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Popular Culture Analysis

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McGee - Orientalism and Erotic Multiculturalism in Popular Culture
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In this article, McGee highlights the continued phenomenon of representing an imagined, eroticized Orient through the hybrid and creative choreographies and musical soundscapes by comparing Princess Rajah’s Oriental belly dance (1904) and The Pussycat Dolls’ music video “Buttons”. Princess Rajah performed an “Oriental” belly dance and a balancing chair act at the St Louis Louisiana Purchase Exposition in 1904. Her act was one of many independent Orientalist dance solos inspired by contemporaneous currents in literature, painting, music, and theatre. The Princess Rajah film was recorded on Thomas Edison’s first film invention, the Kinetoscope. 159 short films were …show more content…
Their music video “Buttons” paved the way for their “global” reception, in part because of this video’s adaptation of both historically conditioned Orientalist tropes and more contemporary erotic signifiers drawn from neo-Burlesque, hip hop, and contemporary raunch culture. In contrast to the earlier twentieth-century belly dancer performances, the Pussycat Dolls’ music videos promote an Orientalist hybridity, differing in kind and reception from those modernity, Orientalist-inspired dances pioneered by solo belly dancing …show more content…
For example, J-pop and K-pop are, stylistically, Western music, but it is dismissed simply because it is music that the Orient has made. However, the concept of hybridity does not explain, for example, German popular music not being playing the in the United States. If hybridity is about West versus the Orient, what about West versus West? Western music has deep roots in German music (Ludwig van Beethoven comes to mind), but in the modern world, German pop music is dismissed from the United States. Could it be that there is a new classification of hybridity, one that differentiates between songs sung in English and songs sung in a foreign

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