Miley Cyrus 'Ruins Everything' for Rapper Lil Debbie

After the disbanding of the White Girl Mob, Debbie took her solo career to Los Angeles, collaborated with another white rapper Riff Raff, and says she felt slighted by artists like Gwen Stefani and Cyrus who have a larger reach but poach inspiration from lesser-known artists like herself. What’s that you smell? Beef.

Here’s the backstory, Debbie shot a video for a song called “Ratchets,” above. She told Vlad TV that she was going for a Married With Children theme in the clip, she was Kelly Buddy and her background dancers, all black, were a group of Peggy Bundy’s. Debbie even does a struggle twerk of her own in the video. At first look, I shook my head because Debbie suffers from the same problem as Lily Allen in using black women as props to create their artistic vision. Ack. However, Debbie says that her video director J.B. Ghuman Jr., the man behind Love Don’t Cost a Thing, cast the dancers who he’d also cast in one of his movies. She had nothing to do with their hiring, but obviously as the artist, you are responsible for everything that is depicted in your music video, period.

After “Ratchets” was released online, Debbie was excited but only a small number of people saw the clip. But that intimate group, according to Deb, included Miley who she says hired Ghuman’s boss, Diane Martel, as well as her stylist and back-up dancers to shot, style and appear in her “We Can’t Stop” clip, respectively. Even her fair-weather new LA friends were in Miley’s video. Where does the heartbreak end, yo?

With the “We Won’t Stop” video, Miley introduced her struggle twerk, “ratchet” persona we’ve all been enduring for the last year or so and flounced it around at her concerts and during the infamous 2013 MTV Video Music Awards. Debbie, who asserts she created that persona first, was not pleased. Sharing creative inspiration is fine, she says, but Miley’s out-right theft is a problem.

“I’ve had Rihanna hit me and be like, ‘Yo, who makes your two pieces that you perform in?’ I told her and I was like ‘Yo, come smoke a blunt.’ And she’s like ‘When I get back in the states, it’s good, I’m about to hit you,’” she told Vlad TV. “I respect that, because she’s acknowledging my existence even though I’m not signed or on a label. … I feel like the Miley Cyrus video is like ‘Let’s pull from Debbie’s shit, not say nothing to nobody, not give her any credit, not hit her up. Nothing. We’ll hit up the director, but we’re gonna go past Debbie.”

Last week, Lil Debbie’s released her mixtape California Sweetheart, featuring the “Slot Machine” single embedded at the top of this post, but she told HipHopDX that now she feels blacklisted by the music industry.

“I feel underrated,” Lil Debbie says. “I feel under-appreciated. I feel like I’ve been blacklisted within the industry. I’m just going to say this right now: Miley Cyrus has reached out to multiple White female rappers that I’ve been involved with and that I’ve reached out to and people completely ignore me. I think that goes along with identity theft. I don’t know, but it sucks, it fucking sucks. I would’ve rather been Miley Cyrus’ friend and girly-girly with her than to feel the way I feel towards her. I don’t want to feel like she fucking stole my shit from me. I don’t want to feel like that but when I see her converse with all these other female rappers, I lightweight get butt hurt about it.

“I reached out to Iggy Azalea before she blew up and the bitch acted like she was too good for me,” she continues. “That sucks. I’ve never felt discriminated until I moved to [Los Angeles] and people are like, ‘You’re from The Bay? Ugh.’ And then working with Kreayshawn and then having what happened to Kreayshawn and V-Nasty, it just piles on. I definitely feel like I’ve been blacklisted in the industry. I feel like people don’t really want to work with me or even acknowledge my presence. That’s fine because my time is gonna come. It’s all good.”

LOL at Iggy acting too good.

Ultimately, it’s hard to doubt Debbie’s story if you look at Miley’s video and generally annoying persona. The Bay Area rapper wouldn’t be the first to have her creative moves stolen (industry rule no. 4080) but aren’t they all borrowing from, while objectifying, the black girls anyway, so who should really be upset?