Lily Allen’s ‘feminist’ video ‘Hard Out Here’ is old news, a couple of months old, but I’m behind the times and I’ve just encountered it, and its critical responses, today. Its flaws have already been amply pointed out, with particular attention paid to the video’s exploitative attitude towards black women, who are merely sexual objects here. But so far I haven’t seen anyone critiquing the music.
I don’t think that the video, shown below, is remotely critical of the sexist ideological universe it is ostensibly critiquing. The lyrics do, it’s true, give us a sarcastic view of pop videos and popular cultural attitudes to women, but the video still provides the ideologically necessary titillation. The music contributes powerfully to this. In form (the way verse and chorus alternate conventionally) and content (the shape of the melody and the song’s harmonic features) it is extremely simple and digestible: the music is bright, perky, pleasant, unchallenging, and so readily accessible that its essential musical point can be grasped by many millions of people within a few seconds (the YouTube video has had nearly 16 million views to date).
This simplicity of form and content, the catchiness of pop music, its immediacy and appeal, is what makes it the favoured commodity form for music in advanced capitalism. Really Lily Allen’s song is just like everything else in this regard. Pop music seems to offer the instant gratification that we are taught that we desire from music, without being ultimately satisfying (because if it satisfied us, we’d stop consuming it). For much of the time, when songs have any evident content, it is, as a first-year student of mine noted in a presentation last term, some more or less bland statement about love, money, sex, or drugs. These bland statements tend to meander around a narrow space bounded by a conservative ideological frame. We should all pursue the One; we should want money but not too much, because that makes us nasty, shallow people, when instead we should be pursuing the One; we can be terribly liberal about sex, and even allow it between persons of any age or race or sex, because we’re so liberal, but ultimately the One is the person we should focus our sexual interest on; and drugs are our permitted transgression, the thing that gives us edge, but without posing a real challenge to convention. The simple appeal of the music that presents this network of messages serves the purpose of sugaring the ideological pill: it’s a positive pleasure to internalize these ideological messages.
Back, finally, to the specifics of Lily Allen’s song, which presents itself as being antagonistic to modern forms of pop-culture sexism. Overall, the interaction of music and video does little more than provide the ideologically normal objectification of women with a nice reassurance that it’s ironic, so we can feel good about ourselves while nothing at all is changed. The catchy nature of the tune absolutely contributes to this: it says ‘Look, it’s really easy and pleasurable to be a feminist: not only will the experience be perky and pleasurable, but you don’t even have to change the materials you consume – you can still look at close-ups of women’s backsides being sprayed with champagne as they mock-fellate a bottle, because it’s all a joke. If it gives you a hardon, it’s OK: it’s a feminist hardon!’. It’s as cynical as a major corporation saying that the purchase of their goods is somehow a way of giving to charity, a way of making us feel good about preserving the status quo. Yet I suspect you’re unlikely to read a critique of ‘Hard Out Here’, or Jessie J’s ‘Do It Like a Dude’, or any other ‘critical’ pop that targets the musical materials in the same way, because there is an unquestioned assumption that because pop appeals to millions, it must be ‘democratic’. I think instead we need to return to the old Marxist position, nicely developed by Adorno, that what we’re mistaking for democratic reach is the poisonous and anti-progressive narcotic effect of a musical opiate for the masses.