Music journalist Kathy Landoli is sure to get under some skin with her latest write up on rap music and its’ infatuation with white women.
In the op-ed piece, Kathy examines everything from “white girl” being a repeated reference for drugs in rap music, to Miley Cyrus living out her twerk-team dreams before our very eyes.
Check out a few excerpts below:
via The Grio
In 1992, Sir Mix-A-Lot released his ode to the well-endowed backside titled “Baby Got Back.”
The video zones in on a pair of white women, who are openly disgusted by the size of a black woman’s derriere.
Somewhere in between that moment and right now, mainstream rap has switched its focus on white women from mockery to manipulation. It’s a cultural shift; one that has more detrimental effects than anyone cares to admit.
But as rap music and white women fade color lines with mutual exploitation, who is really winning?
“White girl” is a more recent euphemism for cocaine. Before rap shifted its tax bracket, cocaine was the primary means of income for many rappers, especially those who spearheaded the Coke Rap movement. There’s idolatry present in calling your moneymaker “white girl.”
In 2006, Gym Class Heroes released the track “Viva La White Girl” showing admiration for both the women and the drug in the form of a double entendre.
More recently, MDMA, rap’s latest drug of choice has been christened as “Molly,” a historically Caucasian name. It’s no coincidence that rappers connect these drugs with white women, and the events that followed since then have proven the change in tides for white women in the eyes of rappers.
Their participation in hip-hop, however, is compartmentalized. White female singer/songwriters like Dido, Skylar Grey, Lana Del Rey, and even to an extent Katy Perry have been placed upon a pedestal by rappers, collaborating with these women to either advance in the mainstream or gain their “intellectually interesting” card.
It’s a mutually beneficial relationship, deeply rooted in wishing for acceptance from either side. It turns toxic when there is one-sided artistry happening or no artistry at all, along with the sexual innuendo of fetish on behalf of either party.
Kathy then directs her attention towards former teen-queen turned Becky bad azz Miley Cyrus, who has gained the attention of many mainstream rappers with her new found infatuation with twerking.
In April, Disney pop alum Miley Cyrus released a video of herself in a unicorn costume doing the suggestive hip-hop dance known as twerking.
The initial “that white girl can dance” was chased with months of melanin-deficient copycats creating their own twerking videos (producer Diplo even held a contest) until Miley surfaced again in June to twerk on stage to rapper Juicy J’s “Reaction.”
Now, the Golden Girls-esque reality TV show Golden Sisters is releasing videos with senior citizen cast members twerking, and Access Hollywood is referring to it as “the latest dance craze.” Miley is dancing no differently than 2 Live Crew’s dancers did in 1990, when Banned In the USA had Tipper Gore on proverbial suicide watch. The face has paled so the pass has been given. Are white girls the gateway drug to eliminating censorship? No. They just presently set the tone for all of black culture. That’s all.
Cyrus has since evolved into a “sensation” like PSY or 50 Tyson or Keenan Cahill or William Hung any other individual who has been given the thumbs up embedded in mockery. Will her sudden merging into black acceptance allow her start affectionately using the n-word?
Ummmmm we’re thinking this sounds a little backwards, since it’s widely known that white women are the ones that have been “infatuated” with black men in and outside of hip-hop since the beginning of time.
What do you think, Bossip fam? Does Kathy have a point? You can read her entire op-ed piece on the topic HERE.
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