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Love. Appropriation. Music. Baby

Rachel Matlow

ISBN 10: 3836434776 / ISBN 13: 9783836434775
Published by VDM Verlag Dr. Mueller e.K.
New Condition New Paperback
From BuySomeBooks (Las Vegas, NV, U.S.A.) Quantity Available: 20
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Paperback. 96 pages. Dimensions: 9.4in. x 6.6in. x 0.4in.With the release of her debut solo album, 2004s Love. Angel. Music. Baby. , No-Doubt front-woman Gwen Stefani turned to the street fashions of Tokyos Harajuku district for her inspiration. The platinum-blonde Stefani promoted herself by being constantly surrounded with an entourage of four voiceless Asian women, dubbed her Harajuku Girls. They were on her CD cover, she dedicated a track to them, they performed in her videos, and they danced on her Harajuku Lovers live tour. Stefani even re-named them, Love, Angel, Music, and Baby after her new record and clothing line, L. A. M. B. . This study examines how the Harajuku Girls function as Stefanis human accessories - silent, sexed-up, submissive, school-girl muses sent to save her from her dull whiteness. I introduce Stefani as an intertextual celebrity who appropriates, absorbs and cross-references cultural texts and ethnicities in order to market and brand herself as a distinct entity in the worlds of music and fashion. This book questions: - How has Stefani appropriated Harajuku culture in ways that reinforce Orientalist ideas of Asian women - How has Stefani used Harajuku culture in order to reinforce her whiteness and distinguish herself as a distinct celebrity brand - How we may compare the transcultural differences between Harajuku appropriation of American culture and Stefanis appropriation of it - What are the political and cultural implications of Stefanis ethnic signifiers The book is directed towards academic scholars in Communications, media professionals, and popular culture enthusiasts alike. This item ships from multiple locations. Your book may arrive from Roseburg,OR, La Vergne,TN. Bookseller Inventory # 9783836434775

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Synopsis:

With the release of her debut solo album, 2004's Love. Angel. Music. Baby., No-Doubt front-woman Gwen Stefani turned to the street fashions of Tokyo's Harajuku district for her inspiration. The platinum-blonde Stefani promoted herself by being constantly surrounded with an entourage of four voiceless Asian women, dubbed her "Harajuku Girls". They were on her CD cover, she dedicated a track to them, they performed in her videos, and they danced on her Harajuku Lovers live tour. Stefani even re-named them, "Love", "Angel", "Music", and "Baby" after her new record and clothing line, L.A.M.B.. This study examines how the Harajuku Girls function as Stefani's human accessories - silent, sexed-up, submissive, school-girl muses sent to save her from her dull whiteness. I introduce Stefani as an intertextual celebrity who appropriates, absorbs and cross-references cultural texts and ethnicities in order to market and brand herself as a distinct entity in the worlds of music and fashion. This book questions: - How has Stefani appropriated Harajuku culture in ways that reinforce Orientalist ideas of Asian women? - How has Stefani used Harajuku culture in order to reinforce her whiteness and distinguish herself as a distinct celebrity brand? - How we may compare the transcultural differences between Harajuku appropriation of American culture and Stefani's appropriation of it? - What are the political and cultural implications of Stefani's ethnic signifiers? The book is directed towards academic scholars in Communications, media professionals, and popular culture enthusiasts alike.

About the Author: is a Toronto-based writer, TV producer and tennis player. She recently completed her MA in Media Studies at Concordia University.

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Bibliographic Details

Title: Love. Appropriation. Music. Baby

Publisher: VDM Verlag Dr. Mueller e.K.

Binding: Paperback

Book Condition: New

Book Type: Paperback

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