Exposing the Double Standard or Claiming False Victimhood?

An individual enters a boardroom with assertiveness and dominance, decked in a suit, confident strides accompany a tall, proud posture, indicating a fearless leader. Now, what gender is the described individual? Why did said gender come to mind? Many would deem this imagery as masculine, a phenomenon addressed by singer-songwriter Taylor Swift in her 2019 release "The Man". As a ten-time Grammy Award winner, Swift has established a prosperous career in the music industry while lately using her work for societal analysis and activism. Although Taylor Swift's "The Man" appears to be a rhythmic and upbeat tune destined to excel in charts, the lyrical message extends beyond obtaining popularity. With artistic precision, Swift crafted a critique of patriarchal society and the perpetuation of the modern-day gender double standard.

Fig. 1. Character Tyler Swift on a yacht surrounded by women (2020).

Throughout the successful singer's music video, implications of sexist double standards regarding romantic pursuits surface through Swift acting as a foil to the prominent actor Leonardo DiCaprio. A depiction of the pop star's alter ego, Tyler Swift, parties on a yacht, while Taylor Swift sings: "They would toast to me, oh, let the players play. I'd be just like Leo in Saint-Tropez" (see fig. 1). Embellished in vivid yellows, a symbol of egotism and cowardice, the imagery of wasting wealth and objectifying women functions as an allusion to Martin Scorsese's 2013 film The Wolf of Wall Street. Regardless of extensive substance abuse, deception, and illegal activities conducted by the male main character, Jordan Belfort, the masses applaud the stockbroker for embodying the height of opulence. The film centers on an avaricious, foul, and conceited man after whom society encourages others to emulate; thus, observers can compartmentalize the man's behavior from his accomplishments, giving men carte blanche. However, the reference extends beyond DiCaprio's infamous depiction of Belfort and refers to the man himself (Shepherd). DiCaprio is notorious for flaunting young girlfriends and models during charity yacht rides, yet the populous praises the star for his kind heart and devotion to his given cause. Swift, on the other hand, is scorned for her long list of ex-boyfriends (Noor). While finding success through writing about her love life, Swift is demonized and deemed uncreative or untalented; conversely, Ed Sheeran and Bruno Mars gain wealth and popularity by covering similar themes and subjects in their songs, but do not endure similar criticism or negative media scrutiny. A man is hardly criticized when exhibiting the same, if not worse, behavior than a woman-the double standard. Through her characterization of Tyler as a foil of DiCaprio, "Taylor points out that, unlike women, men get the benefit of being treated in a more compartmentalized way; how they act doesn't always reflect on the quality or perception of their work" (Gemmill).

Evidence of the double standard exists in every industry and everyday situations. Researchers have found that "men are more judgmental toward women than toward men who have casual sex. Men appear to over-report and/or women to under-report intercourse and fellatio, suggesting that men see these acts as enhancing and/or women see them as diminishing their status" (England). The phenomenon creates a mentality for men and women alike, resulting in physiological and behavioral effects. Double standards perpetuate the judgment of specific demographics. Thus, the public views these groups differently for executing the same actions that Swift bluntly and musically lays out through her lyrics: "If I was the man, then I'd be the man".

Fig. 2. Taylor Swift impersonating tennis legend John McEroe (2020).

Swift does not limit her patriarchal critique to Hollywood. Tennis rackets swing into Swift's video as she ventures into the world of sports. The closing and final setting of the music video emphasizes the opposition between the treatment of men, like tennis legend John McEnroe, and women, like the GOAT Serena Williams. In the music video, Swift's alter ego Tyler thrusts his hips, bragging about his achievements, then proceeds to impersonate a toddler when success is not turned his way (see fig. 2). Recordings of McEnroe "freely shout[ing] at officials and us[ing] his racket to send water cups flying" have attached his name to legendary outbursts, ones that receive no repercussions (Shepherd). Conversely, when McEnroe's more accomplished female counterpart, Serena Williams, defended herself from accusations of cheating and was accused of "distracting grunting," she was fined $17,000 (Noor). Here, the inequity is abundantly clear. The public accepted the man's behavior. Umpires treated McEnroe unjustly; hence, fans justified his tantrum. When Williams stands up for herself, the media justifies the male referee's actions and condemns Williams'. The bold and well-developed rendering by Swift of the sexist double standard in entertainment and sports was generally well-received by audiences (Gemmill).

Though Swift has received endless praise for her blunt and artistic feminist messaging, the singer-songwriter also encountered condemnations. Haley Victory Smith, an editorial fellow of the opinion section at USA Today, claims Swift is "Grasping at a fake victimhood and complaining about it to the world," therefore the performance lacks "empowerment." The argument is dependent on Swift's privilege as an enormously famous, wealthy, beautiful woman in the music industry. The sentiment is echoed by Kiddest Sinke, a student writer for the Yale Daily News, when she states, "The only thing harder than being a super-rich, white male is being a super-rich, white female." Smith and Sinke assert that Swift has used her feminine persona as a woman to become the highest-paid celebrity in the world; hence, there has been no blatant discrimination or setbacks to her career as a result of her gender. Swift is not claiming to be a victim but instead attempting to enlighten audiences on gender oppression and inequity. During an interview with Vogue, Taylor discusses "The Man" revealing that it "'plays with the idea of perception. It's a thought experiment of sorts: If I had made all the same choices, all the same mistakes, all the same accomplishments, how would it read?'" (Gemmill). The song's message is attacking the principle of double standards, not demonizing all men nor claiming personal victimhood. Through the act of creating art by directing, writing, and acting white, critiquing arbitrary societal constructs, Swift demonstrates agency and control of her career, thereby constructing the victim argument as weak. Via her craft, Swift ponders, "If I'd be there quicker if I was a man," wondering how her gender has influenced her journey. Never once does Swift claim victimhood by stating she is less accomplished due to her sex, but rather noting that her experience and perception by the media drastically vary in comparison to her male counterparts: Leonardo DiCaprio, Ed Sheeran, Bruno Mars, etc.

Critics such as Smith and Sinke are wielding a strategy that tends to halt fights for civil rights and equality, labeling people advocating for rights as "whiners." The notion that Swift is crying wolf acts as an ad hominem, a mechanism for directing criticisms towards the person delivering the idea and not the idea itself. In diminishing the value of the contributor, opposition distracts from the issue-the gender double standard (Melo Lopes). By manipulating this logical fallacy, individuals detract from the music's central message: Women are judged more harshly than men as a result of their existence in a male-dominated society.

Individuals highlight Taylor Swift's "unabashed femininity" and her "uniquely feminine" brand, associated with her gender, and that by gaining success from said "feminine" persona, the star is not disadvantaged as a woman. Critiques cite evidence in "the way she dresses, the way she sets up her stages or the cover art she chooses" (Smith). However, what is the relevance of these assessments? Are these same individuals noting the clothing and artistic decisions of men in the music industry? If so, the critical opprobrium is not as mainstream. Therefore, Swift is solely receiving these evaluations as a result of her gender identity. The very individuals who attempt to poke holes in the artist's argument prove it for her through their complaints. Acting as accidental frontmen in the game of the patriarchy, Swift's assailants play into the point of the double standard between men and women by noting a woman's appearances, the manner in which she acts, and their perception of society. Thus, by attacking Swift's status, visage, and role in the music industry instead of tackling and critiquing the ideas presented in "The Man."

Consciously or not, individuals' actions act as a manner of perpetuating and maintaining patriarchal norms through misogyny and the post-feminist backlash: "the rise of women-led movements reinstating patriarchal practices in the name of feminism" usually the reaction to significant shifts in the roles of women (Melo Lopes). Misogyny is the "law enforcement" of the patriarchal order, conditioning men and women alike to conform to specific societal standards and perpetuate the patriarchy. Most individuals may not perceive their bias (Melo Lopes). Suppose certain women do not follow these constructed norms; they are singled out, ridiculed, and receive overwhelming hostility, usually from the same actions that would leave a man unquestioned and untouched. Denigrators of "The Man" are the patrolman of feminist messaging. Diminishing the quality and essence of Swift's art on the basis that the song is not compatible with their repressive and unjust norms. Individuals like Swift are not necessarily targeted because of their specific actions, but rather their non-compliance to their predetermined norms: cooking, cleaning, being feminine, but not vulgar. Impossible standards. Through their ridicule, "feminist police" prove Swift's argument while subconsciously self-inflicting misogynistic principles that hold back others and themselves. The point of Swift's masterpiece "The Man" grew wings and flew just above these individuals' heads in a flock.

Each individual has a personalized truth whose evidence lies in their perception of the world, not always its reality. Critics are severely missing the point of "The Man" as it intends to expose the double standard. In their criticisms, skeptics validate Swift's argument as she poses questions: Why does society perceive genders differently? What preventative measures can the public implement to reduce the inequity of gender perceptions? Evaluating one's role in perpetuating the issue holds the first step towards solutions and harmony rather than problems and dissonance. Swift requests an understanding and preaches acceptance for the future as a means of obtaining solidarity as humans, not as men or women.

Written by: Nicole Marinc

Works Cited

England, Paula, and Jonathan Bearak. "The Sexual Double Standard and Gender Differences in Attitudes toward Casual Sex among U.S. University Students." Demographic Research, vol. 30, 29 Apr. 2014, pp. 1327-38. ProQuest 5000, DOI:10.4054/DemRes.2014.30.46. Accessed 1 Mar. 2021.

Gemmill, Allie. "Taylor Swift's New Song 'The Man' Calls Out Leonardo DiCaprio in Saint Tropez and Sexis Double Standards." TeenVogue, 23 Aug. 2020, www.teenvogue.com/story/taylor-swift-the-man-leonardo-dicaprio-saint-tropez-sexist-double-standards. Accessed 6 Mar. 2021.

Melo Lopes, Filipa. "Perpetuating the Patriarchy: Misogyny and (post-)feminist Backlash." Philosophical Studies, vol. 176, no. 9, 9 July 2018, pp. 2517-38. EBSCOhost, doi:10.1007/s11098-018-1138-z. Accessed 28 Feb. 2021.

Noor, Poppy. "Taylor Swift Fires Shots at Famous Men in Her New Music Video-Who Are They?" The Guardian, 27 Feb. 2020, www.theguardian.com/music/2020/feb/27/www.theguardian.com/music/2020/feb/27/taylor-swift-the-man-music-video-meaning-references-men. Accessed 28 Feb. 2021.

Shepherd, Katie, and Allyson Chiu. "What Taylor Swift Wants You to See in 'The Man,' Her Gender-bending Takedown of the Patriarchy." Washington Post, www.washingtonpost.com/nation/2020/02/28/the-man-taylor-swift/. Accessed 28 Feb. 2021.

Sinke, Kiddest. "Why Taylor Swift's Music Video 'The Man' Has White Feminists Shaking." Yale Daily News, 5 Mar. 2020, https://yaledailynews.com/blog/2020/03/05/why-taylor-swifts-music-video-the-man-has-white-feminists-shaking/. Accessed 28 Feb. 2021.

Smith, Haley. "Dear Taylor Swift, You Are Not a Victim, so Stop Acting like One." USA Today, 17 Sept. 2019, www.usatoday.com/story/opinion/2019/09/17/taylor-swift-the-man-lyrics-youre-not-victim-stop-column/2335335001/. Accessed 28 Feb. 2021.

"Taylor Swift - 'The Man' (Official Video)." YouTube, uploaded by Taylor Swift, 27 Feb. 2020, www.youtube.com/watch?v=AqAJLh9wuZ0. Accessed 1 Mar. 2021.