Many Black females in Hip-Hop oppose feminism as it is presented to them by dominant society, but when Tricia Rose describes her feminist ideas, women like MC Lyte agreed that based on Rose’s definition she could describe herself as a feminist. To reiterate, Tricia Rose cites examples of females in Hip-Hop who have been labeled as feminist by people other than themselves: Queen Latifah and Salt-n-Pepa, and many others. Many people associate feminism with a bad connotation of being anti-male. According to Patricia Collins, when black females were writing in the 1970s and 1980s, they faced disapproval not only from people outside of their communities but also from within these communities, when some black men retorted with opposition towards black women’s ideas. As mentioned in Can’t Stop Won’t Stop, female Rap artists would often identify themselves as belonging to a certain “crew” or would use the words as “fly”, “attitude”, “queen”, “diva” while describing or referring to one another. Based on those self-imposed brands, Cheryl L. Keyes individualizes four prevalent types of female rappers: “Queen Mother”, “Fly Girl”, “Sista with Attitude” and “Lesbian”. The first group, “Queen Mothers” consists of early female Rap pioneers of the 1980s like Queen Latifah, Roxanne Shante, Lauryn Hill or MC Lyte. The name derives from their strong relationship to their African heritage by calling themselves and wearing ethnic clothes and jewelry. “Queen Mothers” also consider themselves as strong, intelligent black women responsible for spreading the word among the community; They discuss marginalization, oppression, and hardship of an urban life. As time progressed, the 1980s and early 1990s pioneer female rappers although abstaining from calling themselves feminist, expressed three feminist standpoints: female empowerment, agency, and independence. They would rather call themselves “womanists” as they did not agree with the connection of the predominantly “white” second wave feminism movement. (Rose) “Fly Girls”, such as TLC, Missy Elliot, or MC Luscious, focus on female agency in male/female relationships identified by the women’s point of view. The most notorious “Fly Girls” of Hip-Hop scene is the famous trio Salt- N- Pepa. They aimed to be accredited as models of independent and successful Black women. Their popularity peaked in the early nineties by releasing controversial hits like “Let’s Talk About Sex” (1991), or “What a Man” (1993). While “Let’s Talk About Sex” raised awareness about safe sex, the other songs can be analyzed as an indication of female sexuality and their judgment on men. Salt- N- Pepa are passing on the same message to women while concurrently urging these women to progress, not regress, in their thinking and behavior. Some female rapper, in the late 90s and early 2000s, ventured in an empowering and revolutionary mission against male domination. However, the lyrical content of their songs was surprisingly similar to male rappers. For this reason, these female rappers achieved more commercial recognition than the pioneers. Foxy Brown, Lil’ Kim, Da Brat, Eve, Trina, Nicki Minaj or Cardi B falls into the category of “Sista with Attitude” Even though, their delivery and style were similar to their male counterparts, these women reclaimed their sexualities. For example, Lil’ Kim in “Hardcore” rhymes: “The sex was wack, a four-stroke creepa/(later he asked) Could he come over right fast and fuck my pretty ass?/I’ll pass, nigga d8ck was trash.” The rapper sets here her own conditions for a sexual intercourse and articulates her pleasure or displeasure. The “Sista With Attitude” category reclaimed sexuality in Hip-Hop, but as indicated before the language used was often derogatory and demeaning to women. At the turn of the 21st century, the “Lesbians” category of black female rappers surfaced on the Hip-Hop scene. Although hip-hop is considered to serve as an outlet for expression it is also extremely homophobic. Rappers like Queen Penn, Young M. A, Angel Haze or Azealia Banks speak openly and seriously about their queerness. According to Black feminist Audre Lorde, lesbian identity is directly identified with white lesbian culture or white women excluding women of color. Black queer women in Hip-Hop have to fight with black masculinity, homophobia and being overly sexualized.