The main doll, the most visible of them all, is Arkeisha Knight. Revealed through a remix of Tinashe's "2 On", and then through her take on AV's "Run Me My Money", she was seen alongside people from her own city, Detroit, like Icewear Vezzo and FMB DZ, but she also worked with more famous people, like B.O.B. and Trina, who featured on Keisha Vs. Kash Doll, her first mixtape after she joined BMB Records. Later on, she also collaborated with Drake, Metro Boomin and Big Sean. She was also supposed to feature on a YG song, before that one, "She Bad", went to Cardi B. This ignited a short conflict between these two ladies, though they had much in common: both of them had been strippers, before they turned into rappers.
This is an implicit law in rap music: at one step or another of its career, any major collective must integrate a female member. One of these crews, however – and not the least – was an exception for quite a long time: Gucci Mane's 1017 Records. It took them a decade, no less, to have a femcee. The chosen one was Misharron Allen, a Dallas rapper better known as Asian Doll - though she is not an Asiatic. Her first project, Da Rise of Barbie Doll Gang Empire, was released in 2015, but it was with another one, a year later, that the Texan lady started making noise: Drippin' in Glo. After this album, she would feature with PnB Rock and Famous Dex – her lover, according to rumors – and she would be praised by Nicki Minaj.
Queen Key is the embodiment of rap's specific take on feminism. Instead of desexualizing women, she talks about her lust, loudly and proudly. Her approach, however, is different from the one CupcaKke, her Chicago colleague, opted for. Ke'Asha McClure is not that frontal and pornographic, she goes the humorous way, with a raspy voice that sounds older than she is. To male rappers who like to say "suck my dick", she answers Eat my Pussy with her last EP, the very project aimed at accelerating her career, now that she joined Machine Entertainment Group.
This is a new trend with today's rappers: they want to be rock stars. Though their subject matters – sex, drug and money – remain pretty much the same, their nihilist attitudes and imageries are heavily influenced by hardcore punk. See Playboi Carti's Die Lit cover art, for example. And the same goes with Rico Nasty on her latest mixtape, the first since she joined a major label. Nasty, indeed, his full of angry songs, blended with abrasive voices and furious guitars, like "Trust Issues", "In the Air", and the one summarizing it all: the outstanding "Rage".
By 2011, just when his regional musical style started buzzing outside of Chicago, BlockOnDaTrack, a drill music beatmaker, decided it was time to offer a feminine voice to this virile and aggressive hip-hop subgenre. He convinced his cousin Kiara Johnson - a student trying to make a living out of a waitress job at McDonalds, who had never thought she could be a rapper - to record a song with him. This would result into "I Need a Hitta", a success with the local Chicago youth, and it would lead to another one, "Ridin' Around and Drillin'", which caught the attention of King Louie. Subsequently, the drill music veteran asked the young woman to join his own Lawless Inc. imprint, and he participated to her most famous and defining banger : "Pop Out". Thus started the career of Katie Got Bandz, who released afterwards a series of mixtape, and became the undisputed queen of drill.
At first glance, this mixtape was some pure Los Angeles material. A few local rappers featured on it, like YG, Problem, and Joe Moses, and it was produced by the D.R.U.G.S. crew, later known through its association with Ty Dolla $ign. But its main player rapped with an accent and a style originated from the Dirty South. Iggy Azalea, though, was neither from California, nor from Georgia. She was even not an African-American, but a white, blonde and Australian lady. Fascinated by US rap music since she fell in love with 2Pac, Amethyst Kelly had flown before the age of 16 to the country of her idols. She had lived in Miami, Houston, and Atlanta, before relocating to the West Coast, per her label's recommendation.
To complement its new book published in May 2017, Mixtapes (French only), Fake For Real is sharing its own selection of mixtapes. Focusing exclusively on Northern American hip-hop, and on projects released in the 2000's and 2010's (i.e. not in a time when mixtapes were, well, actual mix-tapes), these 100 records are not the same as those listed in the book. Quality prevailed here, over representativeness.
The new fad with silly rappers; the weirdness of artsy hip-hop, mixed with the most extreme offenses of gangsta rap; the confessions, the vulnerability, the thugs with bleeding hearts; the confusion between mixtapes and regular albums; web marketing, and its role in the advent of new talents; and the atmospheric sounds tagged as cloud rap. These trends have defined rap music, in the 2010's. And one man, in the late 2000's, heralded all of them; or at least, he represented them. This man, was Brandon McCartney, a.k.a. the BasedGod, a.k.a. Lil B.
The history of rap cannot be told, without a strong focus on mixtapes. Originally compilations of existing songs, recorded and mixed by DJs on audiocassettes, they became over time real albums, distributed on the Internet, sometimes for free. A core component of the hip-hop culture since its very beginnings, they have been, sometimes, more impactful and higher quality than official albums. After relating the surprising journey of the rap mixtape, through its multiple changes, this book reviews a selection of 100 gems, released by well-established rappers like 50 Cent, Cam'Ron, Kanye West, Lil Wayne, or more recent ones like Future, Earl Sweatshirt, Danny Brown, Freddie Gibbs, Action Bronson, Young Thug or Migos.
Jeezy's glory days happened by 2005, no doubt. During that year, indeed, he released his (classic) mixtape Trap or Die, a record from his band, Boyz n da Hood, and also his (classic, again) solo album, Let's Get It: Thug Motivation 101. By then, he was just the most important rapper on Earth, period. But the following years have been good ones as well, especially when, from 2009 through 2012, from Trap or Die Part 2 to It's Tha World, he released some of his best mixtapes. Among those, the two editions of The Real Is Back, released respectively in May and September 2011, and produced essentially by Lil Lody, deserve to be mentioned. Originally aimed at heralding a new album, Hustlerz Ambition, the last of the Thug Motivation trilogy, they proved, over time, to be significantly better.
A close look at the main rappers in the early 2010's, will show that all were not newcomers. The obvious example, of course, was 2 Chainz. Tauheed Epps had to pass his 30th birthday, indeed, to become a hip-hop figurehead. But prior to this, he had a career. He'd been part of Ludacris' label, Disturbing tha Peace, as one half of Playaz Circle, a duo with his friend Dolla Boy. These two even had some success around 2007, with the single "Duffle Bag Boy", featuring a Lil Wayne in his heyday. After two albums, however, their days came to an end, and 2 Chainz had to reinvent himself as a solo artist. And he did it smartly: he chose a new alias, the previous one, Tity Boi, being a bit embarrassing; he used his address book to collaborate with first-class rappers; and he became one of the ambassadors of trap music, displaying a rather generic kind of it, but in a pleasant and goofy way.
There's always a time, for any kind of music, when people get conscious about their heritage, and when everything needs to be defined relative to the past. As far as rap music is concerned, this phenomenon is far from new, but it got amplified when, by the beginning of the 2010's, a new generation took control; when, for the first time, rap had no competition anymore, and was delivered by people whose parents themselves were fan of the music. One of the best illustration of this new era was the revivalism promoted by the Raider Klan. The only female rapper in that crew, Amber Linwood, a.k.a. Amber London - or Vmber London, per the singular calligraphy these guys opted for - demonstrated that on her 1994 EP.
By the end of the naughties, almost two decades after the beginnings of his own Three 6 Mafia, and after the career apotheosis his Academy Award and the success of "Stay Fly" had been, Juicy J decided to focus on his solo career. He released a few albums, like Hustle Till I Die in 2009, and Stay Trippy in 2013, but also several mixtapes, including both editions of Rubba Band Business, two collaborative works with Lex Luger. By requiring the help of a producer sixteen years younger than he was, the guy behind Waka Flocka's and Rick Ross' latest bangers, the Memphis veteran surely wanted to demonstrate that he was aging well; and indeed, he was.
MikeWiLLBeenTrill was not the first mixtape from Mike Will Made It. In the two years before, he had released all three volumes of his Est. in 1989 series. But in 2013, the Atlanta producer was at the apex of his fame; he was now notorious much beyond the (t)rap universe he had originated from. Around a dozen of that year's hit singles, were produced by him. And a few weeks before this new release, he had executively produced Miley Cyrus' Bangerz album, and signed a large part of its music. While the Disney star collaborated with this beakmaker from Atlanta's trap music scene and turned into a nasty girl, Mike Will expanded his aura to a large audience. As a matter of fact, more than his previous releases, MikeWiLLBeenTrill demonstrated that his collaborators were getting more diverse.
There was a time when, by the end of the naughties, rap music seemed to turn into the new international pop. It was mixing more and more, indeed, with other genres like rock, or electronica. A few notorious rappers were leading the trend, like Kanye West, Kid Cudi, and later on Drake; and of course we could talk about the hit machine Black Eyed Peas, originally a pure hip-hop band, had turned into. Another man went into that direction, though in a more hipster way. With his fashion victim looks, Theophilus London, a New-Yorker of Trinidadian descent who would be actively sponsored by Kanye West, actually looked like a hipster fantasy: as a matter of fact, the 2011 edition of the Cannes Film Festival would love him.
On the west side of the US, is the West Coast. But further west, there is Hawaii. Laura Yang, a.k.a. Neila, is from there. Nevertheless, it is actually the Californian rap scene, she is associated with; or more precisely its underground subset the rapper, DJ, producer and activist Deeskee organized around his LA2theBay website. Neila made a first appearance in his entourage, when she contributed to the best song on his Blacklight Sessions album, the nice "The Dream". And since then, she never stopped releasing music, until her recent Analog Jewelery in 2017.
The best time in Alley Boy's career was 2011. Taking place between his first steps as a rapper, in Gucci Mane's shadow – he had featured on Chicken Talk 2 in 2008 – and The Gift of Discernment in 2012 – his most exposed and visible project, at least here in France – that year had been some kind of turning point. In 2011, indeed, the Atlanta rapper had released two great mixtapes: the second edition of Definition of F#ck Sh*t and, a few months before – but much later after it had been heralded – Purgatory: The Story of Judas, a collaboration with DJ Drama.
When people who experienced the beginnings of rap, in the late 70's and early 80's, are asked about them, many confess that they hadn't realized, at first, that this was a brand new kind of music. What they heard sounded like a declination of funk, or disco, not a musical genre per se. And nowadays, it seems that rap itself has reached the same point. Now that it is giving way to sing-song, especially in Atlanta, its current capital city, some wonder if rap should still be called the same. Listening to artists like ILoveMakonnen, indeed, this question sounds legitimate.
Like it or not, but please admit the following: in the 2010s, Nicki Minaj is the number one female rapper. The Trinidadian New-Yorker inherited everything from the ladies who paved her way: she has Lil' Kim, Foxy Brown or Trina's gift of the gab, and the same explicit lyrics or posture; she has Missy Elliott's eccentricity and creativity, both visually and musically. And in addition, she knows how to play with her physique, which is a critical asset, in a world still requiring this from female artists. Last but not least, she knows how to rap, and her ease with the mic puts her on par with – or even above – most of her competitors, either men or women.
It's never been easy for a woman to find her way into the rap game. First, she had to fight hard to become an equal to the frequently sexist male rappers. And then, she had to deal with her rivals; the audience, or the industry, curiously, always wanted just one female star per generation. And then, once all of this is achieved, any female rapper needed to position herself against the many stereotypes about her kind. She had to decide if she was a tomboy, or a bad bitch, or an R&B sentimentalist. Despite these many obstacles, however, many made it. Females matter, in hip-hop, as demonstrated by our selection of outstanding projects.
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