Lipstick rap is a subgenre of hip hop music and cultural movement that originated from social shacks and independent radio and television channels in the northern region of Kuboia during the mid and late 1990s. The genre, usually marketed and performed by young girls, fuses hip hop music and rapping with genres like teen pop and bubblegum pop. It peaked in popularity in the late 1990s before seeing a decline around the early 2010s. Despite this, it continues to maintain a cult following and is often credited as the biggest musical movement in the country.
Characteristics[]
As a subgenre, lipstick rap fuses hip hop and electronic music with genres such as teen pop, R&B and bubblegum pop. Instrumentals often feature disc scratching sounds, electronic guitars, hard-hitting drums and pianos. Tempos are usually between 90 and 110 beats per minute, though songs with faster tempos are not uncommon, especially for songs which feature influences of disco music.
Lyrics to lipstick rap songs cover a variety of topics. Although most of the early releases were merely based around self-pride, teenage rebellion and both platonic and romantic love, lyrics eventually began to revolve more on social issues. Songs with anti-violence, anti-drug and pro-LGBT messages are common. Vocals are prominently rap, though also typically feature melodic hooks. Some lipstick rap songs are prominently based around dance moves and instructions.
A lot of musicians in the movement focus primarily on producing hit singles, with albums generally being an afterthought. Music videos are also an important part of the movement, which several lipstick rappers claim helps them find a platform for their music; it is common for even non-single album tracks to have music videos created for them.
Lipstick rap is a broad genre, and the definition can vary dependent on personal taste, especially since not all hip hop musicians from Kuboia necessarily make music that falls under the movement. Some female Kuboian rappers, such as Mina van Trease and Iroune Ruby, have rejected the idea of being called "lipstick rappers".
History[]
Early history[]
Lipstick rap was largely influenced by female media personalities who released hip hop-orientated songs throughout the late 1980s and 1990s, such as Antonia Morales, Chloe Wallace, Naomi Karma and Sharlie Deem. The soundtrack to the television series Ouraine, performed by Emily Merletta, has also been credited as influencing the movement.
Lipstick rap itself began around 1996 when young girls from North Kuboia would spend their free time either recording freestyles of popular songs or writing lyrics over instrumentals composed by amateurs producers. Amongst the ones most credited for starting the movement are Fahrbahnin-based teenagers Missy Robins and CP Virus, who performed frequently on radio station Forest FM. In September 1997, the two were signed to record label Hot Shot Records and released a single, "Come Together", which reached number four on the Karuboia charts in 1998.
Other notable lipstick rap songs released in the late 1990s include "What's Going On" and Sticky and Spinny, "Name in the Game" by P.o.P and "Ruthie's Got It" by Ruthie Thistle.
Development[]
The movement began to experience success internationally in the early 2000s through artists such as Ericka Streets, Little Bee, Lola Cola and Sweet 16, and the group A-List, with Little Bee and Lola Cola in particular spawning careers through the talent show programme Take to the Stage in 2001 and 2002 respectively.
Despite the movement seeing success throughout Europe, many lipstick rap songs were criticsed for sounding similar to each other, which resulted in some rappers in the movement experimenting with the different sounds. Little Bee opted for a more tongue-in-cheek approach for her 2003 singles "Funky Monkey" and "Walk Over You". From the mid-2000s, several lipstick rappers started to incorporate elements of pop rock, latin, grime, UK garage and American R&B into their music, as well as opting for a more mature sound - according to Stella C, many longtime lipstick rap fans were upset over this.
Decline[]
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Revival[]
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Culture and influence[]
Lipstick rap is largely associated with the "karoul" stereotype.
In 2001, Telesketch Media launched a music channel called Grapevine, which specialises in playing lipstick rap music and similar genres. The Nick Party strand that aired on Nickelodeon Kuboia and its sister networks would also regularly play lipstick rap music.
A significant portion of both musicians and fans in the movement identify as LGBT. Some lipstick rappers have expressed concerns that the movement is held back by discrimination, particularly ageism and homophobia.
Although the movement consists mostly of girls, there are a few lipstick rappers of the opposite gender. Some male lipstick rappers that have seen commercial success include Zeke Kattenby and Little Kix. Lipstick rappers usually release music as individuals, although collaborations are common, and there have been a number of groups, such as A-List.
Lipstick rap has seen a few small followings in international regions outside of Europe, including Australia, Brazil, Japan, South Korea and the United States.
Compilation CDs[]
A series of compilation CDs titled Lipstick Rap United was released throughout the early and mid 2000s. Another series titled Lipstick Rap Classics has also been released since the late 2010s.
Lipstick metal[]
Lipstick metal, which fuses lipstick rap with nu metal and rap rock, had minor popularity in the early 2000s, with some lipstick metal artists such as Jessie Dred and Lollipopz receiving airplay on American active rock radio.
Criticism[]
Some sources have expressed concern that lipstick rappers are exposed to high levels of commercialisation, sexualisation and pressure from the media at a young age, which can contribute to poor mental health and skewed viewpoints, with the suicides of Aourine Esthers and Ericka Streets in 2005 and 2010 respectively often highlighted as evidence of such concerns.