Sexyy Red and GloRilla’s recent XXL interview brought attention to a persistent critique: the claim that female rap is “too sexual.” They rightly called out the double standard in how women’s explicit lyrics and visuals are scrutinized while men in the same space are celebrated.
I like your perspective on this, and I definitely understand the point about the industry or the “system” promoting these women’s music. However, I have another take: what about accountability within our own culture? We are the ones consuming this music and giving it the attention that keeps it at the forefront.
Instead of blaming the system entirely, we need to ask ourselves why we continue to support and prioritize this one image of Black womanhood. There are so many other Black women out here creating music, art, and stories that celebrate our complexity—women who are intellectual, introverted, or focused on activism—but we don’t give them the same energy. If we really want change, we have to start making different choices about what we consume and uplift.
This isn’t about tearing anyone down or saying these artists don’t deserve success. I just think it’s important hold ourselves accountable for what we engage with and asking if we’re truly supporting the “diversity” we say we want to see. At the end of the day, the industry can only profit off what we give attention to, and that’s where we have power to make a difference.
First, thank you so much for taking the time to read what I wrote! You could’ve been doing anything else and I’m humbled.
Secondly, I agree 1000%! I’m usually deemed “anti black” when I say it, but I actually believe the same thing. As a community we have to be just as eager to point out our own role in the situation as we are to highlight the actions of the machines, systems, etc. Whether we want to admit it or not, we’ve powered them. We’ve definitely done our damage by putting that type of representation on a pedestal and taking the bait.
I think one of the errors we’ve made as a culture is choosing to double down on the lived out caricature as a way to reclaim the narrative we didn’t like. The thought process of “You think we’re hyper sexual? We’ll show you how sexual we can be” believing it’s proving “them” wrong.
You’re welcome! And hey girl, guess what? I’m also labeled as “anti-black” because I’m heavy on accountability in black culture. That’s exactly why I’m so passionate about these topics and why I care so much about our culture too.
I feel like there’s also something to the way sex + sexuality is discussed within the music and lens it’s under. A lot of it is very male gaze-y to me a performance that feels less empowering and more “competitive.”
Love this thoughtful piece. Really loved Tierra Whack’s album this year and feel it wasn’t appreciated enough! What other rappers are you listening to? I’m looking for new music! Love what I’ve heard from Little Simz, I need to dive into her discography more. Also enjoyed Doechii’s Alligator Bites Never Heal.
Hey Paige! Thank you so much for reading my piece. You could’ve been doing anything else so I am grateful and humbled.
Lately Chika has been on repeat! I love her creativity, authenticity, and storytelling. You can tell she genuinely studied the craft of rapping and prides herself on keeping the art’s essence alive.
Have you heard the album “I Don’t Rap About My Pu$$y” by She Real? It’s basically this article in the form of a rap album and it’s amazing. The artist sells her music herself on her website sherealtalk.com. It’s one of the best albums I’ve ever heard 🔥
I have less than zero interest in sexualized music. I know nobody cares what I think, but maybe consider that millions of people like me exist and we are never going to listen to your stuff. We want to listen to good music. If we wanted a fucking only fans thing, we’d go there.
Such a necessary read/reminder! I’ve been falling out of love with the genre and craving more multifaceted storytelling. I deeply enjoy the artists that are making their own way, excited and hopeful for departure from the mainstream dreams all together.
I know we want to see everyone reach the “top” of their craft but maybe they’re already feeling that in getting to flex the full expression of their art. Something like Doechi choosing to do a “mixtape” and later her label will curate giving something else for the mainstream wave that more closely resembles her creativity. That seems like a potential move.
The tragedy of modern rap isn’t just its content. It’s the fact that we’ve convinced ourselves it’s culture. That it’s expression. That it’s “Black.” But what we call “hip-hop” today—what we praise and protect with blind loyalty—bears a closer resemblance to D.W. Griffith’s Birth of a Nation than to any real liberation.
That film, as vile as it was, left behind a blueprint: depict Black people as hypersexual beasts, as violent, morally vacant, incapable of discipline or progress. That was the lie. And today’s rap scene—its loudest voices, its most “viral” names—have embraced that lie like gospel. They don’t challenge the narrative; they perform it. Loudly. Proudly. For profit.
Sexy Red raps about being a walking sex act, and we’re told she’s empowering. Drill rappers call themselves savages, brag about murder, and we’re told they’re just telling their truth. But no one wants to say what’s really happening: these are minstrel shows for the digital age. Just updated, stylized, and broadcast through billion-dollar pipelines.
What we’re watching is not rebellion. It’s not art. It’s weaponized regression—engineered, packaged, and sold back to us by an industry that’s figured out there’s more money in our self-destruction than in our salvation.
And the most sinister part? There’s a choir of voices—educated voices, professional voices, voices with platforms—ready to defend it all. They dress it up in language about representation, autonomy, and liberation, but all they’re doing is handing out gold-plated chains and calling them crowns. These defenders mistake degradation for visibility, and celebration for progress. But what they protect isn’t culture—it’s a pipeline. One that turns trauma into profit, death into spectacle, and our daughters into punchlines.
These artists—and let’s stop calling them that—aren’t speaking truth to power. They’re echoing the very caricatures white supremacy laid out for us over a century ago. Only now, they’re better paid for it. And what’s worse, they know exactly who they’re killing. Not just lyrically. Not just metaphorically. Literally. They flood their own communities with poison and bullets, then brag about it over beats—and the world claps along.
And when someone dares to call it out—when someone refuses to bow to the altar of mediocrity and moral decay—they’re shamed for “not supporting Black voices.” As if supporting Blackness means applauding our own extinction.
But here’s the truth: If D.W. Griffith were alive today, he wouldn’t be making propaganda. He wouldn’t need to. He’d be in a boardroom, sipping champagne, watching Sexy Red videos on loop while checking drill lyrics for sample clearance. Because the job’s already done. The image is secured. The lie is now a lifestyle.
And we’re all being told it’s something to be proud of.
But some of us remember what pride actually looks like. And some of us aren’t interested in watching our culture bleed out while the world throws money at the ones holding the knives.
I just think all representation is not needed representation. If the representation I’m getting makes it so people assume I’m unintelligent and can only set my brain to twerk mode then I really don’t need that kind of representation. These are, after all, the people corporations would rather focus on in comparison to black girls that didn’t grow up in extreme poverty and for lack of a better term are “normal”. There are plenty of black girls/women like me who don’t have this extreme caricature stereotypical lifestyle except we all get thrown under the proverbial bus because of female rap. It’s honestly irritating and has really put me off of it lately.
Really good stuff, but I disagree that Megan Thee Stallion's performance for Harris was in any way beneficial to Democrats overall. Yes, we need proper representation from all walks of life, and showcasing art and culture at these events can send the message to voters that you are "in the know". And of course artists of any gender should be free to express sexuality. But unfortunately, we still rely on votes from the type of people who think that a performance like that is anywhere from "uncomfortable" to "improper", and while I'm sure that Megan Thee Stallion's performance didn't directly damage Democrats, the results of the election showed that a number of things went wrong for us, and the image of Black America under Harris may have been one of them. Our election systems requires us to appeal as broad an audience as possible, and I think this performance missed that mark.
I thought the music industry was about selling music. If women must sexualise themselves to get their music to more people then that is an Anthropological problem. Not an industry problem. Is success really about how many records you sell or is it about the artist's music?
I don’t understand what you mean by ‘Anthropological problem’. Can you explain? Success in the music industry is about how many records are sold, the reach you have in terms of audience, and ticket sales. How else are they making music and earning money?
I like your perspective on this, and I definitely understand the point about the industry or the “system” promoting these women’s music. However, I have another take: what about accountability within our own culture? We are the ones consuming this music and giving it the attention that keeps it at the forefront.
Instead of blaming the system entirely, we need to ask ourselves why we continue to support and prioritize this one image of Black womanhood. There are so many other Black women out here creating music, art, and stories that celebrate our complexity—women who are intellectual, introverted, or focused on activism—but we don’t give them the same energy. If we really want change, we have to start making different choices about what we consume and uplift.
This isn’t about tearing anyone down or saying these artists don’t deserve success. I just think it’s important hold ourselves accountable for what we engage with and asking if we’re truly supporting the “diversity” we say we want to see. At the end of the day, the industry can only profit off what we give attention to, and that’s where we have power to make a difference.
First, thank you so much for taking the time to read what I wrote! You could’ve been doing anything else and I’m humbled.
Secondly, I agree 1000%! I’m usually deemed “anti black” when I say it, but I actually believe the same thing. As a community we have to be just as eager to point out our own role in the situation as we are to highlight the actions of the machines, systems, etc. Whether we want to admit it or not, we’ve powered them. We’ve definitely done our damage by putting that type of representation on a pedestal and taking the bait.
I think one of the errors we’ve made as a culture is choosing to double down on the lived out caricature as a way to reclaim the narrative we didn’t like. The thought process of “You think we’re hyper sexual? We’ll show you how sexual we can be” believing it’s proving “them” wrong.
You’re welcome! And hey girl, guess what? I’m also labeled as “anti-black” because I’m heavy on accountability in black culture. That’s exactly why I’m so passionate about these topics and why I care so much about our culture too.
I feel like there’s also something to the way sex + sexuality is discussed within the music and lens it’s under. A lot of it is very male gaze-y to me a performance that feels less empowering and more “competitive.”
Love this thoughtful piece. Really loved Tierra Whack’s album this year and feel it wasn’t appreciated enough! What other rappers are you listening to? I’m looking for new music! Love what I’ve heard from Little Simz, I need to dive into her discography more. Also enjoyed Doechii’s Alligator Bites Never Heal.
Hey Paige! Thank you so much for reading my piece. You could’ve been doing anything else so I am grateful and humbled.
Lately Chika has been on repeat! I love her creativity, authenticity, and storytelling. You can tell she genuinely studied the craft of rapping and prides herself on keeping the art’s essence alive.
Have you heard the album “I Don’t Rap About My Pu$$y” by She Real? It’s basically this article in the form of a rap album and it’s amazing. The artist sells her music herself on her website sherealtalk.com. It’s one of the best albums I’ve ever heard 🔥
Thank you for sharing! I'll have to check it out ASAP!
A necessary essay! Well argued
Thank you so much!
This is excellent. Boiling down experience to only ONE way is exactly the issue. Thanks for writing and sharing this with us!
No, thank you for reading and sharing your thoughts. I'm humbled and forever grateful.
I have less than zero interest in sexualized music. I know nobody cares what I think, but maybe consider that millions of people like me exist and we are never going to listen to your stuff. We want to listen to good music. If we wanted a fucking only fans thing, we’d go there.
Such a necessary read/reminder! I’ve been falling out of love with the genre and craving more multifaceted storytelling. I deeply enjoy the artists that are making their own way, excited and hopeful for departure from the mainstream dreams all together.
I know we want to see everyone reach the “top” of their craft but maybe they’re already feeling that in getting to flex the full expression of their art. Something like Doechi choosing to do a “mixtape” and later her label will curate giving something else for the mainstream wave that more closely resembles her creativity. That seems like a potential move.
The tragedy of modern rap isn’t just its content. It’s the fact that we’ve convinced ourselves it’s culture. That it’s expression. That it’s “Black.” But what we call “hip-hop” today—what we praise and protect with blind loyalty—bears a closer resemblance to D.W. Griffith’s Birth of a Nation than to any real liberation.
That film, as vile as it was, left behind a blueprint: depict Black people as hypersexual beasts, as violent, morally vacant, incapable of discipline or progress. That was the lie. And today’s rap scene—its loudest voices, its most “viral” names—have embraced that lie like gospel. They don’t challenge the narrative; they perform it. Loudly. Proudly. For profit.
Sexy Red raps about being a walking sex act, and we’re told she’s empowering. Drill rappers call themselves savages, brag about murder, and we’re told they’re just telling their truth. But no one wants to say what’s really happening: these are minstrel shows for the digital age. Just updated, stylized, and broadcast through billion-dollar pipelines.
What we’re watching is not rebellion. It’s not art. It’s weaponized regression—engineered, packaged, and sold back to us by an industry that’s figured out there’s more money in our self-destruction than in our salvation.
And the most sinister part? There’s a choir of voices—educated voices, professional voices, voices with platforms—ready to defend it all. They dress it up in language about representation, autonomy, and liberation, but all they’re doing is handing out gold-plated chains and calling them crowns. These defenders mistake degradation for visibility, and celebration for progress. But what they protect isn’t culture—it’s a pipeline. One that turns trauma into profit, death into spectacle, and our daughters into punchlines.
These artists—and let’s stop calling them that—aren’t speaking truth to power. They’re echoing the very caricatures white supremacy laid out for us over a century ago. Only now, they’re better paid for it. And what’s worse, they know exactly who they’re killing. Not just lyrically. Not just metaphorically. Literally. They flood their own communities with poison and bullets, then brag about it over beats—and the world claps along.
And when someone dares to call it out—when someone refuses to bow to the altar of mediocrity and moral decay—they’re shamed for “not supporting Black voices.” As if supporting Blackness means applauding our own extinction.
But here’s the truth: If D.W. Griffith were alive today, he wouldn’t be making propaganda. He wouldn’t need to. He’d be in a boardroom, sipping champagne, watching Sexy Red videos on loop while checking drill lyrics for sample clearance. Because the job’s already done. The image is secured. The lie is now a lifestyle.
And we’re all being told it’s something to be proud of.
But some of us remember what pride actually looks like. And some of us aren’t interested in watching our culture bleed out while the world throws money at the ones holding the knives.
I just think all representation is not needed representation. If the representation I’m getting makes it so people assume I’m unintelligent and can only set my brain to twerk mode then I really don’t need that kind of representation. These are, after all, the people corporations would rather focus on in comparison to black girls that didn’t grow up in extreme poverty and for lack of a better term are “normal”. There are plenty of black girls/women like me who don’t have this extreme caricature stereotypical lifestyle except we all get thrown under the proverbial bus because of female rap. It’s honestly irritating and has really put me off of it lately.
‘Erasure through overexposure’ is a really interesting concept
It’s the Jewish producers that push this narrative
Really good stuff, but I disagree that Megan Thee Stallion's performance for Harris was in any way beneficial to Democrats overall. Yes, we need proper representation from all walks of life, and showcasing art and culture at these events can send the message to voters that you are "in the know". And of course artists of any gender should be free to express sexuality. But unfortunately, we still rely on votes from the type of people who think that a performance like that is anywhere from "uncomfortable" to "improper", and while I'm sure that Megan Thee Stallion's performance didn't directly damage Democrats, the results of the election showed that a number of things went wrong for us, and the image of Black America under Harris may have been one of them. Our election systems requires us to appeal as broad an audience as possible, and I think this performance missed that mark.
I didn't like the lipgloss line. I appreciate everything that you've said, though.
I thought the music industry was about selling music. If women must sexualise themselves to get their music to more people then that is an Anthropological problem. Not an industry problem. Is success really about how many records you sell or is it about the artist's music?
I don’t understand what you mean by ‘Anthropological problem’. Can you explain? Success in the music industry is about how many records are sold, the reach you have in terms of audience, and ticket sales. How else are they making music and earning money?
This! It’s really the same across most of the media we consume.