Taylor Swift, Fearless?
In her book Enlightened Sexism, Susan Douglas explores the way sexism manifests in today’s culture. She identifies the new archetype of the “sexpert.” Epitomized by the “Cosmogirl” this woman knows about sex, likes it and publically displays both these qualities. However, our culture – afraid of a truly liberated woman – only allows this behavior if the sexuality is for male enjoyment (Douglas 157). Media objects such as Katy Perry and Brittany Spears tend to follow along these lines. Sexually explicit, they direct that energy to pleasing men. In this way, these women participate in the system that is patriarchy (Johnson 28). Possibly unknowingly, they create an image of freedom while simultaneously submitting to the handcuffs. However, then there is the immensely famous Taylor Swift – delicate, light, and sexually reserved. Using this platform, Swift also preaches a message of empowerment to her fans (Swift). However, she too lives within the system. Her album Fearless (2008) displays how the confines – established by patriarchy – within which Swift operates keep her from fully reaching her goal of empowering young female followers. Though this manifests differently then with the “sexpert” the principle is the same: women can be free, but only to a point.
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| http://youthoughtso.com/wp-content/ uploads/2009/03/taylor-swift-fearless-tour.jpg -> the url for the image. It is the cover of Fearless |
Gleaning from the album title itself, Fearless, Swift creates an image of a strong woman not cowered by being culturally submissive. Her fans latch onto the phrase and chant it as a rallying cry. The image on the album features Swift with her hair flung back in a glorious halo – an image of abandon, freedom (Swift). To be fearless truly does liberate. Especially when viewed in the context of feminism, being fearless enables women to break from the box they historically have been forced into through fear. However, the very first song begins to poison that freedom. Entitled for the album, this song chants “fearless” ten times in its course. However, this fearlessness is not something that comes from Swift as an individual; instead, it comes from a boy. She explains how the first time she experiences fearlessness it came from a male love interest by singing, “You take my hand and drag me headfirst, fearless” (Swift). Certainly, growing through experiences with others matures us; however, through the song, Swift never gains ownership of this newfound fearlessness. It hinges on this male’s presence and even his embrace. She explains becoming “a little more brave” in his arms. In this way, Swift encourages her fans to be fearless, but her only example of doing so is through a boy. This promotes dependency not freedom.
The very next song on the album, entitled “Fifteen” carries on these intended, though unachieved, themes of empowerment. This song counsels young girls entering high school to experiment cautiously. Swift acknowledges the frailty of many girls self-image at that age and their subsequent dependence on male attention. She encourages girls to develop their self-identity and gain strength through themselves rather than boys. This becomes clear in the third verse where she sings, “Back then I swore I was gonna marry him someday/ But I realized some bigger dreams of mine” (Swift). I argue that these bigger dreams include her singing career. She places her identity and life’s passion over a male-dependent marriage. I applaud. However, though this song’s message about femininity is positive it suffers from implicit cultural baggage.
[<http://www.youtube.com/watch?v=Pb-K2tXWK4w>, video for "Fifteen" actual videos
messed up formatting and obstructed text, links provided]
Through “Fifteen” and its music video Swift reaffirms the narrow cultural image of what a woman should be. Douglas explains this image to be physically the Victoria’s Secret model body type (Douglas 216). Except by being comparatively flat-chested, Swift complies to the rest of this script by being extremely thin, white, blond, heterosexual and seemingly of the upper to middle class. Though I cannot fault Swift for her biology or life’s position, she makes no attempt to broaden this definition of beauty or “normal” identity. In all of the videos attached to this album, there is only one individual of color (“Love Story”, “Taylor Swift – Change”, “Taylor Swift – White Horse”, “Taylor Swift – Fifteen”, “Taylor Swift – You Belong With Me”). The video for “Fifteen” shows a private school – a staple of the elite. All of the women, including the young freshman girls, wear heavy makeup (“Taylor Swift – Fifteen”). As a white, upper to middle class, conservative girl Swift writes a diary through song (NXTM). Her fans respond because they can relate. Whether or not the fans themselves mirror this image, they at least acknowledge it as representative of the American girl and, I fear, aspire to portray it. Therefore, though “Fifteen” encourages girls to discover their own self-identity, it sends a visual message that narrows what that identity should look like and be.
messed up formatting and obstructed text, links provided]
Through “Fifteen” and its music video Swift reaffirms the narrow cultural image of what a woman should be. Douglas explains this image to be physically the Victoria’s Secret model body type (Douglas 216). Except by being comparatively flat-chested, Swift complies to the rest of this script by being extremely thin, white, blond, heterosexual and seemingly of the upper to middle class. Though I cannot fault Swift for her biology or life’s position, she makes no attempt to broaden this definition of beauty or “normal” identity. In all of the videos attached to this album, there is only one individual of color (“Love Story”, “Taylor Swift – Change”, “Taylor Swift – White Horse”, “Taylor Swift – Fifteen”, “Taylor Swift – You Belong With Me”). The video for “Fifteen” shows a private school – a staple of the elite. All of the women, including the young freshman girls, wear heavy makeup (“Taylor Swift – Fifteen”). As a white, upper to middle class, conservative girl Swift writes a diary through song (NXTM). Her fans respond because they can relate. Whether or not the fans themselves mirror this image, they at least acknowledge it as representative of the American girl and, I fear, aspire to portray it. Therefore, though “Fifteen” encourages girls to discover their own self-identity, it sends a visual message that narrows what that identity should look like and be.
Deviating from the “sexpert” of modern sexism (Douglas 2010), Swift embodies chastity. Overwhelmingly, Swift appears in a white dress (NXTM). This clearly creates a virginal, pure, bride-like image. In the music videos from this album she kisses only one of her many lovers and even then briefly, and in a reserved no-tongue-visible way. This combats the “sexpert” who must cater to men to gain the right to be publically sexy. Our culture, afraid of a truly liberated and empowered woman requires Swift to sacrifice something for her right to be publically reserved. Douglas explores how sexuality is contingent on male desire (157); Swift does something very similar by apologizing for her freedoms through submission. She reverts back to the dangerous coupling of abstinence with self-worth and villainizes those that deviate.
[<http://www.youtube.com/watch?v=VuNIsY6JdUw >, video for "You Belong With Me"]
In the video for another of Fearless’ songs, “You Belong With Me” Swift presents a girl in white in opposition to a girl in red. She equates being chaste with being nerdy, unpopular and wholesome and being sexy with being popular, unfaithful and cruel. In the end, purity wins and gets the guy (“Taylor Swift – You Belong With Me”). This communicates that purity is best and associated with being a “good” person. In the previously discussed song “Fifteen,” Swift appears in a white dress (shocker) and her best friend, “Abigail,” in darker colors. The most emotional part of the song centers on this friends’ deflowering when she “gave everything she had to a boy/ Who changed his mind.” I acknowledge that a boy manipulating a girl to get sex is problematic; however, Swift’s language is as well. She uses “everything” as a euphemism for vaginal penetration. Though it may make for better song writing, it clouds the issue and attributes “everything” about a woman to her virginity. This implies that “Abigail” has nothing now. I love that Swift encourages girls to be critical of ways that they may be manipulated; unfortunately, she subverts that message by nudging girls back into old models of sexual suppression that equate virginity with self-worth.
In the video for another of Fearless’ songs, “You Belong With Me” Swift presents a girl in white in opposition to a girl in red. She equates being chaste with being nerdy, unpopular and wholesome and being sexy with being popular, unfaithful and cruel. In the end, purity wins and gets the guy (“Taylor Swift – You Belong With Me”). This communicates that purity is best and associated with being a “good” person. In the previously discussed song “Fifteen,” Swift appears in a white dress (shocker) and her best friend, “Abigail,” in darker colors. The most emotional part of the song centers on this friends’ deflowering when she “gave everything she had to a boy/ Who changed his mind.” I acknowledge that a boy manipulating a girl to get sex is problematic; however, Swift’s language is as well. She uses “everything” as a euphemism for vaginal penetration. Though it may make for better song writing, it clouds the issue and attributes “everything” about a woman to her virginity. This implies that “Abigail” has nothing now. I love that Swift encourages girls to be critical of ways that they may be manipulated; unfortunately, she subverts that message by nudging girls back into old models of sexual suppression that equate virginity with self-worth.
[http://www.youtube.com/watch?v=vls5WXTusfU>, video for "Love Story"]
Swift uses ancient imagery of love as metaphors through out much of her work. Most famously, the song Love Story centers on the motif of Romeo and Juliet. The video shows Swift and her love interest in a modern college setting with a flashback/dream-like insert of them in a romanticized Renaissance world (“Love Story”). This appeals to young girls and encourages them to look for a prince, someone who will treat them well. But it also carries baggage. Here, the princess is stripped of her agency and reduced to “waiting” and in need of “sav[ing].” At the very end this “Romeo” says to Swift, “I talked to your dad, go pick out a white dress.” Here, marriage is presented not as the promise of commitment but rather a patriarchal transfer from father to husband and a fashion opportunity. The same pattern emerges that Douglas points out where women are depicted as wanting men, marriage, shopping and little else.
Swift uses ancient imagery of love as metaphors through out much of her work. Most famously, the song Love Story centers on the motif of Romeo and Juliet. The video shows Swift and her love interest in a modern college setting with a flashback/dream-like insert of them in a romanticized Renaissance world (“Love Story”). This appeals to young girls and encourages them to look for a prince, someone who will treat them well. But it also carries baggage. Here, the princess is stripped of her agency and reduced to “waiting” and in need of “sav[ing].” At the very end this “Romeo” says to Swift, “I talked to your dad, go pick out a white dress.” Here, marriage is presented not as the promise of commitment but rather a patriarchal transfer from father to husband and a fashion opportunity. The same pattern emerges that Douglas points out where women are depicted as wanting men, marriage, shopping and little else.
[http://www.youtube.com/watch?v=sNbefiTiGB4>, video for "White Horse"]
The song White Horse disguises itself as a challenge to these ideas. In the video, Swift’s lover betrays her by being involved with another woman (“Taylor Swift – White Horse”). Here at least, we see some agency; Swift does not give him another chance at the end of the video. She challenges some of the images upheld in Love Story by stating that “This ain’t a fairytale” and questioning if such idealized relationships can exist in real life. However, folded into the final chorus it becomes clear, she concludes that the fairytale is possible. Throughout the song the chorus sings, “Im not a princess.” It seems as though she’s awakened to reality, but the last chorus declares “I’m not YOUR princess” (emphasis added). When taken in consideration with the subsequent line “I’m gonna find someone someday who might actually treat me well” it is clear that Swift’s ideal of a prince is still alive and well. This song still fully supports a white horse simply not when ridden by her current lover who has proven himself to be unworthy of owning her. And an ownership it would be as the possessive “your” implies. Her Renaissance view of love is still mired in oppressive systems glossed over with a fairytale sheen.
The song White Horse disguises itself as a challenge to these ideas. In the video, Swift’s lover betrays her by being involved with another woman (“Taylor Swift – White Horse”). Here at least, we see some agency; Swift does not give him another chance at the end of the video. She challenges some of the images upheld in Love Story by stating that “This ain’t a fairytale” and questioning if such idealized relationships can exist in real life. However, folded into the final chorus it becomes clear, she concludes that the fairytale is possible. Throughout the song the chorus sings, “Im not a princess.” It seems as though she’s awakened to reality, but the last chorus declares “I’m not YOUR princess” (emphasis added). When taken in consideration with the subsequent line “I’m gonna find someone someday who might actually treat me well” it is clear that Swift’s ideal of a prince is still alive and well. This song still fully supports a white horse simply not when ridden by her current lover who has proven himself to be unworthy of owning her. And an ownership it would be as the possessive “your” implies. Her Renaissance view of love is still mired in oppressive systems glossed over with a fairytale sheen.
Taylor Swift represents a unique entity by erring on the side of chaste delicacy rather then in-your-face sexuality. She strives to bring a message of empowerment to her many adoring, young, female fans. However, Swift operates within a system (Johnson 28). Adding a conservative, country veneer to patriarchy, this system encourages certain behaviors and images Swift may not even be consciously aware she is supporting. Regardless, these images of male-dependent liberation, a narrow concept of beauty, an overemphasis on virginity, and male-centered romance contradict her message of empowerment. I am not implying that delicate femininity and patriarchal submission are necessarily a package deal; however, they often are, and Swift makes little effort to disentangle the two. To her credit, she does end Fearless with a non-romantic song with spiritual overtones. However, when this constitutes one of three songs on the 13-song album not directly about a boy, it does little to dissipate the impression that heterosexual love consumes the majority of time, energy and life. These songs give women little agency and little freedom. This displays that culture suppresses a liberated women. Douglas explains how the sexually explicit woman is still confined; and this examination of Swift shows how the sexually conservative woman can also still be confined.
Douglas, Susan. (2010). Enlightened Sexism: the Seductive Message that Feminism’s
Work is Done. New York, NY: Times Books Henry Holt and Company.
Johnson, Allan G.. “Patriarchy, the System: An It, Not a He, a Them, or an Us”.
“Love Story- Taylor Swift with sub [HD].” Youtube, 6 March 2010. Web. 19 March
NXTM, LLC. Taylor Swift. Taylor Nation LLC. Web. 19 March 2011.
Swift, Taylor. Fearless. Big Machine Record, 2008. CD
“Taylor Swift – Change.” Youtube, 16 June 2009. Web. 19 March 2011.
“Taylor Swift – Fifteen.” Youtube, 23 Nov. 2009. Web. 19 March 2011.
“Taylor Swift – White Horse (OFFICIAL MUSIC VIDEO).” Youtube, 8 Jan. 2010. Web.
“Taylor Swift – You Belong With Me.” Youtube, 16 June 2009. Web. 19 March 2011.
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