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.