Who Has Sexual Ownership in Music? Debate’s music writer, Lyric Waiwiri-Smith (She/Her), critiques how we frame conversations around sexually driven music by women. In a largely masculine and westernised field, Lyric explores whether there is space for empowered women of colour to be afforded respect.
There’s something inescapable about Cardi B and Megan Thee Stallion’s WAP. Released late last year, it made the rounds across streaming services and social media platforms, inspiring dances on TikTok and reactions from the likes of Ben Shapiro (which of course was meme’d, and so the reign of WAP progressed further). It was resurrected again this year when Cardi and Megan performed the song at the Grammys, accompanied by a giant shoe with a stripper pole heel, and a giant bed, upon which Cardi climbed atop whilst performing the song, and laid herself over in a way that had to seem effortless yet seductive. Megan Thee
Stallion bounced on Cardi B and flipped her over with all the ease of someone who has DEFINITELY done this before, and the level of artistry showcased by the women provided Grammys entertainment that has surely been missing from the often stale awards show. The choreography, creative direction, costuming, and set would have no doubt taken weeks to prepare and perfect, however the performance came under an avalanche of backlash simply for being a celebration of confident women of colour showing off their talent and sexual prowess. The USA’s Federal
Communication Commission received 80 complaints from viewers, Fox News dedicated a segment in their programme to slam Cardi, Megan, and the ‘left agenda’, and internet trolls took to social media platforms to flex their lamest disses. “When did the Grammys start giving awards to nasty porn stars?” “Entertainment provided by two sluts”. “Dr Seuss is cancelled, but this is acceptable. Welcome to the worst planet ever.”
