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Ishawna’s ‘WAP’ Remix Draws Criticism From Dancehall Circles

By
ish
Ishawna

WAP by Cardi B and Megan Thee Stallion took the internet by storm last week for its raunchy lyrics. So far, Vybz Kartel has jumped on the song to put out his remix, and now Dancehall songstress Ishawna has added her twist and, of course, goes for the shock factor that is typical of her style.

An edited cover of the original song features a photo of Ishawna with her outstretched tongue, a snap from her recent Reggae Sumfest live performance, between similarly styled poses by Cardi B and Megan.

A 45-second sound clip released on Twitter by the Equal Rights artiste was no holds barred as it explicitly featured her pink tongue. Ishawna’s remix received 6,600 likes and 3,600 retweets, with many fans praising her for being on cue.

https://twitter.com/Ishawna/status/1292609633270534144

However, not everyone is happy at the turn some are taking in remixing WAP. Dancing veteran Keiva Di Diva aired her concern with the way the music is being made.

In a post on Instagram on Sunday, the dancing legend who is a mother of a young daughter went into a tirade as she expressed frustration at the quality of the music being produced. “I’m getting sick and tired of some of these male and female artists!! Every [edited profanity] day I wake up it’s sucking and [profanity] in my [profanity] ears!! Some of these hurry come up producers needs to get the [profanity] out of the studio.”

She continued by asking if they didn’t have kids. “Let the teenagers and the little kids grow in peace! Most of you …never had this much distraction growing up. My heart pains me just to think about the young generation, God bless the people that’s left to lead them. These poor kids look up to you’ll [sic] and this is what you keep teaching them!”

She went on to ask, “is it that hard to write good songs?…when a nuh freaky videos a freaky songs, all of a sudden it’s a trend to be freaky.”

Keiva’s concern is not the only one that has been raised as fans of Cardi B had the same sentiments to the point that the Grammy winner made a video to respond where it was said that all she sings about is her vagina. However, the Pop Icon said WAP is what people want to hear as they don’t respond favorably to songs where sex and the vagina isn’t the main context.

“First of all, I rap about p—y because she my best friend, and second of all it’s because it seems like that’s what people wanna hear. I ain’t even gonna front because let me tell you something: when I  did ‘Be Careful’, people was talking mad s–t in the beginning like, ‘what the f–k is this? This is not what I expected. I expected this, I expected that.” So it’s like if that’s what people aren’t trying to hear then alright, I’m going to start rapping about my p—y again.”

The Grammy singer also clapped back at her critics for their hypocrisy in not supporting other female rappers who don’t sing about p—y. “…y’ all don’t be supporting them and they be mad dope, bloggers don’t support them, they don’t be getting then recognition, so don’t be blaming that s–t on s, y’all not the ones supporting them.”

WAP is the #1 most streamed song on Spotify in the United States and has moved up to #3 globally. On day one, the song hit 22 million views on YouTube, the highest for a female collaboration. It’s on the way to Gold in the United States!

In the meantime, dancehall is heading in the raunchy and oversexed direction. Vybz Kartel first started the trend of singing about oral sex in Freaky Gal, released in 2013 in which Addi discloses “every time mi f–k my C— get suck”.

Gage with his song Throat released two years later pushed the boundaries of public acceptance and Ishawna’s Equal Rights , the first song by a female singing about receiving oral sex, something condemned by the men in Dancehall, further paved a way into public normalization.

However, Ishawna’s Dancehall archrival Dovey Magnum might be the first female artiste to publicly promote the sex act, with her frequently set Instagram location being ‘d–k s–king R US.’

In a Twitter post, she said, “all dem do a LIVE innA mi styles and BADMIND and hate ME at the same time!!!!…rookie, you better not gag…look at YOU s–king d–ks NOW,” where it’s speculated that she’s throwing shade at Ishawna for being a copycat to promote herself.

Either way, there’s more to unfold with dancehall as the visual allegories pop up, and the lyrics remain literal, leaving little to the imagination.