Writing in The Hollywood Reporter, Paglia argues that the two American singers hark back to the man-pleasing, pre-feminist era by acting sweet and over-sexualising their appearances at the same time.
Because of this, young women don't truly understand the role sexuality plays in society and they think 'partying till you drop has gotten as harmless as a Rotary Club meeting', according to the author.
20 years ago Paglia declared that Madonna was the future of feminism, but now she compares modern day pop starlets with the 'trinity of blond opressors' Doris Day, Debbie Reynolds and Sandra Dee who dominated the 1950s.
Describing Taylor Swift, she said, "Swift affects a 'golly, gee whiz' persona of cultivated blandness and self-deprecation, which is completely at odds with her shrewd glam dress sense. Beyond that, Swift has a monotonous vocal style, pitched in a characterless keening soprano and tarted up with snarky spin that is evidently taken for hip by vast multitudes of impressionable young women worldwide."
She added: "Swift's meandering, snippy songs make 16-year-old Lesley Gore's 1963 hit It's My Party (And I'll Cry if I Want to) seem like a towering masterpiece of social commentary, psychological drama and shapely concision."
Then the 65-year-old author moved on to Katy Perry, describing her as a 'manic cyborg cheerleader'.
She argues that Katy is 'stuck in wide-eyed teen-queen mode' despite being 28-years-old.
She said, "Katy Perry's schizophrenia - good-girl mask over trash and flash - is a symptom of what has gone wrong."
But Paglia seems to have more respect for Rihanna, who has an 'elemental erotic intensity', and Beyonce who draws on the 'emotional depths of black gospel as well as the brazen street sass of hip-hop'.
She adds: 'Middle-class white girls will never escape the cookie-cutter tyranny of their airless ghettos until the entertainment industry looks into its soul and starts giving them powerful models of mature womanliness.'
She concluded her scathing article with, "Middle-class white girls will never escape the cookie-cutter tyranny of their airless ghettos until the entertainment industry looks into its soul and starts giving them powerful models of mature womanliness."
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