Although Mapei (aka Jacqueline Mapei Cummings) self-identifies as a female rapper, you won't see her sporting a pink wig or tearing up the stage in a latex body suit. Between her almost monotone speaking voice and her unaffected appearance––complete with a mane of natural, curly hair––Mapei has a calm and hypnotizing presence that's less Nicki Minaj than LAURYN HILL (who, unsurprisingly, happens to be one of Mapei's chief influences). Similarly sage-like, Mapei drops little beads of wisdom throughout our interview. She tells stories of her childhood performing at Communist rallies in Providence, Rhode Island, her days throwing warehouse parties in Sweden, and her fateful connection with SPANK ROCK, who discovered Mapei's already burgeoning talent back in the early 2000s after the release of her underground viral video, "VIDEO VIXENS."
After taking some time off to travel following the release of her first official EP, Cocoa Butter Diaries, Mapei came back with “Don’t Wait,” the infectious internet hit whose video PREMIERED this week via Pitchfork. The song's eclectic sound comes courtesy of pop-producer Magnus Lidehäll (whose previous accolades include songs with Britney Spears and Sky Ferreira) and remixes feature the likes of Chance the Rapper and her old friend KINGDOM. I had the opportunity to talk with Mapei before the release of her highly anticipated album to discuss everything from her unreleased songs with JUSTICE, to her vision of utopia, to Miley Cyrus as the new Madonna.
Clarke Rudick: What have you been up to since Cocoa Butter Diaries?
Mapei: I’ve been taking my time to get some inspiration. I traveled to Senegal to do workshops. I went to Portugal, Tunisia, and Brazil. I stayed in the favelas there. It wasn’t rough. It was homier than I thought it was going to be.
Why did you choose this moment to reenter the music scene?
Because I have good songs that I can really put out there. I think everyone is focused on being really cool rather than making good songs. They want to have an image rather than doing the music. It’s really all about the music. I don’t even think about my image.
Let's talk about your breakout piece, "Video Vixens."
Have you seen the video? I made it myself.
Of course! I remember seeing it on the web a few years ago. It’s almost a video diary of your life, right?
Yeah, I chilled a lot with white girls that would dance dancehall and I would defend them because everyone was saying, “They’re trying to be black,” and I’d be like, “Let them do their thing. Let them dance.” I made a lot
After taking some time off to travel following the release of her first official EP, Cocoa Butter Diaries, Mapei came back with “Don’t Wait,” the infectious internet hit whose video PREMIERED this week via Pitchfork. The song's eclectic sound comes courtesy of pop-producer Magnus Lidehäll (whose previous accolades include songs with Britney Spears and Sky Ferreira) and remixes feature the likes of Chance the Rapper and her old friend KINGDOM. I had the opportunity to talk with Mapei before the release of her highly anticipated album to discuss everything from her unreleased songs with JUSTICE, to her vision of utopia, to Miley Cyrus as the new Madonna.
Clarke Rudick: What have you been up to since Cocoa Butter Diaries?
Mapei: I’ve been taking my time to get some inspiration. I traveled to Senegal to do workshops. I went to Portugal, Tunisia, and Brazil. I stayed in the favelas there. It wasn’t rough. It was homier than I thought it was going to be.
Why did you choose this moment to reenter the music scene?
Because I have good songs that I can really put out there. I think everyone is focused on being really cool rather than making good songs. They want to have an image rather than doing the music. It’s really all about the music. I don’t even think about my image.
Let's talk about your breakout piece, "Video Vixens."
Have you seen the video? I made it myself.
Of course! I remember seeing it on the web a few years ago. It’s almost a video diary of your life, right?
Yeah, I chilled a lot with white girls that would dance dancehall and I would defend them because everyone was saying, “They’re trying to be black,” and I’d be like, “Let them do their thing. Let them dance.” I made a lot