{"id":12283,"date":"2012-09-13T17:09:21","date_gmt":"2012-09-13T16:09:21","guid":{"rendered":"http:\/\/www.badreputation.org.uk\/?p=12283"},"modified":"2012-09-17T08:16:28","modified_gmt":"2012-09-17T07:16:28","slug":"guest-post-this-is-love-pj-harvey-pop-music-and-female-sexual-desire","status":"publish","type":"post","link":"https:\/\/badreputation.org.uk\/2012\/09\/13\/guest-post-this-is-love-pj-harvey-pop-music-and-female-sexual-desire\/","title":{"rendered":"[Guest Post] “This Is Love”: PJ Harvey, Pop Music, and Female Sexual Desire"},"content":{"rendered":"
Here’s a guest post from author Delilah Des Anges<\/strong><\/a>. If you have a guest post brewing in
your brain, you know what to do: pitch us at badrepeditors@gmail.com<\/a>.<\/em><\/p>\n
In terms of consumption and emotional language, the pop song occupies a
similar status to the sonnet. Well, not exactly, but certainly for the
purpose of romance or desire, pop lyrics are an absolute boon for the
tongue-tied (a group which includes “most of the English
population”). They’re used to express whatever happens to be
lurking unformed in the minds of the listener, and as a point of
identification when the lurking stuff has been given a concrete
identity.<\/p>\n
Reams have been written about the depiction of women in pop music by
male songwriters and the presentation of women by the music industry,
but recently I was having a wee listen to PJ Harvey (while drunk in
someone’s living room in Portsmouth on a Saturday night, because I
am very cool) and it occurred to me that I’d not seen as much on
the subject of how female desire’s presented in pop songs BY
WOMEN.<\/p>\n
This thought came up because
This Is Love<\/strong> felt like an anomaly: it presented desire as
active on the part of the female narrator. PJ Harvey’s persona
for the song has sexual agency, and longings that do not centre around
waiting for someone else to make a move. She uses the phrase “I
want” and backs it up with action: “to chase you round the
table, wanna touch your head”, and in that “wanna touch
your” she rather casually and without fuss flips the entire
common model of heterosexual desire on its head by pointing out that
women also want to touch, as well as being touched.<\/p>\n
It shouldn’t sound unusual, and yet at the time of listening
it was borderline revolutionary, at least to me. There are other
lines from the song which imply action: “I can’t believe
that the axis turns on suffering when you taste so good”;
suggestive of all kinds of sexual acts, instigated by and controlled
by the narrator, but nothing else is quite as direct as that
seemingly harmless “wanna touch your head”.<\/p>\n
This Is Love<\/strong> is not unique, but on examination it
becomes harder to find other songs which inhabit the same active,
instigating desire.<\/p>\n
I Just Wanna Make Love To You<\/strong> does, but even the
Divinyls’ famously salacious anthem to female
masturbation and banned song
I Touch Myself<\/strong> is self-contained sexuality; the
desire is there, but it is self-directed. The narrator says
nothing of what she wants to do to the object of the song,
only what the thought of him makes her do to herself!<\/p>\n
Interestingly, when the object of desire is no longer
male, the desire becomes more active in its expression:
contentious and open to a variety of interpretations, Katy
Perry’s
I Kissed A Girl<\/strong> does at least carry the flow
of action from the narrator to her object of desire:
Katy KISSED a girl, rather than being kissed BY a girl,
as so many heroines of pop songs are kissed BY a boy
rather than kissing him.<\/p>\n
In a song of the same name, Jill Sobule’s
narrator makes the same distinction: Jill KISSES
Jenny, the narrator as the actor rather than the
acted-upon.<\/p>\n
This is a small sample to draw a conclusion from, but
it is intriguing that female desire is more acceptable
as active, instigating, and potentially dominant when
the object of the woman’s desire is also female.
The repurposing of songs originally intended for male
singers often underscores this, as in Patti
Smith’s cover of
Gloria<\/strong>.<\/p>\n
There are songs with male narrators in which the
instigation of action is undertaken by the female
half of the heterosexual proto-couple (usually
because the narrator is far too shy or lacking in
confidence, rather than because of any societal
prohibition on his asking her out): the main
contender in this category is Teenage Dirtbag<\/strong> by Wheatus<\/a>. A
casual glance over popular music seems to reveal
far more male references to female desire
(“she wants me”) than female
references to female desire (“I want
him”).<\/p>\n
PJ Harvey is not, of course, the first or only
female artist to sing about desire. Ani
Difranco has filled several albums with
heartfelt songs cataloging the effects of
desire on the psyche: primarily in the
aftermath. Ani writes about regret or lack
thereof, but rarely if at all about the
white-hot moment of simple wanting.<\/p>\n
By now there’s a good chance
you’re wondering how anyone could skip
over Bikini Kill on this subject: they have a
song
entitled<\/em>
I Like Fucking<\/strong> – surely
this must qualify for a candid and
unabashed demonstration of naked female
desire?<\/p>\n
Well, yes and no. Riot Grrrl has an
agenda which is unshy of communicating,
and sexuality is, as all other aspects
of feminine experience, politicised. The
song itself discusses internal obstacles
to feeling and acting upon desire, the
ubquity of rape, and the “radical
possibilities of pleasure”, which
while a notable feminist sentiment on
the reclamation of sexuality, is a far
cry from Harvey’s “I just
want to sit here and watch you
undress”. Politicised recognition
of the rightness of female desire and
its value is highly important, but
isn’t quite the same thing as an
unselfconscious expression of that
desire.<\/p>\n
Someone else who believes in the radical
possibilities of pleasure, even if she
doesn’t phrase it that way, is
Rihanna. In
Shut Up And Drive<\/strong>, she
creates a shallow but effective
metaphor in which she is a car to be
driven: it is potent, referencing
power and femininity, but ultimately
it is – no matter how
transparent and brazen – a
metaphor and rerouting of desire
through the stalking-horse of car
culture, rather than the bald,
outright statement of
This Is Love<\/strong>.<\/p>\n
I could go on, but I’m sure
the general idea is clear. That
was my little radio revolution,
thanks to Polly Harvey, and with
any luck I’ve given you
something to think about
too.<\/p>\n
\n