then one should stop saying that “nothing in art is off limits” if they know in their hearts that the artist, the audience and the medium matters. If not, one needs to stop propagating the idea that it’s OK to get women drunk at clubs, bars and college campuses across the country in order to have sex with them. And if one cannot do these things, it would be beneficial for them to at least attempt to gain an understanding as to why we cannot.

This is a call for people to hold critics as accountable as the artists they critique — to insist they prove that their responses to questionable lyrics are organic and not the chime-ins of a fickle Twittersphere, or worse, a product of selectivity instead of rationality.

Joshua Adams is a graduate student pursuing a master’s degree in journalism.