{"id":3429,"date":"2018-04-30T16:44:49","date_gmt":"2018-04-30T21:44:49","guid":{"rendered":"https:\/\/pages.stolaf.edu\/americanmusic\/?p=3429"},"modified":"2018-04-30T16:44:49","modified_gmt":"2018-04-30T21:44:49","slug":"the-road-to-cultural-appropriation","status":"publish","type":"post","link":"https:\/\/pages.stolaf.edu\/americanmusic\/2018\/04\/30\/the-road-to-cultural-appropriation\/","title":{"rendered":"The Road to Cultural Appropriation"},"content":{"rendered":"<div id=\"attachment_3430\" style=\"width: 381px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/pages.stolaf.edu\/americanmusic\/wp-content\/uploads\/sites\/593\/2018\/04\/Road_to_Singapore.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-3430\" class=\" wp-image-3430\" src=\"https:\/\/pages.stolaf.edu\/americanmusic\/wp-content\/uploads\/sites\/593\/2018\/04\/Road_to_Singapore-300x235.jpg\" alt=\"\" width=\"371\" height=\"293\" \/><\/a><p id=\"caption-attachment-3430\" class=\"wp-caption-text\">Road to Singapore. 1939. Retrieved from the Digital Public Library of America, <a href=\"http:\/\/cdm16786.contentdm.oclc.org\/cdm\/ref\/collection\/sayre\/id\/17768\" target=\"_blank\" rel=\"noopener\">http:\/\/cdm16786.contentdm.oclc.org\/cdm\/ref\/collection\/sayre\/id\/17768<\/a>. Dorothy Lamour, Bing Crosby, and Bob Hope (left to right) in <em>The Road to Singapore<\/em>. Lamour performs &#8216;womanly&#8217; tasks while the men relax.<\/p><\/div>\n<p><span style=\"font-weight: 400;\">Bing Crosby and Bob Hope made many films together, the most well-known being their <\/span><i><span style=\"font-weight: 400;\">Road <\/span><\/i><span style=\"font-weight: 400;\">pictures, of which the duo made seven between 1940 and 1947.<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>1<\/sup><\/a> It isn\u2019t much of a series, as the characters&#8217; names are different in every movie, but their characters and friendship are always the same types&#8211;one conniving yet charming businessman (Crosby) and one sucker (Hope). They\u2019re always fighting over the same type of girl, played by Dorothy Lamour, and she always ends up with Crosby\u2019s character. The only differences among these films are the locations. The first picture they made was <\/span><i><span style=\"font-weight: 400;\">The Road to Singapore<\/span><\/i><span style=\"font-weight: 400;\"> (Schertzinger<\/span><span style=\"font-weight: 400;\">, 1940), and a still from the film is featured above. These movies are hilarious and remain classics because of the duo\u2019s constant banter, sarcasm, breaking of the fourth wall, self-mockery, and all-around ridiculous shenanigans. However, what <\/span><i><span style=\"font-weight: 400;\">Singapore<\/span><\/i><span style=\"font-weight: 400;\">\u00a0<\/span><span style=\"font-weight: 400;\">and the others that followed are guilty of is cultural appropriation.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Kenan Malik describes cultural appropriation as \u201cnot theft but messy interaction.\u201d<a class=\"sdfootnoteanc\" href=\"#sdfootnote1sym\" name=\"sdfootnote1anc\"><sup>2<\/sup><\/a> These films interact with several different cultures in problematic ways. Just watching the trailers illustrates some of the manners with which Hollywood has engaged with and represented other cultures.<\/span><\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/C31scz62yD0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p><span style=\"font-weight: 400;\">All the films exoticize the \u2018Other,\u2019 especially the women. The\u00a0<em>Road\u00a0<\/em>pictures depict foreign locations as paradises of simplistic living, where women are either sex objects or homemakers.\u00a0<\/span><i><span style=\"font-weight: 400;\">Singapore <\/span><\/i><span style=\"font-weight: 400;\">features a quite misogynistic view of Lamour\u2019s native-Singaporean character and some quasi-blackface; <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=bsXzm8DhXgI\" target=\"_blank\" rel=\"noopener\"><i><span style=\"font-weight: 400;\">Zanzibar<\/span><\/i><\/a><span style=\"font-weight: 400;\"> depicts a typically-stereotyped, cannibalistic, superstitious, unintelligent African tribe; <\/span><a href=\"https:\/\/www.youtube.com\/watch?v=pV4d0aLVFKc\" target=\"_blank\" rel=\"noopener\"><i><span style=\"font-weight: 400;\">Morocco<\/span><\/i><\/a>\u00a0<span style=\"font-weight: 400;\">plays on <a href=\"https:\/\/www.youtube.com\/watch?v=V_w3UG6C_Mo\" target=\"_blank\" rel=\"noopener\">stereotypes<\/a> of the Middle East and pokes fun at the mentally disabled; the list goes on, I\u2019m afraid.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I don\u2019t believe these films intended to be super sexist and racist. It was another time, after all. Also, they don\u2019t exactly ask to be taken seriously. I think it\u2019s pretty obvious they aren\u2019t attempting to give an accurate portrayal of other cultures. They are just trying to entertain audiences with some escapism from war time. The focus isn\u2019t really on educating viewers; it\u2019s more about the snappy dialogue between Hope and Crosby. The exotic locations only provided a ridiculous backdrop. Granted, the films added to stereotypes of the day and didn\u2019t necessarily help matters, but they could have been worse.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">As long as people know not to take these films seriously, Hope and Crosby are a classic duo and are worth a watch.<\/span><\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"584\" height=\"329\" src=\"https:\/\/www.youtube.com\/embed\/GEgygl5PO3w?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">1<\/a>\u00a0<span style=\"font-weight: 400;\">Murray, Noel. \u201c<\/span><a href=\"https:\/\/film.avclub.com\/hope-and-crosby-s-road-movies-paved-the-way-for-future-1798243895\"><span style=\"font-weight: 400;\">Hope and Crosby\u2019s Road movies paved the way for future wiseacres<\/span><\/a><span style=\"font-weight: 400;\">.\u201d The A.V. Club. <\/span><a href=\"https:\/\/film.avclub.com\/hope-and-crosby-s-road-movies-paved-the-way-for-future-1798243895\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">https:\/\/film.avclub.com\/hope-and-crosby-s-road-movies-paved-the-way-for-future-1798243895<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/p>\n<\/div>\n<div id=\"sdfootnote1\">\n<p class=\"sdfootnote\"><a class=\"sdfootnotesym\" href=\"#sdfootnote1anc\" name=\"sdfootnote1sym\">2<\/a>\u00a0<span style=\"font-weight: 400;\">Malik, Kenan. \u201cIn Defense of Cultural Appropriation.\u201d The New York Times. <\/span><a href=\"https:\/\/www.nytimes.com\/2017\/06\/14\/opinion\/in-defense-of-cultural-appropriation.html?smid=pl-share&amp;_r=0\" target=\"_blank\" rel=\"noopener\"><span style=\"font-weight: 400;\">https:\/\/www.nytimes.com\/2017\/06\/14\/opinion\/in-defense-of-cultural-appropriation.html?smid=pl-share&amp;_r=0<\/span><\/a><span style=\"font-weight: 400;\">.<\/span><\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Bing Crosby and Bob Hope made many films together, the most well-known being their Road pictures, of which the duo made seven between 1940 and 1947.1 It isn\u2019t much of a series, as the characters&#8217; names are different in every &hellip; <a href=\"https:\/\/pages.stolaf.edu\/americanmusic\/2018\/04\/30\/the-road-to-cultural-appropriation\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":2737,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1],"tags":[802,1113,607,1114,514,285],"class_list":["post-3429","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-bing-crosby","tag-bob-hope","tag-cultural-appropriation","tag-dorothy-lamour","tag-exoticism","tag-hollywood"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p7jEhR-Tj","_links":{"self":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/3429","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/users\/2737"}],"replies":[{"embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/comments?post=3429"}],"version-history":[{"count":12,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/3429\/revisions"}],"predecessor-version":[{"id":3452,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/posts\/3429\/revisions\/3452"}],"wp:attachment":[{"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/media?parent=3429"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/categories?post=3429"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/pages.stolaf.edu\/americanmusic\/wp-json\/wp\/v2\/tags?post=3429"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}