Is Kreayshawn's Success Built on the Denigration of Black Women?
It's been a big week/day in Kreayshawn news, so bear with us. As the recent Columbia Records signee chats about her favorite sex positions and weed strains with a fascinated blogosphere --
DMPC: Whats your favorite sex position?
K: That's naughty! My favorite sex position would be when I feel the best, when I get head.
DMPC: Whats your favorite stoner food/munchies?
K: I love parmesan gold fish.
-- the backlash against her instant (read: two million views in two weeks) success begins.
Try this contention on for size, Kreayshawn lovers: "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?" (Emphasis original.)
Yup, that's the prevailing view over at Crunk Feminist Collective. More after the jump.
The writer (we're not sure who) makes the case that Kreayshawn's position is based on the objectification of black women:
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 black girls," Kreyashawn is the perfect accoutrement to the tortured misogyny of her friends and co-signers Odd Future. For her, calling women bitches and hoes is funny, a category she is somehow exempt from via her whiteness and sometimes queerness. She's got swag because she fucks bitches too, though she's quick to point out she's "not a raging lesbian."
Not sure whether we buy that line of thinking, but you can bet it's one of many aesthetic/sociological repudiations of Kreayshawn to come. Welcome to major label success, darling. But does anyone else long for the days when every new hip-hop star didn't require a barrage of thinkpieces from the critosphere?