Tuesday, Aug 15, 2017
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Iggy Azalea – Is She Real or Fake

We know our blog site is about indie music artist, but from time to time we got to dip into the majors tell you about what’s going on. We found this article post by a young columnist from the University of Tennessee “Deandra Gordon – Opinion: Iggy Azalea is ruining rap and hip-hop music“, and we just had to tell you the latest gossip regarding who’s real and who’s not so real.

Let’s read her below:

First thing first, is she the realest?

This one is all about Iggy Azalea who took the American hip-hop and rap world by storm with her catchy singles, such as “Fancy” and “Beg for It.” Iggy found fame — and the dark side of cultural appropriation in American rap and hip-hop.

Hip-hop was created in the Southside Bronx by inner city youths who packed catchy beats with a strong political message. Hip-hop became marketable to the youths of the suburbs over time, but still kept its political messages disguised behind the illest party beats . American youth were wearing Public Enemy shirts and yelling “Fight the powers that be.”

As the tides turned toward gangsta rap, the messages of rappers like Tupac and NWA remained political and analytical of American society, while still marketing to the youth of the inner city and the suburbs.

Iggy stepped into 2014 with addictive lyrics and the manufactured black woman’s voice to match. Americans of all races were questioning the origins of Iggy Azalea and the nature of her lyrics . The fact that a white woman from Australia could come on to the American hip-hop scene and crush her competitors had American rap artists and consumers feeling duped.

Questions began to rise about Iggy and her connection with the rap game. Artists like Macklemore, Eminem, Nicki Minaj, J. Cole, Vince Staples and Azealia Banks have all fired shots at Iggy Azalea.

The universal claim is that Iggy Azalea is not genuine. She has the white, consumer-friendly face that invites them in to buy her album without hesitation, but is that really the problem? The fact that she is a white, female rapper seems to have played a small role in the opposition that plagues Iggy Azalea’s commercial success, compared to the fact that she is from Australia claiming to be the realest on the scene.

White rappers Eminem, Machine Gun Kelly, Yelawolf, Paul Wall, The Beastie Boys and others that have come from economically depressed and diverse areas have been invited into the rap game with open arms and acceptance.

The arguments about how relevant Azalea’s race is stem from the fact that these white rappers were accepted because they know the origins of hip-hop and have paid their dues in the mix-tape circuit. As an “it” factor in American hip-hop, Azalea should know and understand the politics behind its origins enough to understand it is more than flash and stacking one’s cash.

Hip-hop and rap are forms of political and social resistance of the social constructs of American society that cause economic, social and political oppression.

Whether the social constructs are race, class or gender, hip hop transcends oppressive boundaries within society and frees the minds of the oppressed.

The only other opposition to Iggy’s reign is the fact that she is a woman. Nicki Minaj and others have stated the genre is highly misogynistic. Misogyny is a factor in rap politics, but Azalea has faced more opposition from other female rappers than her male counterparts. The prominent female rappers in the game feel as though she has not paid her dues enough to even be considered one of the best female MC’s of 2014 or 2015.

The question of why Iggy Azalea is unsettling to those who are long time consumers and producers of rap and hip-hop is a complex one.

The only thing that stands true is that “real recognizes real.” So who gets to determine what is real and who is real?

Veterans and the founders are the ones who should decide who and what is really hip -hop. DJ Kool Herc, Afrika Bambaataa, Fab Five Freddy, Kurtis Blow and Run DMC, who are credited with the founding of hip-hop, should come forth and speak on this troubling issue in hip-hop and rap politics.

The veterans of rap should not stand by while rap is dismantled by American pop music.

We will have to agree with T.I. when we says, “I think she should focus on what got her here. That’s her music, her performing, and continue to just present her talents to the world.” But you gotta think if T.I. is starting to believe that he might have made a mistake in the selection process when it involves a genre that is so deeply rooted by the streets in which it came from.

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