Kitty Pryde - haha i'm sorry Review

Earlier this year, the The New York Times reported on a new study about the speech patterns of young women. Linguists from Long Island University published a paper that examined 18-to-25-year-old women's use of uptalk (which is when you talk? like this?), the word "like" as filler, and a phenomenon known as vocal fry, which they rather long-windedly defined as "a form of phonation, characterized by a distinct laryngeal vibratory pattern," but, like, you know what they meannnnnn. The easy assumption is that anyone (especially over 18) who talks like this is stupid, artless, and possibly related to a Kardashian, but linguists now conclude just the opposite: "A lot of these really flamboyant things you hear... girls are using them to achieve some kind of interactional and stylistic end."

Of course, you already knew that if you've turned on a radio in the past few years. Nicki Minaj is the poet laureate of vocal fry, and her verse on Britney Spears' "Till the World Ends" remix is a master class in mining this effect for laughs: "Sniff, sniff, criiiiiiiiies/ I done staged your whole entire fucking liiiiiiife." This aspect of Minaj's flow both embraces and exaggerates the way that young women allegedly talk to each other, and pushes it until it feels artificial, absurd, and even a little bit uncomfortable. When she says, "It's Britney, biiiiiiiiitch," she holds the vowel so long you want to take a breath for her.

In the most practical sense, the rapid internet fame (a video nearing 400,000 views, a mention in The New York Times, a style shoot with Danny Brown) of 19-year-old Florida rapper/Claire's Boutique associate Kitty Pryde owes something to the rapper that she's called "the queen of [her] heart." "I was hanging out with my friends and we were listening to Nicki Minaj," Kitty says of the first time she tried rapping, "And every time we would listen to ["Roger That"], we would just go over the song and do different lyrics." But while her talent is much slighter and less adroitly theatrical than Minaj's, Kitty similarly embraces girl culture while slyly, smartly caricaturing it. Like all of her boldest lines, the chatter that opens her micro-hit "okay cupid" may seem either perfect or cloyingly inevitable: "Get outta my rooooom."...full text "Rap game Taylor Swift" crows teenage internet sensation Kitty Pryde, and she's not far off: like Swift, the Daytona Beach, Florida rapper is a whip-smart young woman from the suburbs with a gift for pouring her loves and loathings into sharp, catchy songs. Of course, Kitty Pryde is a lot hipper, and a lot less PG, than Swift. On her new EP she rhymes – wittily and deftly but with an appealing casualness – about drunk-dialing and coke-snorting; she repurposes Carly Rae Jepsen ("GIVE ME SCABIES"); she shouts out Frank Ocean and fashion designer Betsey Johnson; she even winks at the Lana Del Ray kerfuffle ("You hide out in the cubicle and ponder whose daughter I am"). She boasts that she’s "ruining hip-hop." Maybe she is – for the better....full text The rap internet is sentient, and it is insane. For proof, consider the meteoric rise of Kitty Pryde. On an unassuming Wednesday in the middle of May, the relatively unknown Floridian teenager posted the hazy, ephemeral video for the equally hazy and ephemeral “Okay Cupid” to her Tumblr account. Twenty thousand explosions of internet outcry later (two days in human time), Pryde found her picture plastered across half a page in the New York Times as one of the subjects of music scribe Jon Caramanica’s thousand-word treatise on up-and-coming rappers grappling issues of authenticity and identity. How did we get here? Well, Pryde is young, white and female, and the reaction to the new wave of white female rappers has been quick and intense, more tower defense than critical consideration.

It’s an unfortunate turn of events because white women have been rapping for decades, from Debbie Harry eating cars on “Rapture” and Teena Marie’s killer bars on “Square Biz” down through workmanlike indie stalwarts like the Dessa and Eternia. But what set the Kittys and Kreayshawns apart is their relative lack of concern with the strenuous touring schedules, paying of dues and worshipful reverence paid to hip hop history that has been all but demanded of their predecessors. These ladies just dumped tracks on the internet and watched while the internet lost its mind. While Kreayshawn retreated (reportedly to the studio, but who knows?) after her “Gucci Gucci” inspired scores of think pieces and millions of Youtube views, Kitty seems more proactive about seeing where this rap thing takes her. The apologetically titled Haha, I’m Sorry EP is Kitty’s inaugural post-hoopla salvo, and it is charged with all of the winking self-awareness of a kid who just tripped and fell into notoriety....full text