Abstract
This text takes you on a theoretical romp through Concetta Kirschner's hip-hop persona, Princess Superstar. To begin, I draw on Kim Nicolini's work regarding the ways in which one can perform the slut while calling both the category and the good girl / bad girl binary that grounds and surrounds it into question. I also elaborate on how such performances rely heavily and hopefully on irony. In order to flesh out these ideas, I re-present snatches of three specific Princess Superstar tracks: "NYC Cunt," "Kool Keith's Ass," and "Bad Babysitter." Then I pause to reflect on the highly positive media coverage associated with Princess Superstar. In many of these journalistic texts, whiteness as an identity category takes centre stage. As Richard Dyer suggests, when whiteness becomes visible-remarkable
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