Mixtape Of The Week: Kitty Pryde Haha, I’m Sorry

By ajcolores

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In early June, Hot 97 DJ Peter Rosenberg incited a media and music industry fracas by using the Summer Jam sidestage as a megaphone for his ideals on rap’s purity. “I know there are some chicks here waiting to sing ‘Starships’ later,” Rosenberg said, referring to the Nicki Minaj pop hit. “I’m not talking to y’all right now, fuck that bullshit. Bullshit! I’m here to talk about real hip-hop shit.” Rosenberg’s statement, which caused Nicki Minaj and her Young Money Records affiliates to pull out of the show, branched off into its fair share flared-up discussion points; one on hand, there was the sexist nature of the comments, given that Nicki was the only female performing on the main stage that day, and that her show featured unscheduled performances from pioneers like Foxy Brown and Lauryn Hill. On the other hand, a talking point arose surrounding the nature of Rosenberg’s beloved “real hip-hop,” whether his interest in perpetuating the exclusive nature of that community was a daffy, outdated concern, whether nods of the head from power brokers like Hot 97 or Rap Radar were essential building blocks to a successful rap career and mainstream traction.

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