Colourism in hip-hop isn’t new. It’s been a shadow lurking in the industry for decades, sometimes subtle, sometimes blatant, but always present. As conversations around racism and discrimination become more mainstream, it’s become impossible to ignore how these biases show up in music, especially when it comes to Black women.
For years, lighter-skinned women have been pushed to the forefront of the industry, granted more opportunities, and positioned as the ‘face’ of hip-hop. They land the magazine covers, the brand deals, the prime-time slots. Even in the video vixen era, the women cast as leads in rap videos often fit a Eurocentric beauty standard.
And when a dark-skinned woman does breakthrough? She faces an uphill battle of scrutiny and double standards. Look at Megan Thee Stallion; despite her undeniable talent and work ethic, she’s constantly met with criticism that her lighter-skinned peers never experience. When Tyla, a lighter-skinned artist from South Africa, emerged on the global stage, she was immediately embraced by the mainstream with a level of adoration that darker-skinned artists rarely receive. Yes, she has her own share of critiques, but the industry’s readiness to champion her contrasts sharply with the resistance Black women with darker skin tones often face.
But as the industry globalises, as hip-hop becomes less Western-centric, and as new artists break through on their terms and with an increase in globalisation and rise in other music genres, we’re starting to see the tides shift.
Enter Doechii a powerhouse who refuses to be boxed out.
Doechii’s ascent isn’t just about making good music; it’s about dismantling the outdated ideals that have kept dark-skinned women from claiming their rightful place in hip-hop’s top ranks. She’s an artist who thrives on experimentation, blending hip-hop with alternative sounds and creating music that resonates with an audience that has long been overlooked.
Her rise is proof of just how much talent and resilience to push back against an industry that wasn’t designed to support women like her.
Historically, hip-hop has upheld the same beauty standards that dominate the wider entertainment industry. Lighter-skinned Black women have always been positioned as more ‘marketable,’ given bigger platforms, and afforded the grace to experiment without being harshly judged.
Think about the early 2000s; who were the women at the centre of hip-hop’s visual landscape? The industry leaned heavily toward women with features that aligned more with European beauty ideals. Even when dark-skinned women were included, they were often hypersexualised or relegated to background roles.
The music industry’s bias extends beyond aesthetics. Lighter-skinned female rappers, whether it’s Cardi B, Saweetie, or even Ice Spice, often experience a faster rise with significant label backing. Meanwhile, darker-skinned artists like Megan Thee Stallion and Doechii have had to prove themselves in ways their counterparts haven’t. Even legends like Lauryn Hill and Missy Elliott had to fight against these biases. Hill, despite being one of the most celebrated lyricists of all time, was never given the same level of crossover pop success that her lighter-skinned contemporaries enjoyed. Missy had to redefine hip-hop’s aesthetic to make space for herself.
