Perhaps Nickelback's most famous song, Rockstar, describes the yearning of someone who is desperate to become a stereotypical "rockstar," or what Chad Kroeger, Nickelback's lead singer, considers to be the present American Dream. The song begins with the verse:
"I'm through with standing in line
To clubs we'll never get in
It's like the bottom of the ninth
And I'm never gonna win
This life hasn't turned out
Quite the way I want it to be"
The first two lines suggest that being a "rockstar" includes access to a private social class, much like "old wealth" in The Great Gatsby. These lines establish a sense of exclusiveness, something that makes being a rockstar much more appealing, similarly to Gatsby's excitement that Daisy has been with other men. By suggesting that the typical American has given up on the dream through the lines "it's like the bottom of the ninth and I'm never gonna win, life hasnt turned out quite the way I want it to be," Kroeger is intimating that the general population has lost the drive to work for greatness, and now the American Dream is for celebrity status to be handed out as if on a gilded platter. The lack of work to attain the American Dream could be compared to the Buchanans in The Great Gatsby, who have never worked a day in their life, but lived off of family money, as both pieces criticize this common misconception of the American Dream.
The second verse begins with Billy Gibbons speaking the words "Tell me what you want," after which the song goes on to describe what the stereotypical life of a Rockstar has become: an infatuation with physical goods that ostentatiously display one's wealth.
"I want a brand new houseKroeger soon begins singing about what the typical American Dream has become, describing it as infatuation with showy, unnecessary material goods. The line "I want a brand new house on an episode of Cribs." suggests that wealth is now represented through the size or splendor of one's house, similar to Gatsby's house in The Great Gatsby. In both Rockstar and The Great Gatsby, the supercilious, strident houses appear to be conspicuous on purpose, in a blatant attempt to make the owners feel that they are living the "American Dream."
On an episode of Cribs
And a bathroom I can play baseball in
And a king size tub big enough
For ten plus me"
"The one on my right was a colossal affair by any standard — it was a factual imitation of some Hotel de Ville in Normandy, with a tower on one side, spanking new under a thin beard of raw ivy, and a marble swimming pool." (Fitzgerald, 5)Even the Buchanan's house, in a much more natural and subtle manner, draws attention to itself, through its stunning shrubbery, and colonial facade.
Gibbons then continues to speak "tell me what you need," suggesting once again that the American Dream is now simply being given out, instead of achieved through hard work and talent, a direct contradiction of the original American Dream. Later in the hit, Kroeger answers:
"I want a new tour bus full of old guitarsThe verse answering Gibbons' question claims that Hollywood is the American Dream, something that we see paralleled in The Great Gatsby. The "new tour bus" suggests that the aspiring rockstar needs the newest and best car, which represents not only one's wealth but their social mobility as well. The irony of having the bus filled with "old guitars" suggests that the rising generation of rockstars, very much the same as the "new wealth" in the Gatsby, is attempting to immitate the great rockstars of history, or the "old wealth." The reference to Hollywood creates the illusion that the American Dream culminates in Hollywood stardom, between two legends. (I think they may have the wrong Dean, but i'm not sure...)
My own star on Hollywood Boulevard
Somewhere between Cher and
James Dean is fine for me"
Perhaps one of the most telling verses of the rock ballad is after Billy Gibbons asks how the rising rockstar intends to achieve this stardom, the American Dream.
"I'm gonna trade this life for fortune and fameThese lines epitomize Kroeger's opinion of the mutated American Dream, in which he suggests a desperation has become prevalent. Kroeger feels that the willingness to trade ones life is a sign of laziness, and a signal that the American Dream is no longer viewed as a product of hard work, a direct contradiction to the original American Dream. By cutting their hair and changing their name, the rising artists are not achieving the American Dream, but simply creating a facade that they have fallen in love with. The wan effort, peaking in the willingness to cut hair and change names, as opposed to the hours of practice that created the original rockstars, is distasteful to Kroeger, as he feels this is the polar opposite of what the American Dream should be.
I'd even cut my hair and change my name"
During the chorus, Chad Kroeger returns to mocking the concept that has been conjured, suggesting that those trying to achieve stardom believe all it takes is material goods.
"And live in hilltop houses driving fifteen cars
The girls come easy and the drugs come cheap
We'll all stay skinny 'cause we just won't eat
And we'll hang out in the coolest bars
In the VIP with the movie stars
Every good gold digger's
Gonna wind up there
Every Playboy bunny
With her bleach blond hair"
Kroeger's excellent use of symbolism and imagery pervade the chorus, and serve as a satire of what truly creates the dream. The current theory that "hilltop houses" and "fifteen cars" create stardom supports Kroeger's thesis that material goods now create a false American Dream. This theory seems to have been prevalent for almost a century now, as Gatsby also abides by this wayward theory, as depicted by his flashy rolls-royce, and extravagent home.
I wanna be great like Elvis without the tasselsThe artist references Elvis to keep in sight the ultimate goal of the aspiring stars, yet claims that they don't want the "tassels" which Kroeger uses as a symbol for the work and practice that is required to reach stardom. This work seems boring and tedious to the dreamer, and they would rather skip straight to "kingship". Nickelback also references superior power, something that gives off an air of importance, yet suggests that the dreamer will leave this "dirty work" to those he hires, much like Gatsby's servants take care of his house, and tom's hulking physical manner.
Hire eight body guards that love to beat up assholes
Nickelback continues to follow the theme of those creating a false appearance of stardom as an easy way to the top, suggesting that they will "dress (their) ass with the latest fashion." By suggesting that these hopefuls will simply follow the fashion of others shows that they are simply attempting to become stars the "cheap" way, and attempting to garner the facade of a star, much as Gatsby tries to garner the facade of wealth with his shirts. Gatsby is not the only culprit of this crime however, as Tom Buchanan's rakish riding clothes provide an elegant connotation, and support Tom's "elite" appearance.
"Everybody's got a drug dealer on speed dial"Yet another common theme that relates to the American Dream, and is extemely prevalent today in society, is the connection of crime with the American Dream. This theme suggests that the American Dream has become corrupted, as many people will do whatever it takes, such as crime, to reach their Dream. As this course to the top has become popular, criminals have begun to recieve "celebrity status," and many rap songs contain references to drugs. Nickelback too references this theme, suggesting that many aspiring stars will use drugs as a boost to stardom, even though it creates a corrupt sense of the American Dream. With the use of a metaphor, Kroeger suggests that this has become such a common path that drugs are now taking the place of candy. The theme of criminality is blatantly present in The Great Gatsby, as it provides Gatsby the mode of transportation through the social class hierarchy, as he smuggles alcohol.
"Gonna pop my pills from a pez dispenser"
Remarkably, the very same themes that Nickelback create in their satire of the American Dream pervade The Great Gatsby, such as material wealth, exclusiveness, lack of personal ambition, laziness, and crime. Nickelback's song describes, in their opinion, what the American Dream has come to symbolize today, much the same way that Fitzgerald attempts to satirize the American Dream through The Great Gatsby. Nickelback criticizes the rising wave of rockstars, and their version of the American Dream, much as the old wealth criticize the new wealth throughout the novel, especially for their atttraction to material wealth. For example, Fitzgerald brings specific attention to Gatsby's ostentatious house, suggesting that his supercilious attitude about it stems from his theory that having a large and decorative house makes one appear rich, and is a crucial part of the American Dream.
This trend does not rest soley upon houses, but continues to other material goods, that both authors suggest have been wrongly embraced as a key aspect of the American Dream. Clothing, such as Gatsby's shirts, serve as yet another symbol of social class, and can be seen both in the song and the novel. The idea of clothes conrtibuting to the American Dream is prominent because of the ability of clothes to create a "rockstar," or wealthy, facade, something that the New Wealthy consider a pillar of the American Dream. Cars in particular are a vivid symbold of the American Dream, not only representing another entity in which wealthy are able to express extraneous wealth, but also are able to represent mobility among the social classes. In the song, cars are referenced twice, once as a sign of luxury and status, and the other as a means of transportation through social classes. This is parallelled in the novel, as Gatsby's car allows him to show off his unearthly amount of wealth, as well as creating the appearance of rising to the highest social class. The Valley of Ashes, through which Nick passes on his way to the city, suggest that one can simply pass through this lower level of society with a car. This is seen again when Nick notes a memory in New York City, in which he recalls three African American men being driven in a limousine by a white chauffeur.
The act of the African Americans being driven suggests they have transcended to a higher social class, and now created a "haughty rivalry" with Nick and Gatsby.
Part of every American Dream involves some sort of spouse, either a husband or wife, or an attractive woman. This constant theme of the American Dream is depicted both through Daisy and Jordan in The Great Gatsby, but through the "Playboy Bunnies" and the Playboy mansion in the song. Nickelback suggests that these women become a symbol of wealth, which is a significant aspect of the American Dream, according to The Great Gatsby and Kroeger. The same could be suggested about Daisy and Jordan, as both come to represent the American Dream and wealth through out the entirety of The Great Gatsby.
Daisy soon represents Gatsby's aspirations of wealth and elite social status, while her voice is described as "full of money" by Gatsby on page 120. The idea that women represent the American Dream not only for Gatsby, but also for Nick and Tom, as all three struggle to retain the attention and affection of women. Gatsby in particular feels that his dream cannot be fully attained without Daisy, suggesting that women are the American Dream. A parallelism can be seen between the "Playboy Bunnies" and Daisy, as both represent the American Dream and money, one as a symbol of wealth to the two men she is in love with, and the others as associates of fame and a business.
A theme considered throughout the novel and song is that of crime, and how the American society has come to "popularize" crime and drugs. Similar to Nickelback suggesting that drugs are an integral component of the current American Dream, Tom revelas that bootlegging is the foundation of Gastby's. Gatsby has transcended social class through the abuse of crime, making his immense fortunes from providing alcohol, a drink that is established as a favorite of the wealthy throughout the novel. The fact that Gatsby has arisen through this illegal practice, and, in his opinion, never reaches his ultimate dream, suggests that crime creates a "corrupt" version of the American Dream, something that is restated by Kroeger through "Rockstar."
A final stirring connection is the desire for popularity, expressed by both of those trying to attain the American Dream, in the novel and song alike. In the song, Kroeger satirizes the idea that stardom can be achieved simply by injecting youself among other rich or famous people, such as the Playboy Bunnies, Elvis Pressly, Cher, or the "VIP's" or "movie stars." This concept is likened to Gatsby's attempt to popularize himself through his extravagent parties.
Both works of art are satirical of the American Dream, with both suggesting that the flawed concept of material wealth, women, and popularity have all come to represent the American Dream. In The Great Gatsby, the American Dream is suggested to be "old wealth," something that is inattainable through one generation. Rockstar, however, suggests that the American Dream is fame, stardom, and wealth. The satirical effect of both works focus upon the flawed materialistic view, which contradicts the original American Dream of achieving prosperity through hard work.
Grant, I really liked your take of the modern view point of the "American Dream." I especially liked the part where you incorporated the famous hit "Rockstar" by nickelback because it actually does relate to the classic theme of the American Dream.
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