Cardi B faces heat for not allowing her daughter to listen to her ‘WAP’ song, according to The Daily Wire.
“So ya daughter cant listen to it but everybody else’s daughter can? @iamcardib,”
“AW OKAY! Exactly what I been saying you have an agenda to push with that trash a– label your [sic] with. DISGUSTING.”
So ya daughter cant listen to it but everybody else’s daughter can ? @iamcardib AW OKAY ! Exactly what I been saying you have an agenda to push with that trash ass label your with. DISGUSTING https://t.co/OZja54dICx
— Mo_fierce (@Mo_fierce) January 5, 2021
Cardi B says that she does not make music for kids.
“Ya needs to stop with this already! I’m not [JoJo Siwa]! I don’t make music for kids I make music for adults.”
“Parents are responsible on what their children listen too [sic] or see. I’m a very sexual person but not around my child just like every other parent should be,” she added.
The user responded and said, “And if you make music for adults stop retweeting and liking kids dancing and singing along to your s*** then.”
National Public Radio (NPR) named “WAP” the best song of 2020 prior to the New Year and chastised its critics as moral crusaders.
“Cardi B dropped exactly one song this year, but after ‘WAP,’ any more might have been overkill. Raunchy, fun and infinitely quotable, she joins Megan Thee Stallion for a shameless ode to, well, wet-ass p****, that flies in the face of those who might suggest these women’s sexuality is a shortcoming,” wrote Briana Younger. “At every turn, the two dare listeners to look away with a perfect storm of irresistible qualities: the familiar, through a prominent sample of Frank Ski’s Baltimore club classic ‘Whores in This House,’ the taboo in subject and attitude, the spectacle of unity between two of music’s brightest talents.”
“Meg is a more traditional stylist, whose voice oozes unassailable confidence, while Cardi is all theatrics and humor, effortlessly selling every last line, no matter how ridiculous (or anatomically incorrect) — a synergy that refracts the best qualities of one through the prism of the other,” she continued. “Together, they are magic.”
“To no one’s surprise, a pair of women honoring their own ladyparts and the pleasures they dish out and expect returned in spades drew the ire of the insecure, of zealots and moral grandstanders,” she wrote. “The backlash, however inseparable from the song’s cultural narrative, only bolsters the argument for its politics of pleasure. At its core, ‘WAP’ is Cardi and Meg’s assertion that their expression, both artistic and sexual, belongs to them and them alone.”
“Such a filthy bit of joy may be born of entertainment, but it persists as necessity — fake prudishness be damned,” she concluded.