Her success is disproportionate to her talent, and this is mostly mainstream hip-hop pablum (ie. “Fancy” is “Rack City”‘s half-ass half-melody and a Charli XCX chorus) with the occasional catchy chorus (“Work”‘s chorus sounds like a nanosecond of Kanye West’s sample of “New Slaves” appropriated into a song made for twerking; the backing vocals of “New Bitch”, the blare of “Fuck Love”). In comparison with other female rappers because I’m obligated to, she doesn’t have the sheer command that Nicki Minaj and Azalea Banks exhibit regularly, and her lyrics are the empty drivel of her mentor T.I. (yeah, I went there) or 2Pac’s All Eyez on Me (yeah, I went even further); that same year, both Minaj and Banks rapped about depression, with the former going further into post-stardom depression, family disconnect, failed marriages and abortion. There’s nothing resembling humanity here other than the rags to riches story that we’ve heard for decades now. The way she moves her voice to enunciate “Lawyer” on “Work” is exciting, and “Valley girls giving blowjobs for Louboutins / What you call that? / Head over heels” is cleverer than I give her credit for (and she knows it too! Listen to that self-congratulating giggle).
But the haters are equally disproportionate and clueless: criticizing her fake looks, her fake accent, her twitter account, her racist remarks, her ubiquity and worst of all, her whiteness and saying nothing all about the music itself (y’know, the actual product). Some random snippets out of a real article that was probably the dumbest piece of shit I’ve ever read that popped on my Facebook feed for weeks:
~”As hip-hop becomes more mainstream and commodified, it cannot lose its revolutionary origins. Hip-hop artists need to use their exalted social platforms to speak out on social and political issues important to underprivileged communities.”
Question: “need to?” (Also ironic: the article cites Tyler, the Creator as someone who is anti-Azalea, a man who has used his “exalted social platform” to continously promote misogyny and homophobia for years.)
~”… building her career by stealing black musical sounds and styles and using her whiteness to sell them to the masses.”
Question: this is different from other white artists how now?
Answer: it’s not.