More Than A Magazine, A Movement
Renaissance—Beyoncé Knowles-Carter’s fifth self-directed film—is about how to shine your light, how to give others shine, and how to sit in darkness until the light comes again.
In this season of light, we have a tremendous opportunity to observe a Black woman in her prime at 42 years old making art, working at her craft, raising her children, and surrounded by a strong network.
Both a product (albums! cassettes! posters!) and a destination (rallies! concerts! festivals!), women’s music fused feminist politics, woman-staffed sound production and grassroots folk traditions to create a bold new recording and performance network. When we had no rights at all, women’s music was also the sound and site of the lesbian revolution. This year we celebrate the musicians and producers who, across five decades, gave us the soundtracks and spaces affirming our lives.
In Cardi B and Meg Thee Stallion’s “Bongos” and Flyana Boss’ “You Wish,” Black women hip-hop artists create spaces for pleasure, joy and sisterhood. If this is what hip-hop’s feminist future looks like, we’re here for it.
Currently, three women—Barbie, Beyoncé, and Taylor Swift—seem to be running the world, or at least the economy judging by record-shattering tour and box office revenues. But, as in the case of Beyoncé and other female artists of color, this success does not translate to deserved recognition from prestigious institutions.
“The message young women absorb is that unless you are a one-in-a-generation talent like Lauryn Hill or Whitney Houston, female artists of color can kiss goodbye any hope of wide-scale recognition by the Recording Academy.”
Aisha Durham and Regina Bradley are both hip-hop feminist scholars who focus on the South. Both spoke with Ms. contributing editor Janell Hobson to discuss the upcoming 50th anniversary of hip-hop, the origins of Southern hip-hop, how women continue to shape the genre—and, of course, their favorite feminist hip-hop anthems. (This article is part of “Turning 50,” which recognizes the women who shaped hip-hop.)
“Hip-hop started in New York but it didn’t end there,” said Bradley. “You probably wouldn’t have a robust hip-hop scene today without the Southern sound.”
Girls are showing up, shaping popular culture for the better. Their choices tell us about friendship, connection, and how to forge joy in this world.
Of course, the power of girls as consumers and taste-makers isn’t new. And life remains pretty damn hard for young people. But when I see the Swifties in their ecstatic thrall, or the pink-clad Barbie hordes stampeding toward the theater, I think: We could all use a little more of that sincerity and exuberance in our lives.
“No one’s going to protect or lift up our legacy,” said Dee Barnes, the first Black woman hip-hop journalist and a member of the duo Body and Soul. “We can’t wait on the men.”
(This series is part of “Turning 50,” which recognizes the women who shaped hip-hop.)
The Hip-Hop Feminist Syllabus is a comprehensive resource list of sources relating to hip-hop’s impact on gender, race and feminism on the occasion of hip-hop’s 50th anniversary in 2023.
(This series is part of “Turning 50,” which recognizes the women who shaped hip-hop.)
Part of “Turning 50“—an exploration of women in hip-hop and their role in the feminist movement—here are 10 notable songs and five momentous albums from the last five decades, with in-text explainers from editor Janell Hobson.
A feminist history of the past five decades of hip-hop ought to be told. Far from being secondary players, women and girls have been integral to this cultural phenomenon.
(This series is part of “Turning 50,” which recognizes the women who shaped hip-hop.)
