In Defense of Uffie.
For those who don’t know (or don’t care), Uffie is the 18 year-old, white, female, pretty-much universally disliked “rapper” for the infamous Ed Banger records. I put “rapper” in quotation marks not to demean Uffie’s rapping skills (although they are almost non-existent) but because Ed Banger records is a French electronic music label with little to no connection to mainstream or even underground rap. It specializes in wonderfully aggressive and contrarian dance music. So yeah, this is some goofy-ass uber-white person shit but I promise, it does still relate to the rap music I generally talk about…
On the track ‘Tthhee Ppaarrttyy’, from Justice’s album ‘†’, Uffie raps in a light, girlish but aggressive attempt at the Roxanne Shante style. The topic is well, partying and she drops such polarizing lines as “Out on the streets all the taxis are showing me love/Cause I’m shinin’ like a princess, in the middle of thugs”. The song seems to interrupt just about every critic’s enjoyment of the album and the consensus seems to be that Uffie is a complete idiot. I could explain why she’s an idiot (if you haven’t already figured it out), but this Pitchfork review of Uffie’s single ‘Pop the Glock’ does it pretty succinctly.
Let the hipster-hating polemic begin, right?
Nope, sorry. I think Uffie is much more interesting than anyone is giving her credit for. She complicates knee-jerk responses to hipster-ism by developing a persona that is almost too-easy to goof-on. Nearly everyone who encounters her, especially as the annoying chick on Justice’s album (Personally, I find ‘DVNO’ way more annoying) seems to take her bait. The same people who celebrate Ed Banger’s contrarian dance music miss the contrarianism of Uffie’s chick-rap-hipster persona.
She baits and confronts anti-ironists like myself and that is quite different than if she were just a plain old hipster ironist. In certain ways, her persona is constructed similarly to the “gangsta” rappers she ironically mimics and finds inspiration in. She fully understands the weird dialectic of rapper; one that moves between a self-created, semi-sincere persona and a detail-oriented reporter of their lifestyle. Recall that oft-quoted line that rap is (or was…) “the black CNN”. Just, Uffie documents the realities of Parisian club-going hipsters instead of inner-city plight and violence…
The “black CNN” metaphor is inaccurate. Originally used to explain the social importance of rap music, it simplifies the rapper’s complex stance to their environment. The rappers documenting the “reality” of their lives were almost always involved in that “reality” (or fronting like they were involved), so they were more like the black Truman Capotes or Hunter S. Thompsons or something. Most were not “reporting” in a conventional, objective sense but doing a strange, hyper-complicated mix of first-person, subjective storytelling and a brutally honest, few-steps-back-from-it-all-but-still-rich-in-detail objectivity. Even N.W.A at their most cartoonishly over-the-top, do not completely vindicate the violence they enact in song. The dirty, hilarious, gross, messed-up, ecstatic details still seep through and any thinking listener won’t leave the song only wanting to jack a cop. The compulsive need to tell the truth among even the most “ignorant” of rappers outweighs attempts at idealization and justification. This chick, Uffie does that too. She too is profiling a “scene” and its attitudes, but she renders that scene realistically, almost anthropologically.
On the song ‘‘Tthhee Ppaarrttyy’, in her purposefully-wack rhyming style, Uffie describes the night’s partying as it moves out of the club: “You and me, c’mon lets take it to the next level/Let’s all go to the hotel pool as we finish the bottle/Maybe kiss and don’t tell, it’s the rule around here/You must have put me under a spell, I lose control when you’re near”. The first line, where she asks some kind of male suitor (probably with an ironic moustache, no?) to “take it to the next level” is undercut by the second line, where the “next level” is partying at a fucking hotel pool! Finishing the bottle, hotel pool, and her little-girl delivery of these attempts at sexual provocation add a sort of gross, realistic feeling to it all. It’s decadent in the worst sense of the word. R. Kelly songs have a similar feeling. ‘Ignition Remix’ or that ‘Make It Rain Remix’ where he compares his taking-of-women to his room to a cavemen dragging a woman to a cave…Not exactly glamorous!
Adding to this lame-ish decadence (because its 2007, so her decadence is passé), she adds the come-on of making-out, but with an unsexy qualifier (“maybe”) and explicitly referring her actions as basically, predictable: “Kiss and don’t tell, it’s the rule around here.” There are rules to her decadence! The making-out is also empty because it is “kiss and don’t tell”, temporary; something kept-quiet. Then, at the end, either complicating or conflicting with her assertions that this is just some kind of brief fling, she tells the guy “I lose control when you’re near”. That line, along with the “next level” line seem like the meaningless ideal dialogue Uffie and friends engage in to get what they want and sandwiched between it, the reality (we’re just going to a pool.this means nothing.don’t tell anybody). When it comes to sexual behavior, “hipster” and intellectual types have a way of presenting their sexual irresponsibility as “with-it” or “open-minded” but here, Uffie presents it in a way that does not represent freedom or open-mindedness, it’s just the norm. She deals with sex like a rapper; doing whatever she can to get a nut.
Hipsters’ strange embrace of hip-hop culture as ironic performance only applies to Uffie in part. While Uffie more than indulges, adopting hip-hop slang and clothing (see above) it is rooted in appreciation. Naïve, delusional, retarded, misdirected ,WHATEVER- it is developed into something more than ironic appropriation.
She’s stolen a lot from the image-creation of rappers. Like a rapper, she has a distinct and polarizing personality, part-real and part contrived, which is used to portrayal the realities of her life. Check-out this interview; the difference between her musician persona and real-life personality is clear. She is not the goofy, obnoxious brat she plays on ‘Tthhee Ppaarrttyy’ but an articulate, aware, unpretentious artist. It was jarring when I saw this interview, the same way it is jarring when the scary “gangsta rappers” revealed themselves as really fucking smart, “articulate” dudes.
Also, ironic hipster or not, Uffie knows her music history. She is well-aware and indeed, in her own way, sensitive to that which she quotes, copies, parodies, and steals. On ‘Pop the Glock’ (the most immediately egregious of her songs) she swipes her flow from Audio Two’s ‘Top Billin’ and paraphrases when she punctuates her verse with “and if you understood, would you?”. There are also references to Miami Bass, Crunk and Grime, all of which share a lot of sonic similarities. Her being from Miami does give her some regional “credit” if indeed, that’s your litmus test for whether someone is bullshit or not…
While it is her most problematic song, ‘Pop the Glock’ also shows the extent of Uffie’s relationship with rap and hip-hop culture. The song is exactly the kind of retarded hipster-ism so many of us are chomping at the bit to rip-apart, but the actual song isn’t what you think. Yes, the chorus is “pop the glock” repeated over-and-over and the song is punctuated with gunshots, but the topic of the song isn’t anything about popping glocks or any thug referencing, parodied nor appropriated. Uffie just raps loosely connected braggadocio that always loops back to her sing-talk “pop the glock” rendering the titular line, the one you’re just waiting to get pissed about, into nonsense. Did I mention she raps this song and only this song in a faux-British accent?
So… she’s a white chick who has lived all over the world, born in the American South, currently residing in Paris, making music that is a mix of old-school rap music and electronic music (itself rooted as much in the sounds of Mantronix as Aphex Twin), rapping in an unabashed girlish voice (no contrived rapper drawl) in a British accent! So yeah, I mean the levels of irony are mind-boggling and for that, I could criticize her but I think the weird, double-binded irony mixed with explicit inauthenticity ends up sincere.
Maybe it’s the British accent but I immediately thought of Mick Jagger, another white musician who flirted with levels of racial and cultural irony. Jagger often falls into a near-Minstrel black affectation and is equally willing to drop an over-the-top redneck voice, but it’s done in some weird over-the-top way that is ultimately, homage. It’s complicated, but in his 33 1/3 book on ‘Exile on Main St.’ Bill Janowitz makes a pretty good attempt at articulating Jagger’s complex stance in relation to his influences:
“The narrative voice operates on multiple levels. Some critics might have considered the Rolling Stones’ history of copping African-American music as a kind of cultural exploitation, similar to that practiced by all-white minstrels companies. But Jagger is in on the joke; the Stones themselves could be misconstrued as an updated minstrel show …[but] Jagger would certainly have been sensitive to such matters [of minstrelsy]. He does not let any self-consciousness impede on ‘Sweet Black Angel,’ though; rather, he displays a solid confidence in his own motives.” (113)
Uffie too, subtly informs her listeners of her motives by wrapping it in a great deal of sub-text and history. Like Jagger, the confidence comes through because she isn’t afraid of misinterpretation. No one would mistake her for a “real rapper”. Her voice contains no rapper-like affectation of either “hardness” or “blackness” and on ‘Pop the Glock’ she tries to get even whiter with that British accent. Her rhyme style too, is purposefully poor, avoiding any attempts at being “lyrical”. The electro and IDM-sounding production avoids condescending attempts at actual rap beat-making. The aggressively avant-garde “beats” of the Anti-Con guys or even El-P, especially in his blasphemous invocation of the Bomb Squad is waaaaaaayyy more offensive than Uffie.
This is all really-fun to break-down and analyze, but is Uffie any good? Well, no. Other than her track on the Justice album, which works because of its sequencing on the album, Uffie would probably best work as some kind of like, weird, Undergraduate thesis or independent project for a ‘Women’s Studies’ class or something. Pretty fun and engaging to talk about, but not music that will last. However, that too fits with Uffie’s persona of making music for parties and clubs. It is only her connection to the indie and experimental world that somehow “demands” her music be significant. Most of do not ask Cassie or Rihanna or even “rappers” like Jim Jones to be relevant, why must Uffie? Just as we praise the best mainstream artists, especially rappers, for injecting the cold, cold world of mainstream music with some heart and honesty, we should praise Uffie (and the Ed Banger crew) for injecting the “hipster” world with “meaningless” music. Be it the pseudo-literary world of the Decemberists or the intertextual, faux-clever mash-ups of Girl Talk, hipster music needs to stop trying so hard or try hard at not trying hard.
-Janowitz, Bill. ‘The Rolling Stones’ Exile on Main St.’ Continuum: New York, 2005.
‘Stress’ by Justice off †: I love Justice the way I love my Nike Vintage Runners as like an example of hipster douchebag effrontery so extreme it becomes great again. And like those vintage runners,’†’ is great enough that its context or fans or what it may or may not represent just stop mattering. Justice are the great part of the French, the side that realized that Jerry Lewis is really fucking funny and that Poe can’t really write well but his stuff is really interesting and smart in its own way…more Derrida than Foucault, more Barthes than Baudelaire…you know??!!.jpg --> )
‘Top Drop Dyne Remix’ by UGK off Underground Kingz: This is the version of ‘Top Drop Dyne’ that follows-up disc 1’s closer ‘Trill Niggaz Never Die’, I just put it through Cool Edit and turned it into its own track. It’s representative of how dense and overwhelming ‘Underground Kingz’ can be: When a track like this is relegated to a hidden track at the end of the first disc, you made a fucking solid album. The number of Southern rap tracks that use clean-ish like near-hair metal guitars must be entering triple digits, but it doesn’t really get old and its one of the more non-soul samples that generally succeeds.
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