Kae Tempest: “I found the resilience that you have to have”

The award-winning British poet/rapper/poet/playwright/novelist Kae Tempest releases the album Let Them Eat Chaos. Madame Rap met them in Paris to discuss feminism, hip hop and writing.

How and when did you discover hip hop music?

I think I was about 12 or 13 when I fell in love with it. I always listened to music, but the lyrics in music were the thing that really touched me. And I used to read a lot of books for all my life. Lyricism was very exciting. Hip hop is this dominant social, cultural, political force, it’s a huge movement, it’s 50 years old at least. It’s no surprise that South London kids are gonna find their way into hip hop. At the time, it just felt like a kinda living breathing thing.

The first rappers I really fell into were Pharoahe Monch, Guru from Gang Starr, A Tribe Called Quest, Gravediggaz… That was actually Gravediggaz that was me. Too Poetic from Gravediggaz. I learned everything that a rapper could do from listening to him. And then Lauryn Hill, Bahamadia, Nas, Biggie and Big L. And then I learned more about what was happening in the UK. There was  a guy called Chester P from Task Force and a guy called Skinnyman. I was like 15 by this point. I was just listening, watching and waiting for my turn really.

You’re a rapper, a spoken word artist, a poet and a playwright.  Words are central in your work. What is your writing process? Do you have any rituals?

It depends. If I got a big deadline and something I need to finish, then it’s just to start and do it. I guess there are little rituals that you use to try to get into that space that you’re not in instinctively. Even just picking up that pen, there’s something powerful in that. Because I spent more time in my life looking at my hand with a pen in it than not.

I write with a pen in my  notebook for the first draft. It’s better for my ideas because handwriting is connected to memory. So by the time you’ve written a lyric by hand, you’ve probably memorized it. Then I type the second draft and then work from the manuscript for the third, fourth, fifth draft. But the initial idea is always with a notebook.

Your new album Let Them Eat Chaos has something very dark, melancholic and introspective but also very hopeful and oneiric. What was your state of mind when you wrote it?

It’s about trying to get to the root of what might be keeping people awake at night. Who is awake at 4:18? It’s the question that leads you to the characters. Then obviously, my state of mind is all over the record. Whatever I was going through in the particular moment of writing. I think it’s quite present in the description of the characters but also in the grand epic way it begins in space.

My mind is constantly trying to get out of this tunnel vision and look up and see the world again. I’m glad you said it feels hopeful as well because I think it is a positive record.

Would you say it is a political record?

I think it’s impossible in 2016 to make a record that isn’t engaging with the times and the crisis that we’re in. Knowingly or unknowingly, everybody who is creating work is cyphering this stuff. I never set out to make a political statement in my work but of course politics is in me. I don’t accept any label. I’ve been trying really hard for a long time to show people that labels are constantly unsatisfactory.

The fact that I work across so many different forms means that you cannot apply a label, it doesn’t fit. This is part of my whole thing. The more that we reduce and minimize ourselves, so that other people can understand us, the more that we reduce others and minimize other people, so that we can understand them, the further away we get from actually being able to understand anything.

Especially when it comes to creative ideas, which begin in such a vast spaces. If you call yourself a political artist, or a rapper, a poet, or a novelist, then you’re not listening to the idea.

London is a recurring character in your work, but you seem to have mixed feelings for this city…

It’s home, it’s where I grew up. I never left. Lots of people leave where they’re from to find where they are. But I felt so rooted to that place that I didn’t need to go anywhere. But London is also full of pain.

There is a lot of reminders, of pain as well. But at the same time, it is a beautiful terrifying magical place. It’s in me but I feel like I need to be somewhere else. For the first time in my life, I feel like I need to leave. I wanna go to the Pyrenees, the mountains, the wolves, the sky. Anyway, I just thought of it today. I’m not actually gonna leave London, obviously!

In 2013 you won the Ted Hughes award for your work Brand New Ancients. What did this institutional acknowledgement change for you?

I like to think it doesn’t change much, but of course it does. For ten years, I was desperate to be heard. I couldn’t work out why I couldn’t get the gigs I wanted, I couldn’t get a record deal, I couldn’t get published. I was like burning up with fire to make a move but didn’t know how to make a move. I was working all day in schools, teaching lyric workshops and I was doing spoken word gigs in the early evening, and then gigs with my band. I was working every minute of the day and I wanted to be validated in a way. To be completely honest, it is much easier to say this stuff doesn’t matter once it’s happened to you. Before I won that award, there was not a chance for me winning a poetry award.

I wasn’t even gonna go to the ceremony. I spent the day in a women’s prison in Holloway, doing workshops with these women, with a play that I’d written. It was a serious day. I was working with these inmates, I was being shown the maternity of the prison, which is where the women are going to jail pregnant, they have their baby and after six months the baby is taken into care. And then I left to go to this fucking award party in a posh part of town, white wine and lots of fucking bullshit and I won this fucking poetry price. I just didn’t make any sense.

And then, I got all this attention from the poetry establishment, which I didn’t want and wasn’t really ready for. But actually, it begins to feel really exciting to imagine a whole lifetime of improving as a poet. This is important to me. It was a victory, not just for me, but for everyone who is rapping or doing spoken word.

Have you ever been discriminated against as an artist?

Of course. But I think it’s probably more important to say what a blessing it is to have the female perspective, the female courage, the female power and the female drive. It’s important to pay attention to the positive. I found the resilience that you have to have. It teaches you how to be sure of yourself, because nobody else is very sure about you.

Hip hop is considered to be the most sexist music. What do you think about that?

When I was young, hip hop was everything to me. I was moving in that culture and I just absorbed it. At a subconscious level, I stopped hearing the misogyny, the homophobia… I was so in love with the art form that I stopped hearing it. I didn’t think all that stuff applied to me, even though I could hear rappers talk about women in ways that I found deeply upsetting.

As I got older, I realized that one of the most important teachings for me was authenticity. And for me being real with myself, I can’t just sit there and dismiss this stuff. And then I realized an important thing for me to do was make myself visible and make myself heard on a way that goes against everything that’s being talked about a woman’s place, a woman’s role. By getting up and getting on the mic and not looking sexy or stupid or not trying to suck anyone’s dick, and just wanting to speak about serious stuff, this was a way for me of resetting the balance a little bit.

The flipside of that is that if you’re not part of the culture and you look from the outside and judge it as misogynistic, I don’t really need to have that conversation with you because there are so many subtleties that you’re missing about the form and the culture anyway. If you’re gonna dismiss something as important and empowering and as righteous as hip hop culture and music, it’s not my job to educate you. There is a problem but you have to be in it to understand the nuances of it.

I was just this little queer and weird kids, all my friends were just men and I just dealt with it. I know how much a performance it is. It’s a kind of bravado and adolescent thing and I know the reality of how these men actually engage with their mothers or their sisters is very different. So I kind of know it’s no real threat, it’s a dance, an ugly dance, they’ll grow out of it. They just need to fall in love as well!

Do you consider yourself a feminist?

I don’t consider myself, I’m just making the work. I think it’s probably important to say I believe in true equality.

What are you listening to these days?

Loads of stuff. There’s a rapper called Trim and his album is wicked. There’s this Rn’B singer called Rosie Lowe, she’s produced by this guy called Dave Okumu, who’s amazing. He’s in a band called The Invisible in the UK, he’s really cool. I listen to Pharoahe Monch all the time, Mos Def or Yasiin Bey, Little Simz… There’s a really cool band called Paranoid London, they’re like this dirty, minimal, kinda lie disgusting house. I love it!

What are your upcoming projects?

I’m working on a play but I don’t know when it’ll be finished. There’s also a new book of poems… I usually have four or five projects happening at the same time. They kinda inhabit the same space. Now I’m touring with this album and will be doing this for a while, but I don’t stop working on ideas just because I’m not physically working on them.

I’m also working on a new album slowly but I’ve been in a real rush to get to this point for a long time.  I spent five years non-stop trying to get here. So the next project is gonna be a bit slowler.

Find Kae Tempest on their websiteFacebook and Twitter.

Poetic Pilgrimage: “France has a problem with Muslim women”

They are rappers, British of Jamaican origin, Black, converted to Islam and use hip hop as a social and political tool to build bridges between different communities.

Madame Rap interviewed Muneera Rashida and Sukina Abdul Noor of Poetic Pilgrimage about their relationship with rap, religion and women.

Find Poetic Pilgrimage on Instagram, X and Facebook.

Keny Arkana: “I am for everybody’s rights”

Some media call you “a rap protester” instead of a rapper. What do you think is the difference between the two?

The media very often used that phrase, which comes from my first album Entre ciment et belle étoile, but I never declared myself so. This expression means that my priority is to make my art serve the causes that matter to me. But I was also born in rap, I grew up in it, learned the ropes and didn’t come along for the ride.

Has this label harmed you or kept you away from the media?

I never really wanted to play the media’s game. When I released “La rage” ten years ago, many TV channels wanted to invited me and I often declined. The mass media, no way! I never was ambitious or wanted to release records. If I can be useful and touch people, good for me. But it’s mostly word of mouth and concerts that work, and not the media. Because the day they stop following you, you have no one left. Bombarding people on the radio is not my state of mind. Without pretension, I’d rather have my music serve things that are fair to me. I don’t know show-business and I’m not interested in this world.

You’re also called an anti-globalist, anticapitalist, anarchist, revolutionary, anticolonialist… How do you really define yourself?

Actually, it is again a label, but I am just a human who makes music, has ideas and tries to share them.

I participated in several anti-globalist forums in Porto Alegre or Bamako and you can find everything there, even fascists. It is a heterogeneous movement that gathers people who have very different ideas. I’m also called an anarchist, but I’m not. If I were one, I wouldn’t have sold my CDs. Besides, even if I don’t have any religion, I am a believer, and that is complicated for anarchists!

I think the solution is autonomy and self-management. The more people will constitute networks, create villages or spaces, the more it will help build new societies at a human scale. I believe in grassroots change and not in voting or overthrowing the state. It is our duty to build tomorrow’s world. The system will then be disturbed and will fall by itself, because without us, it is nothing. All that is not utopian, it is in the spirit of the times. Many young people go back to agriculture and build their own village or organization.

Would you say your rap is political?

My rap is human. I don’t write political dissertations and everything comes through an emotional or spiritual filter. If by “political” you mean the organization of society, then yes. But everything is political, smiling to a beggar also is. In any case, I am not a politician and will never be. I am a people’s artist. My songs tell my life but don’t fall into any political box. Besides, today, I can’t relate to anyone, politically speaking. Apart from the Zapatist movement.

Four years after your last album Tout tourne autour du soleil, you just released an EP called Etat d’urgence. What have you been doing during these four years?

In 2013, I was on tour and then left for Mexico, where I was invited for a Zapatist project. It was supposed to last for a few weeks but I ended up staying for a year. I came back to France at the end of 2014. I still live in Marseille in the same neighborhood and mix with the same people. I finished Etat d’urgence after dealing with some personal stuff and going back to writing.

Your EP is available at open pricing. Why this choice?

I’ve been wanting to try open pricing for a long time. Besides, I didn’t really want to sell this EP. In France, the idea of giving something to people is misconceived. Something free is perceived as botched or worthless. So, it is a way for me to let people give it the worth they want and also to have it for free (they don’t have to give money to download it). I didn’t expect much, but I am very pleasantly surprised. People are very generous, even if they often ask for the CD too!

What do you think of the current hip hop scene in France?

I used to find more depth and emotion in the 90’s rap. Today’s rap lacks content and messages, no matter what they are.

When I traveled, I met several South-American artists. There, hip hop has a social impact and is perceived as a way to convey a message or bring new ideas. French rap is all about business, it’s been a while since the rap game has killed hip hop. The rap record industry has been powerful for about 30 years. It’s not the case in all the other countries.

In France, hip hop is still thought bad of, boycotted or considered as a subculture by the media, whereas it is the music people most listen to. When you look at the best-selling artists, you find only rappers, and yet, you don’t see them on TV.

Do you consider yourself a feminist? Why?

Feminist, no, but anti-patriarchal, yes. I think some feminist organizations can be aggressive and exclude male members with many discussions in single-sex spaces. That’s too bad because guys also suffer from patriarchy, it’s not easy for them too.

There are a lot of different feminisms, but I met many radical feminists and I believe they were full of hatred and resentment. I don’t think the solution lies in reversing the trend. I know opposites attract, but a happy medium is also nice. I’m not for exclusion, I think we should all think and discuss together and try to understand each other.

Of course, I am for everybody’s rights, women, children, animals, I’m for justice, or rather rightness, for all minorities.

What are you listening to these days?

I’m listening to a lot of instrumentals, rap but also all kinds of music. I couldn’t give you a name in particular, but I keep posted about new releases.

What are your upcoming projects?

I’m working on L’esquisse 3, the album I put in brackets to make Etat d’urgence. After, I’ll go back on tour again, making concerts everywhere in the world.

What do you think of Madame Rap? What should be changed or improved?

I am not very connected – in my neighborhood, people call me the cavewoman – so I haven’t looked yet, but I find the idea very interesting!

Find Keny Arkana on her websiteFacebook, and YouTube.

Phyr: “I am sympathetic to all females”

How is the hip hop scene like in Queens today?

The rap scene in Queens is just what it has always been, which is a high standard/caliber of rap. There have been various artists from the past and present that have risen out of Queens but overall New York has been killing the scene.

From a French point of view, it seems like the New York female hip hop scene has been booming for the past few years. How hard is it to stand out from the other artists?

It’s really not that hard as long as you are your OWN trend. I emphasize OWN because originality caters to being seen. It’s like fashion, everyone wants the newest and latest trend. Standing out from other artists is basically your OWN style.

Which female artists inspire you?

Well as an artist that sings and raps, I’m influenced by many female artist and emcees. In the pop/R&B genre I would say Britney Spears, Avril Lavigne, Björk, Sia, K Michelle, Brandy, Mya, Beyoncé, Melanie Fiona, Corinne Bailey Rae, Mary J. Blige, Jasmine Sullivan, Marsha Ambrosius, Total, Missy Elliot, Ciara and various others that I can’t name at this time because it’s off the top. As far as the rap game I would start with Lauryn Hill, Lil’ Kim, Foxy Brown, M.I.A., Nicki Minaj, Trina and EVE. I pay homage to all of these women who have set the standard and knocked down doors so females that inspire to be female artists/rappers could get in the door.

Do you consider yourself a feminist? Why?

I do consider myself a feminist. I am PRO FEMALE. I am a female and I understand what it is to be one. I am sympathetic to all females but I still respect all men as our equals.

What made you want to write your first songs when you were a child? Did you receive any musical training?

I started off writing poetry (poems) that eventually I added melody to and just like that my poems became songs. I taught myself how to make hooks. Just always had a love for music since I was a kid. My mom used to play a music box to her belly to settle me in her womb.

What are you listening to these days?

Currently I’m listening to all of the latest music out. Rihanna‘s Anti, Kanye West, Yo Gotti, Taylor Swift, Maroon 5’s Songs about Jane, Sia, Cardi B, Future, Drake, Justin Beiber – his album was amazing – Ariana Grande, Young Thug, Kodak Black, Handsome Balla, Chris Brown, K Michelle, Pusha T and more.

Madame Rap’s favorite is the song “Bottle Service” for its sultry atmosphere. Can you tell us more about how this track?

Well I’m glad that this was one of your favorites. “Bottle service” is from my E.P entitled Club PHYR. On this track, I expressed my need to just party. Sometimes you have the need to have fun and nothing more. Working all week and finally being able to hit the dance floor or VIP. It was a fun song to make and I still vibe out to it from time to time. As you mentioned, the vibe is sultry and I wanted it to make people feel good and sexy. “Bottle Service” is that song you put on you fun playlist.

On your Twitter account you announced the release of a new single “WHIP IT”. Can you tell us when and where it will be available and what it sounds like? Do you have any other upcoming projects?

My next single is actually “Bubblin’ UP“, which I’ve promoted on Twitter along with my other single “WHIP IT” I recently shot the video for “Bubblin’ UP” which was very fun and creative. Both will be available on iTunes and released mid June. Both are uptempo dance tracks while “Bubblin’ UP” is more animated and “WHIP IT” is more seductive.

What do you think about Madame Rap? What should be changed or improved?

I think Madame Rap is dope and I didn’t have a hard time locating your main site through Soundcloud. I initially found you from liking my music from my Soundcloud page. I think Madame Rap doesn’t need any improvements yet because I see all the work that being put into it. The interviews that I read were great. Really focused on expressing who each female artist is and inspires to be. Thank you for the opportunity of this interview. I think it’s cool you are based in France and scouting talent in The United States of America. I would love a copy of my interview in English as well as French.

Find Phyr on Soundcloud, Facebook and Twitter.

Liza Monet: “I am a feminist”

Since the release of the “Monet Closealbum in October 2013, the video for “My Best Plan” was seen more than 5,600,000 times on YouTube. How do you explain this success?

It wasn’t really a success, but more a bad buzz. LOL. Curiosity, scandal and so on…

Your hypersexualized image and your raw lyrics didn’t win unanimous support. You have been harassed and insulted online. How do you react to this violence and how do you analyze it?

Before, it’s true that I felt bad about it but with time, I learned how to face it. It’s only entertainment. I am an artist but people take everything seriously and my character isn’t popular among everyone.

You either like it or don’t and if many people don’t, it means I need to change my image. I worked on it and still am today.

And yet, in the 1990’s, artists such as Lil’ Kim, Foxy Brown or Trina  in the US, or Roll-K in France, already marketed this “trash” and sexually explicit rap. The same goes for Nicki Minaj or Rihanna today who openly talk about sexuality. Why do you think your approach is still perceived as offensive in 2016?

I think many girls can relate. Since I revived this trend in France, many do the same but with more money and more guys behind the scenes.

Which other female MCs do you most relate to from an artistic point if view? Why?    

I feel close to Nicki Minaj because I can play with my voice and instrumentals and I’m not afraid of singing what I want.

What are you listening to these days?

Right now I’m listening to a lot of rappers like Young Thug. And I’m following new emerging US artists.

You posted a snippet of an upcoming track called “Evil Queen”, in which you sing: “Too many girls rap, it’s getting worse and worse”. However, female rappers are hardly ever seen in the mainstream media. Why do you feel that more and more women take up the hip hop scene?

Well simply because I am in the game and people outside don’t see it. But it’s true that women are hardly ever seen in the mainstream media. Only when you’re in the game, you truly believe that the thing is huge and that everybody thinks the same as you, whereas they don’t.

You also sing: “These bitches who don’t have class and look alike like twin sisters”. Are you targeting anyone in particular? : )

I’m talking about all women because they all do the same and don’t innovate. It seems like they have no brain and act like puppets. All they do has already been seen and done before. And the ones who are not feminine copy male codes, that’s fucked up.

Do you consider yourself a feminist? Why?

I am a feminist because I support gender equality. Men are not better than women, they need women just like women need men.

What are your upcoming projects?

I’m going to release a mixtape called Pyrrha, in reference to Pyrrha and Deucalion from the Greek mythology.

What do you think about Madame Rap? What should be changed or improved?

The site is pretty cool and well detailed. It helps us discover female hip ho artists. We need more sites like this!

Find Liza Monet on Facebook, Twitter and Instagram.

Valore: “I love the look on people’s faces when I tell them I’m a rapper”

On your Facebook page, you describe yourself as “a bright green cactus that brings color to a canvas of barren sand”. What does that mean? : )

It’s from a poem of mine, the rest of it is “come to me and find comfort, let’s feel the music and look at the stars. Let’s give meaning to a song.” The cactus has a lot of different meanings. It is a metaphor for me being something that does not quite belong. I am a weird succulent in the swamp of Savannah, Georgia. I stand out and bring color to life. It also is a physical inflatable cactus named Pedro. This cactus equates to happiness. People love Pedro, I’ve noticed it helps people relax, dance, and cut loose. I’ve had about 8 different inflatable cacti; some have died at music festivals or after a tour. The old ones hang on my wall and are signed by friends or feature rad bands I like stickers. Each new Pedro is like a new chapter to my life.

You are a business economics major at Armstrong University in Savannah, Georgia and also work in a deli. How do you manage to make some time for your music?

During my breaks at work or school I am promoting or booking or emailing, it is nonstop. I am always jamming with rad musicians around town or people I stumble upon in life. I keep a djembe and saxophone in my car at all times. No matter how stressed out I get with my work load, music and performing always keep me levelheaded. I make sure not to force my music as well; I write and record when I feel the inspiration seeping. Having my studio in my rainbow cave (living room) is nice because recording is very accessible and quick when I need it. I recorded “Shakespearean Rap” off of Lizard Girl in between classes one day, took me about an hour. I only do one or two takes for my verses.

You mix spoken word, funk, and alternative hip hop. Which artists do you most relate to?

Kate Tempest is my idol and a goddess of unfiltered and unapologetic words. I hope to marry her one day. She makes you look outside and then inside of yourself with her work. I relate to Janis Joplin a lot. People recently have been telling me I resemble her when I’m a mess of hair and microphone on stage, so I started researching her life more. She just wanted people to dance and let loose, and in one performance is pleading with the audience to join her. I feel that so much because sometimes it feels like I’m looking out into a field of zombies just snapchatting me, but not engaging. I just want people to dance.

On your latest EP “Lizard Girl” you worked with 10 other artists. Can you tell us more about this collaborative project?

Obamabo played a humongous role on this EP, he produced 5/6 beats, mixed, and mastered everything. Vinay Arora (my deejay) produced “Acne Scars”, in which he developed the beat from my vocal track. When it came to the design I approached all of my favorite visual artists and asked them to interpret me as a lizard. That was the only direction I gave them and it was awesome to see how they each interpreted me differently.

I had GIFs and buttons by Chibu, cassettes by Pavonine Packaging, cover art by Naomi Weiner, typography and posters by Apple Xenos, videos by Toss and Shibby Pictures and graphics/effects by Ottpopart. I paid everyone who wanted to be paid, which is very important to me. I want to compensate artists for their work; I see it as an important investment. I believe in people making money off of their art and thriving.

What’s the story behind the song and the video for “Reptilian Funk”?

The song was the first song Obamabo and I collaborated with, he remixed “Never Comin’ Down” by locals Miggs Son Daddy & MothaBug produced by Tha Monsta. I sent the vocals back the next day and we realized we have some magic in our musical relationship, so we made Lizard Girl. I told Toss Productions I wanted to do a music video where I was in a car driving around and spitting the song. I thought they were going to have a dashboard camera to attach inside of the car, but they showed up with a thing to attach the camera to the outside of the car.

We drove around town with the camera hooked onto the hood of the car while Steve was watching the footage in the back seat of the car, behind Pedro. The entire time I was spitting I swore this expensive camera was going to fall but it didn’t.  My dear queen Ottpopart did glitch effects on the footage to give it an edge. I love how we all came together to make this happen, and I enjoy the final product. It has this funk psychedelic feel to it and enhances as the music builds. Everyone did a great job.

How hard is it to be accepted as a woman on the hip hop scene today?

I love the look on people’s faces when I tell them I’m a rapper. Most people are confused or in awe because I look like Marcia Brady. When I first started rapping I wanted so desperately for everyone to accept me as a rapper and not just a spoken word artist. This one rapper would say, “Valore when are you going to spit bars?” Just because my bars don’t sound like old school or mainstream hip hop doesn’t mean they’re not bars. I knew my sound was unique and I didn’t compromise myself. I don’t really try to be accepted anymore, I just let my words and performance do the talking. One time this guy told me women can’t rap so I spit something and left him speechless. If you have confidence and spit raw words that move people, they won’t be looking at your race or gender; they’ll be listening to your rhymes.

Do you consider yourself a feminist? Why?

Yes because gender shouldn’t define your status in society. We have to give everyone equal opportunities.

What are you listening to these days?  

KYLE’S new album SMYLE (which is super jammy math rock), Yani Mo’s Space and Simplicity (she is the best female emcee in the game right now), Culture Vulture (I dance way too hard at their shows every single time), Jungle Pussy (it’s just so ill always), The Mother Goddess (sultry Toronto femcee), The Gumps (swamp punk), Tokalos (all my favorite ladies in one band), the list expands every day. I go to live shows almost every night so random bands from across the country who play in living rooms and bars. Random things I find on soundcloud/bandcamp are always cool. The internet is an incredible place, I mean, you found me in this abyss. I have listened to Kendrick’s new album and it’s dope, makes my soul do a samba. I love how he has an orchestra of sounds and his flow is so clean with a bunch of switch ups in tempo.

What are your upcoming projects?

I’ve begun exploring the saxophone and I’m in love. Playing the sax is like taming the wind inside of me into sultry tones. My next project will be a mix of a wide range of my poems accompanied with sax and electronic elements. The poems are from very intimate and poignant times in my life. I am also starting a folk/punk/rap band with the eccentrically cool Matt Hewitt aka Mustard Shankly, we have about 5 songs laid out and are about to start playing some shows soon. One of our songs is called “Covered in Blood” and is about how Jesus comes back as Ronald McDonald to damn us all to hell. I also am going on a European tour, I just booked my flight and I’m flying into Paris August 6 and flying out October 1st. If you know any cool places to hit up, hit me up. Let’s collaborate and hang out.

What do you think about Madame Rap? What should be changed or improved?

Keep doing what you’re doing love it!! Featuring rad female emcees is awesome. You could add cool quotes from their music perhaps.

Find Valore on Soundcloud, Facebook et Bandcamp.

Rell Rock: “As a woman you can do whatever you set your mind to without being viewed as a sex object”

How old were you when you discovered hip hop for the first time and what made you want to become a rapper?

I actually grew up listening to it so basically all my life but the age where I were able to understand the true meaning I had to be around 12 maybe 13 but I’d say at 11 I wrote my first rhyme and I knew that’s what I wanted to do the… passion was there, the fire was lit.

You released your first album at the age of 14 on your own label Zock Rock Records. How did you create your own label at such a young age?

Actually my dad started the label in the late 80’s, so the only life I knew was do it yourself, indie type of label, be a owner of your masters. Once he saw that I loved doing and being around music he made me part owner and had me release my first album at 14 and by the time I turned 21 the label was signed over to me to carry the torch.

Do you produce your own music? If not, who are you working with and what do you look for in a producer?

No, I stay in my lane, just a artist and writer. I look for producers with unique sounds, like Zone Beats from Minneapolis, Xplosive who is from Europe, did some work with Nicki Minaj and others, and a New York producer Chyna Black who produced for Foxy Brown and Wu Tang Clan. Did some EDM work with Tony Quattro in New York and some other European producers. Currently I’m working with Froback. who did some work with R&B artist Jhene Aiko and Teedra Moses…. He is based in London. We’re actually working on a 5 track EP right now.

Your “Uptown Anthem Freestyle” is very political. How important is it to you to tackle social issues in your lyrics?

It’s very important to tackle social issues to me because its time for Hip Hop to grow and I speak what’s organic to me. I am aware and concerned about world events, everything is not a party. I try to have balance in all the music I do. Since day one, on EVERY album I do, my first album I speak on physical abuse of women with a song called Broken Hearts, and social issues with songs like Change, Black Girl Lost, Black Excellence, Survive with Saigon, and many others. Every project I do will have some sort of message, its part of who I am.

Your bio says that you’re not “afraid to set yourself apart from the ‘norm’ expected in Hip Hop especially for women”. What do you mean by that?

As far as not being the norm I mean in hip hop there’s certain ways females are viewed . It’s either sell a lot of sex or hide behind a crew of men, talk about how sexy you are and what you can do sexually. With me I talk about everything, and I’m not scared to be different. I’m here to prove that as a woman you can do whatever you set your mind to without being viewed as a sex object. You can be the boss of your own company and not always have to be put into the male dominated Hip Hop world thru another male rapper. And also I’m edgy and witty but at the same time a realist when it comes to writing music .

Which women inspire you?

Queen Latifah, Lauryn Hill, Oprah, Madame CJ Walker, and a list of women inspire me, for different reasons, some their art, their words, their business sense…….Any woman that stands up for herself is my inspiration….

Do you consider yourself a feminist? Why?

Yes because I’m all for female empowerment and human rights…not extreme with it but I rather encourage women than be in a good position than to beef or fight with them.

What are you listening to these days?

J Cole, Kendrick Lamar, Dave East, Jay Z, Nas, Lauryn Hill… I don’t do much listening of the mainstream new artist on radio, because it causes me to lose my sound and brand, I come from listening to the ‘Golden Era’ rappers, so it helps keep me grounded to the foundation and I add what I do which makes it new and fresh.

Your third album American Hustle was released last fall. What are your upcoming projects?

I’m working on a 5 maybe 6 track EP with London producer Froback Beats we don’t have the actual title for it yet but it will be interesting with some new sounds.

What do you think about Madame Rap? What should be changed or improved?

Madame Rap I have nothing but love for the lane and light you are giving to female emcees and rappers, improvement comes with time, but your good with me. Nothing but love!

Find Rell Rock on her website, Twitter and Soundcloud.

Sianna: “No one is born a racist but they become one by not thinking by themselves”

Your first EP “Sianna” was released in March 2015. How did it go when you first met Warner Chappell and signed with them?

I first met my two managers Mohand and Seven, who introduced me to Sandrice Runser, my publisher. We immediately got along and shared the same vision. She was Diam’s’ publisher and was looking for a female rapper when I met my managers. I call it fate.

What is the hip hop scene like in Beauvais, Picardy?

The hip hop scene in Beauvais started to grow three or four years ago. There are many great rappers. I follow and know most of them. I’m more familiar with the Oise scene though. But there are some talented MCs and thanks to the Internet it’s easier to stand out as an independent artist. And I talk about these local artists on the social networks.

In your lyrics, especially in “Ainsi va la vie” and “Incomprise, you talk about your Malian origins and how you experienced racism. Would you say the French society is racist?

French people are not racist. The media fool them and make them believe wrong things, which generates hatred. Racism is stupid. No one is born a racist but they become one by listening to silly things and not thinking by themselves. There is discrimination everywhere in the world, and not only against Black people. For me, all of this is nonsense.

On the track Appel manqué, Mac Tyer sings: “Sianna, a real little sister, not a bitch like Rihanna”. What do you think about Rihanna’s image and her music?

Rihanna is the second artist I loved when I was a child. I’ve been following her since she started out as an artist. I really like what she does even though there are some things I don’t agree with, but it doesn’t bother me because it’s not about my image. I’m glad to listen and watch the part I like about her. Like with all the other artists I follow. I don’t rage when I don’t like something, I just don’t listen to it.

Which hip hop artists inspire you?

I like Jay-Z a lot, even if he hasn’t been very active for the past few years. He never bores me because I think he keeps breaking ground with every new album. He sounds different from everything I usually listen to. In France, I’ve been listening to Booba and Niro for several years. They surprise me and somehow inspire me I think, although we make different music. And also Maître Gims who I respect very much.

What are you listening to these days?

I’ve been listening to Khelani, an American artist I discovered last year and that I immediately liked. And also some independent French hip hop. It had been a while. I also listen to MHD, L’Artiste, Niro, SCH, Ninho … I listen to all kinds of stuff.

How being a woman has been an asset/a drawback in your work?

It’s been a great asset because there was no women in the game. But it is also hard to be accepted by men and the audience who are not used to seeing women rap. Apart from Diam’s, no woman has really succeeded on the French rap scene. It’s out turn now!

Do you consider yourself a feminist? Why?

No. I think that this word allows women to take advantage of rights they already won years ago.

What are your upcoming projects?

I’m finishing my first album, and we are getting ready for its release and concerts. I’m really looking forward to seeing how people welcome my album.

What do you think about Madame Rap? What should be changed or improved?

It would be cool to interview male rappers about female rap from the entire world (Laughs).

Find Sianna on Facebook, Twitter and iTunes

Fred Musa: “There is a problem of female representativeness in the whole society in general”

You’ve been hosting “Planete Rapfor nearly twenty years. How many female rappers did you have on your show?

As a matter of fact, very little. Of course there was Diam’s, who brought about a revolution. I’d say she’s the best of all rappers, regardless of gender. More recently, there were people like Sianna or Ladea, but it’s true that the ratio between guys and girls is very low.

You directed and produced two documentaries about Diam’s. Why is she so inspiring to you?

I have a very special relationship with her because we met a long time ago and she trusted me so I could follow her during the recording of “Dans ma bulle“.I always felt her desire to be better than everyone else, she was fiercely competitive. I’d like to see her rap again, read her texts and listen to her, but she chose a different way of life that makes her feel better. That’s her choice and I respect that.

Who are your favorite female rappers?

There were Saliha, Sté, that I  liked a lot and was amazing,Lady Laistee who is someone I really like too. Sianna is an important figure as well, I hope she breaks through with great albums and great tracks. I also watch out for a femcee from the North of France called Emma (Emotrip Records).

You often worked with women (Sarah Lelouch, Audrey Chauveau ou Aline Afanoukoé). Is it coincidental or intentional?

It’s neither intentional nor coincidental. You know, it’s like religions and cultures. Whatever your color, religion or gender, it’s people that matter. What they can bring us and what we can do together to make things move forward. That’s what’s most important to me.

Why do you think there are so little female rappers in the media in France?

The reality in rap music, is that there are very little women who break through because there are very little women who rap. It’s like boxing. Boxing is a very masculine sport, there are female boxers but still not many. Rap is the same.

I think it’s also maybe, that’s only my opinion and my deduction, that some girls think “we show up in male-dominated environment so what should we do to stand out? What to do to be different from the others?” But we must try to encourage them if they’re talented.

How is the situation different in the US?

In France, it’s different. In the US, you have Missy Elliott or Da Brat and when you see their lyrics, I think that we’ve never got that far in France. Maybe that’s a good thing, regarding the way they about women’s condition in their texts. We don’t have that in France because our culture and our writing are different. Also maybe that some girls also think “I’d rather sing or not be an artist at all”. It’s a tough and complicated world. Anyway girls, you play a key role so come on, we’re waiting for you!

Hip hop is perceived as sexist and homophobic. What do you think about that?

Obviously, rap is a trend and a reflection of our society, so why are there not as many female rappers as male ones? And why is it the same in politics? How many women are there in the national assembly? (27%) For real? I think there is a real problem there too. There is a problem of female representativeness in the whole society in general. Why do women earn less money than men? These are real questions.

What should be done to change this?

Fifty or sixty years ago women could not vote here in France (women got the right to vote in 1944). So I think it will come naturally, maybe we need to wait for one or two more generations and little by little it will happen. I really judge people on talent, in the field I know that is rap and music. It doesn’t matter if you’re a boy or a girl, as long as you have talent you’ll succeed.

A piece of advice for young female rappers?

Go girls, go! Go and don’t be scared. Even if there are a lot of men out there, you can dethrone them.

Find Fred Musa on Twitter or listen to him on Skyrock between 9 and 12AM and on Planete Rap between 8 and 9PM. 

Yehaiyahan: “Hip hop is big in China but there are little female artists involved”

How did you become an artist? Did you receive any musical training when you were younger?

I studied piano when I was young, not for a long time, but it helped me learn some basic knowledge of music. I had a rock band when I was in high school as a singer and a keyboard player. That’s how I started.

You’re internationally known for being the half of AM444, your jazzy/electro/soul duet with Dutch producer Jay.Soul. How popular is AM444 in China?

AM444 is still underground in China, but we are well-known on the music scene.

You’re usually labeled as an electro artist. However, you incorporate many different sonorities in your work, such as soul and hip hop, and you also rap. How would you describe your music?

I make unique ChaCha sound, a vocalist that is having fun with all kinds of music.

You worked with French musician and singer Mathieu Chédid (M) on the track “Détache toi”. How did you two meet? Did you know his music before working with him?

When he first toured in China, he was trying to discover some interesting Chinese musicians, so our friend Pierre A (Kaiguan Culture) gave him some CDs, and he liked us. That was his idea to remix one of our songs. After that, we did his second Chinese tour together. Before this collaboration, we didn’t really know him. I had only seen a few videos of M.

He calls you the “Eastern Björk” and you name Björk as a major influence. Which other female figures inspire you?

I also like Erykah Badu, Lauryn Hill, Roisin Murphy of Moloko, Beth Gibbons of Portishead, Yukimi Nagano of Little Dragon, Yarah Bravo ,PJ Harvey and Sinead O’Connor.

How is the female hip hop music scene like in China?

Hip hop is big in China, but there are little female artists involved. I feel that people like hip hop outfits and style more than the music itself. There were a few female rappers years ago but none of them stayed long.

Do you consider yourself a feminist? Why?

I don’t tag myself with any kind of “ism”. I’m proud of who I am and what I am doing. I fight to be treated equally and respected not only because I’m a woman, but because of I’m a human being.

What are you listening to these days? Any cool Chinese artists we should check out?

I’m listening to a lot of reggae these days, and discovering more good musicians from all over the Asia. Please check Chee Productions, Soulspeak, Kafe.Hu, Purple Soul, Linfeng

Do you have any upcoming solo projects?

I’m trying to finish a new album of my solo project Faded Ghost. It should be done before the end of the year. I also release a few EPs every year with some of my producer friends. I will also do that this year.

What do you think about Madame Rap? What should be changed or improved? 

It’s a nice way to introduce female hip hop artists from all over the world. I’m happy to have a chance to know them over the pages.

Find Yehaiyahan on Soundcloud, Tumblr and YouTube.

FemiOne: “Why do people feel the need to call us ‘female rappers’?”

What made you want to become a rapper?

When I was in primary school, I used to listen to Wenyeji and Necessary Noize , cram their verses and rap during breaks in school. My interest in rap started there and I realized I had it in me and I needed to pursue it.

You say in your bio “I’m the Femione among the Feminine (Femcees)”. What do you mean by that?

That is my tag line, which simply means I am the best among them all.

You often rap in swahili and sheng. Why do you choose to do so? 

I am comfortable rapping in  sheng plus I want people to relate to my songs. I also don’t want to end up sounding fake with an acquired accent.

What is the track “Usiku Mchana” about? Can you tell us what is the story behind the song?

Usiku Mchana” is about a lover/friend/family who feels insecure about a loved one on the limelight. It explains that there are still people who will stay humble even after the fast life, money and fame so no need to be insecure. It is actually something that happened to me.

Who are your female role models and why?

Nazizi is my role model. She paved the way for us ‘female’ rappers and showed us and the world we can rap plus I can relate to her songs.

How would you describe the female hip hop scene in Kenya?

It’s growing but we are not where we should be. The industry is male-dominated but femcees are really trying but we can do better.

Do you consider yourself a feminist?

Yes, in my own little way. Let me ask you a question, why do people always feel the need to distinguish us and call us female rappers while the male rappers will just be given the title “rapper”? Are’nt we all rappers?

What are you listening to these days?

I listen to all genres of music, if it’s good music. I can’t say I like a specific genre.

What are your upcoming projects?

I have so much in store, more music videos this year, more music. Stay tuned.

What do you think of Madame Rap? What should be changed or improved?

Madame Rap should be more consistent and release more music. Support and uplift one another and the industry will grow.

Find FemiOne on FacebookYouTube and Twitter.

Klutch Kollective: “The key to life’s opportunities is equality”

26-year-old singer/dancer/pianist/producer from Johannesburg Toya Delazy launches Klutch Kollective, the first all-female rap crew in South Africa. Whereas the artist has just been selected for the second and final round of the Midem Artist Accelerator taking place in Cannes at the beginning of June 2016, Klutch Kollective gave their first international interview to Madame Rap!

How it is like to be a woman on the South African hip hop scene?

There are a lot of challenges as hip hop can be full of male chauvinists over here, and it’s quite a macho country. We as female rappers are most of the time not taken seriously. Therefore a collective is the perfect approach and opportunity to change this culture.

How was Klutch Kollective born and why do you think South Africa needs an all-female rap crew?

At the 2015 South African Hip Hop Awards, hardly any females were represented in South African Hip hop, there was a female category, which was meant for 5 contestants but only had 3 nominees! This got me thinking why are South African femcees so poorly represented when I know so many great ones?! I decide to call up some friends telling them that we needed to make an all female track that would show the industry that females are here and a lyrically skilled and ready to be acknowledged by the industry. I then got hold of Mandisa Nduna (FIAH) a friend of mine who I went to university with, Marcia Buwa (Genius) who I used to gig with at street shows whilst growing my craft in Durban, and lastly D.K. who I met a year prior and formed Klutch Kollective. South Africa needs the collective voices of women right now to invigorate and share something new, we need to diversify the hip hop game, that’s all we are here to do, set a new tone.

On “Back To the Roots” you sing “Back to the roots, back to the real hip hop”. What do you mean by that and what do you think of hip hop today?

“Back to the roots/back to the real hip hop” is self-explanatory, Till now the hip hop scene in SA now had only been concentrating on dance and less on its rhythm and poetry side. This song is about all the original elements we feel built hip hop to be what it is today, story telling poetry and rhythm beats that make you bop your head.

Why do you think hip hop can be a political tool?

In 2016, as musicians, not just as hip hop artists, we are influential beings more than ever. Politicians have lost their credibility. We observe our surroundings and later tell those stories to the world, as it is, without censure. Therefore hip-hop can easily be a political tool, the youth needs us now more than any other time to share our views on what’s happening in the world… Music is a very strong form of art.

Do you consider yourself a feminist? Why?

Yes. I strongly believe in equality for all. I am a woman so I’m automatically labeled as a feminist, probably because I don’t carry myself as one who is less than my male counter parts… I believe the key to life’s opportunities is equality, so everyone can have a fair try and have a say. Women shouldn’t have to struggle to succeed in arts nor in the corporate world.

How did you manage to make yourself a name as a producer and what do you think should be done to change this situation?

I’m a classically trained jazz pianist and only I started releasing my productions on my 2nd studio album Ascension. Nobody was expecting it because it’s not often that women are found on the musical production side of things, especially in Africa.

Initially, my productions weren’t really taken seriously, until I went to the united states and I got my buddy Jazziel Sommers to be my 3rd eye, he mixed all my productions and they ended up being some of the best joints on the album, listen out for“In My Head”, “Out of My Mind” et “Sophomore”, on my album Ascension. I co produced 3 other tracks with producers I really love such as Cape Town’s Card on Spokes (Dreamer”, “Star Trek”, “Cheeky”) as well as LosKop from Los Angeles and SA (“Forbidden Fruit”, “Why Hate”). “Forbidden Fruit” was awarded International Song of the Year at the beginning of 2016 by the Out Music Awards in New York. I knew from then on that I needed to continue producing…

Who are your female role models?

Nina Simone, Skin from Skunk Anansie, Lauryn Hill, Missy Elliott, Jean Grae, I also really like Christine and the Queens from France, I’m actually going to see her in London in May! And… My mum, lol… Cheesy but true.

What are you listening to these days?

Genius says she listens to Justin Bieber, Chris Brown, AKA, Nasty C, EVE, the reason being music for them is more than just sound and lyrics, it’s life. I’m more onJames Bay, Flume, Chester Watson, Triex at the moment. Bieber is also cool.

What’s next for Klutch Kollective?

We will be releasing the music video for “Back To the Roots”, how the shoot fell into place is a crazy story, we made it in two days, you could think it was one of these 48h film projects! We worked with an incredible team and venue, I cannot wait for everyone to see this majestic production, the release should be next month.

What do you think about Madame Rap? What should be changed or improved

Madame Rap is doing well by showing support to all female rap/hip hop artists no matter how big or small or where they are located geographically, it empowers us, and gives us the opportunity to connect with people beyond borders!

Find Toya Delazy on her websiteFacebook, Twitter and iTunes.

Find Klutch Kollective on Facebook and Twitter.

Strange Froots: “Women need to know that they can do hip hop their own way”

Meet the Quebec rap band Strange Froots and the three Black and queer female rappers and singers: Mags (Senegalese-Ghanaian born in the US), Naïka Champaïgne (Quebec-Haitian) and SageS (Jamaican-Canadian). As the trio just released the video “The Wanderer”, they told us about the female rap scene in Montreal, how their identities impacts their music and their upcoming projects. 

When and how did you discover hip hop?

Mags: I was exposed to hip hop at a relatively early age. I had two older siblings who watched BET, VH1 and MTV all the time, and had plenty of CDs for me to borrow. On the way to school every morning for as long as I can remember (either on the bus or my parent’s car), the station of choice always had hip hop and go-go music on. The first one I remember listening to wasCrazySexyCool by TLC; the first one I ever owned was Nellyville by Nelly, a gift from my dad for my 10th birthday (even if I’m pretty sure he only grabbed what he thought was popular at the time). From middle to high school most of the rap I listened to was Missy Elliott and Kid Cudi.

Naïka Champaïgne: I first got into hip hop through my mother and my brother, it was playing around the house and it was merely a part of my surroundings; artists like Missy, Ludacris, Biggie, Tupac…

SageS: I believe hip hop found me. Prior to the Strange Froots, I was primarily interested in pop, rock and alternative music. However, after joining NBS (NoBad Sound Studio) and subsequently meeting Mags and Naïka, I developed a new appreciation for the genre and am continuing to explore it in the music that I create.

When and how did you start rapping and which artists inspired you? 

S: I appreciate hip hop because it is a powerful medium for artists. Historically, hip hop was used to voice the concerns of the black minority and to speak up against injustice, inequality, and the blatant truths of those times. I think it is a privilege to be able to do the same with my music.

NC: Before being in SF, I was a solo artist playing in certain lounges and bars and festivals for young adults called “Adofest”. It was me, myself and my guitar. I was singing some of my songs which are more acoustic, soul and jazzy/folk-ish and covers. Then, I started working with hip hop artists such as Dézuets d’Plingrés and Doc Mo. I actually made my first featuring and music video appearance with them.

M: I had a very short stint as the designated rapper in my best friend’s high school emo band (they wanted me to be like Mike Shinoda in Linkin Park) but I wasn’t into it. Later on during university (some time after moving to Montreal from the US) I discovered an event called Hip Hop Karaoke MTL, where people can sign up to perform their favorite hip hop track by heart (so no lyrics). I decided to give it a try, and having done theater and dance shows in high school, I found I had tapped into another side of my passion for performing. I definitely took a lot of cues from Missy, but later on I think Narcy influenced quite a bit of my flow.

How and when was Strange Froots founded?

M: The year our group was founded I was VP Marketing and Communications of the hip hop club at my university, and made a lot of artist friends through HHK, as well as the hip hop sociology class I had taken the year before (this is where the club was founded). One of my friends, Dr. MaD, was working at a youth center called NoBad Sound Studio (founded by our mentors Nomadic Massive), and invited me to a jam session. That’s where I met Naïka.

NC: NoBad Sound Studio is affiliated with La Maison des Jeunes Côte-des-Neiges, which is an open/free space for young teenagers from the ages 12-17 to have a safe place to have fun, do homework, do workshops of any kinds of activities; NBS Studio is the music center of that organization. It’s a place where kids can record beats and vocals for free. Workshops for songwriting and beatmaking are also available. Of us three, I was the first member there, I entered in February 2013; I heard about this studio by a friend of mine who is also a beatmaker, rapper and songwriter called Tshizimba. A year later in May, I met Mags at a meeting for new ideas to make NoBadSound progress and in June they decided to have a girls workshop because not a lot of girls entered the studio which is mainly into the hip hop scene.

S: I discovered NBS through my mother, who is friends with Kof (K.O.F.), an artist and former NBS counselor. He invited me to come back for a female-led workshop project, since there aren’t many girls at NBS. In fact, Naïka, Mags, and I were the only ones that showed up for it, so we decided to make a band instead.

What’s the story behind “The Wanderer”?

NC: Mags created the beat from “The Wanderer” a while ago, before she even met us. She sampled a beat from Cheikh Lo’s “Dokandeme” and it’s about a wanderer/immigrant. So when I wrote the lyrics to the song, the main verses, I was inspired by the movie 12 Years a Slave and racism, discrimination and inequality that is still very much present nowadays. It’s a song about how we Black people have suffered, still suffer, but we still dream about better lives and live for something better.

M: The sample itself is representative of my heritage. My father is Senegalese, and Cheikh Lo was one of many African artists I grew up hearing around the house. The story behind the music video differs quite a bit from the story of the song. The story in the video follows 3 people on different paths in relation to the African diaspora. One is about reclaiming what being “from the Motherland” means, another is about bridging cultural gaps within the same generation, and the third is more of an internal thing, self-decolonizing a bit.

You are three Black and queer women. How do your “Blackness” and “queerness” influence your music?

S: Being a queer, Black woman, I constantly feel a certain level of responsibility in displaying an authentic version of myself through my art that also honors these identities. Despite my being a relatively private person, it is important to me to share my truths publicly, if only to inspire, help, and/or amuse the people in my communities.

M: For me personally, I like to have nuance and subtle references to my own queerness by using gender neutral language in love songs or not always explicitly mentioning physical intimacy. Being on the ace spectrum, I’m used to having people assume being queer means also being hypersexual, which is often played up for jokes in media. While I might not care about a person’s gender if I’m attracted to them, I can still put emphasis on other aspects of being queer. As for the Black side of things, I always like to give a little shoutout to where my parents are from (Senegal and Ghana), and the fact that I’m a first-generation African-American, which I feel a lot of kids of immigrants can relate to. I also like to sample African music in the beats I produce (like in “The Wanderer” and “Afro Punkass”).

NC: There is a certain responsibility to fully grasps what it means to be all of these identities. There is a need to comprehend and feel how each of these oppressions shape me as an artist, how it crafts my art, my vision, and how people will perceive it.

Do you consider yourselves feminists? If so, what kind of feminism do you most relate to?

M: I do consider myself a feminist, and I relate mostly to issues of misogynoir, but intersectional feminism as a whole overall. There are a lot of times where even if I’m a queer Black woman, I have to always remember that I’m also coming from a place of cis, able-bodied, middle-upper class privilege with a degree. And I’ll be quick to call someone out on it even if they identify as things that I don’t; you can’t always be right because you are oppressed in certain ways, there’s always something to reconsider.

NC: I identify with Black feminism/intersectional feminism.

How is the female rap scene like in Montreal?

NC: It’s a big family; everyone knows one another or heard of one another. In terms of sound, it’s very tight and I would like to say raw, pure. People really seem to enjoy themselves, but if you don’t know the music genre, it’s so hard to find local artists. A normal citizen would not know where to look to find Montreal hip hop artist let’s say, unless they ARE interested in hip hop themselves.It started as a male dominated scene, for minorities, Black and Latinos, who lived in the struggle, the ghetto, in the white supremacy (still is) and how they wanted to address those injustices. You would think that women would also be a part of that right? As being the most oppressed human beings on the planet; but no, hip hop is seen as a macho scene, a macho environment, and masculine. And it still very is, sadly.

M: We have a lot of talented femcees, such as Hua LiSarahmée, the former members of Bad Nylon (Kayiri and Marie-Gold) just to name a few. A lot of times, the media likes to act as if we’re all “competing” in “a man’s world” when in reality, not only is the scene generally supportive and collaborative amongst girls, but a lot of us are friends in real life. This isn’t to say that there’s still a problem of under-representation in terms of, for example, race or Anglo vs. Franco among the female rappers.

S: I feel like there aren’t a lot of female collaborations in hip hop because hip hop is a very male-driven institution, and it’s very difficult for females to project an alternative to the misogynistic lyrics. But some women are doing just that, coming up with a different, less stereotypical version of hip hop. Women need to know that they can do hip hop their own way, which is exactly why Strange Froots was formed.

Who are your female role models and why?

M: I will always stan for Missy Elliott, because she’s always a decade ahead of the new wave, and her artistry was also so much fun and out of the box, not to mention I didn’t have a lot of role models with a similar body type to mine when I was growing up. Seeing a big dark skinned girl become an absolute legend really resonated with me. I also had a really huge Spice Girls phase that recently resurfaced, and after watching their documentaries it made me love them even more for their down-to-earthness and how important their friendship really was to them.

S: I was raised by an all-woman family. My mother and aunt, both multidisciplinary artists, inspired my love of the arts. My mother, Sylvia Stewart, an actress and stuntwoman, exposed me to the world of acting and stage performing, and my aunt Paula encouraged my passion for songwriting. As for musicians, there’s Jully Black, Ella Fitzgerald, Florence + The Machine…

NC: I would say Erykah Badu, Billie Holiday, Amy Winehouse, Nai Palm, Lauryn Hill, Ella Fitzgerald as well… I have too many.

What are your upcoming projects? 

S: We’ll be spending this time working on new music. Having spent a few years on “The Wanderer” (from releasing the track on our titular EP back in 2014 to the music video we’ve worked on since our time in Senegal last summer) we’ve reached a turning point in the group. I look forward to situating our content in the present, showcasing who we are now as people, black and queer folk and what that means to us. Gotta keep it fresh

NC: New ideas in music, in creativity, in expressions. I want to challenge myself in those areas and also challenge the fans as well. It’s always good to challenge ourselves.

What do you think of Madame Rap? What should be changed or improved?

M: I grew up in the French system, having attended an international school with a majority of French kids (my best friend included), and watching channels like TV5, Canal+ and TRACE when visiting family in West Africa, so I had a small idea of what the content might be like when I first discovered it not too long ago, but I was pleasantly surprised! It’s really cool to see that you feature artists from everywhere and have bilingual content! That’s something you wouldn’t see a lot in Quebec.

Find Strange Froots on their websiteFacebookYouTubeTwitter and Instagram

© Didi M’bow

Lucy Camp: “My music is versatile”

San Jose rapper Lucy Camp told us about her first encounter with rap and her new hip hop new wave EP “Summer Camp”, released on the independent label Quintic Records. 

When and how did you discover hip hop?

Growing up my uncle would play a lot of rap music. I remember the first rap song I heard was “The Humpty Dance” by Digital Underground. That was how I became exposed to one of the elements of hip-hop.

How did you start rapping?

When I was 6 years old, I’d gather my family around the living room and put on my dad’s sunglasses to “rap” for them. Later down the line when I was 12 I started writing little raps in my notebooks. At 15 I took a hip-hop elective in high school and began writing full songs and recording my own music under a different name.

How would you describe your music? 

My music is versatile. The Summer Camp EP I recently put out is very different from the music I’ve made in the past and totally represents where I’m at right now sonically. I’d say some of the tracks I make are poetic, others are more angsty while others are just pure vibes.

You just released your third EP “Summer Camp”. Who did you work with on this project?

I worked with Peter Anthony Red on the Summer Camp EP. He’s a producer in the label, Quintic, that I’m in. He completely captured the 80s vibes with the instrumentals, I’m in love with what he’s done on this project. I also worked with Africa from the band Neko Pink on the track Stars. I was lucky enough to have her send her vocals last minute for the hook portion. She killed it.

Your track “Disguise” has a strong new wave/Blood Orange/Twin Peaks vibe. What’s the story behind this track? 

Peter played me the melody you hear in the hook and that was all it was, a melody with no drums. As soon as he played it for me I got this synthwavey vibe from it and suggested he add some drums of that style to the melody. As soon as he did that I kept thinking of the word “disguise” and I came up with the hook right then and there. The song is about falling for someone who isn’t who they say they are.

You come from San Jose, California. How is the female hip hop scene like over there?

Although I’m from San Jose, I’m not heavily involved in the music scene out here. I’m used to making music in my room and sending it over and that’s it. I do know that Snow Tha Product is from San Jose too, though.

Do you consider yourself a feminist? If so, what kind of feminism do you most relate to?

When I think of the word feminist I think of believing/fighting for equal rights between men and women. That is the feminism I believe in.

Who are your female role models and why?

My aunt Bella is a big female role model for me because growing up she gave me a lot of advice my mom wasn’t able to give me. She’s a strong woman who I’ve seen endure a lot in her life. I admire her strength and her morals because it’s helped shaped me in some way.

Another female role model I have is Dua Lipa. I appreciate her dedication to music and a healthy physique. She has abs FOR DAYS. It’s motivating.

What are your upcoming projects? 

I have a debut album dropping in the fall which I am excited for!

What do you think of Madame Rap? What should be changed or improved?

I think it’s dope that Madame Rap provides exposure of female artists in hip-hop. It’s always great when women can come together to support and uplift other women. Keep doing what you’re doing!

Find Lucy Camp on BandcampYouTubeFacebook and Twitter.

Sharaya J: “Stand for something or fall for anything”

After two years of silence, Sharaya J is back with the mixtape “Dope Product – Vol. 1” and the video “BIG”. The MC from Jersey City told Madame Rap about her decisive encounter with Missy Elliott – she signed to The Goldmind  Inc. in 2010 before launching her own production company Banji Entertainment LLC in 2016 –, her BANJI movement and why it is important to be yourself.

Your father was a member of 90’s hip hop group Double XX Posse. Is it him who introduced you to rapping? 

Yes. I grew up in a HipHop home, my mom and father were music heads so they introduced me to so many different styles of music at a very young age. I learned a lot from my father by just observing him. I’d come home  from school and there would be full cyphers going on in my living room or we would would meet him at the studio on many occasions. That gave me a glimpse of what his world was like. I’d have to say he was first “rap” inspiration.

You were a dancer for Diddy, Rihanna, Ciaraand Alicia Keys and worked with famous choreographers such as Laurianne Gibson, Fatima Robinson and Jamaica Craft. What part does dancing play in your music today?

Dancing plays a very important part in my music. When I create music, I’m also coming from the perspective of a dancer; so if it makes me wanna move I’m pretty sure other dancers will feel the same. When I transitioned from dancer/choreographer to artist, I always vowed that I would never leave my love for dance behind; but in fact I would keep it as the root of my musical journey.

You just released the 17-track mixtape “Dope Product – Vol. 1”. Who did you work with on this project and how would you pitch it? 

I am really proud of my mixtape “Dope Product – Vol. 1”. In creating this collective, I really took a organic approach. I didn’t want to give myself any boundaries, I wanted it to be as creative, fresh, nostalgic, fun and most importantly DOPE as possible. I got the opportunity to work with some really awesome producers like Razors Music, DJ Jayhood, Web of the Machine & some great artist like Izza Kizza and Samad Savage. Ultimately, I think that we created something special that people can push play on and vibe with from beginning to end.

You also recently released the Video “BIG”. What’s the story of this track? 

BIG” is indeed a special track to me. This is the first record that myself and my father have collaborated on. We got in the studio, caught a crazy vibe and ran with it. That actually is my father’s voice saying “BIG” in the hook. The idea of “BIG” is to do all things with this intention; Dream “BIG”, Think “BIG”, Live “BIG”…so I actually consider this joint quite an inspirational track; not to mention that authentic Hip Hop essence of the beat.

You launched the BANJI (Be Authentic Never Jeopardize Individuality) movement. Can you tell us more about it? 

The “BANJI” movement was created because of my real life testimony. I once was asked by some record executives to change everything about myself at the time in order to sign a deal with them. They agreed that I had superstar quality; but wanted me to dress a little more sexy, show a little more skin, throw on some heels and get a weave. In that moment I realized that they cared more about my image then my talent. I have always heard about the stereotypical things that go on in our industry but to experience it first hand like that really put a battery in my back to stand for something or fall for anything. I decided from that experience that I would create a movement that would embrace individuality, uniqueness and encourage everyone to be comfortable in the skin they are in; hence why I live my life unapologetically and fearless…BANJI.

Missy Elliott has been a sort of mentor to you and she says you are “the future”. How did you two meet and how did she influence your work? 

Missy and I met at a mutual friend’s event. We instantly clicked and hit it off. At that time I was transitioning from dancer to artist.  She told me I had superstar quality and offered me an opportunity of a lifetime. She offered me the chance to become a student under her and she would mentor me and show me the ropes. I jumped at the chance, of course, we are talking about one of the musical geniuses of our time. I feel very blessed to have had a mentor like Missy; she has taught me so much not only about music but about life in general. I will always honor her and be forever grateful for the wisdom and the jewels that she has given me on this journey of my career.

Who are your female role models, if you have any, and why? 

Most importantly my Mom (Deborah) & my Grandma (Jestine), but I have been blessed with some amazing female role models that have brought me to the place I am now and made me the woman I am today. I have been inspired by so many different strong women in my life and I feel extremely grateful for them all.

Do you consider yourself a feminist? Why?

Yes, I do consider myself a feminist in the sense that I do understand how important it is to encourage and uplift the female community. I believe that we should constantly be reminded of our worth & greatness, and how important it is for women to support other women in this industry and in the world.

What are your upcoming projects? 

I have just wrapped 3 new visuals off the “Dope Product – Vol. 1″ collective that I’m very excited about. I am gearing up for the release of my first EP; in which I have plans on releasing the single entitled “New Wave“. I am also working on a very special project – a pilot that I have written and produced entitled “Roomies“. I have a lot on the horizon that I can’t wait to share with all my supporters.

What do you think of Madame Rap? What should be changed or improved? Are we Banji certified? 

I think Madame Rap is Awesome! I wouldn’t suggest you gals be anything different than what you are…You gotta keep it Banji always! Definitely #Banjicertified xo

Find Sharaya on her websiteFacebook, TwitterSoundcloud and Instagram.

Daughters of Reykjavík: “We need to stick together to break the status quo on the rap scene”

Daughters of Reykjavík is a 17-member all-female rap group based in Iceland. Locally known as Reykjavíkurdætur, the collective has been active since 2013 and has gained notoriety with its political and feminist songs denouncing a largely male-dominated scene. The band told us about their journey, their struggles and their projects.

Your bio says your band is made up of 16 rappers, but some articles say you are 17, and other 19. How many are you for real?  

16 plus a DJ who plays with us on gigs!

The collective was created in 2013 and none of you was rapping before getting together. How did you learn to rap?  

Some of the girls were already rapping just not as artists more like a hobby. We taught each other and also some of us had mentors. We constantly challenge each other and support one another. Honesty, trust and support taught us more than anything.

How does being a clan make you stronger?

We are stronger in numbers. We need to stick together to break the status quo on the rap scene.

What is the hip hop scene like in Iceland?

There is a big upswing in the scene today. It’s pretty male dominated except for us and a few others. There are many uprising hip hop bands in the scene now than ever before. The range of styles is widening.

As female artists, what sexist stereotypes are you most often confronted with?

That we are just famous for our gender but not our talent. People talk too much about us being sexy but not that we are talented. Media talks more about our clothes and attitude than our music. But we aim to change that.

In France, we have the impression Iceland is a very open-minded and politically conscious country compared to us. You pushed your PM to resign after the Panama Papers, you were the first country to grant women and men equal rights in 1850 and you elected Europe’s first female president in 1980. However, in an interview for Noisey, Vigdís Ósk stated : “Fifty percent of the nation are racist, anti-feminist, narrow-minded and living in a box.”  How do you explain this different perception?

Of course some people in Iceland are corrupted, narrow minded and stagnate. The impression of Iceland you just described is not as much of a paradise as it seems. We definetly feel that we have come a long way when it comes to feminism but at the same time we have a long way to go. Politics on the other hand is a completely different story since there is a lot of corruption going on and there are now two people in the government who were in the Panama Papers for example.

A lot of people have this misperception of Iceland but it takes a lot more time to build up a new system with higher moral standards.

Even for non-Icelandic speakers, your music carries a strong feminist vibe. Can you tell us what topics you tackle for us who don’t understand most of your lyrics?

Politics, sexual abuse, motherly approach to corrupted politicians, feminism, anal sex, body hair, body shaming, empowering women, rape culture, heartbreaks and many more. But some songs intentionally don’t have any special meaning but the one that the listener interpret for themselves.

What are you listening to these days? Which other female artists do you look up to?

Angel Haze, Nneka, Cell7, Beyonce, Little Simz, Dreezy, JOJO Abot, Shadia Mansour and many many more strong female inspirations.

What are your upcoming projects?

Our RVKDTR EUROPE TOUR. Is from the 18th of June until the 17th of July. The tour will start at the Secret Solstice in Iceland and end with FIB festival in Spain. In between we are playing a gig in Norway and having a women empowering feminist workshop, art shop in Canada as well as playing the Roskilde festival.

What do you think about Madame Rap? What should be changed or improved?

We think this is a very cool approach and inspiring website! Just keep evolving and keep writing! Stay open about every artist and keep up the hard work! We love you!

Find Daughters of Reykjavík on Instagram, TikTok, X, YouTube, Facebook and their website.

Pumpkin: “Being an indie female rapper outside the mold is political in itself”

You say you discovered hip hop with French rapper MC Solaar, without understanding it was rap. Which other artists made you want to become a rapper?

IAM, NTM, Oxmo Puccino, Triptik, Raggasonic, Les Sages Poètes de la rue, Diam’s, Mélaaz, Alliance Ethnik, Ménélik, Fabe, Sens Unik, Nas, The Fugees, Warren G, the artists of the cassette La Haine… And secondly, Blackalicious, Common, Mos Def, Bahamadia, Jurassic 5, Dilated Peoples, De La Soul or A Tribe Called Quest influenced me a lot.

You come from Brest in Brittany, but lived in Barcelona for several years before moving back to France in Nantes. What did you learn from this Catalan experience from an artistic point of view?

I met a lot of hospitable and benevolent people, with whom I collaborated, recorded my first solo demos and did concerts. I was doing back vocals for a hip hop group with musicians, a kind of collective of a dozen people, where I was the only girl. For six years, all these experiences away from the French scene allowed me to begin to shape my solo project Pumpkin and understand what I wanted to do and how. At the time, I said yes to almost all collaboration opportunities because I thought it was a good way to learn. It was very educational. I kept great memories and a few shitty tracks too.

How and why did you cofound the associative organization Mentalow Music with your partner Vin’S da Cuero ?

Having an associative structure is the first step that makes a difference when you start producing records. We wanted to release projects freely without having to wait for a label to want us. Since the beginning, we have been very involved in all the aspects of the projects, from their creation to their release. We had to learn how many things worked, such as the Sacem, (French equivalent of PRS for Music), ISRCs (International Standard Recording Codes), how to manufacture vinyl records, make newsletters, websites, distribution, the accouting and contracts… We learn every day, at our own home-made structure pace. Our current priority is to release our own projects and this takes a lot of time and energy. But in the future, we would like to be able to release albums of other artists that we like.

On your first album Peinture Fraîche, you worked with 20syl of C2C and Hocus Pocus and Dynasty How did these collaborations go?

I met 20syl for the first time in 2007 in Madrid at a hip hop festival. We kept in touch ever since. He produced the track “Play” on my EP Silence Radio but I really wanted to share the mic with him. It was rather natural for Vin’S and I to invite him on the album. He coproduced the beat, co-wrote and rapped the lyrics with me. We produced it via internet and wrote and recorded the track together in two days at his house in Nantes. It was really a cool experience.

I met Dynasty in Nantes where we both performed at the Festival Hip Opsession. She’s a great rapper and a very nice girl. Then we worked on the track via internet. She is based in Florida.

Words are central in your work. How does the writing process go? Do you have any rituals? What are your favorite topics?

It’s true that I attach sometimes too much importance to writing. I would like to be more of an emcee and less of a rapper, more spontaneous and less cerebral. Writing is both pleasant and painful, it’s kind of a strange relationship. Throughout the years, my brain got used to being on alert, which means I often have ideas, words, puns or themes in mind, and use them during writing sessions. I’m quite uptight, even though I’m working on it, and need to gather several factors in order to feel ready to write. I must have my mind freed from all these “must-do stuff”, that parasitize me and prevent my mind from being completely available.

I’m getting sort of spaced out and like to remain that way for hours, sitting at my desk with my laptop, my headphones, my speakers, sheets of papers and colored felt-tip pens. I use Word and paper, they are complementary to me. I often change the fonts on Word and the colors on paper to keep my work process less routine. I listen to a track in a loop for hours and I write. Sometimes I turn down the volume to write without music. I spend a lot of time on my text and when I’m satisfied, I record a demo to see if it makes sense and make modifications if necessary. When I’m not inspired, I hang on and always end up with some ideas. And even if they seem really bad at the time, they can turn out to be useful a few days later in another context or state of mind.

In France, female MCs are given very little media coverage and remain underground. Why is that? And what should be done to change it?

I think it is a mix of several factors. To begin with, a very simple thing: we remain in minority in France so proportionally there are fewer chances to see women go public. Then, the real development of artists no longer exists. Record companies keep a watch on the internet and young people’s behavior (rap has become a music for kids, it’s kind of sad). They release “hits” and think in the very short term, which the media always call “the new rap sensation”. Also, there is a certain idea of what rap should sound like and by whom or how it should be made. Even for men, it is quite rare to see complex and singular personalities emerge beyond niches. Besides, we’re talking about a musical genre that is still attached to some values, while the industry puts pressure on us and tends to misrepresent the essence of our art. A lot of talented and interesting artists don’t get past some stages that could make themselves known because they make other choices that prevent them to. It is a way to protect or pull the rug out from under themselves, it all depends on where you stand. As far as I’m concerned, I was offered deals that could have put me in other places, but it implied doing things that weren’t me. Besides, we’re often referred to as female rappers to highlight the fact that we are women, we’re not always treated as full artists. Anyway, music in general is a male-dominated environment.

Do you consider yourself a feminist? Why?

YES! Since the day I read the definition of the term. How can you not want equality between women and men? It’s true that I don’t say it on all my tracks and I’m not a hardcore activist, but I am a feminist through my daily approach. Being an indie female rapper outside the mold  is political in itself and a committed approach, which, I think, can change the way men consider women’s role and help young girls see outside the boxes society puts them in. I have very interesting discussions about it when I do workshops. I talk about gender with both girls and boys and make them think about their conditioned behavior. I push them to permit themselves to be free.

What are you listening to these days? 

James Blake, Anderson Paak, Hiatus Kaiyote, The Dø, Oddisee, Kendrick Lamar, Beatspoke, Alltta, Supafuh

What are your upcoming projects?

An EP with Vin’S da Cuero for the end of the year with a series of concerts, a few collaborations here and there and an album for 2017.

What do you think about Madame Rap? What should be changed or improved?

More than a Tumblr, I’d see a clear, user-friendly and simple website, with an intuitive system to organize the content. That would make it more playful. It would also showcase the quantity of information and the former posts wouldn’t be lost in all with time. Also, an “artist” database with a search engine, interviews, video clips and a basic information: country, city, small bio and links. In English and French, it would become a real database and an international reference on the subject.

Find Pumpkin on Facebook, Soundcloud and her website.

© Singe 

Red Shaydez: “It’s no secret that hip hop is a male-dominated industry”

You started making music at the age of 7.How did that happen? Were you already into hip hop at the time? 

Growing up I was exposed to Hip Hop at an early age. My father was in a rap group at the time and I was there for all of the groundwork that they put in to make it in the industry. I attended studio sessions,video shoots, and I was with my dad when he would promote their album. It didn’t take me long to fall into his footsteps. I was so captivated by the culture.

Can you tell us about your radio experience and your encounter with MC Lyte?

Yes. This is one of my most fondest memories. I was hosting an online radio show back in 2009 on BlogTalk Radio. I came across MC Lyte‘s website HipHopSisters.com. MC Lyte was one of the administrators of the site and happen to come across my promotional post about my radio show. She liked the topic of discussion and offered to do an interview with me or a radio drop for me. I think she liked the fact that I was so young doing positive things with my spare time. Shortly thereafter, she sent me a radio drop saying my name and I almost screamed. I then put that drop on my mixtape that I released in 2010 entitled, “Take1: Behind The Scenes, Behind The Shaydez“.

You got nominated for “Best Female Rapper of the Year” at the Underground Music Awards 2015 in New York City. How did it help you in your career? 

It helped me by putting my name on the radar in the underground circuit. I have been on a long hiatus from music, so that nomination felt really good to only be back on the scene for a few months at that time.

What do you think of the hip hop music scene today? How hard is it for women to stand out?

The hip hop scene is ever-changing. You have to stay on top of all the latest trends such as new marketing tactics, promotional tools, ways to reach your target audience etc. I personally do not think it’s hard for women in hip hop to stand out because they’re aren’t that many in the mainstream circuit to begin with. It’s no secret that hip hop is a male-dominated industry, so being a femcee makes people automatically pay attention, if the femcee has talent.

On your Soundcloud page, you say “I am the underdog, but everything is temporary.” What do you mean by that?

I mean right now I am under the radar but nothing lasts forever. I’m very patient and I know my time is coming. People are ALWAYS watching.

Why did you decide to make a track called “Serena Williams”? What does she represent to you?

I wanted to make a record that stood out from the rest of the songs out right now. There aren’t too many records that represent strength or that demand respect. I wanted to bring those issues to the forefront. Serena Williams represents strength and power. The write up to my video explains that in depth, “When you hear the name, “Serena Williams,” Excellence becomes an instant thought. Strength, Power. A woman who goes after what she wants and stands her ground, she is the epitome of greatness. Upcoming female rapper, Red Shaydez is inspired by her legacy. Her latest effort, “Serena Williams” is an ode to the tennis star.The commentary on the trailer released for this video has a lot of people inquiring about what this track really means. No one has yet to be on the money. That doesn’t bother Red Shaydez one bit as she is confident that when people watch the visual, everyone will surely get the point.”

Do you consider yourself a feminist? Why?

I wouldn’t say I am a feminist per se, but I do share a lot of the same views. I’m all about women empowerment and women’s rights. I don’t feel like I have contributed enough to the movement to be called a feminist. One day.

What are you listening to these days? 

I listen to a lot of 90’s R&B, 90’s Rap, 00’s Rap & R&B, Trap Music, Classic Reggae, and anything that sounds good.

What are your upcoming projects?

I will be releasing my first project in about 6 years entitled, “Magnetic Aura: The EP“. I am very excited to release this project! I’m expecting a late summer 2016 release.

What do you think about Madame Rap? What should be changed or improved?

I love Madame Rap. Who ever is the scout at this site is really good because when I researched the blog, tons of female artists are on there from all over the world. Seeing how the blog just started in 2015, I’d say Madame Rap is well on its way.

Find Red Shaydez on SoundcloudFacebook and her website.

Dee MC: “There is a larger side of India where women are still treated unequally”

You started performing when you were five. What was your first encounter with hip hop music?

I started training for Bharatanatyam (form of Indian classical dance) when I was 5. I started listening to hip hop music when I was in school, around the 8th grade.

You said that if you didn’t become a rapper you would have tried to be a professional B-girl. How important is dancing in your performances today?

As a rapper, dancing isn’t really important because not everyone can do it. But I have plans to incorporate both in my performances in the future.

What is the hip hop scene like in Mumbai? Are there many female rappers out there?

Mumbai hip hop scene is flourishing as we speak. The scene is definitely on the rise, but sadly there are very few female rappers in the country right now. Counting all the active femcees right now would be well below 15-20 girls.

Do you work with other artists/producers/or a label?

I work with independent artists as well as producers depending on the project. Most of the collaborations are with producers from different genres in India and few singers as well as rappers.

Which women inspire you?

Any woman who believes in herself and has a motto in life inspires me. We are all living with imaginary shackles on our feet and hands telling us that we cannot achieve anything because of our gender. Any woman strong enough to break these shackles is nothing but inspiring.

Your song “Deeva” talks about gender inequality and sexism. What do you think about women’s condition in India?

I think people fail to realize that there is a larger side of India where women are still treated unequally. Inequality is an understatement to express what really goes on in rural India. Definitely things need a lot of work, even in urban areas inequality and sexism exist indirectly if not out in the open.

Do you consider yourself a feminist? Why?

I do, simply because I refuse to accept stereotypes and image branding done by society in general. Especially in a country like India inequality starts at home most of the time (subjective). When we can’t get respect and appreciation at home, how can we expect to get it from society? Standing up for myself and the women in my life is in a way pro feminism to me.

What are you listening to these days?

I’m listening to Chiddy Bang, Jhene Aiko and Angel Haze these days.

What are your upcoming projects?

I’ll be working on my album this year and at the same time release individual music videos hopefully every month.

What do you think about Madame Rap? What should be changed or improved?

I think it’s a wonderful thing that you are providing a platform for female artists like me from around the world. If you guys can arrange for international collaborations between female rappers that would be great!

Find Dee MC on Facebook and YouTube.