In Madonna’s Material Girl video, we see the rampant philosophy of the Anglobitch in action. The painfully plain Madonna struts about while tuxedoed males adorn her with expensive jewellery and other luxury items. Males are overtly viewed as ridiculously gullible stooges and meal tickets. Females, here embodied by Madonna, are, however plain, tacitly seen as deities who by sheer virtue of being born female ‘deserve’ riches, attention and unstinting approval from males.That this arrant propaganda should be so cheerfully received speaks volumes about Anglo-American culture. Far from being the ‘rebel’ she so often claims to be, Madonna merely enacts a heightened form of existing Anglo-American values.
Paradoxically, the mythopoietic entity Madonna projects has become a parody of the Anglo-American female outlook. This relates to the fact she is herself not Anglo-American at all. Her songs and self-presentation are turgid with Latin bombast. However, as part of her infiltration of the media she has craftily honed a heightened image of Anglobitch values with incisive appeal to Anglo-American females. Indeed, this imago has become a standard behavioural model for young Anglo-American girls, indicative of our culture’s inevitable slide towards gynocracy.
The principal myth projected by Madonna is that Anglo women are intensely sexual beings. In fact, all credible research strongly indicates that Anglo-American women are the most sexually anaesthetised in the world. Yet the Anglo media continually bombards us with a stream of palpable nonsense claiming that women are as sexually preoccupied as men. In Slander: Liberal Lies About the American Right (2002) Anne Coulter argues that this theme is a ‘liberal myth’ demonstrating liberal detachment from consensus reality.
While there is considerable truth in this, from the standpoint of the Anglobitch thesis the inane projection of Anglo females as hypersexual beings is all part of the Pedestal Syndrome. Because Anglo culture is puritanical and class-bound, sex is a scarce commodity. Anglo women as ‘owners’ of sex are thus imbued with an intrinsic status that explains their arrogance and hypocrisy. A major result of this is the deification of women on pedestals as paragons of virtue, intellect and ability. The tendency to inflate Anglo women’s sexual prowess is part of this process. Indeed, by a process of conceptual inversion, the area where Anglo women are most lacking is the very area where their prowess is most absurdly exaggerated. Madonna’s mythopoietic identity is calculated to maximally exploit this niche.
Material Girl is a term that describes most young Anglo-American females effectively. Of course, as in Madonna’s chipper video, Anglo-American women think the world ‘owes’ them something as a perpetual favour for having been born female in a repressive culture. As Adam Smith wrote, value is determined by scarcity. Anglo women, as ‘owners’ of sex, therefore acquire a sense of existential entitlement that they utterly lack in libertine societies.
However, the Material Girl is also a specific Anglobitch type with particular values. Reared in the post-Madonna era, she grew up surrounded by cultural imagos extolling the virtues of female selfishness. Consequently, she is amongst the most unpleasant Anglobitch types known to observation. The Material Girl is not only especially selfish; she also reaps the benefits of years of ‘emancipation’.
Contemporary Anglo-American teenaged girls are so insufferable because they are recipients of both enormous privilege and staggering advantage. The Material Girl resembles a lifestyle prostitute, for whom prostitution is not merely an aspect of life, but an all-pervasive lifestyle option. Since her whole status hinges on sexual barter for material reward, she is supremely mono-dimensional and utterly bereft of empathy.
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