Move over Nicki Minaj, meet the women making queer hip hop their own

Forget homohop, meet lesbo hop.

You haven't lived until you've seen a lesbian hip hop duo rap about best pussy eating technique to three hundred excited women. Best known for their appearance on lesbo-drama TV series The L Word, hip hop act God Des and She enchanted the crowd at long-standing London queer night Bar Wotever last week. Bringing a signature mix of rapped swagger and ovaries-busting soul - “You and me together we got that vibe/Plus I'm a ten and your girl is a five” -  they ensured there wasn't a dry seat in the house. 

Yet despite being regarded as queer hip hop “pioneers” by EvOn, another lesbian rapper and writer of the LGBT Underground blog, many in the audience of dykes, queers and assorted misfits had only vaguely heard of them before the show. 

Lesbian hip hop isn't a new phenomenon, but you might be forgiven for thinking so. The enthused critical reception queer male rapper Le1f's booty-shaking, undeniably catchy number “Wut” received last summer spawned an excited flurry of articles on the increasing recognition of “homohop” – homosexual hip hop – within mainstream hip hop. But a few token references to Nicki Minaj aside, the queer rappers heralded as an innovative new wave in hip hop were almost invariably men. Their experiments with feminine gender expression and re-reclamation of the word “cunt” (“CUNTspiracy”, “cunty”) were sexy and clever, but also highlighted the lack of queer women rappers with an equal hold on the public.  

“This is a guy's world so you know, people are writing about queer guys. I don't think that a really butch dyke, a super butch dyke, no matter how good she was, could be successful in the mainstream,” God Des, the slick haired, sparkly-eyed, 'rap' half of the duo tells me. Though commercial hip hop star Azealia Banks is openly bisexual, she denies that her sexuality is a feature of her music. And even if female bisexuality is accepted as titillating, few popular women musicians have yet been able to proclaim their sexual unavailability to men. “We need some ugly girls to make it coz they're dope and that's why people like them,” God Des adds, “you know there's a lot of ugly dude rappers that are famous as hell.” 

Hip hop gets a bad rap. So over-used that they're part of the scenery, “bitch”, “ho”, “faggot” and “slut” are the lyrical bread and butter of a multitude of commercially successful male rappers. Perhaps it's unsurprising that some lesbian rap draws on the same tired tradition. In the mouths of probably the best known lesbian hip hop group, the aggressively macho, influential Yo Majesty, similar lyrics feel fresher – if just because spoken by women – but do little to subvert stereotypical norms. The line: “Bootylicious very yummy/In my dictionary honey/Get down on the floor/Now drop it down low,” from the innovatively titled “Booty Clap”, wouldn't be out of place on any Ludacris album. 

But other queer women hip hop artists have found newer voices, carving unconventional tracks into a genre that also holds room for challenges to its own established order. Self-described pansexual rapper Angel Haze's raw take (trigger warning) on Eminem's “Cleaning Out My Closet” puts the original version of the song to shame. Haze's devastating, challenging overdub gives her side of the story – the other side of the world-view that sees women as commodities. It's the version of events that usually goes untold, silenced by the mass of gyrating asses and tits that create a figurative MTV-branded cultural smokescreen. She warns: “Disgusting right? Now let that feeling ring through your guts.” In doing so, Haze demonstrates the kind of impact that hip hop can have when done well.

“We're kind of like hip hop for people that normally don't like it,” says She, the self-appointed diva, femme and singing half of God Des and She. “We have the capability to make a 45 year old white lesbian who would never ever listen to rap music now feel like, this is my shit.” Their ability to reel in women who are more Tegan and Sara than Snoop Lion may be partly about race  – both are white – but it is also to do with the breadth and accessibility of their music, which combines pop, soul and disco to create a hip hop fusion.

They're also funny. Like many male rappers, God Des and She have bravado, but it's non-violent and machismo-free, poking fun at the genre's conventions. “Lick It”, God Des and She's most (in)famous song, is a homage to cunnilingus (“We were teaching straight guys to lick pussy, because they're really the ones that need help”). Set in a regrettably imaginary “pussy eating 101” classroom, the video features a giant dancing tongue, drag king Murray Hill, an ice cream van, a synchronised dance routine and a game of “find the G spot”.  

Video aside, the lyrics are memorable enough on their own, somehow managing to communicate the merits of a holistic approach to oral, the extensive possibilities for women's sexual pleasure and the agency of all involved. Directions like: “Don't be bland, better act creative/Be on top of your game and be innovative/Experiment a bit and change it up/Lick a little lower then put it in her butt”, are simultaneously words of wisdom (depending on your preference)  and an antidote to musicians of all genres who take themselves too seriously. 

The use of humour isn't exclusive to God Des and She, of course. Yo Majesty member Shunda K's single “It's time to get paid” takes on the broader music industry's culture of conspicuous consumption; an ideology which dictates that prestige lays in purchase-power. The video tracks Shunda K and “fist-funk” musician Snax as they shop for groceries in the aisles of a supermarket, complete with shopping trolley and obnoxiously played-up wads of cash. There's also a delightful cameo appearance from electroclash artist Peaches as a bitchy cloakroom attendant. Shunda K's light mixture of rap, electro and funk acts as a fun, musical categories-melding vehicle for the song's self-deprecating message. 

A similar experimental approach to genre can be found in the neo-soul of Seattle-based duo THEESatisfaction and soft spoken-word of “anti-swagger political queer” Egyptian-Canadian rapper MC Jazz. In “Pause”, THEESatisfaction, who are also lovers, challenge the homophobic hip hop convention of using the words “pause” or “no homo” to distance the speaker from homosexuality: “Homo/and you pause/hetero/and you pause/homo/coz they say/oh no!” The off-beat, minimalist vibe enables THEESatisfaction to convey a defiantly political message without proselytising.  Equally relaxed and sparse, MC Jazz's “Lay Down” – also her debut video – makes lesbianism sexy without losing authenticity. In a sultry, rhythmic undertone MC Jazz confidently articulates the trajectory of a same-sex sexual encounter: “This is how we make love”. 

Artists making niche or counter-cultural hip hop face an uphill fight: against both the racism of wider culture and the dominant voices within the scene itself. Queer women doing hip hop contend with the homophobia, misogyny and racism that still dictate the ways women are allowed to make it in music: almost anything goes as long as it's sexy – and men get to decide what sexy is. But as God Des and She finish their set with shouts of “do that pussy right”, the cheers from the dancing, flush-cheeked audience are resounding. It's easy to put the struggle to one side and get on with enjoying the music. Forget homohop. If lesbo hop isn't it's own, standalone scene yet, it damn well should be.

God Des and She have just released their fourth album, United States of God Des and She. It can be heard at www.god-desandshe.com.

God Des and She.

Ray Filar is a freelance journalist and an editor at openDemocracy. Her website is here.

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Robert Harris: Some of our great political leaders have crossed the floor. But it takes courage

Jeremy Corbyn is the very opposite of the man the times call for – so progressive politicians need to find new ways to take the fight to the Tories.

The big picture in recent years has been the collapse of the left-wing project across the world. But in Britain, in particular, there are institutional reasons. I can’t quite understand how the members of the Parliamentary Labour Party can sit there day after day, month after month, year after year, knowing that they’re simply heading towards a kind of mincing machine at the next election. It’s like waiting in a prison room, waiting to be taken out and shot one by one, when there are enough of you to overpower the guards.

If you look back over British political history, some of the great political leaders have crossed the floor: Gladstone, Joseph Chamberlain, Churchill – and Jenkins, Owen, Rodgers and Williams in 1981. Whether these people turn out to be right or wrong – and mostly they turn out to be right – there’s a certain courage in the action they took. There seems to be no one with the big vision to do anything comparable in the Labour Party.

It’s not fashionable on the left to say this, but individuals are hugely important. I think if there had been a canny and effective leader in place of Jeremy Corbyn we may well not have had Brexit. But as it is, Labour has provided no rallying point for the nearly half the nation that doesn’t want the course the country is set on, and that is such a colossal failure of leadership that I think history will judge the PLP extremely harshly.

The New Labour project was based on a kind of Crossmanite view that through economic growth you would fund ever-improving social services for the entire country. That worked very well until we had the crash, when the engine broke down. Suddenly there was a wilderness in the leadership of the Labour Party. At the same time, the Liberal Democrats had imploded with their alliance with the Tories. There was no opposition.

Our familiar view of the Labour Party is over. That is not coming back. Scotland is not going to be recaptured. So there can never be a Labour government of the sort we’ve seen in the past. One just has to adjust to that. What I would have liked to have seen is some grouping within Labour in parliament, whether around the Co-operative Party or whatever, that would have been able to take the fight to the Tories. But who would lead such a group? We don’t have a Jenkins or an Owen. There doesn’t seem to be anyone of comparable stature.

We all thought that Europe would smash the Tories but actually Europe has smashed Labour. There has obviously been some sort of fracture between the white-collar workers and intellectuals – that Webb, LSE, New Statesman tradition – and a large section of the working class, particularly in the Midlands, the north and Scotland. It’s an alliance that may be very hard to put back together.

Corbyn is the very opposite of the man the times call for. They call for a politician who can master a brief who is also nimble on his feet: but that is the sort of figure the Corbynites revile. You simply can’t have a leader who doesn’t notice when the Tories abandon a manifesto pledge on tax and can’t ask a couple of questions with a quarter of an hour’s notice. The Tories haven’t really gone to town on him but once they get back on to the IRA support and the views expressed in the past, Labour could easily drop to about 150 seats and we could be looking at a 1931-style wipeout.

The fact is that the extra-parliamentary route is a myth. Brexit is being pushed through in parliament; the battle is there and in the courts, not with rallies. You can have a million people at a rally: it’s not going to alter anything at all. It seems as if there has been a coup d’état and a minority view has suddenly taken control, and, in alliance with the right-wing press, is denouncing anyone who opposes it as an enemy of democracy. It requires a really articulate leadership to fight this and that’s what we’ve not got.

The only possibility is a progressive alliance. These are not great days for the progressives, but even still, they make up a good third of the electorate, with the rest to play for. 

If there was an election tomorrow I’d vote for the Liberal Democrats, and I think an awful lot of Labour people would do the same. The Lib Dems offer a simple, unequivocal slogan. You would have thought the one thing John McDonnell and co would have learned from Trotsky and Lenin – with his “Peace, land, bread” – is that you offer a simple slogan. Who knows what Labour’s position is? It’s just a sort of agonised twist in the wind. 

Robert Harris’s latest novel is “Conclave” (Arrow)
As told to Tom Gatti

This article first appeared in the 30 March 2017 issue of the New Statesman, Wanted: an opposition