“WAP” (short for “Wet-Ass Pussy”) is a song by American rapper Cardi B, featuring American rapper Megan Thee Stallion. It was released as a single in August 2020. The song is characterized by its explicit and sexually suggestive lyrics, which focus on female sexuality and empowerment. The song is also known for its catchy and upbeat instrumental, and its controversial lyrics, that have caused mixed opinions and sparked debate. The song is a celebration of female sexuality and desire, which is a departure from the more traditional representation of women in rap and hip hop.

“WAP” relates to feminist ideals in a number of ways. One of the key feminist ideals the song addresses is the rejection of the societal expectation that women should be ashamed or embarrassed about their sexuality. This idea aligns with the feminist movement’s critique of the sexual objectification of women and the patriarchal oppression of female sexuality, as described in works such as “Sexual Politics” by Kate Millet, and “The Second Sex” by Simone de Beauvoir.

Additionally, the song is a powerful statement about female empowerment, aligning with the feminist movement’s focus on achieving equal rights and opportunities for women. This is reflected in the lyrics that speak to the idea that women are in control of their own bodies and their own desires, aligning with the feminist concept of agency and self-determination as described in works such as “Ain’t I a Woman?” by bell hooks and “Feminism is for Everybody” by bell hooks.

Furthermore, thesong’s representation of successful and powerful female artists in a male-dominated genre aligns with the feminist ideal of representation and visibility. This is a crucial aspect of the feminist movement, as representation and visibility of women in powerful positions are necessary for dismantling patriarchal structures and promoting gender equality as described in works like “This Bridge Called My Back: Writings by Radical Women of Color” edited by Cherríe Moraga and Gloria Anzaldúa, and “Sister Outsider” by Audre Lorde.

In summary, “WAP” relates to feminist ideals in a number of ways, by rejecting societal expectation of female sexual shame, promoting female empowerment and agency, and representing women in powerful positions in a male-dominated genre. These themes align with key feminist literature, such as “Sexual Politics” by Kate Millet, “The Second Sex” by Simone de Beauvoir, “Ain’t I a Woman?” by bell hooks, “Feminism is for Everybody” by bell hooks, “This Bridge Called My Back: Writings by Radical Women of Color” edited by Cherríe Moraga and Gloria Anzaldúa, and “Sister Outsider” by Audre Lorde.

While “WAP” has been celebrated by many as a feminist anthem, it has also received some negative reactions. Some critics have argued that the song’s explicit lyrics and sexually suggestive imagery are objectifying and reinforce patriarchal ideas about women. These critics argue that the song’s focus on physical pleasure and sexual gratification perpetuates the notion that women should be valued primarily for their physical attributes and sexual availability, as described in works such as “The Beauty Myth” by Naomi Wolf, which critiques societal pressure on women to conform to a narrow standard of physical beauty.

Others have also argued that the song’s celebration of female sexuality and desire is not truly feminist because it reinforces the idea that women should conform to a traditional and hypersexualized standard of femininity. This is in line with the feminist critique of sexual liberation as a form of patriarchal oppression, as described in works like “Feminism Unmodified” by Catharine A. MacKinnon, which argues that sexual liberation alone is not enough to achieve gender equality.

Additionally, some have suggested that the song’s commercial success has been driven by the exploitation of female sexuality and the objectification of women, which undermines the feminist ideals that the song is supposed to represent. This aligns with the feminist critique of the sex industry and the exploitation of women’s bodies for profit, as described in works like “Prostitution and Male Supremacy” by Andrea Dworkin.

In summary, while “WAP” has been celebrated by many as a feminist anthem, it has also received some negative reactions. Some critics argue that the song’s explicit lyrics and sexually suggestive imagery reinforces patriarchal ideas about women, reinforces traditional and hypersexualized standard of femininity and that its commercial success is driven by the exploitation of female sexuality and the objectification of women. These critiques align with feminist literature such as “The Beauty Myth” by Naomi Wolf, “Feminism Unmodified” by Catharine A. MacKinnon, and “Prostitution and Male Supremacy” by Andrea Dworkin.

In conclusion, “WAP” by Cardi B and Megan Thee Stallion is a song that has sparked a wide range of reactions, with some hailing it as a feminist anthem and others criticizing it for its explicit lyrics and sexually suggestive imagery. On one hand, the song is a celebration of female sexuality and desire, and it promotes female empowerment and representation in a male-dominated genre. These elements align with feminist ideals of rejecting societal expectations of female shame, promoting self-determination, and representation. On the other hand, some critics argue that the song reinforces patriarchal ideas about women, reinforces traditional and hypersexualized standards of femininity, and that its commercial success is driven by the exploitation of female sexuality and the objectification of women. These critiques align with feminist literature that critiques societal pressure on women to conform to a narrow standard of physical beauty, critiques sexual liberation as a form of patriarchal oppression, and critiques the exploitation of women’s bodies for profit. Overall, the song is a complex and nuanced work that raises important questions about female sexuality, representation, and empowerment, and it highlights the ongoing debate within the feminist movement about how to achieve gender equality.