Ladies and gentlemen, I give you Daniel Merriweather.
Now this blog is not intended to be an organ to facilitate my public flirting. (Although Sean Maguire - if you're reading this, I love you. No, I really love you. I mean it.)
Sorry, got diverted. Now, to Daniel Merriweather.
Because it's a beautiful day I opened a bottle of verdelho and made some lunch. (Linguine with crab and grilled courgettes and tomatoes and fresh herbs. Oh and little tiny capers. Yumm....)
Sorry, got distracted. Now, Daniel Merriweather.
(I MEAN it Sean. Let's do it, let's fall in love, and then let's have really comedic rows where you can do stunts and bump into things 'cos you are adorable when you do that and then we can have make-up sex and you can do Anything You Want.)
Sorry. Daniel. Merriweather.
So, it's a beautiful day, the sun is shining. You might even say the 'weather' is 'merry'. (Coincidence? Yes. Simple as that really. It just takes an old fraudulent tarot-reader like me to make the connection. If you think there is some actual meaningful connection between the merry weather and Daniel Merriweather being on the telly when I turned it on, you're an idiot.)
So sunny day, I'm indoors, my aversion to sunlight being a matter of record, and I turn on the telly and it's the music chart show. I am so out of touch with popular music I have to pretend to get Frisky and Mannish's references but it's a LIE. So I decide it might be a good idea to see what the young people are listening to.
And this young Australian scamp called Daniel Merriweather is singing a heart-rending (* people who say 'heart-rendering should either be sterilised or have their hearts rendered) ballad called 'Red'. It's a good song, with a great hook, although the lyrics are at times held hostage to the banality necessary to make a pop song accessible to the Public ('behind your lies I can see the secrets you don't show' was one such, I believe).
But overall, it's a tuneful pop ballad in the great tradition of the cardiovocal efforts of Sensitive Guys throughout the ages.
OR IS IT?
You see, there is something interesting about this song, to me anyway. And I don't just mean Daniel's gorgeously crooked smile and Hurtin' Expression. That much is old-school. Hurtin' Expressions are the stock-in-trade of male troubadours trying to convince you that they really really REALLY love you and therefore it's tantamount to torturing them with needles under their fingernails that you don't return their affection. Aforesaid Expressions are also the standard operating procedure of rogues and vagabonds who need to convince you that they just made a mistake, you have to forgive them, please take them back etc.
*** Time for a quick remedial lesson in Male Emotion:
I really love you = I want to fuck you.
I'm in pain because you don't love me = It hurts that you won't let me fuck you.
I'm suicidal because you don't love me = I'm threatening to kill myself as blackmail to make you fuck me.
Likewise:
I was a fool = I fucked someone else but I still want to fuck you, now I must abase myself in the hope of getting away with it. 'Cos then I get to fuck you more, even though we both know I'll probably fuck someone else at some point.
And finally:
I was such a fool, I know you'll never love me again, but I'll never get over you = Even though I know I screwed up completely and you'll never let me fuck you again, I want you to think well of me and maybe miss me a little bit, because you'll tell your friends, and then one of them might let me fuck her.
In most songs of this type, the Sensitive Guy proves his sensitivity (i.e. fuckability) by throwing himself, metaphorically, at the feet of the Girl. He cedes his power to her, because either calculation or impulse tell him to. And, he hopes, she will reward him with forgiveness (i.e. fucking). It's how these things are done.
Why is Daniel Merriweather different? Let him speak for himself:
'And I can't do this by myself
All of these problems, they're all in your head
And I can't be somebody else
You took something perfect
And painted it red.'
This is Sensitive Guy territory, but with a magnificent post-feminist twist. The difference being that in this song, She is Entirely To Blame.
Reading between the lines, what he's essentially saying is:
You're a psycho. You're fucked in the head. Your problems are yours, not mine. I have no intention of changing to accommodate your neuroses. Even though it actually hurts me, I'm giving you the wide berth you deserve. Actually, come to think of it, I had pretty much gone off fucking you anyway. You crazy bitch.
Ordinarily this kind of thing is the province of The Girl, inasmuch as in these narratives it's almost always the Guy who is At Fault, To Blame, and the rest of it. The Girl who resists her desire to get back with the Bad Boy is Strong (he is Weak). When she walks out on him, she's Asserting Herself (he's always left Bereft or Confused). He prostrates himself and she revels - tearfully - in her power.
How many songs do you know in which She let Him down not by going off with some other guy (Cf. 'Burn' by the tremendous Ray Lamontaigne), but by being a nutter? You see, in the male troubadour tradition, Betty-Blue types can be the object of adoration or regret or even euthanasia, but it's a bit, well, girly, to say to one of them: 'I'm breaking up with you, because you've REALLY upset me, all right, and I think you're Bad For Me, and It's Over and I'm Walking Away.'
Of course that's the window-dressing. What he's really saying is, 'actually, sod off, you're an over-emotive pain-in-the-ass'. Only he's saying it in a Sensitive Guy way complete with Hurtin' Expression. And that's the genius of it.
Fans of Leonard Cohen will probably be able to give some examples other than this tune. But they (examples, not fans of Leonard Cohen) are rare birds. 'Red', by Daniel Merriweather, belongs to a post-feminist world. It doesn't assume that male and female instincts and emotions are identical, although there is an enormous degree of overlap. It does conclude that in a world in which men and women are equal, men are just as entitled to blame women for their emotional failures as the other way round. In this world, men suffer too, and at the woman's hand, and don't have to take any of the blame.
Shifty sods, you might say. But in any evolutionary struggle, that's how the games are played. I find this actually quite an exciting development because it signals the feminisation of culture, something which I think can only yield improvement. I'm not speaking for womankind, of course. Most women who fall for Daniel will probably fall for his lovely voice and delicious lips and Hurtin' Expression and won't pay much close attention to the message behind the lyric. They might even think they'll be The One To Make Up For That Last Evil Bitch Who Hurt Him. And maybe even by identifying this as something new, I'm showing my age.
Either way, I will continue to objectify him in print and to some degree reduce him to his physical virtues. It's a post-feminist world, matey. Get used to it.
(Sean. Call me.)
POST SCRIPT. The lovely Than Slade has pointed out that, in fact, the blues are full of songs in which men moan about their crazy girlfriends. Oh well. I never said mine was a very sound theory.
(Sean. Who are you to turn love away?)