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Music Quickspins

QUICKSPIN: Megan Thee Stallion – Good News

Megan Thee Stallion continues to show that she’s a great rapper even if that means she hasn’t made a great album just yet.

From the first few seconds of “Shots Fired,” the very first track of Megan Thee Stallion’s Good News, it became abundantly clear that the Texas-born rapper isn’t taking kindly to being disrespected anymore. A few months ago, Megan was at the center of a massive controversy when she claimed that Torey Lanez shot her in the foot. Lanez then responded by saying she lied and he didn’t shoot her which led to her being constantly scrutinized on social media. The now-ridiculed Toronto rapper then took it upon himself to release a whole album dedicated to slandering Megan. So what did she do? She retaliated with one of this year’s most searing songs.

Megan’s rapping on the aforementioned track is cutthroat, vicious, and very much angry. And why shouldn’t she be? Since her breakout mixtape Fever, she’s proved over and over again that her rapping skills are among the best in the industry right now. Though she channels this energy through much of her debut album, at times she seems to be a better rapper than album artist. 

Good News is made up of hits, for better or for worse. On “Body,” Megan crafts an annoyingly catchy hook built for the TikTok machine. It’s simple and couples with a dance move sure to ruin people’s knees, but the repetitive “Body-ody-ody-ody” will only be attractive for so long before it becomes the world’s most overplayed song. Still, even with these issues, Megan’s verses are as sharp as they’ve been.

The 25-year old rapper shines brightest when she avoids attempting to make pop-music and when she doubles down on her hypersexual aggressive flows like on “Do It On The Tip” with City Girls. The track is expectedly raunchy but packs a fiery punch as the southern rappers all fit together as perfectly as one could imagine.

“Circles” features a beautiful sample of “Holding You Down (Goin’ in Circles)” from Jazmine Sullivan and sees Megan rapping some of her best verses on the album. It also features a better hook, something Megan struggles with.

Megan’s collaboration with SZA on the exquisite “Freaky Girls” is the apex of the album. SZA’s rare appearance is a sight to behold and she sings the best hook on the album with a fervour that only makes me want to hear her new project that much more.

For as much as Megan does right on this album, Good News is burdened with a few lazy attempts at making pop tracks that simply don’t work that well. “Don’t Rock Me To Sleep” is a boring autotuned affair that adds nothing to the Megan Thee Stallion story. It’s a retread on her sexual lyrics masked by a glittery pop instrumental. “Intercourse” sees Megan collaborating with Popcaan on what sounds like a leftover track from Drake’s Views sessions. Popcaan’s vocals are decent and fit the theme of hypersexuality, but Megan’s crossover into dancehall is unnatural.

The album effectively ends with “Outside” (the three tracks following it are previously-released singles that one could call bonus tracks) which is akin to Drake’s reflective outros on each of his projects. It’s reflective and insanely confident which only points to a brighter future for Megan. If she can start cutting the fat on her albums and removing her attempts at going pop, then perhaps she has a classic album in her.

Until then, we’ll have to deal with yet another good Megan Thee Stallion project with only a few blemishes. She continues to prove that she’s a great rapper who’s just shy of achieving greatness as an artist.

 

Rating 7.5/10

Trial Track: “Shots Fired”

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Music

What do women think about Cardi B and Megan Thee Stallion’s “WAP”?

We looked at what some women on Twitter are saying about the controversial “WAP” song that’s taken the world by storm.

“WAP” (Wet Ass Pussy) is a song by Cardi B and Megan Thee Stallion that has been gaining popularity, and it hasn’t stopped since its release date Aug. 7. Both the lyrics and music video have caused many discussions on social media. “WAP” discusses women’s genitalia and sexuality, in a way that many see as controversial. What are women saying about this song and the impact it has on women in society?

In response to the song, former Republican congressional candidate for California DeAnna Lorraine Tweeted the following: “Cardi B & Megan Thee Stallion just set the entire female gender back by 100 years with their disgusting & vile “WAP” song.” This Tweet highlights a view that suggests this song is not about female empowerment.

There was a lot of interaction with this Tweet, and most of the women were countering what Lorraine said. A Twitter user by the name of highendtheori said “white women have us in the stone ages love, what’s another century?” 

The mention of race relating to Cardi B and Megan Thee Stallion is an important thing to call attention to because often, women of colour — especially black women — are held to a different standard than white women. Would this song have the same reception if it were done by white women? The basic answer to this question is no. It seems that white women get more free passes than women of colour, even if their work is explicit. Take a song like “Bon Appetit” by Katy Perry, which is about her essentially being a buffet for any man who wants a bite. There was not nearly as much backlash on that song as there is with “WAP.”

A different Twitter user agreed with Lorraine. MaeDay811 tweeted “Women trying to be promiscuous like men, are not proud females, they are self hating females that want to be men. How is it empowering to women to chase what men do? That’s like a lioness always thinking it needs to swim in order to be strong as a shark.”

I interviewed two women, Michelle Malnasi and Desirae Dawn, and asked how they felt about the tweet and other elements pertaining to the lyrics and video of “WAP.” 

Desirae, when asked about the tweet, said “Sex and sexuality [are] nothing to be ashamed of … what is liberating for one may not be for another. Megan and Cardi are often talking about sexuality and wearing more revealing clothing … Women are allowed to express their sexuality and body as they please with greater freedom than before, they didn’t set anything back, they are just a blip in the evolution.”

The lyrics and the music video are both quite sexually explicit. The video has both women in various outfits that show off a lot of cleavage and other parts of their bodies. There are also statues of women’s busts that have water squirting out of their nipples.

The female body is the focal point of the music video. Michelle was asked how she felt this song and video either helped or hindered the way we see the female body. She said “I’m conflicted about it. While I do see how our cultural climate is constantly objectifying women, she should have the right to talk about her body in any matter that she wants.”

During the interviews, each of the women were asked, on a scale of one to five, with one being not empowering, and five being the most empowering, how empowering they thought the lyrics were. Both women said 4/5. When asked about how empowering they found the music video to be, they both said 3/5. 

Desirae and Michelle were asked if they thought this song was a feminist anthem. Michelle said that she thinks it is a feminist anthem “Because it empowers women and normalizes that we have sexual needs too and that we should be able to sing/talk about it like men do. Yet at the same time if someone else doesn’t see it as feminist I’m not here to say what’s right or wrong.”

Desirae, on the other hand, does not think it is a feminist anthem. She said, “Music is subjective. What may be a feminist anthem for some may not empower or feel relatable to another, however, I do understand how some music [can] become powerful anthems… and [can be] accepted widely by one community.”

Having watched the video a few times, I was able to come to my conclusions about the lyrics and visuals. One of the things that irked me was that the line “There’s some whores in this house” was stated by a man. During Desirae’s interview, when asked about this line she said that she didn’t mind it all that much. Personally, it would have been better if a woman said that instead. I have no issues with the word “whore,” but when repeated by a man, it bothered me. Typically when a man uses the word “whore” it is derogatory and feeds into a negative narrative about women and their bodies. Also, it seems so out of place given how the rest of the song plays out and how female focused the music video is.

Going back to Lorraine’s Tweet, which suggested that “WAP” is actually setting women back one hundred years… overall, I think her message was not well articulated. I believe that she is trying to state that she is uncomfortable with the video, and doesn’t see its empowering nature. In many ways, I can see why a woman might feel that way. However, in using hyperbole, it loses the actual impact it may have had. For me, the video was an embracement of the female body, in a way that I do not see as empowering. I prefer modesty as a means of female empowerment. However, I can see why and understand how women do see this as liberating, and that is great.

Initially, I was able to watch the explicit version of the video on YouTube, but recently I went to try and find it and I was told there was a regional block. However, there was no regional block on the “clean” version. The major difference between the two versions is not using the word pussy, the “clean” version of the song switched “pussy” to “wet and gushy” instead. In a lot of ways, “wet and gushy” sounds much worse to the ear than “wet-ass pussy.” Yet, the explicit images in the video are the same. This bothered me because it seems that the only issue is the reference to female genitalia, and I wonder if we will get to a place where we can talk more openly about the female body.

 

Graphic by @the.beta.lab

Categories
Music Quickspins

QUICKSPINS: Megan Thee Stallion – Suga

A hard-hitting playlist of songs to hype you and your girls before a fun night out.

As a vengeful parting gift to her ex-record label 1501 Certified Entertainment, Megan Thee Stallion mic dropped her new nine-track EP Suga.

With plans to release the album on her late mother’s birthday, May 2, being blocked due to her attempt at renegotiating her contract with the record label. Megan took matters into her own hands by filing a lawsuit against the label demanding that she be removed from the contract. After the Houston-born rapper was granted her request, she took the small window she had to drop her unfinished album on March 6 with no strings attached.

Throughout this album, Megan showcases her versatility as a rap sensation whilst touching base with 90s hip hop and R&B. Megan channels 2Pac in her track “B.I.T.C.H” where she samples his hit song “Rather Be Your N****.” She also uses her talent to incorporate a slow and sensual R&B vibe to the album in her track “What I Need.” The artist carries herself as an influential figure in female empowerment as she embraces her sexuality, diversity and her overall love for contemporary rap.

The fan-favourite “Savage” tackles her self-reflection as she repeats, “Classy, bougie, ratchet/sassy, moody, nasty,” delivering the track with force and intent whilst allowing her audience to exude their true identity and fully accept who they are.

As always, Megan Thee Stallion never fails to deliver. The 24-minute EP is well balanced, incorporating Gunna and Kehlani as key features. The album is yet to be finished so this EP can be considered as an entree to her soon-to-come main dish.

Rating: 9/10

Trial track: “Captain Hook”

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