Gender Roles in Pop Lyrics A discourse analysis of the lyrics of Lady Gaga Birgitta Abrahamsson C-Essay Department of Languages and Literatures/English University of Gothenburg Spring 2011 Supervisor: Chloé Avril. Table of contents Table of contents .................................................................................................................................. 2 Introduction .......................................................................................................................................... 3 Chapter One: Gender Roles ................................................................................................................. 6 Chapter Two: Celebrating Otherness ................................................................................................. 14 Conclusion ......................................................................................................................................... 23 List of references ................................................................................................................................ 25 2 Introduction Not all poetry is read or heard by millions of young people. When this is the case, the urgency of analysing the content and meaning of the lyrics is great. As a teacher I daily meet teenagers who are music fans. This has made me curious about the pop lyrics of today. The field of song lyrics is vital in the sense that it is widely spread and much of it appeals to a young audience, namely those who hold the future in their hands. Some lyricists are conscious of the impact they have, and my firm belief is that Stefani Germanotta is one of them. In 2010, she was included in Time Magazine's annual list of the hundred most influential people in the world as well as Forbes' list of 'The World's Most Powerful Celebrities' (ladygaga.com). This paper will look closely at the songs that are in so many people's hearts and minds. The lyrics of Lady Gaga, or Stefani Joanne Angelina Germanotta, are well known and become the words on many a young person‟s lips. She was born March 28, 1986 and has released three full length music albums. Her stage name is influenced by the rock group Queen and their song Radio Gaga. She writes or co-writes all her songs herself. The lyrics of the songs mentioned in my essay have no co-writer (Wikipedia “Lady Gaga”). My original idea was to analyze images of girls/women in pop lyrics. When researching which lyrics seemed to be the most influential, I realized how dominating Lady Gaga was and above all, that she wrote most of her own lyrics and music. I narrowed my selection of pop lyrics down to her most recent production, the album Fame Monster from 2009. In March of 2011, when the single Born This Way was released, I took the opportunity of also including that. In this essay I will argue that in the album The Fame Monster and the single Born This Way, Lady Gaga demonstrates her quest for freedom and power both sexually and personally. Both in Lady Gaga's lyrics and performance, the theme of sexuality is important. The lyrics of Bad Romance, Monster, So Happy I Could Die and Born This Way all explicitly deal with sex. This is to be expected in this style of contemporary pop lyrics. Interestingly, some of Lady Gaga's female 3 characters seem to lack interest in a relationship, yet they focus on convincing a man/”boy” to have sex with them. What this emotional detachment signifies is part of what I intend to analyze in chapter one, Gender Roles. In this context vampirism has its place as well as other means of empowerment. Since Gaga's pop lyrics reach mainly a young audience, it is understandable that they reveal a certain ambiguity towards relationships. This ambiguity serves to make girls/women in Gaga's lyrics complex and credible. My analysis of this is a part of chapter one. Her exaggerated blonde stereotype, following in the tradition of Marilyn Monroe and Madonna, has proven to bear great significance for the artist. I believe this is a conscious method in the work of Gaga. I will try to reveal what this signifies. In chapter two, Celebrating Otherness, I will scrutinize Gaga's opinion about sexual orientation and the meaning of her numerous references to animals and monsters. Also, I will look at what her references to sadomasochism mean. Finally, I discuss her resemblance with a trans- sexual drag queen. Books which deal with popular music and gender were my first secondary sources. My main source is the British book Women in Popular Music, 2000, by Sheila Whiteley. Also Cecilia Björck‟s doctoral thesis Claiming Space 2011, proved central to my discussion. Kevin Gaffey‟s discoveries in The Lady Gaga Saga provided me with further evidence to support my claim. In my first thorough reading of the lyrics I was careful not to let the interpretation of others affect me too much. I read her lyrics as poetry and dissected each stanza to form an initial understanding. Subsequently, the internet has been a source of knowledge, where Gaga is the focus of several articles and essays. Among my sources, there are some which analyze the performance aspect of Gaga's art, which is only partly literary. I believe in also interpreting the supplementary artistic expressions available to any reader/listener of Gaga's lyrics, since today is a time of multiple art forms. The method of this essay is discourse analysis from a gender perspective. 4 My intention in defining key concepts is to keep them simple. It is an attempt to take any western reader‟s/listener‟s point-of-view. By gender, I mean social and cultural interpretations of sex. Feminine and masculine refer to assumed core differences within our cultural context. Accurate or inaccurate they still represent a tradition where the male has the initiative and the female assumes a more passive role. Freedom, in my essay, is absence of constraints, but also voluntariness. To be able to do what you believe that you want to do is, to some extent, freedom. This is the essence of a liberal standpoint. Power, for me, comes from within the human being. It is a power to act, and an energy flow in human relationships. It is a reason why people listen to you and follow you. 5 Chapter One: Gender Roles Numerous studies show how gendered stereotypes are reinforced by popular music. Hillevi Ganetz‟s Feedback Loop, 2009, is one of the books on this topic. As Ganetz argues, “there is a wider range of options in performing masculinities and sexualitites, in contrast to the limited range of feminine expressions” (214). In her doctoral thesis from 2011, Cecilia Björck reaches the conclusion that “staging oneself as an agentic subject in any type of musical interaction in itself appears as a challenge threatening femininity, at least traditional femininity as un-loud, un- expansive and un-active” (57). This provides the critical context in which I will discuss the lyrics and performance of Lady Gaga and is the starting point for an attempt to explain her unique status. I would argue that Gaga challenges gender roles through her performance as well as in her lyrics by being loud, expansive, and active and by addressing the theme of sexuality in several of the songs on The Fame Monster. She for example makes the female first person's demand for sex the main feature in the lyrics of Teeth: Need a man now show me your fangs1 The characterization of the imperative communication in this song, with summons such as “show”, “take”, “tell”, “open”, “help”, “let me see”, and “don't”, assures the man that she is experienced, and that he should not be afraid to engage in sexual activity with her. She calls him “boy”, a diminishing connotation that reduces him and empowers her in the relationship. It makes her act of reassuring him even more brazen, even though we find out that she is most likely addressing somebody she believes already is, or wants to become, a vampire, since she exhorts him to take a bite and to show his teeth. The focus on teeth, the mention of fangs, and the invitation for him to take a bite all suggest vampirism. The first person of Teeth therefore comes across as a sexual subject, rather than the 1 Lyrics and videos can be accessed at the Haus of Gaga homepage (www.ladygaga.com). 6 traditionally female position of object. According to Rosemary Tong, “Because male dominance and female submission are the norm in something as fundamental as sexuality […] each and every element of the female gender stereotype is sexually charged” (quoted in Whiteley, 56-57, 119). Gaga, being a lyricist and choosing the topic of sex, challenges the stereotype, while also staging the slim, young blonde, thus provoking reactions from her many readers/listeners. According to Björck, The poststructural notion of subjectification can be used to make sense of the fine line between empowerment and objectification. […] To claim space can thereby be seen as a work of mastery to make oneself seen and heard, but in doing so, having to subject oneself to the gaze and its disciplining functions, pulling the female subject back into the framework of the heterosexual matrix. (59-60) What Gaga is trying to do seems to be a balancing act, which has various parameters, some of which are out of the writer's control, among them being this notion of “the gaze”, which is an interpretation each individual is making when viewing her performance and lyrics. On the internet, there is a debate about whether Lady Gaga is a hermaphrodite. Rumors like that could naturally be dismissed as nonsense, although there is a possibility that they are sprung from a sense of confusion when somebody does not meet the expectations of the contemporary audience. Gaga is not the first independent successful female musician whose gender has been questioned. Jennifer Batten, lead guitarist in the band of Michael Jackson on tour in the 1980s, “was constantly asked whether she was a man or a woman, in spite of her long blond hair and red lipstick”, as noted by Björck (61).