In the “Ay Shawty 3.0” video, a soft lense captures Kitty’s flower halo as she walks through a field, sundress and all. For the “rap game Taylor Swift” this imagery is not uncommon. The coy femininity — eyes darting away from the camera while she leisurely spits rhymes — are part of what made her breakthrough, “Okay Cupid,” such a massive Internet sensation. “Okay Cupid” was a disconcerting juxtaposition of teenage girl iconography and veiled suggestions, Kitty rapping about receiving three a.m. thirst calls from men, while she and her friends lounge in a room decorated with Hello Kitty and various heart shapes. The success of “Okay Cupid” (and perhaps, Kitty in general) is attributed to novelty, with a young, innocent-looking white girl rapping about cocaine with a carefully-placed bow in her hair. Kitty was 19 when “Okay Cupid” was released, but her refusal to talk about her age led people to speculate that she was younger.
In Kitty’s video with Riff Raff, “Orion’s Belt,” Kitty moves with a forced awkwardness, walking in a stilted manner and standing as if she isn’t quite sure what she’s supposed to be doing. Between the attempt at gracelessness and the girlish doodling of hearts, the comparison to Taylor Swift seems more than fair. Both women play at outsider status while simultaneously being openly welcomed and celebrated for reaching the prescribed pinnacle of femininity as young, white women.
The summer before “Okay Cupid” made the rounds, there was Kreayshawn’s “Gucci Gucci,” an annoyingly-infectious track that quickly went viral. With doorknocker earrings and a bow bigger than her head, Kreayshawn parties and drinks after persuading a shopper (played by Lil Debbie), to avoid designer clothes because “basic bitches wear that shit.” While the similarities between Kreayshawn and Kitty seem only surface level (white girls with YouTube views and a penchant for winged eyeliner) both of their successes can be attributed to, at least initially, the novelty. A few years ago Touré wrote in the New York Times that white women rapping is seen akin to “a cat walking on its hind legs.”
Kreayshawn’s success introduced the world to the White Girl Mob, a now-defunct group that consisted of Kreayshawn, Lil Debbie, and V Nasty. All three ladies were young, thin, and light-skinned, their poor rapping skills overshadowed by their looks and shocking attitude. V Nasty in particular made a name for herself for casually dropping racial epithets, answering to criticism with an emphatic “You don’t know where I’m from!,” as if the ability to use pejoratives without retribution would give her some sort of street cred (Popularly referred to as the hood pass).
What’s interesting is how, while the White Girl Mob’s skin color is a huge part of their success (Why else would you call yourself a ‘White Girl Mob,’ if you’re attempting to avoid novelty?), they quickly divorce themselves from critique by emphasizing their outsider status. Lil Debbie’s video for “Ratchets” is one of the most racist videos ever released, with black women backup dancers serving as Debbie’s “ratchets” while she raps “I got ratchets in my living room ’til 6 in the morning/ And when I finish up this weed, man I’m sending them home.”
In one interview, Lil Debbie shrugs her shoulders when confronted with her racism and degradation of black women with a simple “I’m just a white girl in this world,” brushing off her responsibility with the assumption that since she’s a white girl, she can’t be expected to know what she’s doing or be held accountable. Later, while reaming in Miley Cyrus for stealing ideas from her “Ratchets” video (if this didn’t illuminate how far the “white girl playing at ratchet” trope has gone, then nothing else will), Lil Debbie brags “I don’t twerk, I have a twerker. I have a bitch that comes and twerks for me.”
Lil Debbie’s “Ratchets” video is the prime example of what is troublesome about white women’s place in hip-hop. Debbie’s faux-outsider status allows her to avoid responsibility by being a white girl, but then she turns around and, in the video, dominates black women, calling them *her* ratchets, a racial domination that asserts her superiority. They are her ratchets, and they twerk for her. The desirability of white women in hip-hop, excellently covered by Cord Jefferson in Kanye West and his Thirty White Bitches, puts white women on a dehumanizing pedestal as a prize to be achieved. When these white women rappers come around, perhaps in order to avoid asserting themselves as the prize, they assert themselves as the victors. The racism this leads to, as it’s always white women dominating black women, is joined with internalized-misogyny. Status is achieved by having someone to dominate, and with white women, the only power that they can’t really touch is white men, who are, as of now, the predominant consumers of hip-hop.