Tupac, Eminem, Kanye West. These names ring a bell for many people. The rise of hip-hop as mainstream music since the beginning of the century has been remarkable. It is now one of the most popular genres of music. However, the industry remains male-dominated, where men often describe women in degrading terms.
The early 2010s saw female rappers such as Cardi B, Nicki Minaj, and Megan Thee Stallion rise to fame. These women are now a vital part of the rap universe, renowned in the industry. This trend continues, with newcomers like Doechii, Ice Spice, and Flo Milli gaining popularity. As the hip-hop industry finally witnesses an increase in popular female artists, we desperately try to name the Queen of Rap. Fans and listeners are constantly asked to “crown” an artist, to put on a pedestal and become the best of the industry. It is as if women need to be relentlessly compared and hierarchized. Women are constantly forced to be in competition with one another to achieve a greater status. This urgency to place one, female rapper above all other women in the field is deeply misogynistic. This demands us to ask the question: when our efforts could go towards promoting ground-breaking music, why do we instead pit women against each other?
There is a need to “crown” a Queen of Rap because female rappers are not judged by the same standards male rappers are. Where men often rap about their sexual fantasies, women face serious backlash for doing the same. In the same way, many male rappers at once can be famous, but there can only be a few famous female rappers. Rapping is considered to be a male occupation. Therefore, we often feel the need to specify the gender of female rappers as if they cannot compete in the same category as their male counterparts. The hypersexualization and objectification of women in the industry serves as an excuse to diminish the credibility of female rappers. For instance, many rap songs, mostly written by men, contain lyrics depicting crude sexual acts done to or by women – without a single thought going towards their often dubious consent. The lyrics of “Carnival” by Kanye West and Ty Dolla $ign is a striking example. Moreover, music videos commonly feature female nudity or suggestive dancing, such as NLE Choppa’s “Slut Me Out” where women are portrayed not only as objects of desire, but also as objects to carnally conquer and possess. Women are reduced to objects with the sole purpose of fulfilling male desires.
However, when female rappers portray themselves in sexually explicit ways, using this male gaze to their advantage sex unsurprisingly becomes a successful marketing tool, yet it is still deemed inappropriate. Any sexual expression is taken as evidence that female rappers lack self-respect, that they “set the entire female gender back by 100 years” according to DeAnna Lorraine, a Republican Congressional Candidate. It is considered unacceptable for women to use their sex appeal for commercial purposes and the music industry, as well as the general public, cannot stand to see female rappers subvert traditional gender dynamics. A striking manifestation of this tendency is Ceechynaa’s song “Peggy,” which went viral when it was released in 2024. Rather than receive the praise male rappers obtain for the sexually explicit themes in their music, suddenly, Ceechynaa’s crude lyrics, regarding men, were problematic for many listeners. Funnily enough, no one batted an eye at NLE Choppa’s “Gang Baby”, released the same year; a song that also went viral, but for its catchy beat rather than for its almost pornographic lyrics.
Taking a look at pop music, it is clear that the need for hierarchization isn’t as important. Think of Taylor Swift, Sabrina Carpenter, and Tate McRae; while there is competition between these female pop artists, there is no rush to designate just one best artist. The racial dimension is undeniable as the majority of female rappers are women of colour. Female rappers are undoubtedly held to higher standards of excellence, having to jump through more hoops than white women. Firstly, the hypersexual image of Black and Latina women denigrates these women and consequently, encourages the idea that their art cannot be taken seriously. Women of colour also face many double standards as white artists are praised for the same promiscuity that women of colour are condemned for. Sabrina Carpenter’s albums “Short n’ Sweet” and “Man’s Best Friend” are filled with sexual innuendos, yet she remains one of the most popular artists of the moment. Female rappers, however, receive much more criticism for such behaviors. As stated earlier, Ceechynaa’s song “Peggy” got significant backlash online. “WAP” by Cardi B and Megan Thee Stallion, while performing well in the charts , received harsh comments for its explicit lyrics.
Decades after the popularization of rap, as more female artists enter the industry, hopefully we will start to celebrate collaborations instead of competition, and put to rest the matter of a “Queen of Rap.”