Topic: Megan Thee Stallion

Journalist Karen Hunter expresses her refusal to take political direction from Black male celebrities like Uncle Luke, Jay-Z, or LeBron James. She references the "ballot or the bullet" strategy of Malcolm X while questioning what the Democratic Party has specifically done for Black people. The hosts note a growing political divide between Black men and women as the 2022 and 2024 elections approach.

Will Packer describes feeling devastated by the slap because of what it represented for the first Black-produced Oscars. Mo Facts notes that the "Black Oscars" branding wasn't widely publicized in mainstream media but was a significant internal theme. The hosts compare the chaotic energy of the night to the historically violent Source Awards.

The discussion focuses on an article by Caitlin Greenidge titled "Megan Thee Stallion and Representative Waters on Misogynoir." The term "misogynoir" is defined as a blend of misogyny and the French word for black, specifically targeting black women. The narrative explores how Megan Thee Stallion's public image as an educated victim of a crime involving Tory Lanez makes her a valuable asset for globalist and liberal political agendas.

Adam Curry and Mo Facts introduce episode 63, titled "WAP," noting it will be a two-part series. The discussion centers on the cultural impact of the song "WAP" and the unexpected endorsement of Megan Thee Stallion by Representative Maxine Waters. A parental guidance warning is issued due to the explicit nature of the subject matter.

Representative Maxine Waters participated in a conversation with Megan Thee Stallion for Harper's Bazaar, where she commended the rapper's "audacity" in the song "WAP." The segment explores how this story was covered across different media outlets, including The Breakfast Club and the Ricky Smiley Morning Show. The hosts characterize Waters' support as a form of political pandering to a younger demographic.

Megan Thee Stallion's Saturday Night Live performance featured messages calling for the protection of Black women and criticized Kentucky Attorney General Daniel Cameron regarding the Breonna Taylor case. The discussion questions the intent behind these messages and whether the media is using such platforms to pit Black men against Black women. The hosts argue that the performance commoditizes women while pushing a specific political agenda.

Conservative commentator Ben Shapiro's viral reading and medical critique of the "WAP" lyrics are analyzed. Shapiro's video, which garnered 56 million views, suggested the lyrics described clinical symptoms requiring a doctor's care. The hosts criticize Shapiro for using the song as an "outrage talking point" rather than addressing the record executives who profit from the content.

The hosts analyze the specific dialogue between Maxine Waters and Megan Thee Stallion, where Waters encourages the rapper to ignore critics. They argue that Megan is being groomed as a more "intelligent" successor to Cardi B to push specific messages. The segment highlights the contradiction of an 82-year-old woman from a "modest" generation endorsing content that perpetuates the very stereotypes Black women previously fought to overcome.

Maxine Waters discusses building community by "meeting people where they are." The hosts interpret this as an attempt to bridge the gap between "ratchet" sexualized culture and affluent, educated Black women. They argue that political groups are trying to galvanize Black women as they perceive a loss of support from Black men who are becoming more politically independent.

Maxine Waters tells Megan Thee Stallion she "doesn't have to go to nobody's school" because she has already "made it," which the hosts view as a negative message. Megan insists on finishing her degree to honor her family. The hosts argue that college degrees have transitioned from "commodities" (representing skills) to "fiat" (representing mere clout), leading to a generation burdened by debt for low-value degrees.

The hosts critique Cardi B’s interview with Joe Biden, noting it was heavily edited to hide her lack of political sophistication. They suggest that when the "mockery" of the interview became too much, Cardi B used a public divorce announcement and the release of the song "WAP" as distractions to regain her standing. This is presented as a cycle of using "low-class" culture to maintain political influence.

Megan Thee Stallion uses her "Saturday Night Live" performance to attack Kentucky Attorney General Daniel Cameron over the Breonna Taylor case. The performance features audio from activist Tamika Mallory and the slogan "Protect Black Women." Cameron responds on Fox News, calling the disparaging comments "disgusting" and "intolerant." The hosts note the high production value of the SNL set, suggesting corporate participation in the political messaging.

The hosts accuse Megan Thee Stallion of "hijacking" a Malcolm X quote about protecting black women. They play the full 1962 speech to show that Malcolm X was specifically referring to "Muslim women" who adhere to certain standards of modesty and conduct. They argue that using this quote while "twerking and jerking" in a song called "Savage" is a gross distortion of Malcolm X's original message.

The shooting incident between Megan Thee Stallion and Canadian rapper Tory Lanez is analyzed. The hosts question the medical plausibility of being shot in the foot without hitting bones or tendons. They delve into "conspiratorial" territory, suggesting Megan is a "blood sacrifice" recipient whose career skyrocketed after her mother's death. They also emphasize that Lanez is Canadian, not ADOS, complicating the "black man vs. black woman" narrative.

Megan Thee Stallion pens an op-ed for the New York Times about violence against black women, citing high mortality rates and violence against transgender individuals. The hosts view this as a corporate effort to "MLK" her—turning a person into a polished political product. They note the conspicuous absence of any mention of the struggles faced by black men in these high-level media reports.

The discussion turns to the "Studs and Sluts" narrative in popular culture, which Tom Burrell claims promotes black men as brutes and women as hyper-sexualized. Mo Facts cites the song "WAP" by Cardi B and Megan Thee Stallion as a modern example of this "culture of death." He argues that the music industry is used to socially engineer the public, with white audiences often defending the content as "empowerment."