Much like sport or movements, music often carries with it a culture. We see it in the bucket hats and Dickies jumpsuits sported by early day kwaito stars, the carefully curated lifestyles of R&B crooners and even the drug-infested world of rock stars with their never-ending parties.
When it comes to hip hop, there is a sense of political spirit that fires the genre. Throughout the years since it was founded, rapping has gone from a fun style of delivering lines in blues music to a charged genre of music that has become a punchier form of poetry. Even the many beefs of its rappers have helped create small milestones within hip hop as a whole.
In the early 2000s, hip hop took an era-defining turn as a more gangster rap influenced style came into prominence. Fighting the power was overshadowed by rags-to-riches stories that allowed club anthems to dominate. Sadly, this ushered in a much more distinct misogyny of women and bigotry towards queer individuals.
Today’s trap echoes this allegiance where very few women are given the space to dominate the industry that has become a boys club with a unilateral acceptance of what makes a great hit.
This is why 2021 becomes such a crucial year for hip hop. As critical and commercial successes, Doja Cat, Nicki Minaj, Beyoncé and Megan the Stallion made history with their respective collaborations. A musical camaraderie that has seen the success of vocal powerhouses like Chaka Khan, Brandy and Gladys Knight among others dominated as the stars of I’m Missing You. And who could forget the classics of Whitney and Mariah or Lil’ Kim and Missy Elliot coming together with other artists, standing through the test of time?
While international female artists have rarely had as many successful collaborations in the past, they have become powerful political activists in their own respects. Something that is slightly rare with their male counterparts, especially proven by the recent controversy with DaBaby.
At a recent concert, the rapper shared hateful and homophobic comments which resulted in a call to cancel the rapper. This was followed by fans and industry favourites like TI who defended his views. The rapper went on to release statements, defending his views under the belief that black men (who dominate the genre) are under attack.
These stale views are nothing new and have seen comedians, actors and many (unfortunately) black artists become disappointments as idols. With many women in the international hip hop industry often advocating for equality, male rappers become a dull shadow of the past, best left in the recycle bin with CDs and cassette tapes that no-one really needs in the world today.
More women need to take over in the hip hop industry, especially on the local front where these same opinions run rampant.
You are more likely to see industry heads butt together and have men collaborate for issues like gender-based violence than you are likelier to see women be afforded that opportunity. The SA music industry sits as a chasm that does not allow its women to do as they would freely.
With each of their collaborations a commoditised effort best sold with sex, a revolution in music is needed where women and LGBTQIA+ musicians can become the heads of a much-needed rap renaissance.
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