Being hit or miss on sexual segregation at this point in culture with diversity rampant to the point of inorganic lunacy often, I don't see the need to give dichotomy to sexes much. Music I give exception to, but not over inequality.

     In the 1990s I DJ'd at WRFL-FM, an alternative radio station on the University of Kentucky campus in Lexington, my gal-pal Robin and I came in to resurrect the Women's Music Show a temporarily-absent host whose real name was Ashley Judd. Then, ladies only got played once per hour in most markets making them exotic, no issue in the 21st century.

     Still, the female voice can be an awesome instrument, and that's why it's immersion happened. At our station, rap and hip-hop were strongly in the mix before the MTV adoption led to mainstream saturation. I see female rap as a genre. (Most) women carry rhythm in a different manner than (most) men the motion from the hips up to shoulders is observable. I hold this responsible for unique flow combined with the patent registers. At its best: dynamic, exciting, sexy, fluid, and hyper-kinetic.

     For this playlist from my crap tablet (4 replacements in a calendar year - the fruits of lowest-bidder conquest), no summaries or anecdotes as I've broached plenty other spots, I'll let the jams do the talking for the most part. I'll say though, the impetus for putting this here was me talking to my buddy Roach about "The Equalizer" franchise this weekend and it's evolution from the White Brit of the 1980s to Queen Latifah's apparently successful CBS procedural. I told him about "Hail To The Queen" and it's potency, the impressive production by Prince Paul and Tribe Called Quest then recalled meeting the young Dana Owens back in her career infancy, getting an autographed pic for my mom I'd turned onto the record a few months earlier. QL was amazed a 45 year old person in Paducah would listen to her music as the internet hadnt liberated the flyover states yet. Two of the dopest from the maiden are here, and "Nature of a Sista", a follow-up Earthquake on wax.

     There's plenty of MC Lyte, my #1 favorite all-time rapper PERIOD. Love the flow, voice, choices, all of it. " Propa" could be my desert-island rap tune, or "Oogie Boogie". Unfortunately, a chunk of the earlier catalogue isnt here.

     The 2026 extra-notables are Medusa, the Gangsta Goddess: a mature badass who recalls Funkadelic as much as any rapper, reminding us " Pussy is the original act right". Sold, Sister. I'm also crazy-go-nuts for Saweetie after "Hella Pressure", a slam dunk EP of creative tracks that gave me much needed hope for the genre.

     Finally, I told Roach about Blondie's " Rapture", and the effect bringing rap and hip-hop from the record shop to the radio. He was captivated. If anyone's asshole enough to scream 'cultural appropriation' FUCK THEM. Debbie Harry and Co. wrote a song praising Fab Five Freddy, released it as a single and directed attention at a neighborhood movement that pushed it global. Yes, she was a blond Cracker, but an innovative and intelligent artist who never gets enough credit if you ask an old quarr inmate know-it-all.

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Now twerk on the wall, motherfucker.