Gotye’s “Somebody That I Used to Know” resonated globally, dominating charts and airwaves with its distinctive melody and emotionally charged narrative. While celebrated for its musical innovation, a deeper look into the Somebody That I Used To Know Lyrics Song reveals a more complex and potentially problematic undercurrent, particularly when viewed through a feminist lens. This article delves into the lyrical content and visual representation of the song, unpacking its subtle yet pervasive perpetuation of patriarchal norms within the context of a breakup.
The song unfolds from a male perspective, immediately positioning the narrative voice as dominant. He recounts the aftermath of a relationship, painting himself as wronged and misunderstood. Lines like, “even lovers must let go,” initially evoke a sense of universal heartbreak. However, as the lyrics progress, a self-centeredness emerges that undermines any initial sympathy. He laments, “But you didn’t have to cut me off / Make out like it never happened and that we were nothing,” revealing a discomfort not with the breakup itself, but with the ex-partner’s decisive severing of ties. This expectation of continued access, even after a relationship’s end, highlights a sense of entitlement and a disregard for the woman’s need for emotional space and closure. The somebody that i used to know lyrics song are structured to prioritize the male experience, framing the female perspective as secondary, an echo rather than an equal voice.
The lyrical exchange, or rather, the interruption, further solidifies this imbalance. Mid-song, the female voice emerges, delivering a crucial counter-narrative: “Now and then I think of all the times you screwed me over / Part of me believed it was always something that I’d done.” This revelation hints at past transgressions and emotional manipulation, suggesting a history of blame-shifting within the relationship. The phrase “screwed me over” is stark and accusatory, implying significant emotional or even behavioral misconduct. Yet, this crucial piece of information is quickly overshadowed by the man’s immediate rebuttal, focusing again on his own perceived slight of being “cut off.” The somebody that i used to know lyrics song structure minimizes the woman’s pain, framing her valid grievances as secondary to the man’s desire for continued connection on his terms.
This self-absorption is further amplified by the man’s reaction to being “cut off.” His indignation at being treated as “nothing” starkly contrasts with his earlier admission, “I’ll admit that I was glad it was over / But you didn’t have to stoop so low.” This reveals a desire to control the narrative even after the relationship has ended. He dictates the acceptable terms of separation, expecting friendship or at least amicable acquaintance, regardless of the hurt he may have inflicted. This expectation can be interpreted as a manifestation of a patriarchal entitlement, where male desires for connection and control supersede female needs for emotional well-being and boundaries. The somebody that i used to know lyrics song subtly normalizes this dynamic, presenting it as a relatable breakup experience, thereby potentially reinforcing harmful gendered expectations in relationships.
The music video for “Somebody That I Used to Know” visually reinforces the lyrical themes of gendered power dynamics and the marginalization of the female perspective. It opens with Gotye, nude and vulnerable, immediately inviting viewer sympathy and centering his experience. As he sings, he is progressively painted with geometric patterns, seamlessly blending into the background. This visual metaphor can be interpreted as the man being consumed by his own narrative, becoming the focal point while simultaneously losing individuality within his self-constructed victimhood.
Kimbra’s entrance in the video is delayed and visually subordinate. She appears over two minutes into the four-minute song, emerging painted from the wall, her back initially to the camera. This delayed entry and obscured presentation visually represent the delayed and marginalized female voice within the song itself. Throughout her verse, the camera angles and framing consistently prioritize Gotye, often showing Kimbra in profile or with only part of her face visible. There is no direct, confrontational gaze from Kimbra into the camera, reinforcing the idea that her perspective is secondary, filtered through and subservient to the male narrative. The male gaze, a concept in feminist film theory, is clearly at play, objectifying Kimbra and positioning her as existing primarily in relation to Gotye’s story. The visual language of the somebody that i used to know lyrics song video further emphasizes the unequal power dynamic inherent in the song’s narrative.
The video’s conclusion further solidifies this interpretation. After Kimbra delivers her verse, she slowly retreats back to her original position, and the paint is progressively removed from her body, frame by frame, until she is left nude from the waist up. This visual stripping away of her identity and agency, culminating in vulnerability, coincides with Gotye singing, “Now you’re just somebody that I used to know.” The final image reinforces the idea that the woman’s value and identity are defined by her relationship to the man, and once that relationship ends, she is reduced to a nameless, vulnerable “somebody that I used to know,” devoid of her own fully realized presence in the narrative. The visual and lyrical elements of somebody that i used to know lyrics song combine to create a powerful, albeit subtle, message about gender dynamics in breakups, one that unfortunately leans towards perpetuating patriarchal norms.
While “Somebody That I Used to Know” is undeniably a compelling and musically innovative song, its immense popularity necessitates a critical examination of its underlying messages. Through both its lyrics and music video, the song subtly reinforces a patriarchal framework where male perspectives and desires are prioritized, and female experiences are marginalized. Understanding these underlying messages within popular culture is crucial for fostering a more equitable understanding of gender dynamics and relationship power imbalances. The widespread appeal of somebody that i used to know lyrics song underscores the importance of continued critical analysis of media and its potential to subtly shape and reinforce societal norms.
Suggested Readings:
- Bordo, Susan. Unbearable Weight: Feminism, Western Culture, and the Body. Berkeley: University of California Press, 1993.
- Kemp, Sandra, and Judith Squires. Feminisms. New York: Oxford University Press, 1998.
- Price, Janet, and Margrit Shildrick. Feminist Theory and the Body: A Reader. New York: Routledge, 1999.
- Rose, Jacqueline. Sexuality in the Field of Vision. London: Verso, 1986.
