Throughout the past several years, many people treated hip-hop as a brilliant resurgence of women who dominate the spotlight and charts. Traditionally, women performed specific roles in hip-hop. Women have been objectified in hip-hop through various forms of media. However, the role of women has evolved over generations to acquire an almost the same state as that of men.

1. Surname 1
Name
Course
Professor
Date of submission
Evolution of Women’s Role in Hip-Hop
Introduction
Throughout the past several years, many people treated hip-hop as a brilliant
resurgence of women who dominate the spotlight and charts. Traditionally, women
performed specific roles in hip-hop (Tobias 423). Women have been objectified in hip-hop
through various forms of media. However, the role of women has evolved over generations to
acquire an almost the same state as that of men. Women have constantly risen beyond
societal stereotypes to create new forms of empowerment. Recent statements like “women
are running rap right now” can be heard to mean that they have attained significant growth in
representation and creative power within the Hip Hop industry (Pough 103). The study aims
at explaining the evolution of women and their roles in the Hip Hop and society. Women
have been sexually objectified and their rights trampled over the years (Veltre and Hadley
80). However, they have managed to rise beyond them. The study further focuses on putting
a spotlight on female hip hop pioneers and current female stars, and their role in the evolution
of women in the industry and society.
The evolution of women in hip-hop
Hip Hop began as a male-dominated genre. It was characterized by defiance and
rebellion. It comprised of witty rhymes and metaphoric punches coupled with the tale of
underdog who encountered certain wins against all impending odds. Proponents of Hip Hop
found solidarity, culture, spirituality, upward mobility, and loyalty in the genre (Henry, West
and Jackson 249). Outlaws, misogyny, overt sexuality, and patriarchal themes also

2. Surname 2
characterized it. Women were discounted and underrepresented. Often, men overly
sexualized, dismissed and overlooked the role of women in hip-hop. Some hip-hop songs
contained extreme anti-feminist content. Women could not get an opportunity to hold the
microphone. Their role was to sexualize the video. In cases where women were given the
microphone, they had to prove that they are more talented than their male counterparts. It
developed fear among women.
The rise of women in hip-hop started with the formation of girl groups. The first girls
group was known as The Mercedes Ladies. The ladies played the role of throwing parties to
the male artists (Veltre and Hadley 81). They could cook for the artists and males in different
hip-hop band. The ladies did not take part in recording and releasing songs. The group later
emerged as a movement that would feed generations. MC Sha Rock, who was a member of
the group, found an opportunity to join the Funky Four Plus One rap group. She was the only
lady in the band. She was the “plus one” (Pough 47). The group appeared on a national
broarcat television as guest performers in 1981. The group later broke up. Sha Rock formed
an all-female rap group known as “Us Girls.” It was an all-female rap group and it became
famous. The group marked the onset of shift in the perception of women in hip-hop industry.
The critically acclaimed Beat Street movie featured their music. Other female artists in the
group included Roxanne Shante and Lolita Shante.
Over the years, women rose in number and fame within the hip-hop industry. The 14-
year old Lolita later released “Roxanne, Roxanne” and “Roxanne’s Revenge” in
collaboration with Marley Marl (Henry, West and Jackson 250). The two songs became the
lady-hating anthem and battle response composition in the hip-hop industry. The two songs
resulted in the “Roxanne Wars,” which eventuated into a back and forth creative rebuttal. The
war accorded the female artists a voice in the hip-hop industry. Young female emcees rose to
the hip-hop stage and were able to create the stage name. In the late 1980s, female MC Lyta

3. Surname 3
became the first female emcee to sell millions of singles and albums (Durham, Cooper, and
Morris 722). Her lyrics changed the perception of hip-hop being a mere party vibe to
becoming a form of expression for societal issues. Her compositions addressed controversial
themes of racism, sexism and the drug epidemic, which were common issues in her
hometown Brooklyn. She was the first rapper to perform at Carnegie Hall and the first female
rapper nominee for a Grammy. Lyte introduced many like-minded women like Queen Latifa
to hip-hop. Queen Latifa’s artistry focused on encouraging women to embrace their heritage,
their mind, and their curves. She addressed social issues like the importance of safe sex and
the dangers of drunk driving.
The mid-90s marked a sexual turn for women in their rap persona. Lil Kim’s debut
album “Hard Core” contained raunchy lyrics. In the album, she addresses the issues of
femininity and sexuality. She emerged as the face of x-rated feminism and a sex symbol
(Rabaka 108). She motivated and empowered artists like Foxy Brown and Trina to reclaim
their sexuality. They supported to women to progress tremendously in the hip-hop industry.
From 2017, Nicki Minaj has emerged as the most relevant mainstream female rapper. She
uses her sexuality to challenge the patriarchal dominance in the hip-hop industry and in the
society. She focuses on female perseverance, empowerment, and sovereignty in the male-
dominated society.
The intersection of gender and hip-hop
Hip-hip has constantly emerged as a homophobic, male dominated, and sexist genre.
In the history of hip-hop, the participation of women has revolved around the whole lot of
sexism (Rabaka 301). The manner in which women have been treated and talked about in the
society is similar to hip-hop sexism. It reflects the garden-variety sexism of the society.
Women artists through these experiences teamed up to change the aspect of sexism, which a
common trend in the hip-hop industry. The rap music industry comprised on gangster movies

4. Surname 4
and pornography aesthetics (Henry, West and Jackson 246). The rap productions portray
women as pornographic objects. Many women during the previous years spoke the language
of the porn star.
Women in hip-hop faced long-time objectification and depreciation. Male rappers
remained unchallenged in using the objectification of women. In one perspective, female
rappers behave in a particular way that also contributed to their objectification (Veltre and
Hadley 81). For female rappers to attain the societal expected standards, they need to abide
by certain societal standards. Female artists need to again acceptance among male fans and
industry influencers. They need to be creative, skilled and knowledgeable at their craft. They
need to dress and adorn well avoid exposing their bodies to the fans. Male artists have gained
significant acceptance among the female fans because of their decent attire (Pough 103).
Unless female rappers work on their adornment, it would be difficult to overcome the
objectification and depreciative issues facing them in the society. Female artists like Nicki
Minaj and Megan Thee Stallion released lyrical content that encourages sex and money.
These songs attracted immense mainstream success and praise despite their support for issues
that the female rappers have consistently challenged.
How women’s role in hip-hop allows for empowerment and breaking of norms
At the very inception of hip-hop culture, women consistently emerge at the forefront
of the genre. Although the society did not acknowledge and treat them with similar respect to
that of their male counterparts, they remained focused deal with misogyny. Strong,
multifaceted and empowered women emerged to carry on the legacy of the previous artists
and to uplift others. Women in hip-hop such as Cindy Campbell challenged the existing
cultures to gain a long-standing commercial success as a hip-hop artist (Henry, West and
Jackson, 243). She began the major shift in the industry. It made women believe that they can
also perform well in the music industry. Many women joined and thrived in the hip-hop

5. Surname 5
industry. It helped many women to achieve industry success. In the 1990s and 2000s, several
women joined hip-hop and attained commercial success in the music industry (Rabaka 214).
Lauryn Hill established strong female empowerment anthems such as “Ladies First” and
“U.N.I.T.Y.”, which inspired more women into the industry.
The expression of women femininity in hip-hop has constantly empowered hyper-
sexuality and hyper-femininity in the contemporary society. Many women felt empowered in
the hip-hop industry leading to immense collaboration and support (Pough 127). Based on
this empowerment, women in other fields have continuously teamed up to support and help
other women flourish. Just as the female rappers are penetrating the dominant patriarchal
culture in the hip-hop industry, they have expanded their influence in other male-dominated
professions.
Many hip-hop artists currently use certain lyrics to change certain cultures in the
society. Henry, West and Jackson (237) stated that they continuously advance from
conforming to traditional feminist ideals and the show of gender fluidity to addressing
pertinent issues that affect women in the society. Their lyrics challenge preconceived notions
of women in general. They have shifted from focusing on women in the hip-hop industry
alone. They continue to focus on creating a wider platform for women to thrive and work in
meaningful environment not only for them but also for the broader society.
Hip-hop feminism, also referred to as black feminism, has been instrumental in
addressing issues of race, gender, class, and sexuality among black women. Female artists
pointed out that the American society is treated black women harshly based on these issues
(Rabaka 214). It has created hierarchical relationships, which has prevented black women
from rising up. Hip-hop feminism focused on liberating women from white supremacy and
advancing the rights of women. In other words, they referred to it as Women’s Liberation
Movement. It became the primary avenue for young black women to grow and become equal

6. Surname 6
to other women in America and other parts of the world. The women of the hip-hop
generation used their acquired feminist consciousness to empower and solve some of the
problems they faced.
Conclusion
Women have undergone a series of evolutionary stages in the hip-hop industry. The
issues of gender and sexuality were the common issues women faced in the industry. Women
used their lyrics to promote the attributes of femininity. Lyte used her language as a woman
to criticize and stereotype men. Other artists like Queen Latifa glorified the female gender to
empower women. Other female artists like Nicki Minaj rejoiced woman sexuality as a way of
empowerment. The rappers today continue to emphasize in the need for change in the
society. They promote explicit feminist ideals not only in the contemporary hip-hop industry
but also in the society in general. The efforts of these rappers have been helpful in liberating
black women and enabling women to penetrate male-dominated professions. It has also
changed the societal view of women.

7. Surname 7
Works Cited
Durham, Aisha, Brittney C. Cooper, and Susana M. Morris. "The stage hip-hop feminism
built: A new directions essay." Signs: Journal of Women in Culture and Society 38.3
(2013): 721-737.
Henry, Wilma J., Nicole M. West, and Andrea Jackson. "Hip-Hop's influence on the identity
development of Black female college students: A literature review." Journal of
College Student Development 51.3 (2010): 237-251.
Pough, Gwendolyn D. Check it while I wreck it: Black womanhood, hip-hop culture, and the
public sphere. Northeastern University Press, 2015.
Rabaka, Reiland. Hip hop's inheritance: From the Harlem renaissance to the hip hop feminist
movement. Lexington Books, 2011.
Tobias, Evan S. "Flipping the Misogynist Script: Gender, Agency, Hip Hop and Music
Education." Action, Criticism & Theory for Music Education 13.2 (2014). 421-438.
Veltre, Vanessa J., and Susan Hadley. "It’s bigger than hip-hop." Therapeutic uses of rap and
hip-hop (2012): 79-98.