Is the world of rap finally entering the twenty-first century?

With Nicki Minaj, Azealia Banks, Angel Haze and the recent emergence of “queer rap”, we could finally be seeing some progress in a musical genre that's long been dominated by straight men and macho self-aggrandisement.

Singer-songwriter and former Everything But The Girl frontwoman, Tracey Thorn, was recently asked in an interview whether her “not being an extremely hot girl” has held her back in her career. Long-running international music monthly Rolling Stone has just announced the winner of a contest called "Women Who Rock". American lifestyle magazine, Complex, last month ran a feature on the ten “hottest women” at a New York music festival, fitting in nicely with other articles they’ve published this year, including "Ten Sexy Indie Artists You Should Know" and "The 15 Hottest Frontwomen In Rock History".

These are all examples of the sexism female artists face in the music industry, and they’re all from media that covers genres where women have long been successful. So what about a style of music where women are, historically, less likely to make a go of things, such as hip-hop?

Hip-hop has long been known for its negative attitude towards women, its commodification of them, and its view of females as being useful for little more than sex. The average rap video will tell you that, with its legion of semi-naked, booty-shaking dancers. This is a culture where behemoths Jay-Z and Kanye West have both come under fire for their use of the term “bitch” in their lyrics, yet have decided to continue to use it. The closest West came to a one-eighty was when he tweeted: “Is it acceptable for a man to call a woman a bitch even if it’s endearing?” which brings into question Kanye’s understanding of “endearing”. We’re talking about a genre where the opening line to one of its best-known and much-loved songs reads: “Bitches ain’t shit but hoes and tricks”.

All these negative stereotypes in a world of macho self-aggrandisement makes the recent success of a breakthrough band of female MCs, or "femcees", all the more heartening. Nicki Minaj is now a household name, but hot on her heels are Azealia Banks, Angel Haze, Iggy Azalea, Kreayshawn and more.

What all these rappers have in common is that they’re defiantly solo artists and are unaffiliated to a wider group or crew. Perhaps as a result of this, the music press have been keen to play up any potential rivalries, with a brief Twitter spat between Azealia Banks and Kreayshawn generating far more column inches than it should have done.

But in a man’s world, are these women able to succeed on their own terms? Minaj has sold over a million copies of both her studio albums thus far and has been vocal in speaking out against the sexism she’s faced. Yet her most recent LP, Pink Friday: Roman Reloaded, contains a track called "Stupid Hoe" and a duet with Chris Brown, notorious for his assault on then-girlfriend Rihanna. Critics’ darling Azealia Banks has showcased her frenetic and explicit lyrics, most notably on the song that propelled her to fame, "212", and often refers to herself as a “bad bitch”.

Banks has challenged the status quo and critics alike with her openness about her sexuality and those lyrics. Despite this seemingly anti-commercial stance, she’s received frequent radio play and has been extremely successful in 2012, so much so that she’s likely to be found on a magazine cover near you. This may have contributed to the fact that her debut album, Broke With Expensive Taste, originally due to be released in August of this year, has been put back to February 2013. Banks’ confrontational, no-holds-barred approach have given her a huge following and made her arguably the most famous female rapper behind Nicki Minaj.

Perhaps more interesting though is Angel Haze. The Michigan MC was largely unknown before the release of her debut single, New York, but had soon sold out her show at the Hoxton Bar & Grill. What’s particularly striking about Haze is her range of lyrical themes, most clearly evidenced on her mixtape, Classick, which she put online in October. She’s about as far away from the hip-hop video dancing female stereotype as it’s possible to be, as she takes on matters of confidence and self-image, and contemplates the effects domestic violence have on the wider family. Classick also features a cover of Eminem’s confessional Cleaning Out My Closet, with the lyrics rewritten into a jaw-dropping autobiographical account of childhood abuse. While it may not be a comfortable listen, it handles a near-impossible subject to cover in an unflinchingly honest but mature way.

Of the rest, Kreayshawn has followed online hit, "Gucci Gucci" (over 39 million YouTube views at the time of writing), with an underperforming album, and Iggy Azealia is expected to sign with a major label before her debut full-length LP comes out next year.

All this seems a far cry from the time when to hear of a female rapper was genuinely rare, with Missy Elliott being the main exception to that rule. Whether the new breed of MCs trade in raw, gritty rhymes or conform to a more mainstream view of what a woman in rap “should” be, their very presence can only be a positive thing. Add to this the recent emergence of a strain of hip-hop made my predominantly gay males, known as “queer rap”, and it seems the world of rap may finally be ready to enter the twenty-first century.

Nicki Minaj is now a household name. Photograph: Getty Images
Photo: Getty
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Oliver Stone on interviewing Vladimir Putin: "There are two sides to every story"

The director says his conversations with the Russian president, like all of his works, speak for themselves.

“You’re going to start with this blogging bullshit?” Oliver Stone raises his voice at a reporter, a look of fury on his face.

The director has been asked about the veracity of a video shown to him by the Russian president in his recent Showtime series, The Putin Interviews. The hapless Norwegian journalist who is asking the question notes that bloggers have taken exception to the footage’s true provenance.

What bloggers think of Stone's work, however, is clearly of no consequence to him. When another journalist asks if he’s afraid to be seen as Vladimir Putin’s "PR guy", though, he erupts. 

“Do you really think I’m going to go and spend two years of my life doing a tourist guide book? You really think I’m that kind of a filmmaker? Do you have no respect for my work?”

Stone is on fiery form at Starmus science and music festival in Trondheim, Norway. His series on Putin was filmed over two years. The final four hours of footage were cut from an original 19 of recorded interviews, which covered such diverse topics as “Russia in the 1990s and the 2000s, the American expansion of Nato, the American support of terrorism in Central Asia, Syria from his point of view, Ukraine, nuclear arms…”

Critics, however, have termed it a hagiography, and argued it offers Putin a deferential platform to share his view. Others have dismissed Stone as a propaganda poodle. 

Stone counters the criticism: “I researched it, I did the best I could, and I think it proves the old adage that there are two sides to every story.”

Whether because of naivety or professional courtesy, on the face of it, in the interview series the 70-year-old appears to buy into everything Putin tells him. "You catch more flies with honey than with vinegar," is all he'll say at the conference.

Later on, in the calm after the storm, we speak alone. “This was a special deal,” he tells me. “He was very congenial and articulate and willing to talk. He grabbed the moment.

“People need to keep something in mind. They said I was soft on him - that’s nonsense.

“You can’t have an interview where you’re asking hostile questions. He would have just tolerated it and said what he did, and then after that first interview he would have not have done a second or a third.

“I was interested in the long view. Nobody in the West has gone that far with him that I have seen.”

The long view is a speciality of Stone’s, as he reveals with his address at Starmus to a packed auditorium. As befits a science festival, he addresses the development of the atomic bomb and the modern digital arms race of cyber warfare.

In his view, “politics invariably gets a stranglehold on science and takes it in the wrong way”. He cites J Robert Oppenheimer, known as the father of the nuclear bomb, and computer analyst Edward Snowden’s life following his decision to turn whistleblower. 

Stone directed the film Snowden, a task which involved navigating numerous obstacles, including gaining access to the real Snowden, by then in Russia, himself. 

“Science gets slaughtered by politics,” he tells me.

In the shadow of the criticism on the Putin front, he admits that from an American perspective, for him to become involved with Snowden was, well… “beyond the pale". 

But despite – or perhaps because of – the Academy Award-winning director’s commitment to the truth, he’s not letting go of various facts as he sees them.

“There is no evidence as far as I’m concerned for the Russian hacking allegations,” he says, adding that this was an “assessment” from the US security services which turned into a “farce”.

He has read the detail for himself, he says – and he also appears on film looking like he believes Putin when the president says it’s nothing to do with him.

Back at home, the American domestic political situation has him as appalled as ever. He is critical, not only of Donald Trump, but the system the US president operates in. 

“It seems that the president does not have the power he thinks he has," he says. "You get elected, you think it’s a democracy, but there is this mechanism inside, this Deep State – intelligence agencies, military industrial, the generals, the Pentagon, CIA combined with other intel – which seems to have some kind of inner lock.”

Although Stone places characters at the heart of many of his films, he finds Trump hard to figure out.

“I don’t know what Trump’s mind is like, I think so few people do," he muses. "He says super-patriotic things suddenly like 'I love the CIA, I’m going to really support you, I love the military, I love generals, I love all that beautiful new equipment' – that he sold to Saudi Arabia.

“He also said, and it’s very disturbing, ‘the next war, we’re going to win’. As if you can win a war where you use cyber and nuclear and various weapons. He’s thinking this is a game like a child.

“The purpose of war is not to have one.”

Stone believes – as Trump initially seemed to profess – that Russia will be the chief ally in future for the United States: “They can be great partners in every walk of life, it’s crazy to have them as an enemy."

Nevertheless, he is not as slavish to the official Russian line as many have countenanced.

“I was able to shoot this documentary because of my reputation," he says. Some people say he pulled his punches, I counter.

“Gloves off, gloves on – the truth is, he sees things his way," Stone says. "I’m not there to change his mind, I’m there to show his mind.”

In his view, an observant watcher will learn about Putin just by watching him. "The camera doesn’t lie – the camera tells you things, body language, eyes – you can get a feel sometimes," he says. "I think if you watch all four hours you’ll see that we got an enormous amount of information."

Perhaps those who sit through those four hours will be satisfied that they know more about Putin – or about Stone himself. After all, if the camera doesn't lie, it doesn't lie for anyone.

As I leave the room, Stone raises his voice after me: “Don’t change my words.” He’s smiling broadly as he speaks.

Kirstie McCrum is a freelance journalist. Follow her @kirstiemccrum.

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