Rise of The Queens: Charleston’s Femcees

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Rise of The Queens: Charleston’s Femcees
Published: August 27, 2024

Joi Giovanni at the Queens of 90s Hip Hop Tribute at the Music Farm, April 2024. Photo by Clif Rhodes.

I reached out to a variety of female artists, creatives, and socialites in Charleston to discuss their perspectives on the legacy of women’s hip hop in the city, exploring their experiences, thoughts, and visions for the expansion of local female rap. In these conversations we discussed everything from the dichotomy between local female artists and the industry ‘status quo’, to the foundations and influences that led to the current high demand for the ladies of Charleston hip hop.

As a non-native, femcees such as B Kiddo, Pepe La Prada, Lady Slim, and Poraa were some of the first names I became familiar with as buzzing artists in the city during my arrival to Charleston in 2018-2019. 

The Geechee Native Tongue

Charleston radio personality, celebrity host, and curator Kris Kaylin.

The most unique aspect of the Charleston sound has always been the history and depth in the roots of the geechee native tongue. As the city itself evolved, so did the sound of the music coming from the city. Not only did it evolve, but it elevated. Building a bridge with these sounds has been one of Charleston hip hop’s biggest feats and most dangerous weapons.

“So many times in Charleston, even the education system, people who are not a part of our culture tell us that our dialect (Gullah Geechee) isn’t good so we don’t celebrate it.” said Kris Kaylin.

“But oftentimes, when we travel to other places, people gravitate towards us, which gives us appreciation for our own roots.”

From the outside looking in, because the native tongue can be foreign to the untrained ear, I’ve often wondered if that would be a hindrance for the femcees with Geechee Gullah upbringing in Charleston. I personally think it adds a certain edge to anything it touches, but for the mainstream, how would they perceive it?

“With the conscious movement on the rise, the world can feel the authenticity of the Geechee Gullah. I feel they will love it.” says Charleston native Kween Kat.

Charleston native and femcee, Kween Kat.

The Roots of Charleston Hip Hop

In the early 2000’s when Charleston hip hop first began to make noise in the southeast, it was strictly confined to the streets and the underground. Charleston rap and the sound, birthed by artists like Pachino Dino, Mistah Taylor, T-MAC was exclusive to the local North Charleston club/party scene. Due to the intense nature of early Charleo rappers, major music venues and popular downtown clubs opted out of having locally curated rap concerts. 

At the time, it didn’t mesh with the growing tourism and was seen as a liability. As time passed into the mid 2010’s, this was the perception of the Charleston hip hop scene until the sound began to diversify and spread beyond the 843. Today, Charleston consists of a variety of sounds, styles, and flavors, and still sticks true to the exclusive roots of Charleston Geechee Gullah sound and you can hear it on stages from downtown to Summerville.

Pachino Dino – “Drug Holda” (2002)

The Ladies of Modern Charleston Hip Hop

2024 has been a great year for the ladies of Charleston hip-hop. Amongst the influx of female emcees taking off in and around the local scene, venues and promoters are embracing and booking more all-female casts for headline events. 

Notable events are ‘The Queens of Hip Hop & Soul at The MOJA Festival’ at Music Farm, ‘The Baduizm Tribute Show’ and ‘Four Women’ by Tonya Nicole at Charleston Pour House, and ‘The Alanis Morrisette/Sheryl Crow Tribute Show featuring ‘Queens of 90’s Hip Hop’ curated by the home team, Extra Chill at Music Farm.

Each of these events brandished line-ups filled with some of Carolina’s very own Queens of Hip Hop such as Joi Giovanni, GIRL, Tonya Nicole, Toni Esther, and Christian ‘Black Diamond’ Smalls-to name a few. They gave honor to the Queens of the past that laid the groundwork for their journeys as female artists thriving in a historically male dominated sport.

Toni Esther performs at the Queens of 90s Hip Hop Tribute at Music Farm, April 2024. Photo by Clif Rhodes.

Tipped Scales

However, even with the city celebrating ‘music her-story’ and highlighting local female artists, there have always been ‘tipped scales’ when it comes to the local and mainstream music business. Wage gaps and lower percentages have plagued the female workforce since the beginning of time. That continues to be an unfortunate part of ‘the game’.

With this opinion, I spoke with national radio personality, celebrity host, and curator Kris Kaylin about her opinion of the current existence of financial inequalities in entertainment.

“Speaking as a female media personality, I’m 80% sure that the bookings and pay isn’t equal.” she stated.

“For some reason, it’s always a fight for women’s worth when it comes down to monetary value. And let’s be real when you want these women to perform at your shows you must realize that hair, cost money, makeup cost money, you have to buy clothes. Everyone expects you to have to ‘look the look’, but they don’t want to contribute to you financially. Definitely not before you make it.”

Eclipsing the Mainstream Box of Female Hip Hop

Joi Giovanni at the Queens of 90s Hip Hop Tribute at the Music Farm, April 2024. Photo by Clif Rhodes.

From the outside looking in as a male songwriter/artist, I feel that hip hop being navigated by men for the most part, has, over the years, placed a mainstream box on the world of female hip hop. I say this, in the sense that, MOST mainstream female rappers from era to era have seemingly found success by becoming the face of whatever the social standard existed for women in hip hop during that period of time.

For example, in the 80’s-early 90’s, women involved in mainstream hip hop had to match the intensity, lyricism, style, and presence. This torch was held by ladies like Roxanne Shante, Queen Latifah, MC Lyte, Yo-Yo, Sha Rock and the list goes on. 

Mainstream Superstardom: Sex Sells

As times shifted from the mid-late 90’s into the early 2000’s, the image of women shifted drastically in mainstream hip hop and this manifested in the form of Lil Kim, Foxy Brown, Trina, and so on.  All dynamic femcees that could go toe to toe with the best lyrically, however they succumbed to the machine of the mainstream mold and reached superstardom.

Now when I say this, I’m not devaluing the existence of legendary, conscious lyricists such as Lauryn Hill, Missy Elliot, Da Brat, Erykah Badu, Rah Digga, etc. But in my opinion, the mainstream voice and image of women in hip-hop at that time was that of the lyrically aggressive, yet fiercely extroverted sex symbol. 

“Sex sells, that’s how it’s always been.” said rap artist and rising podcaster, BKiddo. 

“If female artists want to play into that lane, then they’ll be one of the many because that’s the current appeal of the masses. That’s never been my lane though, I’ve always been extremely lyrical and I’ve always cultivated that.” she concluded.

Bkiddo – Hotbox Live3 Rooftop Performance (2024)

Although this type of duality has teeter-tottered in female hip hop throughout the years, it’s evident that this is still the popular image and sound that sells millions today. Not a thing against it, because I listen to artists like Sexy Redd, Latto, and Meg The Stallion myself, but I must be honest and say that their style seems to be the status quo for the modern femcee.

However, just as there are several subgenres of hip hop, there are a plethora of styles outside of the mainstream current that solely exist to break that mold.

“I don’t feel like female hip-hop is being placed in the box. There are so many different genres and pockets for (female) artists to be in now.” said Kris Kaylin. 

“Yes, you have some artists that are over-sexualized. However, conscious female rappers exist as well, like Rhapsody. When I think about local artist Kweena Dess, some of her lyrics may be sexualized, but her overall content is not over-sexualized at all.”

Kweena Dess – “Ratchet Sh*t” (2024)

Kweena Dess, is potentially the most known female artist out of Charleston in 2024. She has been featured on popular YouTube channel, “The Debut”, (hosted by Poison Ivi, daughter of rapper Lil Boosie) where she’s given several live performances, one of which garnished over a million views on TikTok. On top of doing numbers, she is known for her authenticity, lyrics, ‘hit’ potential and overall presence. 

Artists like Kweena Dess, Joi Giovanni, B Kiddo, and others featured in this article, break the mold of the industry standard and still smack you in the face with ferociously divine femininity.

“I love the variety of female rap going on today. I love that we have Dej Loaf, Young MA, Rhapsody,” stated legendary Charleston artist Kween Kat on the matter. 

Kween Katt – “Addicted to Pain” Music Video (2024)

“I also love Glorilla, Meg The Stallion, and Cardi B. I think that there can be more of a balance as to what’s being pushed to the people from the media,” she continued, “but I think that women artists as a collective are destroying the narrative that there can only be one type of female rapper.”

I’ve been thoroughly impressed by the level of versatility that exists amongst the different variety of femcees in the city. The power of a woman’s perspective is a necessity in society, yet alone hip hop, and I feel the ladies of Charleston hip-hop represent that from many angles. 

Femcee and transformational sound meditationalist, GiRL. Photo by Mary Goff @megoff4.

When speaking to femcee and transformational sound meditationalist, GiRL, she put it in a graceful way:

“A divine woman bringing a different frequency will ignite an alchemy which causes change and evolution within..you can’t ignore it. As a matter fact, the soul is begging for it, realized or not.” 

GiRL – “Shekinah” Video (2023)

Everything from the conscious, classic rap styles brandished by femcees like GiRL, Harakiry, Kween Kat, and Tazz Majesty to the postmodern, southern smoke from artists like Poizonnn, Big Body Gz, Yazzy Wright and more. All of the femcees named throughout this piece, collectively represent the female voice of the new age Charleston hip hop renaissance.

Hip Hop in general has become a grand melting pot, intertwining genders, cultures, races, and histories. It’s dope to see that level of culture grow into the Charleston hip hop scene, specifically with seeing the female voice being put on the forefront, when historically, it has been overshadowed by the intensity of early Charleston hip hop. Although things aren’t perfect and there’s always room for growth and Charleston is indeed growing.

Reaching Outside the 843

Charleston rapper and podcast host, BKiddo.

“I feel like the only way Charleston is going to ‘get on’ is by doing it independently. Just like No Limit and Cash Money did.” stated BKiddo.

“It’s going to take a homegrown label with a CEO who is not interested in being the artist and getting the strongest artists in the city and forming a solid line up. We will have to MAKE the rest of the world see us…LOOK at us TOGETHER, because Charleston is different and we need to keep it that way.” She concluded.

Charleston has something to say! The ladies have something to say! And it’s about time that the city is truly starting to listen. It’s a grand thing to live in a day and age where we have the power to shift the narrative, and if we use this power properly we can not only expand but become a unified pillar of culture in the south for all races, ages, and genders. So make sure as fans of hip hop and supporters of the culture, that we continue to honor the influence and rise of the varieties of female voices in the city.

Queens of 90s Hip Hop Tribute at the Music Farm, April 2024. Photo by Clif Rhodes.