Say something… anything: Timberlake and Swift’s Trumpian trap

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‘Sometimes the greatest way to say something, is to say nothing at all…’

This is the major takeaway from Justin Timberlake‘s latest single. Not only does it cop a line from Ronan Keating, it also plays right into Trumpian rhetoric – the steadfast belief that you, as a public figure, have been misinterpreted, not misinformed.

The spectre of Taylor Swift’s ‘Look What You Made Me Do’, looms over Timberlake’s upcoming release Man of the Woods. Attacking the same free press that covered such PR hiccups as her infamous Grammys speech, and Kim K’s Snapchat exposé, the lyrics were embraced and tweeted by far right rag Breitbart.

In the context of their feed – and maybe Swift’s album, since she’s yet to denounce white supremacists – these words push the narrative that hardcore conservatives form America’s righteous oppressed, who’ve been shut out for the sake of political correctness and butthurt snowflakes.

Even if this wasn’t Swift’s intention, she made sure we’d never really know by imposing a media blackout throughout her reputation campaign. No interviews. No justifications. As she wrote in a letter to fans –‘There will be no further explanation. There will be just reputation.’

The difference between Swift and Timberlake is that he is engaging with wokeness. He just sucks at it. Earlier this month, he tweeted support for #TimesUp – despite recently working with Woody Allen. He also preceded the hashtag with ‘My wife is hot!’. Yes, really.

His post-apocalyptic video for ‘Supplies’, meanwhile, gave nondescript nods to Trump, Kim Jong-un et al, and appropriated protest culture with a glibness that would make Kylie Jenner’s Pepsi commercial jealous. Needless to say…

After enjoying a career full of privileged behaviour – letting Janet Jackson take the blame for Nipplegate, an ‘All Lives Matter’-flavoured response to BLM – Timberlake’s finally being challenged by voices with a newly-found platform. The advent of Black Twitter in particular has made him answerable to a community he’s so often pilfered from.

Rather than seize the opportunity to understand the nuances of these discussions and strengthen his participation, Timberlake has hung a ‘Do Not Disturb’ sign on his conscience for all to see. In his own words, he doesn’t want get to ‘caught up in the rhythm of it’ – because, by virtue of his skin colour, he can afford not to.

Perhaps my analysis is an overreaction, one wrought from an attempt to pin meaning to inexpressive songwriting. Throughout, Timberlake and guesting country star Chris Stapleton trade vague inanities that could literally be about anything – but it’s important to look at the line Timberlake is towing in his promotion for Man of the Woods.

While a politically-engaged Katy Perry returned with ‘purposeful pop’ last year, Timberlake is being purposefully inoffensive. Festooning his music with whisky-warm guitars and donning masc rust-belt chic, he’s not actively excluding listeners with conservative tastes – which is fine, music is for everyone – but coupled with his radio silence on key issues, the project sends a worrying and cynical message.

On February 4th, Timberlake will headline the Super Bowl LII halftime show. The odds of a statement that’s a tenth as compelling as Beyonce’s Black Panther tribute are low, but I’m open to surprises. Whatever happens on the night, Timberlake is right about one thing – if he continues to say nothing at all, it will speak volumes about who he really is.

 

[Music] Top 35 Tracks of 2013 (#35 – #21)

35. Robin Thicke – Blurred Lines [feat. Pharrell and T.I.], Blurred Lines

Available from iTunes

YouTube-Bans-RB-Singers-Video-+18-2As divisive as the track may be, it would be churlish to ignore Robin Thicke’s monstrously successful ode to dodgy dance floor-based ethics when summing up the last year in music. The presence of the currently infallible Pharrell Williams and a warm, Marvin Gaye-aping instrumental – not to mention a notoriously ‘stripped-back’ promo video – combined to create a heady cocktail that had punters checking their social consciousnesses at the door. For better or for worse, “Blurred Lines” is the sound of pure carnal lust left unspoiled by the pressures of political correctness.

34. Britney Spears – Work Bitch, Britney Jean

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It would seem the record-buying public didn’t appreciate the irony of being told to work harder by one of the laziest ladies in pop, which may explain their apathy towards the first offering from Spears’ eighth studio album, Britney Jean. Following the ubiquity of last year’s “Scream & Shout”, launching with a Will.i.am-penned banger was a no-brainer, but no one could anticipate that their reunion could yield a song as devoid of grey matter as “Work Bitch”. What the track lacks in brains, however, it makes up for with the strength of its steely balls. Eschewing any form of tangible structure, relying on only a hard, repetitive beat and Spears’ trademark British accent, the song feels as alien to the wants of radio as the woman singing it feels removed from the wants of the industry, and in that sense it makes for a fascinating listen.

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