You’ve all seen this video, right?

It has been viewed over 440 million times on YouTube. Which kind of made me wonder why I had never heard of it until it was already old news. It was the top song on the Billboard 100 in 2012.

I’m not sure what is better, this addictive little song called Somebody That I Used to Know or the parodies of it. As soon as I got to listening to: “now you’re just somebody that I used to know.” I also heard

• “Obama that I used to know” — “Now and then I think of that election day, November. When you won I felt so happy I could die.”
• “Some study that I used to know” – “Sometimes I think about the things I learned in high school.”
• And my favorite: “Now you’re just somebody used to be my bro. – “How and when I passed out on the floor is hazy.” (Don’t view it if R-rated is bad for you).
• Now someone has mashed them all into the ultimate parody — which is also funny.

People are creative — and this song apparently strikes a chord with them. When Gotye sang it at the University of Michigan, people loudly sang along with him. In an interview he said all that singing was about “Releasing pent up relationship angst,” which he thought was also kind of sad. We could also sing along at Broad and Dauphin.

To hear Wally De Backer talk about the song, it seems like it just kind of happened. He had a story to tell about how a guy is processing a break up. It was such a short song he decided he was missing the other part of the story – how the girl was reacting, so he put her in. He almost gave up on it at different times and then it ended up being his first big hit that made him famous.

The “new and improved” Adam and Eve story

I think it is famous because we are all right there in the video, at least a little bit, as the present generation rushes to “socially construct” their new, improved Adam and Eve story.  I seriously doubt Gotye intended to do this, but his song is channeling the prevailing philosophy that is making relationships what they are today.  The song is like an Adam and Eve story, only this narrative does not have God, Adam or Eve. It has Gotye as the story-telling god, then Gotye and Kimbra in a new narrative that amounts to a revised version of Adam and Eve. In this version there is only Gotye’s “red state” reverie and Kimbra’s “blue state deconstruction” coming to a mysterious, inconclusive conclusion, showing a typically distant ending to a relationship. It is the story of a new normal.

I think we should keep looking at how new narratives are affecting how we think about relationships.

What makes this an Adam and Eve song in my mind probably has to do with the fact that I am way Christian. I was at the Sleep-Eze store not long ago laying on beds to try them out and I befriended a rather odd woman who was laying on the bed next to mine. She ended up kind of trailing us as we were making a deal on a mattress. She finally asked, “You must be Christians, right?”  Gwen and I said, “Oh yes, we are way Christians.” I even see bed-buying as a Christian activity. So listening to Gotye is a similar experience for me.

That being said, I think Gotye’s song is an Adam and Eve story, right down to the title lyric. Somebody that I used to know could be titled Somebody that I used to have sex with using “know” the way Genesis uses it when talking about Adam and Eve. Genesis 4:1 says: Adam knew Eve his wife; and she conceived, and bare Cain, and said, I have gotten a man from the Lord. The second story of creation in Genesis 2-4 is essentially an explanation of how men and women relate the way they do. It is about sex and marriage, love and children, family and mutual care.

Gotye’s song is about sex and what it is like when the couple is no longer having it, how they don’t get to love and mutual care. They had sex; they got painted into a common picture, in this case, his common picture. Like Adam and Eve were both naked and felt no shame, Gotye and Kimbra are shamelessly naked in their video (which is probably how it got viewed 440 million times). But then the woman wakes up to the fact that he isn’t willing or capable of actually forming something that is mutual, so she gets out, gets unpainted.

The new normal of postmodern relationships

What makes this story so interestingly postmodern is this:

1. It goes without saying that God is banished from the picture.
2. People have sex first, then they try to form intimacy. That’s elemental to the relational landscape to which many of us have conformed.
3. But mainly, the two people in the story are struggling over having a shared sense of what the reality they have created together means. And they don’t agree. They “don’t make sense.” They can’t even talk civilly about it.

Gotye’s audience really relates.

One of the public’s favorite lines of the song is: “You can get addicted to a certain kind of sadness. Like resignation to the end, always the end” — that mysterious inconclusive conclusion that marks this generation’s lives. In some sense, it is relieving when you expect something to happen, even if it is bad, and then it actually happens.  It at least comes to some kind of end. He calls his feeling a “certain kind” of sadness, since he won’t admit to anything really being anything. But this despair is so compelling that he can’t resist an extra lament, “resignation to the end, always the end.” The narcissistic emptiness of this makes me want to cry — which is something the people avoid in this sad little song, even though it is sad. It’s all in his head.

When Kimbra adds her side of the story it is equally compelling. The lack of centeredness, of substance, of commitment is making her crazy. His ambivalence made her feel like “it was always something that I’d done.” Doesn’t the whole society make you feel that way these days? I am always shocked when I call customer service for a problem and they regularly tell me I have caused the problem. When I demonstrate it was really them, they don’t apologize. I’m responsible for everything, but no one thanks me for taking care of things — another way we are like gods. People are enraged by the futility of their relationships in this context. Having sex should imply that we want to know one another but the knowing does not happen. So Kimbra moves over toward Gotye in the  video and yells: “I don’t wanna live that way, reading into every word you say. You said that you could let it go, and I wouldn’t catch you hung up on somebody that you used to know!”

Then they just start screaming at each other musically. She lets him have it. He winces and withdraws, and keeps sticking to his story. She finally moves away, gets unpainted, and they sadly end up whispering “somebody that I used to know.” They apparently think, “It’s really sad that the relationship happened to me that way.”

It is an unstisfying narrative

The postmodern narrative about how things work is all there. It teaches us that reality is inevitably made up of what we create together. That’s it. “I was lonely in your company but that was love and it’s an ache I still remember.” That’s it.  But people are angry about that. They want more and expected more.  But everyone is locked in their singularity — defensive, enraged, unsatisfied, intimate without intimacy. That’s happening to people. They think it is sadly normal. Gotye told the story and people bought it — again. And they sang it with him until they knew all the words.

The ongoing Biblical creation story continues to say that it is not good for us to be alone without God and each other. That’s the true normal we were singing about last night at our Sunday meeting. We know we need to get together, but we also need to know that we really need to get with God to get together with one another. God makes reality. We co-create with Him, but we are not lonely gods, ourselves, failing at creating love on our own — at least we are not meant to live like that. If God doesn’t create, if Jesus doesn’t get us back with God, life is just one damned thing after another. A lot of us are really enraged that we end up with people who are resigned to their godless end: cut-off and screwed over. Let’s  talk about that more next time. Until then, let’s be aware of the new narratives that are lying to us about the relational landscape.

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