Article
Culture
Music
6 min read

What was I made for?

Caught up in the Barbie moment, Belle Tindall ponders the haunting depths of the anthem that Billie Eilish has penned for the influential movie.

Belle is the staff writer at Seen & Unseen and co-host of its Re-enchanting podcast.

Barbie stands on a balcony and waves while looking out over her city.
Barbie in Barbieland.
Warner Bros.

I urge you to take the Barbie movie completely seriously - the film itself, the press-tour, the reactions and reviews, the watch-parties, the soundtrack, the costumes. All of it.  

This is not a film to be shrugged at. Love it or hate it, Greta Gerwig’s re-imagining of the Barbie universe is a tool with which we can read this cultural moment. This film, fronted by Margot Robbie and Ryan Gosling (to name just two of an astonishingly expansive A-list cast), is already something of a cultural artefact in that it binds together decades worth of individual memories and experiences with a toy whose impact is truly unfathomable. These micro-stories have fed into what is now a macro-narrative. In binding together such experiences, the Barbie movie will attempt to speak into what has been, what is, and what may be.  

You may think that I am being dramatic, but if you’re unaware of the term ‘Barbenheimer’, then I’m afraid that culture is already speaking a language that you’re unfamiliar with. While it's hard to know how this film will age, it's not hard to see how it is a real moment. One that should be given our full attention.  

As Lauren Windle has provided a masterful analysis of the movie itself, this article will turn its attention to Billie Eilish’s hauntingly good musical accompaniment. 

What is particularly interesting to explore, is who Billie is asking this question on behalf of, and who she’s asking it to. 

Anticipation has been building as certain songs have mysteriously been left off the movie soundtrack’s track list: what are these mystery songs? Who is giving them to us? Why are they being kept hidden?  

Rumours began to swirl, the most traction being given to the theory that Billie Eilish, the 21-year-old musical prodigy, had something particularly special up her sleeve. And the rumours were right. A week before Barbie’s release date, Eilish released What Was I Made For?, a song written just for this movie. And perhaps, just for this moment. The last time Billie turned her hand to writing a song for a film, she wrote an Oscar-winning anthem for James Bond, so this Barbie offering was always going to be special.  

This song, written with her older brother (Finneas) in their childhood home, has already been streamed around twenty-million times. We can therefore assume that it is already residing in Gen-Z’s public consciousness. Simplicity seems to have been the key choice when it came to the production of this ballad; aside from a soft piano accompaniment and a hint of harp in the middle, Billie’s vocals have nothing to hide behind. In fact, her clean and soft voice sounds as though it reaches out of the song, the echo and layered harmonies giving it a truly 3D feel. 

The result is ethereal.  

But this song is more than beautiful. It is more than its (wonderous) sound. The lyrics are, quite literally, haunting. The title of the song is also the question that ties it together, as repeatedly Billie asks the question: ‘what was I made for?’ This question, and its implications, is where this song becomes more than a song. As so many of the great ones do, it becomes a three-minute-long existential pondering. What is particularly interesting to explore, is who Billie is asking this question on behalf of, and who she’s asking it to.  

 Of course, this song was written for the purpose of featuring in a film, its primary job being to tell the same story as the film itself (or at least an aspect of it).  

Over a billion Barbie dolls have been sold since 1959. Over the years, Barbie has had over 250 professions, she has evolved through the decades to best personify the evolving beauty ideals of the age, she is, to quote herself, everything. But in being everything, is she also nothing? Time recently wrote that:  

‘Barbie has no inner life or purpose; children are supposed to project their hopes and dreams onto her blank canvas.’ 

Considering this, it’s obvious how lines such as -  

‘Takin' a drive, I was an ideal. Looked so alive, turns out I'm not real, just something you paid for. What was I made for?’   

–  hit the brief perfectly. If the song was intended to be a seeking out of Barbie’s more fragile side, it is a job tremendously well done.  

But there’s more to it.  

Billie Eilish has been under culture’s magnifying glass since she was fifteen years old. Many of her most formative years have been spent in our gaze as she’s become an adult in front of our very eyes. Whether it’s been the ever-changing colour of her hair, the romanticism of her homegrown talent, the fact that her sense of style so satisfyingly defies all the rules of the moment, or that her voice is so delicate it almost feels as though it needs protecting, she’s had us utterly captivated. And of course, such captivation has taken quite the toll. It always does.  

Taking a moment to imagine how the world looks from Billie’s viewpoint, it becomes obvious that a song which was written for a toy is also profoundly autobiographical. She too is an ideal, she is something we’ve paid for. Through writing this song, Billie offered us her profound vulnerability. And what’s fascinating is that she did so without even realising it. When speaking about the song, Billie recalls how,  

‘I was purely inspired by this movie and this character, and the way I thought she would feel, and I wrote about that. And then, over the next couple of days, I was listening… and I do this thing where I’m writing for myself, and I don’t even know it… this is exactly how I feel, and I didn’t even mean to be singing it.’ 

So, this song has two profound levels to it. And yet, I can’t help but feel as if it has even more to offer. The chances are that neither you nor I are a twenty-one-year-old mega-star, and we’re certainly not a sixty-four-year-old doll, but I wonder if this song was written about us too.  

It hints at a belief that she was made with some kind of purpose and intentionality weaved into her existence. 

This cultural moment is asking a pertinent question, it’s certainly not a new one, in fact, I would guess that it’s as old as time itself. But every now and again it is as if the volume gets turned up and this question rings out above all others: what does it mean to be human? Or, to borrow Billie’s phrasing: what were we made for?  

The interesting, albeit obvious, thing about Billie’s particular wording, is that it implies a kind of faith that is hidden in plain sight (for, as far as I know, Billie has no religious faith). It hints at a belief that she was made with some kind of purpose and intentionality weaved into her existence. This is one of the most faith-filled things one could think, and naturally, Christians would heartily agree. Of course, it’s perfectly possible that this is simply emotive wording that Billie has crafted, for the sole purpose of getting people to listen to her song. However, I would argue that this question is asked all day every day, by people who have an intuition that there is more to their presence in the here and now than mere chance. And I’m willing to bet that the Barbie movie is going to have a lot to say about it.  

Are we in a cultural moment where we’re wanting to re-find our humanity in its truest form? So much so, that we’re willing to shirk falsehoods, pretences, and presumptions? Are we disillusioned by anything less than our most authentic selves? It is interesting to ponder where such questions are prompting us to look for answers: inward? Outward? Upward, even?   

What Was I Made For? is a soundtrack for a movie, a particularly interesting movie at that. But I would suggest that it’s also the soundtrack of an existential yearning, a song of a human working out what it means to be such. And I suppose that makes it a song that tells our story, as well as Barbie and Billie’s.  

Article
Culture
Migration
Politics
6 min read

It's 2029 and PM Farage has reformed asylum

Are refugees really no longer deserving of our protection?

Steve is news director of Article 18, a human rights organisation documenting Christian persecution in Iran.

Nigel Farage stands and gestures in front of a flag.
Reform.

The year is 2029 and Nigel Farage has just been elected as the new prime minister of the United Kingdom. 

As one of many sweeping reforms in his first few months in office, the new PM has deported thousands of asylum-seekers to countries including Eritrea, Afghanistan and Iran.  

Upon return to these countries, it has been reported that several of these asylum-seekers have faced arrest, torture, and even execution. 

Now of course this is only a fictional depiction of one possible future, but it is a future that would appear at least conceivable, given recent polling and the pledge of the Reform party leader to deport every individual who travels illegally to these shores, whether or not they may face a risk to life upon their return home. 

Such statements would have been almost universally lambasted not so many years ago, but the current status of our immigration system - and politics - has seemingly rendered them palatable to a growing number of Brits. 

“I don't think it's about hate,” said one caller to BBC Radio 5 Live when Reform’s plans were announced last week. “I think it's about the way [immigration’s] been handled up to now by this government and the previous government, [which has] created a lot of unease.” 

Another caller admitted the issue had divided opinion, but provided a contrasting perspective: 

“This is Nigel Farage all over,” she said. “It's what he's done since before Brexit. What does he need to win in this country? He needs division. And what's the most divisive issue we can come up with? Immigration. And what a privilege we have to live in a safe country where, God forbid, none of us will ever have to pick our children up and flee persecution!” 

All of which brings us nicely back to the particular - and certainly complex - issue at hand: namely, what should be our response to those asylum-seekers who have genuinely fled from persecution and may face more of it should they be returned home? 

The safeguarding of such individuals is at the very heart of the 1951 Refugee Convention, which all Western democracies (including ours) have ratified and long defended, and which includes the principle of “non-refoulement”: prohibiting "the forcible return of refugees or asylum-seekers to a country where they are liable to be subjected to persecution”. 

“Our values have always been that where people are under a real and substantial risk of physical torture or persecution … then we as a country have always been prepared to have them,” former head of the judiciary Lord Thomas explained on another BBC Radio show last week. “I don’t think we should abrogate values embodied in the convention … because that’s part and parcel of our history and our tradition and our standing as a liberal democracy.” 

And yet, as Lord Thomas’s interviewer correctly pointed out, this is precisely what Reform are pledging to do, should they come to power.  

Indeed, an increasing number of politicians here and elsewhere now argue that the Refugee Convention and other similar treaties, such as the European Convention on Human Rights, must be reformed - or even ignored - in light of a much-changed world. 

We are not the only country facing an immigration crisis, of course; nor are we the first to consider drastic measures to stem the tide of asylum-seekers arriving on our shores. 

In his own first few months back in office, the US president, Donald Trump, made good on his own pledge to tighten up America’s borders by, among other things, deporting illegal immigrants

Among them were several Iranians who claimed to have a reasonable fear of persecution should they be returned home, given their expressed conversions to Christianity. 

In May, a US congresswoman proposed that legislation should be amended to protect such religious refugees from deportation, naming her bill, the Artemis Act, after one of the Iranians who had been deported to Panama. 

In June, the issue returned to the headlines when another Iranian asylum-seeker was filmed having a panic attack as her husband and fellow Christian convert was taken away by the US’s immigration enforcement agency, ICE. 

In July, the couple’s pastor - another Iranian Christian who had arrived in the United States as a refugee some years ago - travelled to the White House to conduct a three-day hunger strike in protest against the detention of his church members. 

And in August, in an interview with the director of the advocacy organisation for which I work, the pastor called for “deep reforms” to the immigration system, saying that “most [Iranian Christian asylum-seekers in the US] tried many times to come through a legal way, like a refugee pathway, but there is no legal way for Iranians to become refugees in the United States.” 

“If you were in the UK, and you had nothing to feed your children or grandchildren, what would you do?” 

A legal pathway for religious refugees is also something that has been called for in the UK, including by the frontrunner to be the next leader of the Church of England - another Iranian former refugee, Bishop Guli Francis-Dehqani.  

So the need to reform the asylum system here and elsewhere is something that would appear to be agreed upon by all sides in the debate. 

Reporting on the plight of refugees was not something that was considered part of my remit when I first joined Article18 midway through Trump’s first term in office. Back then, our focus was only on documenting the persecution Christians were (and still are) enduring in their homeland.  

But as the years have passed and the numbers of Iranian Christians seeking asylum have grown while the opportunities for them to be resettled have drastically shrunk, the issue has become an increasing and ultimately un-ignorable concern. 

In the last two years alone, my organisation has released reports on the plight of Iranian Christian refugees in Turkey, Georgia and, closer to home, Sweden, while concerns have also been raised about Iranian Christian refugees in several other countries, including Armenia, Iraq and Indonesia. 

In each of these countries, as in Blighty, the common denominator appears to be simply that these refugees - however worthy their claims may be - are unwanted and untrusted by their hosts. 

During my research, I came across a refugee support group in Colchester, Refugee, Asylum Seeker & Migrant Action (RAMA), whose director, Maria Wilby, I had the privilege of interviewing, and whose perspective has stayed with me. 

Ms Wilby picked me up on a comment I had made, when I suggested that “one could understand why people may feel less sympathy for economic migrants, but surely not refugees”. 

Her response was not dissimilar to the words of the second caller to 5 Live: 

“If you were in the UK, and you had nothing to feed your children or grandchildren, what would you do?” she asked. “You’d go to the next country and ask them to feed them. And that’s what it means to be an economic migrant. It’s not about, ‘Oh, I’ve got a nice car, but I want a nicer car.’ These are people who are literally starving, and feel so disadvantaged that they think the next generation will also be equally disadvantaged. And of course then you try and move. 

“And back in the day, it used to be that if you had a child in another country, they would basically be a native of that country. We’ve changed the rules to mean that migration and borders grow and grow. And actually, we’ve created this system – all of us have created this system by standing by and letting it happen – and it’s not right. If I believed in God, God certainly didn’t intend there to be borders. Nobody would. Why would you? It’s an unnatural concept. We are one world, and we should share it.” 

I’m not sure Nigel Farage would agree, but whatever one’s perspective on the need for border control, surely we should all be able to agree that those with genuine claims to have fled persecution should be afforded our help, or at the very least protected from refoulement.

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?
 
Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief