Editor’s Note: Welcome to the backstage of the stardom — where lip-syncs are spells, moans are political, and the beat drops harder than patriarchy. We’re diving into the velvet-lined world of erotic power, where women, femmes, and queer icons use the stage—and the body—as a battleground and a canvas.
Bring your thigh-high boots and theological curiosity: the talk is about selling wet dreams, Pussy Power, Hip-Hop and Alpha-Females. It's time for the gospel according to glitter, grind, and unapologetic groove.
Fig..1 L'Amour C'est Magnifique (1960s), Cabaret Poster, OKley, Pierre Gilardeau
Fig.2 Art Deco Illustration Erté (Romain de Tirtoff), ca 1920
Fig.3 Art et le Nu au Musichall, by Walery Studios, 1926
Fig.4 Avant la repetition des coutourieres, Armand Vallée (1884 – 1960). Paris Plaisirs No. 48,1926
LICKED, LOUD & LIBERATED
From crucifixes to club anthems: the evolution of pussy power
Once upon a time, Madonna fingered a crucifix and the world clutched its pearls. Today - in 2020, Megan Thee Stallion rides the beat like a war horse in assless chaps while politicians combust on live television. What’s changed? Not much—except the production value, the pole moves, and who’s cashing the checks.
Let’s be clear: Megan’s not just twerking. She’s theorizing. Every obscene lyric is a hot take, every bounce - a battle cry. Her sexuality isn’t about seduction—it’s about domination. She isn’t your fantasy—she’s your fantasy’s CEO.
In the church of Hot Girl, the male gaze is not exorcised—it’s exploited. She’s got the keys to the kingdom between her thighs, and she’s charging admission. Amen. (Historically, when women—especially Black women—express sexual agency, the response tends to veer toward societal hysteria. Blame Eve, blame Lilith, blame Lil’ Kim. The script is as old as patriarchy itself: if a woman wants sex, she must be punished. If she profits from it, she must be destroyed)
Fig.5 Banana skirt - Josephine Baker Paris, 1920s. Photographed by Lucien Walery
Fig.6 Bananas belt - Josephine Baker (1906-1975), Folies Bergere Paris, 1925. Photographed by Lucien Walery (1863-1935)
Fig.7 Bananas, artwork
SEX SELLS. WHO’S PROFITING?
Wet dreams, hard truths
From the twerking ho to the Hollywood bombshell, the monetized siren is nothing new. Women have long been painted as madonnas or monsters—dumb blonde bombshells, diamond-choked pussycats, or jungle cat dominatrixes purring for male approval. But what happens when those same women start directing the show?
Megan Thee Stallion raps like a professor of Power Dynamics with a minor in Pole Studies. She’s not asking for desire; she’s commanding it. Like Madonna before her—and Mae West or Marlene Dietrich before that—Megan weaponizes eroticism. Her lyrics aren’t just dirty. They’re revolutionary.
“I'm a freak, handcuffs, leashes.” – Megan Thee Stallion, PhD in WAP Studies
Fig.8 Bringing Sexy Back, Estelle - Make Her Say (Beat It Up) 2014, Explicit sex jam - poster
Fig.9 Charles Copeland inspired mock Art Poster (via Instagram)
In the extended Premium edition of the article we're going to dive deeper into Hot Girl Theology, including enticing references to sex lives of pop goddesses like Mae West, Cher, Madonna, Beyoncé, Cardi B, a list of clickable references, 68 additional pics, and much MORE...
Click HERE for an article on Denmark’s feminist pornography movement Puzzy Power
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