FEATURE:
Show the Queens Respect!
IN THIS PHOTO: Kendrick Lamar/PHOTO CREDIT: Kevin Winter/Getty Images for The Recording Academy
quite an ugly an apparently acceptable misogyny that has run through Hip-Hop for decades. One can say that this is an issue that is improving. Maybe not as overt and dominant as it was in past decades, it still very much exists. I think back to the 1980s and 1990s and some of the appalling lyrics you’d hear in Hip-Hop songs. Everyone from Beastie Boys to Eminem has had to face accusations of misogyny and sexism – the former of which corrected it; the latter not really doing much in that regard. I will go on to discussing Hip-Hop’s queens and why focus should be put on them. Many say just listen to women in Hip-Hop and ignore misogyny. Misogyny is not something that should be ignored. If we do that then it is normalised and seen as something that needs to be put up with. A natural part of Hip-Hop. We need to come to a place where women are not only embraced and welcomed in. They should be given the same opportunities and respect as their male peers. Given festival headline slots. Although a few of Hip-Hop’s queens are, there are so many – including Little Simz and Megan Thee Stallion – that are overdue headline focus. Throw in queens like Noname, Tierra Whack, Rapsody, Rico Nasty, Che Noir, Cristale, Ice Spice, Doja Cat, Nicki Minaj, Doechii, Latto and dozens of their sisters; there does seem to be this reluctance to book Hip-Hop’s queens in headline slots. The odd major festival. SZA is headlining Glastonbury and Primavera Sound. Doja Cat was a headliner at Coachella but, by and large, it is Pop and other genres better represented when it comes to female headliners. I am digressing slightly. Hip-Hop, in my view, is music’s most important genre. Rappers and their words are as powerful and influential as any type of artist. In the way they can deliver their messages and the impact that can have.
Even if Hip-Hop has evolved to a place where there are weaknesses and negative changes – very few groups like Beastie Boys or Public Enemy; sampling culture harder to exploit because of lawsuits and strict restrictions; not enough political and timely messages coming out as much as there should be -, there are so many great artists coming through. I think the rising queens are joining modern icons and producing the best Hip-Hop. We should be celebrating their music and highlighting how they are changing the genre! More festival and stages that headline and unite queens of Hip-Hop. Documentaries made. Listening to women of the genre discussing with one another their path in and experiences. Opening the door for the next generation coming up. Unfortunately, rather than this happening, a childish and rather toxic beef between Drake and Kendrick Lamar is stealing the headlines. Ugly bars and words exchanges. Lamar particularly on the offensive. Accusing Drake of being a bad father. Accusing him of not being Black. There are some low points, threats and controversies that seem dangerous, pathetic and bullying. Mature and intelligent artists would not retaliate and let the other punch themselves out. Whilst this may seem unfair on Drake, one feels this feud and pointless beef will continue. It is a black stain on Hip-Hop. Rather than elevating and celebrating great artists, we have to accommodate Kendrick Lamar and his crap. It is misogynistic and disgraceful. Almost making light of women’s pain. A once-genius artist who is responsible for some of the best Hip-Hop albums of the past decade – including To Pimp a Butterfly and DAMN. – is damaging his name to the point of no return. His credibility is going to be destroyed soon enough. It takes away from women in the genre. They are making magnificent music yet are being overshadowed by two of the genre’s most popular male artists engaged in an ever-growing beef.
Not to tar every male Hip-Hop artist with the same brush – as most are respectful of women -, but Kendrick Lamar has a bad track record when it comes to his representation of women. Throughout DAMN., he drops in sexist and misogynistic lyrics. When the media heralded the track, HUMBLE. (from DAMN.) as a feminist anthem and masterpiece, they overlooked the fact that ‘bitch’ was used repeatedly in the song. It was false feminism. Kendrick Lamar is not the only prolific and high-profile male Hip-Hop artist of recent years where misogyny is very much at the forefront. Before moving on, I want to quote from The Guardian’s recent reaction to the ongoing beef between Kendrick Lamar and Drake:
“There can be something hectoring about Lamar at times in his discography, less the Mr Morale of his last album and more Mr Moralising – and this turns ugly with some outright misogyny on Euphoria. He refers to gossiping as “ho shit” even as he delivers a gossipy diss track, and “we hate the bitches you fuck, ’cause they confuse themselves with real women” is gross even if you take it as a subliminal reference to Drake’s oft-remarked-upon friendships with teenage girls and women. There are frequent lines comparing Drake to a woman, which Lamar tries to legitimise by amping women up – “I believe you don’t like women, it’s real competition” – but it’s patronising, and there’s a whiff of homophobia in framing Drake as being less than a real man for having feminine qualities. That also comes through in his loaded praise of Drake’s danceable music – “Keep making me dance, waving my hand, and it won’t be no threat” – and in saying Drake “pops ass” while dancing with women”.
There are plenty of articles from the past decade or so that highlight misogyny in Hip-Hop. I think any hopes of steps being taken and improvement is because women in the genre are fighting back and showing a different approach. Hitting back at these types of male artists and also putting out their own incredible songs. Showing how potent and powerful they are. Demanding respect. It is a problem where we have to ask whether young Hip-Hop fans should be listening to older music that is demanding to women. It is a fear particularly for mothers. There are a few articles from recent years that discuss misogyny in Hip-Hop from various perspectives. It is clear that, even if the genre is not as toxic as it was decades ago, there is still a huge issue with demeaning and debasing attitudes towards women. At a time when so many amazing women are coming through, it is creates this uncomfortable clash and division. I want to start with an article that relates to Megan Thee Stallion being shot by Tony Lanez. How she was subjected to jokes and abuse. Not believed and attacked. How Black women in Hip-Hop are not protected:
“The notion of misogyny relates to the topic of how often a black woman’s agony is ignored. In the situation with Lanez and Megan, social media did not take it seriously. Other celebrities such as 50 Cent and Draya Michele publicly joked about Megan being shot.
Subsequently, this compelled Megan to speak about the lack of protection that Black women face in their communities. The ridiculing pushed her to tears via Instagram live as she explained her innocence in the alleged shooting situation.
In hip-hop music, misogyny relates to any aspect of rap that supports or normalizes the objectification, exploitation and victimization of women. Misogyny is a long-standing issue within the hip hop world, and for years nothing has changed.
After the first female solo hip hop album was dropped by MC Lyte in 1988, women flooded the hip hop scene. “At the same time, the lyrical content of our male counterparts seemed to shift,” said Ellen Chamberlain in her “Misogyny in Hip-Hop” TED talk. Male rappers soon began to incorporate an excessive amount of slurs and derogatory statements directed to women into their lyricisms.
These lyrics consisted of disrespectful and violent behavior towards women. Harsh lyrics continue to be normalized causing some to feel comfort in applying it to their everyday lifestyle—not just in music. Ownership and outlook seemed to shift the scales in hip-hop, according to Chamberlain.
“Women have always been a central focus of degenerative rap lyrics,” said Neha Makkapati, a Daily Nexus journalist.
In 1993, Queen Latifah dropped the iconic feminist song “U.N.I.T.Y” in response to all the male emcees calling females out of their name in their lyrics. But even then, the song did not receive a lot of recognition on the radio. Perhaps she bruised a lot of egos with the record or the message was too powerful. Back then many appreciated the song. It confronted the lack of respect for women in our society and slurs against them.
The hip-hop culture has also portrayed women as props. Chamberlain pointed out the fact that hip-hop crews from the 90s such as No Limit Records, Terror Squad and Bad Boys had at least one female rapper present. Yet, in the grand scheme of things, those ladies only gained the opportunity to shine because of their position in proximity to men as props rather than independent successful artists. “Here[in hip-hop], violence and mistreatment are ok. It’s ok to mumble slanders of how women are nothing more than vehicles for sex,” said Makkapati.
The concept of misogyny in hip-hop portrays women as less than what they are. The lyrics and content have also made some men view and treat women as nothing more than objects. So undoubtedly Lanez felt comfort in shooting a woman because of the amount of misogyny not only in music, but in other aspects of life too. Although he never disclosed his side of the story, from the outside looking in, Lanez is satisfied with the violence and mistreatment toward women”.
I will move on to this article. Hip-Hop turned fifty last year. There was a documentary, Hip-Hop at 50, that celebrated the genre and its evolution. Whilst we can discuss the genre’s influence and importance, women in the genre were also using the opportunity to ask for change and respect. Whilst there are women battling back and kicking against misogyny, the industry needs to do more! Men in Hip-Hop need to change. There needs to be more allyship. Greater progression and an end to the way women have been treated since Hip-Hop’s inception and start in 1973:
“ATLANTA (AP) — Rasheeda Frost’s decades-long relationship with hip-hop started in 1981. She was a curious, energetic kindergartener — eager to touch and explore anything put in front of her.
Rasheeda remembered her mother presenting her with a huge, white box — it was a record player that she would continuously spin, not knowing what its purpose was. Then, she said, her mom gave her a record with a colorful cornucopia printed in the middle: The Sugarhill Gang.
“She must’ve just known hip-hop was embedded in me at such a young age,” the MTV “Love and Hip-Hop: Atlanta” reality star said.
The then 5-year-old would dance until she couldn’t anymore. “I played that record until I tore it up and scratched up the record.”
Frost fell in love with hip-hop. Lyrics, music videos, and magazine covers display a genre that is male-centered and male-dominated. Despite this challenge, Frost took her passion a step further and joined the ranks of female rappers and emcees who battled misogynoir, sexism, and patriarchy to send hip-hop spinning in a different direction, making way for women to take the main stage in the genre.
“I had to go out there and work triple as hard, make sure I’m respected, not get taken advantage of as a female, and really go hard for what I know and stand for something,” Frost said.
From The Sequence releasing the first rap record by an all-female group, called “Funk You Up” in 1979, to MC Sha-Rock’s iconic performance on “SNL” as a part of Funky 4+1, female rappers have been a part of hip-hop since its debut. Women have fought to shape their identification in hip-hop and demand recognition.
In the 50 years since DJ Kool Herc extended breaking at a back-to-school party, women have gone from donning a male-imitated aesthetic, to owning their sexuality in lyrics, to selling out stadiums for their own concerts. At hip-hop’s 50th anniversary, female rappers are taking their moment to shine — while still demanding respect and facing decades-old challenges.
Msia Kibona Clark, an African culture and feminist studies professor at Howard University, said women were “largely invisible” in hip-hop during the ‘80s and early ’90s.
“Early on the idea was to imitate men in terms of the aesthetics, and the idea was the hip-hop uniform — baggy clothes and sneakers and t-shirts,” said Clark.
Clark said early female rappers had the challenge of navigating a culture tinged with sexism and sexual harassment, as well as carving out a perspective that often wasn’t heard in the mainstream.
“To me those were the dark ages of hip-hop because it just wasn’t enough women voices,” Queen Latifah said during an interview with The Associated Press.
SiriusXM host Roxanne Shante started entering rap battles and making records as a young teen in the 1980s. The hip-hop legend’s battle tracks solidified her as one of the earliest and fiercest emcees at the age of 14.
“I came in as little sis; even to the point of where sometimes they didn’t even want to let me participate, because sometimes the men felt that I was that good,” Shante, told the AP, detailing how it was a problem for men to battle rap a teen girl.
Shante, along with artists such as Salt-N-Pepa, Yo-Yo, and Queen Latifah were voices that amplified feminist storytelling and issues during the ‘80s and early ’90s.
Entertainer and philanthropist Yo-Yo was known for rapping about female empowerment and demanding respect, but she still dealt with having to “stay in a woman’s place.”
“Those were some of the challenges when the record labels only respected men,” Yo-Yo said.
During the early days, hip-hop itself was being questioned, and later, the genre was being condemned as “gangsta rap.” DJ Spinderella recalled consistently being asked how long she thought hip-hop would last.
Female emcees found themselves having to defend the genre as well as prove themselves worthy of holding the mic.
“When there was negativity or any kind of misogyny, it only pushed us even more,” said DJ Spinderella, a member of the hip-hop group Salt-N-Pepa. “Our first goal was to shake our thing, but then the fact that we were inspiring women to become their better selves despite the negative was important.”
By the late ‘90s and early 2000s, women were becoming more visible in hip-hop. Female artists offered a variety of sounds and trends — from Lauryn Hill’s melodic rap to Missy Elliott’s experimental music videos.
Challenges for female rappers persisted. As more women entered the genre, some were uniting on hit records such as “Ladies Night,” while others were pit against each other. At the same time, the hypersexualization of women was ramping up.
“With the historical treatment of women and how women have been sexualized, I think women artists have been able to reclaim it,” said Christin Smith, an independent consulting researcher.
Although female rappers have pushed sex positive lyrics since the ‘80s, the mid-to-late ’90s saw the advent of artists such as Lil’ Kim and Foxy Brown more overtly displaying and owning their sexuality. This drew controversy — and hypocrisy.
“When I came out with songs like ‘Make It Vibrate’ and songs like ‘Georgia Peach’, I got a lot of resistance from radio because they said it was too sexy,” said Frost, who released her first album “Dirty South” in 2001. “It was a battle every single day just to be heard, to be respected.”
As rap continued to evolve from the mid-to-late 2000s, rappers such as Remy Ma and Trina continued to hold down the booth. Nicki Minaj’s impact on the genre was explosive in the 2010s — as reflected by her winning the BET Awards best female hip hop artist from 2010 through 2016.
The late 2010s saw a change in technology. Internet access became widely available due to the smartphone . This gave rise to a new era of artists who social media as a way to gain traction. Hip-hop also became a part of pop culture, with the sound being used in movies and commercials. Hip-hop artists became the faces of popular brands and fashion labels.
The shifting pop culture landscape, along with the tenuous work of female rap pioneers, helped pave the way for what audiences see now: an explosion of female rappers and artists on stage and behind-the-scenes.
“I love it. I think that we have our own table. We just don’t have to get in to fit in. I think women are making powerful moves,” said Yo-Yo.
Women in hip-hop have gone from behind-the-scenes to winning prestigious awards for their artistry. They’ve also ventured into other industries. MC Lyte is a popular voiceover artist, recognizable for her work voicing the BET Awards and the 2023 Grammy Awards. Missy Elliott this year will become the first female rapper inducted into the Rock & Roll Hall of Fame. Queen Latifah has starred in numerous movies, TV shows, and her own talk show. Roxanne Shante hosts “Have a Nice Day” on LL Cool J’s Rock Tha Bells Radio on SiriusXM.
The theme of female empowerment remains but the message has changed — with artists such as Megan thee Stallion and the City Girls rapping about sexual liberation and hypergamous values, as well as women having their own money.
The pervasiveness of misogyny and patriarchal violence still threatens the existence of female rappers. Some experts think that female rap is more hyper-sexualized than ever before, and artists must fit a certain body standard to be accepted.
Clark pointed out the rise in popularity of the Brazilian butt lift surgery among female rappers. “It’s hard to tell whether or not someone is doing that because they genuinely want to do that. They feel more pleased with their body with that procedure versus those who are told if you want to make it in this industry, you have to do this.”
There’s also a push for more femme-presenting queer and non-binary artists to have a platform in a genre that has been largely homophobic and heteronormative since its inception”.
Before rounding up with an article, another point comes to mind. Late last year, Irish Hip-Hop artist Denise Chaila rightly points out that if we are calling out misogyny in Hip-Hop then it needs to happen across music. This is true. We cannot only focus on Hip-Hop and assume every other genre and corner is fine. Even so, misogyny in Hip-Hop is back under the spotlight. It does seem to be particularly rife and damaging in Hip-Hop. The hope is that misogyny can be stamped out right across the industry. Even if there are incredible male Hip-Hop artists making wonderful music, the most exciting and original Hip-Hop is coming from women. Vulture highlighted a book, Ode to Hip-Hop, where Kiana Fitzgerald stated how women are making the most progressive and exciting Hip-Hop – whereas men are coming up short in that department. Also, how can we say Hip-Hop is progressive given the amount of homophobia and misogyny that is still around – and Kendrick Lamar seems to casually drop into tracks and that seems to be okay:
“Did you hear? Hip-hop turned 50 this year! Of course you heard. Because the internet has been wallpapered with fawning, congratulatory pieces exploring the history of the genre for months now. There have been awards-show tributes. Lifetime-achievement awards. Brand deals. But one thing is crucially missing from the mass celebration: meaningful critique. “How can we say hip-hop was ever progressive if it was always so deeply homophobic and misogynistic? How?” asks scholar Jason England, assistant professor of English at Carnegie Mellon. “Hip-hop has always had a radical posture. That doesn’t mean it was radical in action. You cannot deny just how problematic the music has always been, and in that way, it is deeply American.”
Kiana Fitzgerald, author of Ode to Hip-Hop, points out that women are making the most exciting, broadly appealing hip-hop today. Cardi B, Megan Thee Stallion, Nicki Minaj, Doja Cat — all are doing it better than their male contemporaries. But at what cost? Says Fitzgerald, “The saying within the Black community is ‘You have to be twice as good to get half as much.’ That’s even more the case for women rappers, especially Black women rappers.” Cardi B has to be a stand-up comedian on top of rapping. Megan Thee Stallion has to be the most beautiful woman in the world. Doja Cat sings, dances, raps, and is a weird art girl. The men? Guys like Drake and Travis Scott? They’re just mumbling”.
Via a beef between Drake and Kendrick Lamar, misogyny has once again shown that Hip-Hop is slow to evolve. It takes away from the amazing women who are making the best music in the genre but, at the same time, having to ask for change and protection. They are strong queens, yet they are surrounded by artists who show very little respect for them. Whilst, true, this applies to a small percentage of men in Hip-Hop that is not good enough. There is still too much misogyny in Hip-Hop. There should be none! Such an important genre and wonderful style of music, they should be leading by example and platforming women. Pushing them up and saluting them. Women in Hip-Hop do not want fake humbleness. The genre has faced a crisis with misogyny for decades. It needs to stop! Men in Hip-Hop need to do a lot more. They need to change the course, improve Hip-Hop’s reputation and…
RESPECT women.