Alejandro

"Alejandro" is not just about masculinity—it’s about the woman who sees through its performance. She is not seduced by control or emotional inaccessibility; she mourns it, dissects it, and rejects it. In doing so, Gaga plays a goddess-like figure—part lover, part liberator, part executioner—who brings the cost of masculine repression into sharp, stylized focus.

“Alejandro” is a dark, theatrical meditation on masculinity, loss, and power, where Lady Gaga embodies a woman caught between mourning and rebellion. The video portrays masculinity as cold, rigid, and militarized—emotionally repressed and bound by duty, religion, and performance. The male figures, dressed as soldiers or stylized dancers, are symbols of a type of manhood that has been hardened by systems of control: war, religion, heteronormativity. But Gaga doesn’t simply mourn individual men—she mourns the emotional deadness that such masculinity brings. The lovers she names—Alejandro, Fernando, Roberto—are already emotionally unreachable, shaped by forces beyond intimacy. As a woman, Gaga’s role is complex and fluid: she is not just a victim or a passive observer. She is the mourner, the dominatrix, the heretic, and the redeemer. She wears the trappings of religion, only to violate their codes, turning them into symbols of personal freedom rather than repression. Her control over the male dancers and her deliberate detachment from their advances invert the traditional dynamic: she resists the emotional dependency, the pain, and the silence that have often been expected of women in love. Instead, she commands space, disturbs the performance of masculinity, and ultimately walks away from it—both spiritually and emotionally. In the end, “Alejandro” is not just about men—it is about the woman who sees them clearly, who loves and loses them, but refuses to be bound by the same systems that destroyed their capacity for real connection. She becomes a kind of mythic figure: mourning not only lost lovers, but the loss of love itself in a world where desire and emotion have been regimented, distorted, or forbidden. In this sense, the video becomes both an elegy and a revolt: a farewell to a masculinity that cannot love, and a celebration of a woman who chooses to survive it.

change GaGa to Gaga

No reason to list what track number it is. Added that it will be the 3rd single.

Changed ''fear of sex monster'' to ''fear of men monster''. Gaga said this was about the fear of men (Telephone is fear of commitment) and Dance in The Dark about fear of sex (she said it was written for woman afraid to have sex with the lights on because they think there's something wrong with their body.) The monster meant for Alejandro get's confused alot, most people think it's about fear of commitment and some fear of sex, but it's really fear of men.