Cardi B and Megan Thee Stallion’s “WAP” was more than just a song; upon its release on August 7, it became the cultural phenomenon of 2020. This “Wap Song” sparked countless discussions, interpretations, and condemnations, quickly transcending the realm of music to become a lightning rod for societal debates. Seen by some as a powerful anthem of unapologetic Black female sexuality, and by others as a sign of cultural decline, “WAP” permeated public discourse in a way few songs have before. Adjectives like “raunchy,” “savage,” “nasty,” “twerk-ready,” “graphic,” and “unselfconscious” were thrown around across diverse media outlets and perspectives, from Snoop Dogg’s commentary to Ben Shapiro’s critiques.
The intense reactions and cultural significance of this “wap song” were undeniable. Briana Holt’s powerful defense in Complex championed “WAP” as essential art, particularly “during a time when people are actively trying to unlearn their own biases and recognizing ways that they contribute to the neglect of Black women.” Novelist Kaitlyn Greenidge shared her personal experience of enjoying the song in her newsletter, highlighting its surprising and even blush-inducing impact. Furthermore, the academic analysis by Dr. Jennifer Turner and Dr. Melissa C. Brown, utilizing Black feminist scholarship, offered a critical lens through which to understand the song, its music video, and the widespread reactions they provoked.
Megan Thee Stallion holding a microphone and performing in Lagos
The “wap song” became a talking point for celebrities, artists, academics, and the vast expanse of Twitter. Even classrooms became arenas for discussing “WAP”. From “Music, Politics, and Protest in the United States” to “Introduction to Musicology” and even unexpectedly in “History and Literature of Western Music, Part I,” the song became a touchstone. Cardi B and Megan Thee Stallion’s collaboration ignited passionate conversations spanning diverse topics, from the legacy of 1960s freedom songs to modern music industry advertising strategies and the nuances of critical listening.
For students, for commentators, and for casual listeners alike, the “wap song” served as a powerful example of what Josh Kun describes as “audiotopia.” Kun’s concept of “audiotopia” suggests that music creates a space where individuals can simultaneously feel challenged and secure as they navigate differences and hybrid identities. As Kun argues, “All musical listening is a form of confrontation, of encounter, of the meeting of worlds and meanings, when identity is made self-aware and is, therefore, menaced through its own interrogation.” He further emphasizes the inseparable link between music and racial identity in the Americas, stating, “there is no history of racial formation in the Americas that is not a history of popular music and there is no history of inter-American popular music without a history of racial formation.” “WAP”, as Briana Holt aptly notes, elevates this dynamic by boldly embracing sexuality at the intersection of race, gender, and genre, demanding an intersectional approach to its interpretation. This intersectional lens is crucial to understanding the multifaceted reactions and the song’s deeper cultural resonance.
In her Billboard Woman of the Year Award acceptance speech on December 10, Cardi B herself acknowledged the unexpected magnitude of the “wap song,” stating it sparked “a conversation that I never thought was going to be so big. It pissed off a whole bunch of Republicans for no reason,” she added with amusement. “It was just weird.” Perhaps, as Donald Glover might say, “this is America.” Charles Holmes, in his insightful Rolling Stone article, points out that in today’s music industry, “outrage is the most powerful currency.” However, beyond the immediate shock and controversy, the true power of the “wap song” lies in its capacity to encourage re-listening and re-evaluation of cultural flashpoints. Initial responses to “WAP” often fell into binary categories: powerful or vulgar, right or wrong. Yet, deeper engagement, exemplified by conversations among friends and students, revealed a more nuanced reality. Many listeners found their initial impressions shifting upon repeated listens, highlighting the complexity and layered meanings embedded within the song. The common refrain became: “The first time I listened, I thought…but then I listened again and….” This demonstrates that the “wap song”‘s impact extends beyond a single listen, inviting ongoing engagement and evolving interpretations.
Kun’s concept of audiotopias underscores music’s “ability to show us how to move toward something better and transform the world we find ourselves in….The emotion and the sensibility that music offers is what leads to a change in who we are, who we want to be, and how we want the world to be.” This idea resonates strongly with the sustained popularity of the “wap song.” By December 10, despite its August release, it had become the most streamed song by a female artist on US Apple Music in 2020 and the best-selling song by a female artist in the US, as Cardi B proudly noted on Twitter. Furthermore, the song inspired countless reaction videos, parodies, remixes, and dance challenges, solidifying its place in the cultural zeitgeist. While its catchy nature is undeniable, the enduring appeal of the “wap song” is likely rooted in something deeper. “WAP”-as-audiotopia becomes even more compelling when considered in the context of #BlackLivesMatter, #MeToo, and the tumultuous landscape of 2020. Looking ahead, as the initial hype subsides and the “wap song” becomes less algorithmically driven, revisiting its soundworld offers a unique opportunity for reflection. What will we hear, and what will we learn, from the “wap song” in the years to come? Its continued relevance in a shifting cultural landscape promises further insights into music, identity, and societal discourse.
Bibliography
Kun, Josh. Audiotopia: Music, Race, and America Berkeley: University of California Press, 2005.
