WARNING: Certified Ass Clown Alert!!!
Kreayshawn & White Girl Mob Stir Controversy Over ‘N’ Bomb
Allen Starbury | BallerStatus
The topic first became an issue, when Kreayshawn public tweeted the “N” word, as if it was no big deal.
Kreayshawn’s White Girl Mob & The N-Word
In Oakland, Asian people will call Mexicans that. A Mexican will call a black dude that. A white person will call an Asian that. Everyone calls each other that,” Kreayshawn continued. “I feel like that word is used in the low-income community more than anything. I can see if I was some rich crazy trick and I was just saying this because it’s hip-hop. I was raised around this. Me and my sisters were all raised around this. People call me that. But personally I’m not flaunting it around.”
Elvis Presley was not the originator of rock ‘n’ roll. That would be Chuck Berry. Vanilla Ice’s “Ice Ice Baby” is said to be the first hip-hop song to top the Billboard charts (others argue it was “Rapture” by Blondie). Justin Timberlake went from the pop sensation group ‘N Sync to the soulful singing White boy with swag. My point? America has always capitalized off of Black culture. Kreayshawn, the new White girl rapper, is only the latest byproduct.
Her government name is Natassia Toloz. Complex magazine reported the 21-year-old Oakland native is rumored to have signed a $1 million dollar record deal with Sony Music. The petite, sometimes blonde, sometimes brown-haired rapper, sparked buzz with her hit single “Gucci, Gucci” totaling over 2 million views on YouTube. Like Soulja Boy, she’s young, an Internet sensation and plans on parlaying her popularity into a full-blown rap career. She has denied the rumored record deal, but admits she has been in talks with Sony Music. Whether the ink is already dry or not, she will get a deal.
Kreayshawn (pronounced Cri-shon), possibly a play on creation, is the leader of her squad White Girl Mob. Vigilantly watching her video for the first time, I thought, ‘Is it possible for me to be intrigued, humored and disgusted at the same time?’ The huge gold doorknocker earrings. Her asymmetrical bob cut. Her homegirl rocking a similar cut, but with blonde streaks. The tats, the vernacular, the black dude entourage passing her a blunt. I hoped it was satire, while knowing it wasn’t.
Backed by Odd Future, homies with Lil B and co-signed by Snoop Dogg, I knew a record label executive somewhere saw dollar signs within 30 seconds of watching her. The novelty of a mainstream White female rapper has been nonexistent. It was only a matter of time before a vested interest arose to capitalize off such a rarity. But White rappers are not some new phenomenon. Eminem is arguably one of the best lyrical emcees in the game, Black or White.
White rappers aren’t the problem. Exploitation of Black culture is.
Black culture is diverse with various meanings; and how one defines Black culture varies from individual. In the case of Kreayshawn, I’m referring to her misinterpretation of what she thinks Black culture and hip-hop is.
One could argue she is exactly what hip-hop has become–gimmicky, devoid of substance, whack, the glorification of a street life, sexualized and talentless. If that’s the case, is she appropriating Black culture or just a part of a watered down genre?
I don’t believe for one second her image is authentic. It is one derived of the stereotypical “sister girl” trope we’ve seen time and time again. Understand, I’m not arguing whether “sister girl” actually exists. I’m not even arguing that the “sister girl” is to be shunned. But Kreayshawn’s image, how she carries herself, her lyrics are all derivative of her very limited view of Black culture.
Beside her lack of creativity, the fact that she’s garbage on the mic, the inauthenticity of her persona is unnerving. A Berkley Film School dropout, allegedly from the hood, has found her niche in hip-hop. Perhaps her posturing is homage of sorts to what she grew up seeing. And this is what she believes she must imitate to gain credibility in hip-hop.
But with artists like Kanye West, Lupe Fiasco, and B.o.B., isn’t there now a space in hip-hop that exists for rappers to just be themselves without the need for street credibility? Or a trumped up, unoriginal “sister girl” image? I guess we haven’t reached a point where female emcees are afforded the privilege of not having to be either “hood” or sexy.
It’s ironic how the White girl mimicking Black culture has been viewed as quirky, cute, and interesting in the past. But sisters who fashionably rock bamboo earrings, gold nameplate necklaces, and blonde streaked weaves, will inevitably be considered “ghetto” by society. It’s equally problematic that every female emcee post Queen Latifah and MC Lyte who has had massive mainstream success all had to sell sex. Kreayshawn, on the other hand, is able to avoid an over sexualized image because of her whiteness.
It goes without saying that most people don’t take issue with talented White artists excelling in genres Blacks created. We’ve certainly supported artists like Robin Thicke, Amy Winehouse and Eminem. I’d imagine that support was gained from them creating good music and not selling a gimmick.
Clearly I’m not Kreayshawn’s targeted audience, and I’m totally opposed to spending money on a White artist who loosely drops the n-word in casual conversation. My being unimpressed, however, does not negate her following. If only she had gained a following through actual talent, opposed to capitalizing off of a genre and culture she obviously doesn’t care to understand.
Kreayshawn’s existence within hip-hop is a reflection of the very aspects we self-proclaimed hip-hop heads find problematic. She is a result of a genre that was forever changed once America realized there was a huge opportunity to capitalize off of a global influential culture. Kreayshawn, artists like her, and those who co-sign them are all culprits in the auctioning off of our culture to the highest bidder.
On Kreayshawn and the Utility of Black Women
“De nigger woman is de mule uh de world…”- Zora Neale Hurston
I grew up in a white suburban/rural community where I was one of a few black kids and the only one in my classes and social circle. In high school, we had this habit of waxing nostalgic for our not so distant youth in a way that made us feel older than we were so at a parties we’d often play songs from our childhood. Well once, Baby Got Back came on and I was rapping along as were a white boy and white girl. A crowd formed around them and folks were cheering them on for knowing
And this is partly why Kreayshawn makes me mad. The White Girl Mob media darling blowing up the interwebs whose potential deal with Sony is making waves makes me angry in a way I haven’t been in a long time. Her appropriative swag is yet another reminder (not that we needed any more this month) of how little black women are valued in our society, even in genres we co-create. In a moment where cool is synonymous with swag, a particular manifestation of black masculinity, Kreayshawn’s dismissiveness and denigration of black women animate her success.
“It’s like tumblr made a video,” said one tumblrite, speaking of the white Cali hipster aesthetics of Kreyashawn’s Gucci Gucci. Replete with Indian medallion, black girl hair cut and color, black men flank her on all sides, lending their cool and legitimacy as she talks stealing bitches, smoking blunts, and realness. Catchy with no substance and ample “I’m so different from them other
I think “Hoes on My Dick” perhaps best captures my problems with Kreayshawn and those who dig her. About a year ago, comedian Andy Milonakis (Who you might remember from his brief MTV fame) and Rapper Lil’ B decided to parody rap music and made the satirical “Hoes on My Dick” which features the choice language “Hoes on my dick cuz I look like Madonna” or “Hoes on my dick cuz I look like grandma.” Anyway, we were supposed to laugh. Ha ha! Isn’t funny/ironic when they say misogynist things when they know it’s wrong? Kreayshawn took their track and made it her own adding her own lyrics, “rapped” (if you could call it that) with all due seriousness and folks love it!
As Crunktastic has already pointed out on this blog, the derogatory slang words used for women imply race. “Hoes” are black and the proverbial punchline (pun intended) for the LA hispster/hip hop mash up sound that music critics are lauding. The supposed *wink wink nudge nudge* associated with their misogynoir is what makes them so edgy and so real. The objectification of black women as a lyrical trope is what makes Kreayshawn interesting. Look at this white girl who talks like a black man! Isn’t she awesome?
And not that black women haven’t tried to appropriate a type of black masculine cool through a similar practice of denigrating other black women and expressing their allegiance to black men but they have not been as successful. Syd Tha Kid, DJ and beat maker for Odd Future is currently following this path and her queer black masculinity doesn’t seem all that queer when she speaks of women in the same derogatory fashion as her band mates.
Kreayshawn claims Nicole Wray, Missy and Aaliyah as women who inspired and influenced her sound but black women are rarely seen in her circle or videos. I’ve clocked two black women in Kreayshawn’s videos, one a silent love interest, and the other a silent hair stylist. In so far as black women are useful, they exist, though they never get to voice their own reality. It’s incredibly frustrating that the more things change the more things stay the same, that Zora Neal Hurston’s words still ring true today.
Special thanks to Alexsarah and CF’s Sheri & Whitney for talking through this with me!
Apparently Kreayshawn was on the brain today. Check out Clutch Magazine’s take.
Tags: DJ L1l D3bb, V-Nasty, White Girl Mob , Kreayshawn, #NBomb, Certified Ass Clowns, Wiggers, Minstrel Show, Lame Ass Rappers, ClutchMagazine, Crunk Feminist Collective, #bamboozled, #cornyrappers, #hiphopisdead, wack, #hoesitdown, #lamestream