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Photography by Annie

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Glücklicherweise gehen inzwischen viele Rapperinnen mit gutem Beispiel voran, wenn auch alle auf ihre eigene Art und Weise. Dabei engagiert sie sich konsequent gegen Homophobie und Sexismus in der deutschen Rapszene. Aber auch Female-MCs wie die großartige Haiyti, die die Szene mit ihrer kompromisslosen Turn-Up-Mucke bereichert und in ihren Musikvideos als „Speedleiche“ im Hamburger Szeneviertel Party macht, ist mindestens genauso wichtig für ein neues Frauenbild im Rap. Und auch Ewa kann als feministisch angesehen werden, schließlich zieht sie den kleinen Möchtegern-Pesevenks und Nachwuchs-Chauvinisten die Ohren lang und zeigt einer männerdominierten Szene, wo es langgeht: „Fickt deutschen Rap, weil selbst Schwesta mehr Eier hat.“. Deutscher Frauenrap ist somit vielseitig und das ist super. Nur eines haben sie alle gemeinsam: Ihre zahlenmäßige Unterlegenheit gegenüber den Männern, sowie ihre Wichtigkeit für ein neues Frauen-Verständnis im Deutschrap.

Je mehr weibliche MCs dazukommen, desto mehr helfen sie dabei, die alten Strukturen der Rapszene aufzubrechen. Und desto mehr hat das wiederum einen Effekt auf die gesamte Gesellschaft. Denn natürlich ist im großen Bild das Problem nicht der Rap, sondern die Gesellschaft, in der er großgeworden ist. Und genau deswegen brauchen wir endlich mehr Frauen im Deutschrap. Der erste Schritt, um das zu erreichen, ist eine tolerantere und offenere Szene, die ohne Vorbehalte an neue Künstlerinnen herangeht. Und sie vor allem ernst nimmt. Es darf kein Konsens sein, dass Frauenrap grundsätzlich erstmal belächelt oder mit besonderen Maßstäben gemessen wird. Solange es weiterhin Diskriminierung in der Gesellschaft und somit auch im Rap gibt, ist die Sache ganz klar: Wir brauchen Feminismus im Deutschrap, und zwar wir alle!

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8 Photography Julot Bandit,

TOMMY GENESIS

THE SELFPROCLAIMED FETISH RAPPER The Vancouver native only began rapping two years ago, though her interest in music started early: her mom taught her piano at a young age, leading to five group stints. “I always try to stay within a pack, but I forget I’m not a wolf; I’m like a lone tiger,” G^enesis says. Her solo sound—sultry lyrics with trap-inflected beats—is a work in progress. “I made up the term ‘fetish rap,’ and now I’m sick of it, to be honest,” she explains. „I don‘t believe in a genre as a long-term state. My old music

was rap. My new music is open to interpretation.“ Genesis also has dabbled in fashion: She performed at Miu Miu’s Cruise show in July and starred in Calvin Klein’s Fall 2016 campaign. Her new album will drop by the end of the year. “I still write everything myself,” Genesis asserts. “Only now, I mean everything I say. It comes from a place of empowerment. I feel like making music that will mean something to me in one year, in five years, in 10 years.”

10 You’ve talked a lot about isolation. Has loneliness directly influenced your work as an artist? I’m not really a lonely person. I don’t get lonely, but I would say more boredom and that sort of isolation is not really an emotional state, it’s more of a restless one. Within all emotional tendencies, I tend to fulfill myself. Growing up in Canada, the isolation is more of not feeling like you belong and not really knowing your purpose or why you make things or why you’re not satisfied. I think a lot of creative people have childhoods like that. It feels almost like a creative process because you’re sort of building the base for who you are.

Did that feeling of being free encourage your transition from writing poetry into becoming the rapper, Tommy Genesis? Music gives art legs. I don’t think you have to define it as just music, because it can also be art and fashion, too. Fashion can also be music; music can also be fashion. It’s all integrated, and for me, the objects or installations I created didn’t transcend my community. It was all fun and good, but there was a point where I organically started making audio works. I would use my voice a lot. I was also writing poetry on the side, so then I integrated that and it became music. It just kind of happened. I don’t listen to rap music, but music is a part of my life because I chose to make it so.

SoundCloud exists anywhere and everywhere. It’s a global community. Was it helpful in helping you reach those places you couldn’t access within an arm’s reach? My live show is the strongest exhibition of my art, not Soundcloud. It’s visceral, it’s real, it’s human-to-human, it’s raw energy. I can scream if I want, or I can stop the song. I’m not interested in just playing my song and being present, I’m interested in giving you a performance. Everything is so structured and controlled online, but I can be completely wild at my shows. I get my adrenaline from giving that, which, I feel, is the most fun.

You can be a lot of people through music. It’s like a transformer—this arm performs, this arm can rap, this leg likes to do this, it all comes together when I’m walking around doing this one thing. It’s cool because it lets me get to model, like this, and it allows me to stick my pinky in all these different things that I like.

You’ve branded your style of music as “fetish rap”— Yeah, I just made it up. People have always thought I was too sexual. It isn’t intentional, I just have a way of taking it there. I have a lot of fetishes and often feel that girls in the spotlight are fetisihized, so by calling it “fetish rap” I’m letting everyone know that I’m aware. I’m aware that I’m being explicit, aware that

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Photography Julot Bandit, courtesy of Princess Nokia

PRINCESS NOKIA

THE ART OF DOING WHAT YOU WANT If there‘s one thing that matters to Destiny Frasqueri — the part goth, part riot grrrl behind cyber princess Princess Nokia —it‘s independence. From her impressive debut Metallic Butterfly to her urban feminist collective Smart Girl Club and her work as Wavy Spice — the Mykki Blanco-championed rapper who released Bitch I‘m Posh back in 2013 — the 24-year-old New Yorker has never wasted her time „trying to be famous or have a record deal.“ In fact, she‘s actively avoided it.

ken advantage of,“ she explains. „If you sign your clause over, that‘s paperwork where you‘re expected to make an album and you‘re expected to make it sell. And I wouldn‘t have been able to do that. That‘s why I stayed independent and that‘s why I‘ll always stay independent. I‘ve garnered my career and my opportunities and my accolades based on me, just solely me.“ In fact, 2016 seems to be the year that „solely me“ rings the truest for

13 „I‘ve turned down maybe five record deals,“ she reveals in a recent series of interviews for Snobette. „They were never sufficient for me.“ For Frasqueri, „the clear capitalization of a young internet artist“ meant giving up the freedom that had made her unique sound so desirable in the first place — something that the former Ratking collaborator was wholly unprepared to do.

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„I‘m not a woman looking to be ta-

Frasqueri; the video for latest single „Tomboy“ showcases the most stripped back version of the artist to date. „It‘s me as Destiny in New York, growing up in the city, being a skater, being a comic book head, being a rapper, being this androgynous kid,“ she says of the clip. „A lot of the press I used to do, I didn‘t like it. Because I was a young girl and didn‘t understand. I thought that I had to make myself pretty or be more eccentric for music to be cooler. And it wasn‘t the case.“ She continues: „‘Tomboy‘ was just about who I am. I‘m a rapper, I‘m a woman, I‘m a G. I‘m a hella-G. Crazy G. I‘m very nothing laissez-faire, nothing bother me. I can make everything work for me. I can make having little titties and a big ass belly sexy. And that can be the biggest aphrodisiac for men. And I like things like that. When I think of concepts of myself or how I relate that to my art or to music, it‘s being the ugliest person and the coolest person at the same time. I like the duality of making something beautiful that isn‘t supposed to be.“ If „Tomboy“ is anything to go off, it looks like Frasqueri‘s latest and best reinvention is the one that was there all along.

14 Who that is, hoe?

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With my little titties and my phat belly I could take your man if you finna let me It‘s a guarantee that he won‘t forget me My body little, my soul is heavy My little titties be bookin‘ cities all around the world They be fucking wit‘ me I‘m a Calvin Klein model, come and get me Step the resy up, don‘t be fucking with me My little titties are so itty bitty I go locomotive, chitty chitty, bang bang Gold hoops and that name chain Timb boots and like, four rings Missy Elliott, can‘t stand the rain You lames playing the same games

Little titties, I‘m so damn pretty Staircase and a cracked philly

Little titties and a phat kitty Big pants and some scuffed shoes Pow-pow-pow, Blue‘s Clues (Pow pow pow! Pow pow!)

That girl is a tomboy! That girl is a tomboy! That girl is a tomboy! Who that is, hoe? That girl is a tomboy! That girl is a tomboy! That girl is a tomboy!

With my little titties and my phat belly My little titties and my phat belly My little titties and my phat belly (That girl is a tomboy) My little titties and my phat belly My little titties and my phat belly My little titties and my phat belly (That girl is a tomboy) My little titties and my phat belly (My little titties and my phat belly My little titties and my phat belly) That girl is a tomboy That girl is a tomboy That girl is a tomboy Who that is, hoe? That girl is a tomboy! That girl is a tomboy! That girl is a tomboy! Who that? Who that? Who that? Princess Nokia, Phat

Baby

I be where the ladies at Who know how to shake it fast We gon‘ spit that brazy track You know that I‘ll take it back I‘m spitting the illest mack Yeah, hoe! Who that? Who that? Who that? Princess Nokia, make it clap She with it to set it back And give ya the fire track Now watch what gon‘ happen next Who that up in the North? Dennis Rodman up court When I step up in the function it‘s a party, of course I‘m having fun with my friends And I don‘t want it to end And if you finna blow my high then I‘ma punch you again With my little titties and my phat belly My little titties and my phat belly My little titties and my phat belly

15 (That girl is a tomboy) My little titties and my phat belly My little titties and my phat belly My little titties and my phat belly (That girl is a tomboy) My little titties and my phat belly (My little titties and my phat belly My little titties and my phat belly) That girl is a tomboy That girl is a tomboy That girl is a tomboy Who that is, hoe? That girl is a tomboy! That girl is a tomboy! That girl is a tomboy! Yeah, hoe! He so in love He think it‘s a spell There‘s levels to magic and he cannot tell He fuck with my bruja, my pussy a spell My toto is special, got locks like a jail It‘s Polo, it‘s Tommy, it‘s Mecca, it‘s Nauti I‘m finna sit back and just sip on Bacardi You come to my party You gon‘ meet my army A room full of girls and we acting real rowdy

Photography Julot Bandit,

ABRA

NOT AFRAID TO CELEBRATE HERSELF Now, the self-proclaimed “Darkwave Duchess” is standing in the sun more often, generously inviting listeners into a real-time dialogue she’s having with herself. Her lyrics and visuals have historically been equal parts moody and vulnerable, but these days, she’s feeling happier. She’s found something worth losing sleep for, and it’s not a boy — which she admits has robbed her of focus in the past — but the liberating gift of music. In the video for “Come 4 Me,” the lead single from Princess, she drips with aplomb and

vogues, like she’s daring anyone to try her. But it‘s not beef — just an overdue celebration of self. “I really wanted to start off with an attitude of confidence as opposed to the heartbroken stuff people are used to — that sad girl shit. It’s time to regain your self-esteem and know who you are.” It’s brave to be publicly imperfect while also staying committed to evolving. Abra exists in that sweet spot where internet-encouraged oversharing becomes productive. Abra has found the freedom to create without the added pressure of

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squeezing in the boxes people may assign. She’s always adding to a bigger narrative about being herself while, hopefully, inspiring others to do the same. “A lot of girls come out the woodwork to show me support because they understand,” she said near the end of our talk. “It’s nice to know that I’m a part of something that’s letting black girls be free to be themselves.”

CH DU E

I’m on the phone to Abra, but I can sense her eyes are rolling. “When you’re black, everyone says you’re an R&B artist. I mean, yes, I pooled from it, but you don’t have to be put in that box.” Abra’s music – “alternative pop or freestyle house”, if you insist on talking categories – is already some of the most anticipated of the year, despite a complete absence of official releases. The Atlanta-based singer, songwriter and producer is responsible for last year’s “Fruit” and “Roses”, tracks that seduced us with icy, sensual harmonies and surreal visuals. Born to mis-

sionary parents from Guyana and Haiti, she grew up listening to “a lot of Christian music” in New York. Now, after being drawn to Atlanta by the “trap, rap and bass” scenes, she’s working with Awful Records, a musical collective based in the Georgia capital and Vancouver featuring artists such as rappers Father and Tommy Genesis. Backed up by her family of boundary-pushers, she’s more than happy to call out inauthentic readings of her music. “As a female artist, people always think someone has done the pro-

19 duction for you, or that you can’t be an artist expressing yourself fully – it has to be all sexuality or romance.” In fact, it’s the nuance and detail that makes Abra so mesmerising, on and off the record, and to hear her speak is to open up a world of real talk and bubbling social commentary. You get the sense that there’s much more to her than she’s currently letting on (which isn’t too much – she keeps her real name and age under wraps). As her music continues to thrill, and we anticipate more, perhaps her approach to style says it all. “I always have three words – dark, romance and nostalgic – which I live by. I don’t

like gimmicky stuff, I don’t want to be covered up, I just want to be myself – with a hint of mystery.” That do-it-yourself mentality rules throughout the Atlanta-based Awful Records collective, a close-knit scene that Abra says provided a comfortable space for her to be herself. The crew is headed up by freewheeling rapper Father, who initially extended Abra an invite to join in 2014, the same year he released his groggy breakout “Look

At Wrist.” The only singer in a crew full of rappers, she considers herself the “big sister” of Awful, though it was the whole crew’s abandon and disregard for industry “norms” that inspired Abra’s own fearlessness. “They always remind me to stop apologizing for stuff you shouldn‘t apologize for,” she explained. Abra’s raw songwriting feels more honest than amateur, and she showcases a range that often alludes artists who find themselves stuck in the “alt” corners of the internet. With soaring vocal abilities that refuse to be outdone by 808s, her debut album BLQ Velvet found Abra putting a lo-fi spin on ‘90s R&B, and its follow-up, Rose, hung a left towards ’80s pop and freestyle, its pulsing bass lines daring you to find the nearest skating rink. Her new project Princess, released this summer by New York indie label True Panther, combines the best of its forebears: the soulfulness of BLQ Velvet, the lightheartedness of Rose. At six songs long, it stands as her most assured-sounding release yet. “When I started out, I had a lot of pain on my chest and a lot of bitterness,” Abra remembers. „BLQ Velvet was [a way] to make myself feel better. It was a really cathartic project. Ever since then, I‘ve had a lot less spite-fueled successes.”

Photography Julot Bandit, courtesy of Ta-Ha

TA-RA

CRYSTAL-CLEAR VOCALS AND RAP-STYLE DELIVERY

The four-track releases were made as the singer split her time between Tokyo and her home of Paris, and each deals with a different temperament. While SunrayZ feels like crushing hard, with bubbling synths mimicking the haze of infatuation, X-Rayz is the darker underbelly. Singing in both English and Japanese, Ta-Ha‘s voice pierces through the mist more clearly than ever before, by turns delicate and tough-talking. Listen to both EPs exclusively below, and read on for more from Ta-Ha about whteachcollection of songs represents.

French-Algerian singer Ta-Ha already has some pretty major fans. Her kicked-backed, dreamlike R&B has had plays on on OVO Sound and Soulection radio shows, and she performed earlier this year at Skepta‘s Music and Revolution event at London‘s V&A museum. Not to mention, back in March she appeared in The FADER‘s Global Issue as one of 25 underground artists around the world that we‘re excited about. Today, she‘s making good on the hazy promise of her 2014 EP Tuareg Shawty with the premiere of not one, but two new releases: the twin EPs SunrayZ and X-RayZ.

22 What does SunrayZ mean to you? SunrayZ depicts the rays of the sun that hit you in the morning, giving you life. It is powerful and full of oxytocin. It loves, accepts, forgives, hopes, works hard, shines, grows, elevates, learns.

What does X-RayZ mean to you? X-RayZ is like the unknown hovering death constantly ready to get you at any time. It is also powerful but contains a lot of fear. It is mad, angry, scary, unknown, dark, savage, and merciless, but it is human before it all and it learns a lot too.

Tell us a little about your writing process. I can write on paper, on my electronic devices or in my mind. I write as I think and as I live as I walk. My mind is a constant interchanging notepad and I like to write down ideas whenever I think of one. I often need to be alone to write and have my computer or books to look for words or expression to find a way to put into words what I am thinking of.

You made the EP between Tokyo and Paris. Have those cities had an impression on your sound? Yes and no. I wrote SunrayZ and â&#x20AC;&#x17E;Kawasaki Ninjaâ&#x20AC;&#x153; in Tokyo. All the other songs were written in Paris as soon as I returned home. I guess the places, spaces, events and the people I met definitely brought something to my sound.

What was your favorite album of 2016? A Seat at the Table. Helped, is helping, and will help a lot. Pure food and cure for the soul.

Photography Julot Bandit, courtesy of Ta-Ha

HUNNEY PIMP

IRGENDWAS MIT SPRACHE UND MELODIE Im Jahr 2017 darf Rap endlich wieder zwanglos sein. In den vergangenen Monaten brach nicht zuletzt der österreichische Einfluss rund um Yung Hurn, Crack Ignaz und das Hanuschplatzflow-Kollektiv längst verkrustete Strukturen im deutschsprachigen HipHop auf. Hunney Pimp ist Wienerin und reiht sich in die Riege jener Künst-

ler ein, denen man den Spaß an der Musik in jeder Zeile anhört. Knapp ein Jahr ist es her, dass die 27-jährige ihr kostenloses Mixtape „Zum Mond“ veröffentlichte, auf dem sie über smoothe und trappige Beats wahlweise rappt, singt oder in bester Spoken Word-Manier ihre Gegenwart reflektiert. Inhalt-

lich spielt sich ihre Musik in einem vergleichsweise engen Kosmos ab, fängt dabei aber maximal authentisch die Lebensrealität einer ganzen Generation ein. Im Bewusstsein des Mainstream ist Hunney Pimp allerdings noch lange nicht angekommen, und da, wo sich mal ein Video auf einen größeren Kanal verirrt, spalten ihre Songs die Szene. „Kiwi“ feierte im Januar als Vorbote ihres kommenden Albums Premiere und musste teils starken Gegenwind einstecken – zu eigen sei ihre Musik und vermeintlich zu nah dran an derer ihrer nationalen Kollegen. Die ein oder andere Gender-Debatte wurde dabei natürlich auch wieder eröffnet. Um optischen Ansprüchen und typischen Klischees entgegenzuwirken, bezeichnet sich Hunney jüngst in einem Interview mit The Message als „Bua“ und verriet, in Clips gezielt ungeschminkt und in weiten T-Shirts aufzutreten. Im Endeffekt soll es eben um die Musik gehen, unabhängig von Geschlecht und Herkunft. Wo genau Hunney Pimps Schaffen zu verorten ist, bleibt am Ende des Tages offen. Immer wieder landet die Newco-

merin in der schwammigen „Cloud Rap“-Sparte, die szeneintern inzwischen fast wieder als Schmähbegriff gilt. Sich selbst möchte sie gar nicht als Rapperin bezeichnen und überhaupt: Die Nähe zum Pop und RnB ist kaum zu überhören. Und in Zukunft könnte sogar ein rein akustisches Album erscheinen. In ihrem aktuellen Video vereint sich wieder einmal all das, was Hunney Pimp als vielversprechende Künstlerin ausmacht. „I lächel“ wartet schon im Titel mit typischer Mundart auf und im Dickicht des Songs lassen sich allerhand Adlips, Sounddetails und sogar ein verirrtes Moby-Sample entdecken. Im Herbst soll dann das Debütalbum „Schmetterling“ folgen.

28 Fotos von Timo Milbretd

HAIYTI

DIY-RELEASES IM GEFÜHLTEN WOCHENTAKT Haiyti hat Hip-Hop in den vergangenen 18 Monaten einmal auf links gezogen. Die alten Gewißheiten, sie gelten nicht mehr, die vermeintlichen Grenzen zwischen Straße und Avantgarde, Gangsta und Kunst, Untergrund und Pop. Haiyti hat sie eingerissen, als Einzelkämpferin im Über- Macho-Geschäft Deutschrap. Mit DIY-Releases im gefühlten Wochentakt katapultierte sich die Rapperin und Sängerin aus Hamburg-St. Pauli an die Spitze einer neuen Generation, der Regeln nichts bedeuten, Freiheit dafür umso mehr.

Das brachte ihr Liebe quer durch alle Lager. Dendemann, Haftbefehl, Deichkind: alle Fans. Von finsteren Trap-Höhlen bis zu Rock am Ring: alle am Durchdrehen. Das Hip-Hop-Magazin #1 JUICE nahm Haiyti aufs Cover; die ZEIT erkannte in ihr “Falco, der klingt wie Nina Hagen” und be- fand knapp: “Eine Pop-Revolution bahnt sich an.” Am 12.01.2018 veröffentlicht Haiyti ihr erstes großes Album über Vertigo/Capitol. “Montenegro Zero” ist ein gefühltes Debüt,

29 ein Klassiker seines ganz eigenen Genres: zwölf Songs, keine Features, ein Moment, ein Vibe. Haiyti selbst nennt es “Gangsta-Pop” – Geschichten von ganz unten mit Melodien für ganz oben.

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In dieser Musik vermischen sich radikaler Party-Nihilismus und die Kälte des Milieus mit beispiello- ser emotionaler Tiefe und absurd eingängigen Hooks; Einflüsse von Trap bis Dancehall und Deut- sche Welle mit Haiytis ureigener Sprache und Stimme. “Montenegro Zero” ist Musik aus tiefstem Herzen, direkt in die Fresse.

Benzinkanister, Silberbleche Du zählst Sterne, ich zähl Hecke Tage werden plötzlich Nächte Du fährst durch die

Stadt auf Strecke Ich bin immer noch am trappen Komm nicht raus aus diesem Traffic Um mein‘ Hals ‚ne Silberkette City Tarif, Blaulichtaction Sie fragen mich ‚Woher das Kies?‘ City Tarif Vollgetankt im Lexus-Jeep - City Tarif Durch die Stadt mit zu viel Speed City Tarif Sie fliegen hoch, doch fallen tief -

Sie fragen mich ‚Woher das Kies?‘ City Tarif Vollgetankt im Lexus-Jeep - City Tarif Durch die Stadt mit zu viel Speed City Tarif Sie fliegen hoch, doch fallen tief City Tarif

City Tarif Aus mein‘ Augen Blitze Geld auf Autositze Ich mach keine Witze Mein ganzes Auto glitzert

Weil ich die Gesetze breche Tagelang auf Session Single-Malt in meinem Becher

In der Tasche hab ich Messer Sie fragen mich ‚Woher das Kies?‘ City Tarif Vollgetankt im Lexus-Jeep City Tarif Durch die Stadt mit zu viel Speed City Tarif Sie fliegen hoch, doch fallen tief - City Tarif

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Photography by Masa Stanic

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TOMMY GE

ABRA - FR

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TONY STRANG

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KIA - TOMBOY

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Photography by Annie, sponsored by Ottakringer

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44 n der Hip-Hop-Kultur versteht man unter dem Begriff Grill (pl. Grills oder Grillz) ein Schmuckstück, das man über den Zähnen trägt. Oft sind sie auch mit Diamanten verziert.

HIP HOP STYLE

GRILLZ White girls did not start the „trend“ of over-sized hoop earrings and yet they‘re the ones being praised for donning the „edgy“ style.

HOOPS Nike Air Max 95 design is legendary enough to spawn its own myths. It‘s a shoe that means different things to multiple subcultures. To some, it‘s an object of desire and to others, it‘s something to deride.

CHUNKY SNEAKERS

45 White girls did not start the „trend“ of over-sized hoop earrings and yet they‘re the ones being praised for donning the „edgy“ style.

XL SWEATER The tracksuit first left the running track and hit the street-corner in the mid70s. The original cotton models were intended for the practical use of keeping athletes warm while training. The shell suit appeared in early 80s New York on the backs of hip hop stars.

JOGGERS The first true fanny pack is thought to have been invented in 1962 by an Australian woman named Melba Stone, who was possibly inspired by kangaroo pouches. It wasn‘t until the 80s that fanny packs truly transcended.

BUM BAG