Iggy Azalea isn’t That Great, She Just Knows How To Collaborate

The Common Thread of Mediocrity Was Just Lucky Enough To Run Through The Excellence of Her Betters


It’s Labor Day Weekend by the time you’re reading this,
so even if you completely disagree with my thesis,
can you give my argument a chance?
I’ve included some videos, so you can desk-dance.

The following statement (from Iggy Azalea’s wikipedia) is true, but it doesn’t mean Iggy Azalea isn’t running out the clock on her 15 minutes of fame.

[Iggy] Azalea joined English rock band The Beatles, as the only acts to rank at numbers one and two simultaneously with their first two Hot 100 hits.

Quick, name a hit single of Iggy Azalea’s that had no guest spots.

Before you can say “Work:” that song got no traction in the US until Ms. Azalea was lucky enough to collaborate with two of the best new names in pop music.

Have you tried listening to her debut album The New Classic recently? Have you remembered that the title of that album is the biggest joke of the year that didn’t come out of the Guardians of the Galaxy script?

Hopefully this might be a starting point for us talking about the false-positive that is Iggy Azalea’s current success.

Look at the great hits that “Fancy” collaborator Charli XCX has put out on her own:

Start here and realize that the aesthetic of the Fancy video is more Charli than it is Iggy. From the use of the Dom Diagonal font to the layers of pop culture homage, the only thing Iggy brought to Fancy were lyrics so bad I thought Wale dropped them.
My introduction to Charli XCX came through Merlin Mann, twitter’s @hotdogsladies, raving about the song “Superlove”
“Boom Clap” is so good, I can overlook the fact that this video is tied to the YA drek “The Fault In Our Stars.”

Three honest-to-pop great singles.

Then give “Problem” collaborator Ariana Grande’s new record a spin:

http://open.spotify.com/album/6EVYTRG1drKdO8OnIQBeEj

Sure, Grande has a name built for latte jokes, but when she has great tracks with collaborators, it’s because she goes as far to give producers “Featuring” credits. Zedd & Cashmere Cat bring great instrumentals to help Grande succeed with the tracks “Break Free” and “Be My Baby.”

http://youtu.be/u3u22OYqFGo?t=1m42s

Look at Azalea’s new single, “Black Widow,” which she wrote with Katy Perry, and performs with Rita Ora.

Azalea’s lyrical game is as lazy as usual. I don’t mean lazy as in slow, although that criticism of her flow would be valid. I mean lazy as in there’s nothing to what she’s saying. No punchlines, no personality, it’s all the least of what her mentor T.I. can do. And if you haven’t realized it, it’s built for her to sleep-rap through in concert, while she focuses on choreography.

Let’s go further, unlike the half-decent “Fancy” video, the video for “Black Widow” is more Tarantino homage (complete with that signature exhausting Male Gaze) than it is anything else. Oh, and Rita Ora’s voice only goes to a fraction of what her single “Radioactive” allowed it to reach. I’m guessing they didn’t want her overshadowing and wilting Ms. Azalea.


Maybe Iggy Azalea is going to surprise me and have a shelf life and solo career. From where I sit today, she’s just incredibly lucky to succeed despite being completely boring.


A POST SCRIPT FOR THE WORST OF THE MALE ROCK CRITICS:

That was an example of how you can write about female musicians without focusing on, and whittling them down to, their looks.

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