Gwen Stefani's, Long Way To Go — A Literary Analysis

In honor of Black History Month, I thought I might attempt a bit of literary analysis. I offer a liberal interpretation of a poem by the great entertainer, Ms. Gwen Stefani, entitled Long Way to Go:

We've got a long way to go
When snow hits the asphalt, cold looks and bad talk come
We've got a long way to go
It's beyond Martin Luther, upgrade computer.

Based on my limited and stereotypical familiarity of Gwen Stefani's anthology, and Pop music in general, I'm going lead with the assumption that this song is about extramarital sex. The work's protagonist is either longing for a promiscuous relationship, escaping from a promiscuous relationship, or possibly, it's just about Japanese Harajuku Girls.


Stefani immediately builds suspense from the outset, "We've got a long way to go." I'd like to say that this is an asexual statement about race equality, but I can't.  Based on my original premise and from the artist's dissatisfied tone, it is safe to assume that she has not yet "gone all the way;" ergo, it is reasonable to assume that she is still in the "longing for promiscuity" phase of her relationship. In literary circles, this state of expectancy is referred to as a pregnant moment.


Upon examination of the dichotomous colors in the second line—when [white] snow hits the [black] asphalt—the reader can assume that the supposed relationship is interracial. It is rational to also assume from this analogy that Stefani represents the "snow" since the color of her skin is, in fact, white. In traditional R&B culture, it is typical for the more-sexually dominant figure in the relationship to "hit" ... stuff. Therefore, "snow" might also reasonably be personified by the female counterpart in the interracial couple (Ms. Stefani, if the work is self-referential). To extend this indecent perspective one step further, the term "(ass)phalt" in line 2 is a particularly suggestive word choice represent the color black. Stefani could have selected from myriad other black objects to symbolize the black variable in her lyrical equation; and yet, she specifically decided on "asphalt." Hmmmm. Maybe, deeply encoded in the meaning of this verse, Stefani secretly reveals her fantasy of dominating a black male. (If you just crossed that smutty bridge I built for you, please don't judge me, if you have no idea what I'm talking about, bless you.)

"Cold looks and bad talk come;" this line sounds simply ridiculous. My 4-year-old niece could have constructed a better-sounding lyric. I honestly believe that the author's creativity was not taxed beyond asking herself the question, "what word can I end with that would sound clever in opposition to the word 'go'?" (For those dirty of mind, you might again read into the word selection at the end of the sentence.)

In the final line of the stanza—It's beyond Martin Luther, upgrade computer—the passage is clearly referencing the frustration of the interracial couple's extramarital desires due to racism prevalent in many cultures. This entire line is a complex, metaphoric insult. Technology advancement is used to represent social change.  In other words, Stefani is saying that we live in an era far more advanced than that of Dr. King [and by advanced I mean relatively more culturally tolerant and diverse]. It's time for you old, racist laggards (who also happen to be stereotypically computer-challenged) to transition from the typewriter and finally accept the interracial tolerance, NOW.

Although original in content, this expression's usage falls upon deaf ears (figuratively and sometimes literally). It's meaning would certainly escape those whom it is intended to attack. Those racists, still harboring prejudices from the 1960's, would not be caught dead listening to Stefani's music.

Author's Note: I recognize that this post pokes fun at race-equality issues and stereotypes.  My intent is not to offend.  On the contrary, parody is my way of bringing awareness to a very real issue.

BONUS: Two amusing, race-related images