Candidate in African and African Diaspora Studies at the University of Texas, said. “ often about a soured love, a wild night, erotic desires or ‘cooking’ - i.e. Their ministry is for those who want to hear their words, which often incites a camaraderie between free-loving ride-or-dies shaking their asses on one another while rapping along in electrifying praise. They’re sharing their own carnal sermons. Over the past four decades in hip-hop, candid sexual anthems have been an arena in which female rappers - with or without vaginas - and queer artists vocalize their standards for sexual satisfaction. It should not be a revelatory act for Black women to boast about their pussies and how they prefer it to be pleasured, yet here we are – and not for the first time. The new sexual anthem, which broke streaming records in its debut week, has caused conservative figures and politicians alike to openly speak out about an absence of respectability and conformity. Wet Ass Pussy, makes that pull out game weak.” The song is accompanied by a Frank Ski sample that repeats “There’s some whores in this house” like a church choir chant praising the divine. On August 7th, Cardi B and Megan Thee Stallion debuted their radical, sexually explicit song “ WAP.” From the beginning, the song is direct and clear: “Certified freak, seven days a week. Hip-hop has a long history of sexual anthems from women rappers. Too little has been said about black women’s representation in digital spaces where they imagine alternative gender performance, disrupt hegemonic tropes and engage in participatory culture.Photo Graphic: Okayplayer Cardi B and Megan Thee Stallion’s explicit anthem “WAP” is the most talked-about song of the year. Spaces, how they construct their identities within systems of controlling images and grapple with respectability politics? In order to address these questions with a critical lens, using an interdisciplinary approach grounded in black feminism and hip hop feminism, this essay offers a theoreticalĪpproach to a digital hip hop feminist sensibility (DHHFS). What does ‘hot girl summer’ tell us about significant changes in the ways that black women cultivate community in digital Hot girl summer is ‘about women and men being unapologetically them having a good-ass time, hyping up their friends, doing ’. Rapper Megan Thee Stallion’s lyrics on ‘Cash Shit’, where she raps about ‘real hot girl shit’, the phrase has morphed into a larger-than-life persona not only for Megan’s rap superstar profile, but also for a number of black girls. Through a hip hop feminist lens, how are we to interpret black girls’ and women’s self-identification in digital spaces that visibly resonate with new/remixed images? And more importantly, what happens when black female rap artists and their fan base disrupt, subvert orĬhallenge dominant gender scripts in hip hop in order to navigate broader discourses on black female sexuality? Drawing on the work of Joan Morgan and hip hop feminist scholarship in general, this essay aims to offer a critical reading of ‘hot girl summer’.
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