Review de «Carry Out» Justin Timberlake
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The feminist genius of Timbaland and Timberlake
http://www.gainesville.com/article/2010 … Timberlake
I was always under the impression that all modern pop music was trash. I thought it was merely a collection of hooks, beats and mindless lyrics constructed using scientifically proven equations for the singular purpose of selling substandard records to impressionable children.
As far as I was concerned, Top 40 radio was an FM wasteland populated by musical mutants who distorted and destroyed music three minutes at a time.
Then I heard «Carry Out» by record producer Timbaland and reigning-king-of-pop Justin Timberlake.
Upon first listen, the song – like 90 percent of all songs ever written by humanity – is ostensibly about women. The novelty, it would seem, is that they use food and restaurant terms to thinly veil their sexual references.
But to dismiss «Carry Out» as just another in a long line of cleverly worded siren songs beckoning America’s youth toward Gomorrah is to misunderstand the profound genius of Timbaland and Timberlake.
The song opens with Timbaland sultrily singing, «Baby, you lookin’ fire hot. / I’ll have you open all night like an IHOP. / I’ll take you home, baby. Let me keep you company. / You give me some of you, I’ll give you some of me.»
By placing emphasis in the first line on physical attraction instead of intellectual compatibility, Timbaland seeks to remind the listener of the superficial nature of first impressions and the shallowness of our media-propagated hook-up culture.
The near rhyme used at the ends of the first couplet also puts focus on the word «IHOP,» which, along with the preceding line, links the two subjects of Timbaland and Timberlake’s scathing criticism: the objectification of women and America’s unhealthy relationship with food.
The beginning of the second verse only strengthens these associations with, «‘Cause it’s me, you, you, me, me, you, all night. / Have it your way, foreplay before I feed your appetite. / Let me get my ticket, baby, let me get in line. / I can tell the way you like it, baby, Super Sized.»
Timbaland’s repetition of the words «you» and «me» stresses the current attitude that although two people may physically unite for an evening, there is no «we» or «us.» They each remain separate entities.
He also invokes Burger King’s slogan, «Have it your way» and McDonald’s’ «Super Size» menu option, each a reference to the quick-and-easy, throw-away lifestyle Americans have come to expect in both cuisine and relationships.
In the third verse, Timberlake takes the established themes even further when he adds, «Number one, I’ll take two number threes. / That’s a whole lot of you and a side of me. / Now, is it full of myself to want you full of me? / And if there’s room for dessert, then I want a piece.»
It’s obvious from his direct and demanding nature that he’s ironically denouncing the subtle yet prevalent misogyny in popular music. Women are often seen less as valued companions and more as items to be ordered by number off a menu. It’s disgusting, really, and Timberlake sees this.
Modern man’s inferiority complex also gets a jab with Timberlake’s last line, «Now, let me walk into your body till you hear me out. / Turn me on, my baby. Don’t you cut me out.»
He seems to say that all men really want is to be loved, but their fear of rejection leads them to hyper-masculine posturing and disrespect.
It would be easy to write off «Carry Out» as a simple song conceived by simple men and miss the great well of meaning beneath its glossy surface.
The song is a biting commentary on two obsessions and overindulgences in American culture: sex and food. By using an extended metaphor to relate that message to the listener, Timbaland and Timberlake successfully skewer the industry they currently dominate.
Or, it could just be a song about pancakes and makin’ love.
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