32 Best Twerking Anthems

From Uncle Luke of 2 Live Crew’s “I Wanna Rock (Doo Doo Brown)” to City Girls & Cardi B “Twerk”, here are the 32 top twerking song & dancing anthems to know.

Jan 21, 2022

Image via Getty/Francis Specker/CBS

Calling all Twerk Team wannabes—here’s what we know: Twerking, a portmanteau word of twist and jerk, has infiltrated nearly every aspect of music culture. But it’s nothing new. Songs encouraging (or demanding) one to twerk have been around more than two decades, and while we can argue that one can twerk to literally anything—D’Angelo, Juvenile, Barbara Streisand, if that’s your thing—we’ve narrowed the canon of great twerking songs not just down to the classics, but the anthems.

And what constitutes a “twerking anthem”? It hits hard. It has a heavy beat, and is best heard as loud as you can listen to it without blowing out speakers (or eardrums). The music videos are flooded with beautiful people demonstrating their most proper twerking technique. Most importantly, they’re not just songs to shake it to, but the songs that go hand in hand with twerking, the kind of songs you hear in the club in the wee hours of the morning. There’s an art to making the perfect twerking anthem, the type of song that not only lifts your body but your spirit.

From Uncle Luke of 2 Live Crew’s “I Wanna Rock (Doo Doo Brown)” to French Montana’s “Pop That” (which samples Uncle Luke’s anthem) to Cardi B and Megan Thee Stallion’s “WAP,” these are the most classic twerking songs.

Release Date: Jan. 8, 2018

Producers: Mr. Nova, Rico Love

Cardi B and the City Girls' appropriately titled hit, "Twerk," utilizes a Choppa Style-influenced beat, courtesy of Rico Love and Mr. Nova, making this the perfect track for a summer event or girls night out. The lyrics are slightly deceiving, as Yung Miami and Cardi target male onlookers with raunchy and provocative lines. But ultimately, "Twerk" is an empowering female anthem that encourages the girls to let loose and shake what they got. — youtu.be

**Release Date:** Jan. 8, 2018

**Producers:** Mr. Nova, Rico Love

Cardi B and the City Girls' appropriately titled hit, "Twerk," utilizes a Choppa Style-influenced beat, courtesy of Rico Love and Mr. Nova, making this the perfect track for a summer event or girls night out. The lyrics are slightly deceiving, as Yung Miami and Cardi target male onlookers with raunchy and provocative lines. But ultimately, "Twerk" is an empowering female anthem that encourages the girls to let loose and shake what they got.

youtu.be

**Release Date:** Jan. 8, 2018

**Producers:** Mr. Nova, Rico Love

Cardi B and the City Girls' appropriately titled hit, "Twerk," utilizes a Choppa Style-influenced beat, courtesy of Rico Love and Mr. Nova, making this the perfect track for a summer event or girls night out. The lyrics are slightly deceiving, as Yung Miami and Cardi target male onlookers with raunchy and provocative lines. But ultimately, "Twerk" is an empowering female anthem that encourages the girls to let loose and shake what they got.

Release Date: June 11, 1999

Producers: Mannie Fresh

Many essential ass-shakers came before this song, and many came after, but "Back That Azz Up" is the prototypical twerk anthem. It redefined the style and brought it into the modern era, while staying true to the conceit of pioneering twerk records. "Girl, you working with some ass," Juvenile begins, as if announcing the record's thesis statement. Juvenile sticks to the theme for the rest of the track, hardly deviating from the topic of twerking. He only stops when Lil Wayne shows up for one of his first moments on wax and tells the ladies to "drop it like it's hot." Booty-based dancing simply hasn't been the same since. — youtu.be

**Release Date:** June 11, 1999

**Producers:** Mannie Fresh

Many essential ass-shakers came before this song, and many came after, but "Back That Azz Up" is the prototypical twerk anthem. It redefined the style and brought it into the modern era, while staying true to the conceit of pioneering twerk records. "Girl, you working with some ass," Juvenile begins, as if announcing the record's thesis statement. Juvenile sticks to the theme for the rest of the track, hardly deviating from the topic of twerking. He only stops when Lil Wayne shows up for one of his first moments on wax and tells the ladies to "drop it like it's hot." Booty-based dancing simply hasn't been the same since.

youtu.be

**Release Date:** June 11, 1999

**Producers:** Mannie Fresh

Many essential ass-shakers came before this song, and many came after, but "Back That Azz Up" is the prototypical twerk anthem. It redefined the style and brought it into the modern era, while staying true to the conceit of pioneering twerk records. "Girl, you working with some ass," Juvenile begins, as if announcing the record's thesis statement. Juvenile sticks to the theme for the rest of the track, hardly deviating from the topic of twerking. He only stops when Lil Wayne shows up for one of his first moments on wax and tells the ladies to "drop it like it's hot." Booty-based dancing simply hasn't been the same since.

Release Date: Aug. 9, 2009

Producers: Polow da Don

Yes, it exists: a semi-PG-rated, all-female twerking anthem. It comes to the world via one Ms. Ester Dean, who took time out from writing some of the greatest pop hits of our generation to create (and kill) her first solo single, “Drop It Low.” Produced by Polow da Don, the song’s your basic call to girls to get on the dance floor, and drop it low, just like the title suggests. No oversell, there. The video, which features the Twerk Team themselves, is refreshingly simple: the Twerk Team, dancing in a grocery store, in a way that won’t ruin your appetite and/or grocery list. Simple, clean fun, and yet: Still naughty enough to make you think twice about those heads of lettuce. — youtu.be

**Release Date:** Aug. 9, 2009

**Producers:** Polow da Don

Yes, it exists: a semi-PG-rated, all-female twerking anthem. It comes to the world via one Ms. Ester Dean, who took time out from writing some of the greatest pop hits of our generation to create (and kill) her first solo single, “Drop It Low.” Produced by Polow da Don, the song’s your basic call to girls to get on the dance floor, and drop it low, just like the title suggests. No oversell, there. The video, which features the Twerk Team themselves, is refreshingly simple: the Twerk Team, dancing in a grocery store, in a way that won’t ruin your appetite and/or grocery list. Simple, clean fun, and yet: Still naughty enough to make you think twice about those heads of lettuce.

youtu.be

**Release Date:** Aug. 9, 2009

**Producers:** Polow da Don

Yes, it exists: a semi-PG-rated, all-female twerking anthem. It comes to the world via one Ms. Ester Dean, who took time out from writing some of the greatest pop hits of our generation to create (and kill) her first solo single, “Drop It Low.” Produced by Polow da Don, the song’s your basic call to girls to get on the dance floor, and drop it low, just like the title suggests. No oversell, there. The video, which features the Twerk Team themselves, is refreshingly simple: the Twerk Team, dancing in a grocery store, in a way that won’t ruin your appetite and/or grocery list. Simple, clean fun, and yet: Still naughty enough to make you think twice about those heads of lettuce.

Release Date: Dec. 10, 2010

Producers: FKi

In the not-too-distant future, the "carrot-stick" approach will be retitled "the twerk-precipitation method." And ATL trio Travis Porter will be to blame. The stop-start chorus and production are booty-motivating on a sonic level, but naturally it's Ali, Quez and Strap who are the primary cheerleaders of successful twerking strategies. Think of it as a modern-day rain dance, but with paying bills and rent as the real end goal. Also, getting rained on. With cash. — youtu.be

**Release Date:** Dec. 10, 2010

**Producers:** FKi

In the not-too-distant future, the "carrot-stick" approach will be retitled "the twerk-precipitation method." And ATL trio Travis Porter will be to blame. The stop-start chorus and production are booty-motivating on a sonic level, but naturally it's Ali, Quez and Strap who are the primary cheerleaders of successful twerking strategies. Think of it as a modern-day rain dance, but with paying bills and rent as the real end goal. Also, getting rained on. With cash.

youtu.be

**Release Date:** Dec. 10, 2010

**Producers:** FKi

In the not-too-distant future, the "carrot-stick" approach will be retitled "the twerk-precipitation method." And ATL trio Travis Porter will be to blame. The stop-start chorus and production are booty-motivating on a sonic level, but naturally it's Ali, Quez and Strap who are the primary cheerleaders of successful twerking strategies. Think of it as a modern-day rain dance, but with paying bills and rent as the real end goal. Also, getting rained on. With cash.

Release Date: April 6, 2018

Producers: 40, Murda Beatz, Corey Litwin, and Blaqnmild

The power of Drake’s “Nice for What” comes from Murda Beatz’ smooth bounce-inspired beat that samples and distorts Lauryn Hill’s “Ex-Factor.” Place Big Freedia’s echoing adlibs and a few quotable lines from an energetic Drake over the beat, and you’ve got a twerking anthem. “Nice for What” is a little different from some of the other hits on this list, though. It’s another female empowerment anthem that doubles as a dance record, as Drake implores women to abandon pleasantries and instead, “hit the club, gotta make that ass jump.” — youtu.be

**Release Date:** April 6, 2018

**Producers:** 40, Murda Beatz, Corey Litwin, and Blaqnmild

The power of Drake’s “Nice for What” comes from Murda Beatz’ smooth bounce-inspired beat that samples and distorts Lauryn Hill’s “Ex-Factor.” Place Big Freedia’s echoing adlibs and a few quotable lines from an energetic Drake over the beat, and you’ve got a twerking anthem. “Nice for What” is a little different from some of the other hits on this list, though. It’s another female empowerment anthem that doubles as a dance record, as Drake implores women to abandon pleasantries and instead, “hit the club, gotta make that ass jump.”

youtu.be

**Release Date:** April 6, 2018

**Producers:** 40, Murda Beatz, Corey Litwin, and Blaqnmild

The power of Drake’s “Nice for What” comes from Murda Beatz’ smooth bounce-inspired beat that samples and distorts Lauryn Hill’s “Ex-Factor.” Place Big Freedia’s echoing adlibs and a few quotable lines from an energetic Drake over the beat, and you’ve got a twerking anthem. “Nice for What” is a little different from some of the other hits on this list, though. It’s another female empowerment anthem that doubles as a dance record, as Drake implores women to abandon pleasantries and instead, “hit the club, gotta make that ass jump.”

Release Date: April 1, 2008

Producers: Jay Roc

Trina is, and will always be, Da (self-anointed, but nevertheless still fairly official) Baddest Bitch. In her contribution to the canon of twerking anthems, she makes clear all the impressive things she can do before, during, and after sexual intercourse, which—surprise!—can also be applied on the dance floor. What gets a crowd going like an orgasm-tastic sample in the chorus, and Killer Mike's demanding she (and, as it goes, listeners) look back at him when she's...making banana bread.

Kidding! We all know he's talking about hitting it from the back. Meanwhile, Trina gets defensive, even threatening to put herself on a dude that runs away. The chopped and screwed chorus and clap-heavy beat flows perfectly with Trina playing to a distinct strength of hers: intensely sexually graphic lyrics. — youtu.be

**Release Date:** April 1, 2008

**Producers:** Jay Roc

Trina is, and will always be, Da (self-anointed, but nevertheless still fairly official) Baddest Bitch. In her contribution to the canon of twerking anthems, she makes clear all the impressive things she can do before, during, and after sexual intercourse, which—surprise!—can also be applied on the dance floor. What gets a crowd going like an orgasm-tastic sample in the chorus, and Killer Mike's demanding she (and, as it goes, listeners) look back at him when she's...making banana bread.

Kidding! We all know he's talking about hitting it from the back. Meanwhile, Trina gets defensive, even threatening to put herself on a dude that runs away. The chopped and screwed chorus and clap-heavy beat flows perfectly with Trina playing to a distinct strength of hers: intensely sexually graphic lyrics.

youtu.be

**Release Date:** April 1, 2008

**Producers:** Jay Roc

Trina is, and will always be, Da (self-anointed, but nevertheless still fairly official) Baddest Bitch. In her contribution to the canon of twerking anthems, she makes clear all the impressive things she can do before, during, and after sexual intercourse, which—surprise!—can also be applied on the dance floor. What gets a crowd going like an orgasm-tastic sample in the chorus, and Killer Mike's demanding she (and, as it goes, listeners) look back at him when she's...making banana bread.

Kidding! We all know he's talking about hitting it from the back. Meanwhile, Trina gets defensive, even threatening to put herself on a dude that runs away. The chopped and screwed chorus and clap-heavy beat flows perfectly with Trina playing to a distinct strength of hers: intensely sexually graphic lyrics.

Release Date: March 12, 2000

Producers: Mr. Collipark, Keith “K-Luv” Chapman

The Ying Yang Twins introduction to society outside of Atlanta offered quite the counterpoint to Disney’s classic take on Snow White, and the most memorable musical interlude in it. And while twurking—or twerking, and its respective regional spelling differences—can be difficult to initially grasp, worry not: these two young men from Georgia are here to guide you through it. The duo really hit on a number of ideas that will later become a common theme throughout their body of work: shaking it like a salt shaker, for example. But what really makes this song a twerking anthem—besides the fact that the aforementioned dance is in the title, lest their be any misgivings about artistic intent, here—is that people seem to turn a blind eye to the lyric about a, uh, certain unsexy bodily function. That’s neither here nor there: Just get whistling, and worry about everything else later. — youtu.be

**Release Date:** March 12, 2000

**Producers:** Mr. Collipark, Keith “K-Luv” Chapman

The Ying Yang Twins introduction to society outside of Atlanta offered quite the counterpoint to Disney’s classic take on Snow White, and the most memorable musical interlude in it. And while twurking—or twerking, and its respective regional spelling differences—can be difficult to initially grasp, worry not: these two young men from Georgia are here to guide you through it. The duo really hit on a number of ideas that will later become a common theme throughout their body of work: shaking it like a salt shaker, for example. But what really makes this song a twerking anthem—besides the fact that the aforementioned dance is in the title, lest their be any misgivings about artistic intent, here—is that people seem to turn a blind eye to the lyric about a, uh, certain unsexy bodily function. That’s neither here nor there: Just get whistling, and worry about everything else later.

youtu.be

**Release Date:** March 12, 2000

**Producers:** Mr. Collipark, Keith “K-Luv” Chapman

The Ying Yang Twins introduction to society outside of Atlanta offered quite the counterpoint to Disney’s classic take on Snow White, and the most memorable musical interlude in it. And while twurking—or twerking, and its respective regional spelling differences—can be difficult to initially grasp, worry not: these two young men from Georgia are here to guide you through it. The duo really hit on a number of ideas that will later become a common theme throughout their body of work: shaking it like a salt shaker, for example. But what really makes this song a twerking anthem—besides the fact that the aforementioned dance is in the title, lest their be any misgivings about artistic intent, here—is that people seem to turn a blind eye to the lyric about a, uh, certain unsexy bodily function. That’s neither here nor there: Just get whistling, and worry about everything else later.

Release Date: Oct. 25, 2019

Producers: BlaqNmilD

Megan Thee Stallion and New Orleans artist VickeeLo joined forces for “Ride or Die” in 2019. The single was featured on the soundtrack for Lena Waithe’s blockbuster film Queen & Slim, but you can expect this track to come up at any cookout or underground houseparty. It has a summertime vibe with a bouncy and vibrant beat. Megan and VickeeLo dish out dance instructions throughout the track like, “Bounce that ass, and bounce that ass and drop” or “Bend it, bust it open, bend, bend it, bust it open.” — youtu.be

**Release Date:** Oct. 25, 2019

**Producers:** BlaqNmilD

Megan Thee Stallion and New Orleans artist VickeeLo joined forces for “Ride or Die” in 2019. The single was featured on the soundtrack for Lena Waithe’s blockbuster film *Queen & Slim*, but you can expect this track to come up at any cookout or underground houseparty. It has a summertime vibe with a bouncy and vibrant beat. Megan and VickeeLo dish out dance instructions throughout the track like, “Bounce that ass, and bounce that ass and drop” or “Bend it, bust it open, bend, bend it, bust it open.”

youtu.be

**Release Date:** Oct. 25, 2019

**Producers:** BlaqNmilD

Megan Thee Stallion and New Orleans artist VickeeLo joined forces for “Ride or Die” in 2019. The single was featured on the soundtrack for Lena Waithe’s blockbuster film *Queen & Slim*, but you can expect this track to come up at any cookout or underground houseparty. It has a summertime vibe with a bouncy and vibrant beat. Megan and VickeeLo dish out dance instructions throughout the track like, “Bounce that ass, and bounce that ass and drop” or “Bend it, bust it open, bend, bend it, bust it open.”

Release Date: July 22, 2003

Producers: Lil Jon

Put a hump in your back and shake your rump, are the instructions. It doesn't matter that "Shake That Monkey" was on Too $hort's 15th album—that's right, 15th. He's still getting girls to shake their "monkey." The nursery rhyme-esque, xylophone-driven beat is stupid-simple, both in construction, and to understand why it was such a hit: its crescendos and diminuendos become the rhythm of the twerk. But really, all Too $hort wants is to have a motor booty contest and pick a winner, and—get this—you don't even have to be naked, per his instructions. Just, you know, wiggle your "tail like your name is Flipper." In time, the lyrics get a little more raunchy and demanding than they started out, but after four solid minutes of Twerking, who wouldn't be turned on? Too $hort is the best dance teacher you never had: Tough, but fair. — youtu.be

**Release Date:** July 22, 2003

**Producers:** Lil Jon

Put a hump in your back and shake your rump, are the instructions. It doesn't matter that "Shake That Monkey" was on Too $hort's 15th album—that's right, 15th. He's still getting girls to shake their "monkey." The nursery rhyme-esque, xylophone-driven beat is stupid-simple, both in construction, and to understand why it was such a hit: its crescendos and diminuendos become the rhythm of the twerk. But really, all Too $hort wants is to have a motor booty contest and pick a winner, and—get this—you don't even have to be naked, per his instructions. Just, you know, wiggle your "tail like your name is Flipper." In time, the lyrics get a little more raunchy and demanding than they started out, but after four solid minutes of Twerking, who wouldn't be turned on? Too $hort is the best dance teacher you never had: Tough, but fair.

youtu.be

**Release Date:** July 22, 2003

**Producers:** Lil Jon

Put a hump in your back and shake your rump, are the instructions. It doesn't matter that "Shake That Monkey" was on Too $hort's 15th album—that's right, 15th. He's still getting girls to shake their "monkey." The nursery rhyme-esque, xylophone-driven beat is stupid-simple, both in construction, and to understand why it was such a hit: its crescendos and diminuendos become the rhythm of the twerk. But really, all Too $hort wants is to have a motor booty contest and pick a winner, and—get this—you don't even have to be naked, per his instructions. Just, you know, wiggle your "tail like your name is Flipper." In time, the lyrics get a little more raunchy and demanding than they started out, but after four solid minutes of Twerking, who wouldn't be turned on? Too $hort is the best dance teacher you never had: Tough, but fair.

Release Date: June 28, 2011
Producers: Da Internz
Who better than Nicki Minaj—one of the leading female presences in hip-hop right now—to really show us how to twerk? In one of the most GIF-worthy videos from 2012, Big Sean's "Dance (A$$)" employs a hypnotizing melody along with a heavy beat to make a song, essentially, about asses (as if the opening lyrics—"ASS ASS ASS ASS ASS ASS ASS ASS ASS"—didn't clue you in). Nicki's verse is another list entirely, but as for her video spot? Nicki takes center stage shaking and bumping her butt throughout the clip—a perfectly addictive and compelling accompaniment to the music, a twerk enthusiast's version of Barishnakov floating his way through Adolphe Adam's Giselle (or something).
Big Sean sounds so confident that it makes the "Hammer Time" phrase that's littered throughout the song tolerable. It's arrogant, it's strong, and the dance-heavy bass just pounds. Big Sean will later go on to famously discuss the delicate matter of ass-quakes, sure, but really, his greatest contribution to shaking it starts right here. — youtu.be

**Release Date:** June 28, 2011
**Producers:** Da Internz
Who better than Nicki Minaj—one of the leading female presences in hip-hop right now—to really show us how to twerk? In one of the most GIF-worthy videos from 2012, Big Sean's "Dance (A$$)" employs a hypnotizing melody along with a heavy beat to make a song, essentially, about asses (as if the opening lyrics—"ASS ASS ASS ASS ASS ASS ASS ASS ASS"—didn't clue you in). Nicki's verse is another list entirely, but as for her video spot? Nicki takes center stage shaking and bumping her butt throughout the clip—a perfectly addictive and compelling accompaniment to the music, a twerk enthusiast's version of Barishnakov floating his way through Adolphe Adam's *Giselle* (or something).
Big Sean sounds so confident that it makes the "Hammer Time" phrase that's littered throughout the song tolerable. It's arrogant, it's strong, and the dance-heavy bass just pounds. Big Sean will later go on to famously discuss the delicate matter of ass-quakes, sure, but really, his greatest contribution to shaking it starts right here.

youtu.be

**Release Date:** June 28, 2011
**Producers:** Da Internz
Who better than Nicki Minaj—one of the leading female presences in hip-hop right now—to really show us how to twerk? In one of the most GIF-worthy videos from 2012, Big Sean's "Dance (A$$)" employs a hypnotizing melody along with a heavy beat to make a song, essentially, about asses (as if the opening lyrics—"ASS ASS ASS ASS ASS ASS ASS ASS ASS"—didn't clue you in). Nicki's verse is another list entirely, but as for her video spot? Nicki takes center stage shaking and bumping her butt throughout the clip—a perfectly addictive and compelling accompaniment to the music, a twerk enthusiast's version of Barishnakov floating his way through Adolphe Adam's *Giselle* (or something).
Big Sean sounds so confident that it makes the "Hammer Time" phrase that's littered throughout the song tolerable. It's arrogant, it's strong, and the dance-heavy bass just pounds. Big Sean will later go on to famously discuss the delicate matter of ass-quakes, sure, but really, his greatest contribution to shaking it starts right here.

Release Date: July 23, 1996

Producers: Freak Nasty

One of the many (but nonetheless absurd) reasons twerking isn't an internationally recognized Olympic sport? It has as image problem. Not just for those who do it, but those who have thought about doing it, too. After all, twerking—or attempts to twerk—are bound to draw attention, and reluctant would-be twerkers might ask themselves: Isn't it only for certain people? Like those who would go to a club, and twerk? Or the sexually promiscuous among us? And who wants to advertise that?

Enter Freak Nasty, whose words of wisdom at the beginning of his indisputable twerk anthem "Da Dip" serves to remind the world that twerking, really, is for everyone: "This goes out to all the women in the world/Especially her/You know it/Don't even matter your age/Don't even matter yo color." He also didn't neglect to mention those of his own gender who should twerk as they see fit. As Freak Nasty put it, it's a song for everyone who loves to dance, and dance to this song at one point or another everyone definitely has. And just as is the case with many of the other twerking anthems on this list, Freak Nasty doesn't just encourage, but he instructs: "Just put a little dip with it/Now put those hips with it/Pop it/push it/rock it/roll it." If twerking were to want for a goodwill ambassador, there's little question Freak Nasty would find himself the man for that job. — youtu.be

**Release Date:** July 23, 1996

**Producers:** Freak Nasty

One of the many (but nonetheless absurd) reasons twerking isn't an internationally recognized Olympic sport? It has as image problem. Not just for those who do it, but those who have thought about doing it, too. After all, twerking—or attempts to twerk—are bound to draw attention, and reluctant would-be twerkers might ask themselves: *Isn't it only for certain people? Like those who would go to a club, and twerk? Or the sexually promiscuous among us? And who wants to advertise that?*

Enter Freak Nasty, whose words of wisdom at the beginning of his indisputable twerk anthem "Da Dip" serves to remind the world that twerking, really, is for everyone: "*This goes out to all the women in the world/Especially her/You know it/Don't even matter your age/Don't even matter yo color.*" He also didn't neglect to mention those of his own gender who should twerk as they see fit. As Freak Nasty put it, it's a song for everyone who loves to dance, and dance to this song at one point or another everyone definitely has. And just as is the case with many of the other twerking anthems on this list, Freak Nasty doesn't just encourage, but he instructs: *"Just put a little dip with it/Now put those hips with it/Pop it/push it/rock it/roll it."* If twerking were to want for a goodwill ambassador, there's little question Freak Nasty would find himself the man for that job.

youtu.be

**Release Date:** July 23, 1996

**Producers:** Freak Nasty

One of the many (but nonetheless absurd) reasons twerking isn't an internationally recognized Olympic sport? It has as image problem. Not just for those who do it, but those who have thought about doing it, too. After all, twerking—or attempts to twerk—are bound to draw attention, and reluctant would-be twerkers might ask themselves: *Isn't it only for certain people? Like those who would go to a club, and twerk? Or the sexually promiscuous among us? And who wants to advertise that?*

Enter Freak Nasty, whose words of wisdom at the beginning of his indisputable twerk anthem "Da Dip" serves to remind the world that twerking, really, is for everyone: "*This goes out to all the women in the world/Especially her/You know it/Don't even matter your age/Don't even matter yo color.*" He also didn't neglect to mention those of his own gender who should twerk as they see fit. As Freak Nasty put it, it's a song for everyone who loves to dance, and dance to this song at one point or another everyone definitely has. And just as is the case with many of the other twerking anthems on this list, Freak Nasty doesn't just encourage, but he instructs: *"Just put a little dip with it/Now put those hips with it/Pop it/push it/rock it/roll it."* If twerking were to want for a goodwill ambassador, there's little question Freak Nasty would find himself the man for that job.

Release Date: 1994

Producers: Mannie Fresh

This 1994 track by bounce pioneer Angela "Cheeky Blakk" Woods was arguably the first song to use the word “Twerk” in the title. And, like most old-school bounce songs, it's about 90% commands ("Smoke a little weed up"), chants, and shout-outs to New Orleans locations. But what makes it stand out, in addition to its infectious "Triggerman"-sampling beat, is Cheeky’s strong pro-woman outlook. The question, "Do my ladies rule this motherfucker?" is met with an enthusiastic chorus of "Hell yeah"s, while its male equivalent gets a hearty "Hell no." "Do the ladies love twerking something?" Cheeky asks at the end of the song. Ever since "Twerk Something" dropped, the answer has been a resounding yes. — youtu.be

**Release Date:** 1994

**Producers:** Mannie Fresh

This 1994 track by bounce pioneer Angela "Cheeky Blakk" Woods was arguably the first song to use the word “Twerk” in the title. And, like most old-school bounce songs, it's about 90% commands ("Smoke a little weed up"), chants, and shout-outs to New Orleans locations. But what makes it stand out, in addition to its infectious "Triggerman"-sampling beat, is Cheeky’s strong pro-woman outlook. The question, "Do my ladies rule this motherfucker?" is met with an enthusiastic chorus of "Hell yeah"s, while its male equivalent gets a hearty "Hell no." "Do the ladies love twerking something?" Cheeky asks at the end of the song. Ever since "Twerk Something" dropped, the answer has been a resounding yes.

youtu.be

**Release Date:** 1994

**Producers:** Mannie Fresh

This 1994 track by bounce pioneer Angela "Cheeky Blakk" Woods was arguably the first song to use the word “Twerk” in the title. And, like most old-school bounce songs, it's about 90% commands ("Smoke a little weed up"), chants, and shout-outs to New Orleans locations. But what makes it stand out, in addition to its infectious "Triggerman"-sampling beat, is Cheeky’s strong pro-woman outlook. The question, "Do my ladies rule this motherfucker?" is met with an enthusiastic chorus of "Hell yeah"s, while its male equivalent gets a hearty "Hell no." "Do the ladies love twerking something?" Cheeky asks at the end of the song. Ever since "Twerk Something" dropped, the answer has been a resounding yes.

Release Date: June 15, 2012

Producers: Lee On the Beats

Looped over and over is a sample of Uncle Luke's "I Wanna Rock (Doo Doo Brown)" throughout French Montana's "Pop That." The tribute is appropriate. Sure, nowadays, French and Rick Ross make reference to popping other things—like Molly—but herein is a much more back-to-basics approach: "What you twerking with?" Drake asks. You know the answer, and if you don't, the 808s banging on this certified-gold track, which features appearances from Ross, Drake and Lil Wayne, are sure to help. It goes so hard that it yielded a twerking renaissance in 2012. It's gangster-sex braggadocio topped with Wayne's de rigueur lyrics about the female anatomy, one that might seem typical enough, until it emerges as an irresistibly addictive pattern five minutes later, one that begs for repeat play after repeat play. — youtu.be

**Release Date:** June 15, 2012

**Producers:** Lee On the Beats

Looped over and over is a sample of Uncle Luke's "I Wanna Rock (Doo Doo Brown)" throughout French Montana's "Pop That." The tribute is appropriate. Sure, nowadays, French and Rick Ross make reference to popping other things—like Molly—but herein is a much more back-to-basics approach: "*What you twerking with?*" Drake asks. You know the answer, and if you don't, the 808s banging on this certified-gold track, which features appearances from Ross, Drake and Lil Wayne, are sure to help. It goes so hard that it yielded a twerking renaissance in 2012. It's gangster-sex braggadocio topped with Wayne's *de rigueur* lyrics about the female anatomy, one that might seem typical enough, until it emerges as an irresistibly addictive pattern five minutes later, one that begs for repeat play after repeat play.

youtu.be

**Release Date:** June 15, 2012

**Producers:** Lee On the Beats

Looped over and over is a sample of Uncle Luke's "I Wanna Rock (Doo Doo Brown)" throughout French Montana's "Pop That." The tribute is appropriate. Sure, nowadays, French and Rick Ross make reference to popping other things—like Molly—but herein is a much more back-to-basics approach: "*What you twerking with?*" Drake asks. You know the answer, and if you don't, the 808s banging on this certified-gold track, which features appearances from Ross, Drake and Lil Wayne, are sure to help. It goes so hard that it yielded a twerking renaissance in 2012. It's gangster-sex braggadocio topped with Wayne's *de rigueur* lyrics about the female anatomy, one that might seem typical enough, until it emerges as an irresistibly addictive pattern five minutes later, one that begs for repeat play after repeat play.

Release Date: 1993

Producers: DJ Jubilee

Sometimes titled "Stop Pause, Do the Jubilee All," this 1993 song is generally considered the first to use the word "twerk." It is an answer song of sorts to Juvenile’s pre-Cash Money smash "Bounce (for the Juvenile)," but its lasting impact goes far beyond being a response. Its calls to "Twerk baby, twerk baby, twerk twerk twerk" started a revolution. — youtu.be

**Release Date:** 1993

**Producers:** DJ Jubilee

Sometimes titled "Stop Pause, Do the Jubilee All," this 1993 song is generally considered the first to use the word "twerk." It is an answer song of sorts to Juvenile’s pre-Cash Money smash "Bounce (for the Juvenile)," but its lasting impact goes far beyond being a response. Its calls to "Twerk baby, twerk baby, twerk twerk twerk" started a revolution.

youtu.be

**Release Date:** 1993

**Producers:** DJ Jubilee

Sometimes titled "Stop Pause, Do the Jubilee All," this 1993 song is generally considered the first to use the word "twerk." It is an answer song of sorts to Juvenile’s pre-Cash Money smash "Bounce (for the Juvenile)," but its lasting impact goes far beyond being a response. Its calls to "Twerk baby, twerk baby, twerk twerk twerk" started a revolution.

Release Date: March 18, 1993

Producers: Anthony Johnson

"Look at those girls with them Dazzey Dukes on," indeed. Duice made an entire song out of their admiration for women in the kind of shorts that are explicitly designed to ruin the attention spans and/or lives of so many of the men (and some women) around the world living in a free society. "Dazzey Dukes" isn't just a twerking anthem, no: It's a rallying cry for any woman (and some men) who's ever felt self-conscious about how they look in shorts with totally excessive amounts of skin showing. Fear not, ladies: Duice wants everyone to see how astonishing you look in those generally inappropriate but no less fantastic shorts, with your posterior protruding as a basic sartorial requirement of them. What we're saying is: This is basically a feminist anthem, and Duice is basically Gloria Steinem. — youtu.be

**Release Date:** March 18, 1993

**Producers:** Anthony Johnson

"Look at those girls with them Dazzey Dukes on," indeed. Duice made an entire song out of their admiration for women in the kind of shorts that are explicitly designed to ruin the attention spans and/or lives of so many of the men (and some women) around the world living in a free society. "Dazzey Dukes" isn't just a twerking anthem, no: It's a rallying cry for any woman (and some men) who's ever felt self-conscious about how they look in shorts with totally excessive amounts of skin showing. Fear not, ladies: Duice wants everyone to see how astonishing you look in those generally inappropriate but no less fantastic shorts, with your posterior protruding as a basic sartorial requirement of them. What we're saying is: This is basically a feminist anthem, and Duice is basically Gloria Steinem.

youtu.be

**Release Date:** March 18, 1993

**Producers:** Anthony Johnson

"Look at those girls with them Dazzey Dukes on," indeed. Duice made an entire song out of their admiration for women in the kind of shorts that are explicitly designed to ruin the attention spans and/or lives of so many of the men (and some women) around the world living in a free society. "Dazzey Dukes" isn't just a twerking anthem, no: It's a rallying cry for any woman (and some men) who's ever felt self-conscious about how they look in shorts with totally excessive amounts of skin showing. Fear not, ladies: Duice wants everyone to see how astonishing you look in those generally inappropriate but no less fantastic shorts, with your posterior protruding as a basic sartorial requirement of them. What we're saying is: This is basically a feminist anthem, and Duice is basically Gloria Steinem.

Release Date: Dec. 8, 2009

Producers: T-Minus

"Rumor has it, that if you go low enough, Ludacris will appear in the mirror." In true Candyman form, Ludacris asks, and gives a resounding answer in his 2009 anthem "How Low" when he starts to appear in girls' mirrors—all while they're recording themselves. It's a dare, a challenge, a legitimate question, and a rhetorical question all in one: How low can you go? The song, which went double-platinum, features a sample of Public Enemy's "Bring the Noise" on its fast-paced, booty-popping chorus, which does Chuck and Flav honor by very much bringing the noise, though maybe less of a politcally motivated one. In Luda's world, his mission is simply to help his female fans bring it as low as possible, and that good samaritanism is reflected in just how diligently they do, in fact, drop it. — youtu.be

**Release Date:** Dec. 8, 2009

**Producers:** T-Minus

"*Rumor has it, that if you go low enough, Ludacris will appear in the mirror.*" In true *Candyman* form, Ludacris asks, and gives a resounding answer in his 2009 anthem "How Low" when he starts to appear in girls' mirrors—all while they're recording themselves. It's a dare, a challenge, a legitimate question, and a rhetorical question all in one: How low *can* you go? The song, which went double-platinum, features a sample of Public Enemy's "Bring the Noise" on its fast-paced, booty-popping chorus, which does Chuck and Flav honor by very much bringing the noise, though maybe less of a politcally motivated one. In Luda's world, his mission is simply to help his female fans bring it as low as possible, and that good samaritanism is reflected in just how diligently they do, in fact, drop it.

youtu.be

**Release Date:** Dec. 8, 2009

**Producers:** T-Minus

"*Rumor has it, that if you go low enough, Ludacris will appear in the mirror.*" In true *Candyman* form, Ludacris asks, and gives a resounding answer in his 2009 anthem "How Low" when he starts to appear in girls' mirrors—all while they're recording themselves. It's a dare, a challenge, a legitimate question, and a rhetorical question all in one: How low *can* you go? The song, which went double-platinum, features a sample of Public Enemy's "Bring the Noise" on its fast-paced, booty-popping chorus, which does Chuck and Flav honor by very much bringing the noise, though maybe less of a politcally motivated one. In Luda's world, his mission is simply to help his female fans bring it as low as possible, and that good samaritanism is reflected in just how diligently they do, in fact, drop it.

Release Date: Sept. 19, 2006

Producers: D. Smith

If there were any justice in the world, the Calvin Miller-produced "Pop, Lock & Drop It's" production alone would have the respect given to the Clipse's "Grinding." The stomping beat and spark-flying synthesizers offer a sparse, minimal beat that asses have free reign to twerk to as needed. To say nothing of the chorus' clear direction, assisted by a scene stealing T-Pain autotune spot on the remix. — youtu.be

**Release Date:** Sept. 19, 2006

**Producers:** D. Smith

If there were any justice in the world, the Calvin Miller-produced "Pop, Lock & Drop It's" production alone would have the respect given to the Clipse's "Grinding." The stomping beat and spark-flying synthesizers offer a sparse, minimal beat that asses have free reign to twerk to as needed. To say nothing of the chorus' clear direction, assisted by a scene stealing T-Pain autotune spot on the remix.

youtu.be

**Release Date:** Sept. 19, 2006

**Producers:** D. Smith

If there were any justice in the world, the Calvin Miller-produced "Pop, Lock & Drop It's" production alone would have the respect given to the Clipse's "Grinding." The stomping beat and spark-flying synthesizers offer a sparse, minimal beat that asses have free reign to twerk to as needed. To say nothing of the chorus' clear direction, assisted by a scene stealing T-Pain autotune spot on the remix.

Release Date: Nov. 29, 2005
Producers: Mr. Collipark
"Booty, booty, booty, booty rockin' everywhere" is the "It was the best of times, it was the worst of times" of twerking anthems, except here, we have a tale of not two twerks, but just one. It's one that puts Bubba Sparxx's "Ms. New Booty" featuring the Ying Yang Twins and Mr. Collipark close to the very top of our list, as it is as close to a perfectly, equally proportioned song in parts both instructional and encouraging. And sure, it's a remake of the 2001 hit "Booty on the Floor," but there's a reason it was Bubba's first single, and it's the same reason it manages to transcend criticisms of copycatting: It's unabashedly enthused.
Unlike some people who, upon seeing the distinct thrill of a twerk in the wild, play it cool (looking at you, Juicy J) Bubba Sparxxx just can't hide his enthusiasm: "Like nuttin' else, I'm a country boy/but that big city bottom fill me up with joy." Deploying the Ying Yang Twins to whisper on your track at the peak of their twerklightenment period was also a fairly inspired move, which is to say nothing of Mr. Collipark's production, which is meant to break as many speakers as it should backs. Get it right, get it right, get it tight: Every Twerk anthem should aspire to this kind of greatness. — youtu.be

**Release Date:** Nov. 29, 2005
**Producers:** Mr. Collipark
"Booty, booty, booty, booty rockin' everywhere" is the "*It was the best of times, it was the worst of times*" of twerking anthems, except here, we have a tale of not two twerks, but just one. It's one that puts Bubba Sparxx's "Ms. New Booty" featuring the Ying Yang Twins and Mr. Collipark close to the very top of our list, as it is as close to a perfectly, equally proportioned song in parts both instructional and encouraging. And sure, it's a remake of the 2001 hit "Booty on the Floor," but there's a reason it was Bubba's first single, and it's the same reason it manages to transcend criticisms of copycatting: It's unabashedly enthused.
Unlike some people who, upon seeing the distinct thrill of a twerk in the wild, play it cool (*looking at you, Juicy J*) Bubba Sparxxx just can't hide his enthusiasm: "*Like nuttin' else, I'm a country boy*/*but that big city bottom fill me up with joy."* Deploying the Ying Yang Twins to whisper on your track at the peak of their twerklightenment period was also a fairly inspired move, which is to say nothing of Mr. Collipark's production, which is meant to break as many speakers as it should backs. Get it right, get it right, get it tight: Every Twerk anthem should aspire to this kind of greatness.

youtu.be

**Release Date:** Nov. 29, 2005
**Producers:** Mr. Collipark
"Booty, booty, booty, booty rockin' everywhere" is the "*It was the best of times, it was the worst of times*" of twerking anthems, except here, we have a tale of not two twerks, but just one. It's one that puts Bubba Sparxx's "Ms. New Booty" featuring the Ying Yang Twins and Mr. Collipark close to the very top of our list, as it is as close to a perfectly, equally proportioned song in parts both instructional and encouraging. And sure, it's a remake of the 2001 hit "Booty on the Floor," but there's a reason it was Bubba's first single, and it's the same reason it manages to transcend criticisms of copycatting: It's unabashedly enthused.
Unlike some people who, upon seeing the distinct thrill of a twerk in the wild, play it cool (*looking at you, Juicy J*) Bubba Sparxxx just can't hide his enthusiasm: "*Like nuttin' else, I'm a country boy*/*but that big city bottom fill me up with joy."* Deploying the Ying Yang Twins to whisper on your track at the peak of their twerklightenment period was also a fairly inspired move, which is to say nothing of Mr. Collipark's production, which is meant to break as many speakers as it should backs. Get it right, get it right, get it tight: Every Twerk anthem should aspire to this kind of greatness.

Release Date: May 4, 2008

Producers: DeAndre Way

CLAP, CLAPCLAP, CLAP, CLAPCLAP. If that isn't the sound of a beautiful twerk being born, we don't know what is. This comes by way of Soulja Boy, someone who's proven time and time again that he's not a one-hit wonder. "Donk" was one of the first jams to make that case so open-and-shut. The record's dedicated to a woman's behind, and what she does with it on the dance floor, and most of the lyrics are fairly instructive, which may, on the surface, sound like a pretty typical twerking song. But then you remember that Soulja Boy's been responsible for more than a few crazes over the course of his career, which started with his own eponymous dance. When it comes to twerking, "Donk" is quite simply intuitive, the spirit of dirty dancing in its DNA. The song still sends shockwaves through nightclubs, and was later immortalized when Nicki Minaj rapped over the beat on her breakout mixtape track, Itty Bitty Piggy. — youtu.be

**Release Date:** May 4, 2008

**Producers:** DeAndre Way

CLAP, CLAPCLAP, CLAP, CLAPCLAP. If that isn't the sound of a beautiful twerk being born, we don't know what is. This comes by way of Soulja Boy, someone who's proven time and time again that he's not a one-hit wonder. "Donk" was one of the first jams to make that case so open-and-shut. The record's dedicated to a woman's behind, and what she does with it on the dance floor, and most of the lyrics are fairly instructive, which may, on the surface, sound like a pretty typical twerking song. But then you remember that Soulja Boy's been responsible for more than a few crazes over the course of his career, which started with his own eponymous dance. When it comes to twerking, "Donk" is quite simply intuitive, the spirit of dirty dancing in its DNA. The song still sends shockwaves through nightclubs, and was later immortalized when Nicki Minaj rapped over the beat on her breakout mixtape track, Itty Bitty Piggy.

youtu.be

**Release Date:** May 4, 2008

**Producers:** DeAndre Way

CLAP, CLAPCLAP, CLAP, CLAPCLAP. If that isn't the sound of a beautiful twerk being born, we don't know what is. This comes by way of Soulja Boy, someone who's proven time and time again that he's not a one-hit wonder. "Donk" was one of the first jams to make that case so open-and-shut. The record's dedicated to a woman's behind, and what she does with it on the dance floor, and most of the lyrics are fairly instructive, which may, on the surface, sound like a pretty typical twerking song. But then you remember that Soulja Boy's been responsible for more than a few crazes over the course of his career, which started with his own eponymous dance. When it comes to twerking, "Donk" is quite simply intuitive, the spirit of dirty dancing in its DNA. The song still sends shockwaves through nightclubs, and was later immortalized when Nicki Minaj rapped over the beat on her breakout mixtape track, Itty Bitty Piggy.

Release Date: Dec. 2, 2011
Producers: Mustard, Free
If there's something needed to take a sound past the threshold of Twerking Song and into contention for Twerking Anthem, it's simplicity. It can't really present too much to consider; it shouldn't get to your head, just in it, and it should stay there. It's a simple groove and a guy whispering about a fantasy land where everyone (including, yes, your grandmother) is on his dick, and where the women who want to be rained on with paper currency all have giant asses on which it can land, all over a thumping, three note bassline that might as well be the "Eye of the Tiger" of twerking songs, let alone strip-club sing-a-longs. That cachet alone takes it into the territory of "anthem," it's stupid-simple premise and sound aside.
And sure, we could ask of Tyga: Where is Rack City? How do you get there? Who governs it? And must all citizens of Rack City, U.S.A. wear ponchos by mandate of city ordinance if they are without an ass-or diagnosed with the medical condition casually known as "pancake ass"-for Tyga to throw money on? And is that really the kind of eugenics-obsessed government we want to live under? Let us assure you: Nobody has ever sincerely asked any of those questions-or anything, really-of "Rack City." Not even your grandmother. — youtu.be

**Release Date:** Dec. 2, 2011
**Producers:** Mustard, Free
If there's something needed to take a sound past the threshold of Twerking Song and into contention for Twerking Anthem, it's simplicity. It can't really present too much to consider; it shouldn't get to your head, just in it, and it should stay there. It's a simple groove and a guy whispering about a fantasy land where everyone (including, yes, your grandmother) is on his dick, and where the women who want to be rained on with paper currency all have giant asses on which it can land, all over a thumping, three note bassline that might as well be the "Eye of the Tiger" of twerking songs, let alone strip-club sing-a-longs. That cachet alone takes it into the territory of "anthem," it's stupid-simple premise and sound aside.
And sure, we could ask of Tyga: Where is Rack City? How do you get there? Who governs it? And must all citizens of Rack City, U.S.A. wear ponchos by mandate of city ordinance if they are without an ass-or diagnosed with the medical condition casually known as "pancake ass"-for Tyga to throw money on? And is that really the kind of eugenics-obsessed government we want to live under? Let us assure you: Nobody has ever sincerely asked any of those questions-or anything, really-of "Rack City." Not even your grandmother.

youtu.be

**Release Date:** Dec. 2, 2011
**Producers:** Mustard, Free
If there's something needed to take a sound past the threshold of Twerking Song and into contention for Twerking Anthem, it's simplicity. It can't really present too much to consider; it shouldn't get to your head, just in it, and it should stay there. It's a simple groove and a guy whispering about a fantasy land where everyone (including, yes, your grandmother) is on his dick, and where the women who want to be rained on with paper currency all have giant asses on which it can land, all over a thumping, three note bassline that might as well be the "Eye of the Tiger" of twerking songs, let alone strip-club sing-a-longs. That cachet alone takes it into the territory of "anthem," it's stupid-simple premise and sound aside.
And sure, we could ask of Tyga: Where is Rack City? How do you get there? Who governs it? And must all citizens of Rack City, U.S.A. wear ponchos by mandate of city ordinance if they are without an ass-or diagnosed with the medical condition casually known as "pancake ass"-for Tyga to throw money on? And is that really the kind of eugenics-obsessed government we want to live under? Let us assure you: Nobody has ever sincerely asked any of those questions-or anything, really-of "Rack City." Not even your grandmother.

Release Date: Jan. 6, 2001

Producers: Ez Elpee

Hundreds of years ago, who would’ve predicted that the centuries-old practice of snake charming would be referenced in a 2001 rap hit? And who among those people would’ve forseen the brilliant metaphorical exchange of a snake for, yes, the male penis? Nobody could’ve seen it, because it’s stunningly genius, is why. And yet, from the moment you hear the fluted medley over the thumping beat, you get the idea. And if you need any help getting the idea, here is the pride of Queensbridge to help you: “Take a look, you hypnotized/On how my long dick stretch your insides.” See, in this situation, you are the one being charmed, but instead of being charmed by a flute, you are being charmed by the snake (that is Nas’s dick, which is performing the ancient Indian practice of yoga inside of you). Like we said: Stunningly. Genius. — youtu.be

**Release Date:** Jan. 6, 2001

**Producers:** Ez Elpee

Hundreds of years ago, who would’ve predicted that the centuries-old practice of snake charming would be referenced in a 2001 rap hit? And who among those people would’ve forseen the brilliant metaphorical exchange of a snake for, yes, the male penis? Nobody could’ve seen it, because it’s *stunningly genius*, is why. And yet, from the moment you hear the fluted medley over the thumping beat, you get the idea. And if you need any help getting the idea, here is the pride of Queensbridge to help you: “Take a look, you hypnotized/On how my long dick stretch your insides.” See, in this situation, *you are the one being charmed*, but instead of being charmed by a flute, you are *being charmed by the snake (that is Nas’s dick, which is performing the ancient Indian practice of yoga inside of you)*. Like we said: Stunningly. Genius.

youtu.be

**Release Date:** Jan. 6, 2001

**Producers:** Ez Elpee

Hundreds of years ago, who would’ve predicted that the centuries-old practice of snake charming would be referenced in a 2001 rap hit? And who among those people would’ve forseen the brilliant metaphorical exchange of a snake for, yes, the male penis? Nobody could’ve seen it, because it’s *stunningly genius*, is why. And yet, from the moment you hear the fluted medley over the thumping beat, you get the idea. And if you need any help getting the idea, here is the pride of Queensbridge to help you: “Take a look, you hypnotized/On how my long dick stretch your insides.” See, in this situation, *you are the one being charmed*, but instead of being charmed by a flute, you are *being charmed by the snake (that is Nas’s dick, which is performing the ancient Indian practice of yoga inside of you)*. Like we said: Stunningly. Genius.

Release Date: May 27, 1994

Producers: Quad City DJ’s

If you think a group named 69 Boyz should, by default, be producing brilliantly twerk-worthy jams, think again: The name's because most of them were born in 1969. That said, the group's twerk-ological pedigree is impeccable: Jay Ski (of Quad City DJs) is a founding member. Other members include distinguished southern gentlemen such as Reginald "Busta Nut" Gunderson and Michael "Quick Skeet" Fisher. But their names aren't the reason "Tootsee Roll" went platinum and spent 27 weeks on the Billboard Hot 100 before peaking at No. 8, nor are they the reason the "Tootsee Roll", which was an instant-classic, remains twerked to-not just in the privacy of one's home, but in situations that call for mass twerking as well-to this very day. It's because the directions (to the right, twice; to the left, twice; to the front, twice; to the back, twice; slide, repeat, dip, repeat) are about as difficult to understand and follow as the ones you'll find on the back of an Advil bottle, which you'll no doubt need if you hear this shit in a club, let alone a family picnic. And besides: Who doesn't like a Tootsee Roll? — youtu.be

**Release Date:** May 27, 1994

**Producers:** Quad City DJ’s

If you think a group named 69 Boyz should, by default, be producing brilliantly twerk-worthy jams, think again: The name's because most of them were born in 1969. That said, the group's twerk-ological pedigree is impeccable: Jay Ski (of Quad City DJs) is a founding member. Other members include distinguished southern gentlemen such as Reginald "Busta Nut" Gunderson and Michael "Quick Skeet" Fisher. But their names aren't the reason "Tootsee Roll" went platinum and spent 27 weeks on the Billboard Hot 100 before peaking at No. 8, nor are they the reason the "Tootsee Roll", which was an instant-classic, remains twerked to-not just in the privacy of one's home, but in situations that call for mass twerking as well-to this very day. It's because the directions (to the right, twice; to the left, twice; to the front, twice; to the back, twice; slide, repeat, dip, repeat) are about as difficult to understand and follow as the ones you'll find on the back of an Advil bottle, which you'll no doubt need if you hear this shit in a club, let alone a family picnic. And besides: Who *doesn't* like a Tootsee Roll?

youtu.be

**Release Date:** May 27, 1994

**Producers:** Quad City DJ’s

If you think a group named 69 Boyz should, by default, be producing brilliantly twerk-worthy jams, think again: The name's because most of them were born in 1969. That said, the group's twerk-ological pedigree is impeccable: Jay Ski (of Quad City DJs) is a founding member. Other members include distinguished southern gentlemen such as Reginald "Busta Nut" Gunderson and Michael "Quick Skeet" Fisher. But their names aren't the reason "Tootsee Roll" went platinum and spent 27 weeks on the Billboard Hot 100 before peaking at No. 8, nor are they the reason the "Tootsee Roll", which was an instant-classic, remains twerked to-not just in the privacy of one's home, but in situations that call for mass twerking as well-to this very day. It's because the directions (to the right, twice; to the left, twice; to the front, twice; to the back, twice; slide, repeat, dip, repeat) are about as difficult to understand and follow as the ones you'll find on the back of an Advil bottle, which you'll no doubt need if you hear this shit in a club, let alone a family picnic. And besides: Who *doesn't* like a Tootsee Roll?

Release Date: Sept. 11. 2012

Producers: Mike WiLL Made It, J-Bo

When the first few notes of “Bandz a Make Her Dance” sound out, you’ve got about 15 seconds to brace yourself before all hell breaks loose, both on producer Mike Will Made It’s brilliantly southern, syrupy, slightly-Gregorian instrumental, and wherever the song’s being played. Juicy J’s assertion that “she start twerking when she hear her song” turns out to be a self-fulfilling prophecy, as nearly anyone with a pulse will find it exceedingly difficult to remain still when this record drops, especially if there’s a stripper pole nearby.

The song’s an unapologetic celebration of excess, vulgarity, the almighty dollar, the young women raking in thousands of them every night at the strip club, and the particular body parts they make clap—which, for the record: not their hands—with which they do it (talk about making ends meet). It’s a bizarre fantasy of a record with a slamming rhythm, endless quotables, and plenty of clear-as-day references to a certain school of dancing. Like a great dream you have to wake up from to go to work, it’s a wild ride that no one wants to end, one you can’t help but move to, let alone try to return to at all hours of the day. — youtu.be

**Release Date:** Sept. 11. 2012

**Producers:** Mike WiLL Made It, J-Bo

When the first few notes of “Bandz a Make Her Dance” sound out, you’ve got about 15 seconds to brace yourself before all hell breaks loose, both on producer Mike Will Made It’s brilliantly southern, syrupy, slightly-Gregorian instrumental, and wherever the song’s being played. Juicy J’s assertion that “*she start twerking when she hear her song*” turns out to be a self-fulfilling prophecy, as nearly anyone with a pulse will find it exceedingly difficult to remain still when this record drops, especially if there’s a stripper pole nearby.

The song’s an unapologetic celebration of excess, vulgarity, the almighty dollar, the young women raking in thousands of them every night at the strip club, and the particular body parts they make clap—which, for the record: not their hands—with which they do it (talk about *making ends meet*). It’s a bizarre fantasy of a record with a slamming rhythm, endless quotables, and plenty of clear-as-day references to a certain school of dancing. Like a great dream you have to wake up from to go to work, it’s a wild ride that no one wants to end, one you can’t help but move to, let alone try to return to at all hours of the day.

youtu.be

**Release Date:** Sept. 11. 2012

**Producers:** Mike WiLL Made It, J-Bo

When the first few notes of “Bandz a Make Her Dance” sound out, you’ve got about 15 seconds to brace yourself before all hell breaks loose, both on producer Mike Will Made It’s brilliantly southern, syrupy, slightly-Gregorian instrumental, and wherever the song’s being played. Juicy J’s assertion that “*she start twerking when she hear her song*” turns out to be a self-fulfilling prophecy, as nearly anyone with a pulse will find it exceedingly difficult to remain still when this record drops, especially if there’s a stripper pole nearby.

The song’s an unapologetic celebration of excess, vulgarity, the almighty dollar, the young women raking in thousands of them every night at the strip club, and the particular body parts they make clap—which, for the record: not their hands—with which they do it (talk about *making ends meet*). It’s a bizarre fantasy of a record with a slamming rhythm, endless quotables, and plenty of clear-as-day references to a certain school of dancing. Like a great dream you have to wake up from to go to work, it’s a wild ride that no one wants to end, one you can’t help but move to, let alone try to return to at all hours of the day.

Release Date: July 7, 2005

Producers: Mr. Collipark

David Banner's whispered soliloquy in tribute to the female orgasm is a thing to behold. He's fairly clear about what he's attempt to do ("I'm tryina get yo pussy wet"), and how he would like it done ("Work. That. Clit. Come girl."), and what he will do in order to achieve his stated goal (including but not limited to: having sex with you until your bed breaks, or until your vagina aches, ordering unspecified). That said, we're still unclear about the whole 'work your finger like a donkey' line, but one can only assume that Banner knows what he's talking about, here.

But the real reason "Play" deserves to live on forever as one of the greatest twerking anthems in the history of recorded music is simply how much he demonstrates a comprehensive understanding of the central conceit behind and appeal of twerking: The small distance between great achievements in twerking, and having the sex that twerking implies. And how does he demonstrate this? By attempting to finally bridge the two, in a simple yet brilliant mandate: He wants you to have an orgasm in the club, on the dance floor. To that end, if you can't twerk to this song, you deserve to have your ass revoked. End of story. You've got serious issues you need to get twerked out. You should go to the unemployment lines to see if they can find some twerk for you to live off of. We won't give you any. Not that you've done anything to earn it. — youtu.be

**Release Date:** July 7, 2005

**Producers:** Mr. Collipark

David Banner's whispered soliloquy in tribute to the female orgasm is a thing to behold. He's fairly clear about what he's attempt to do ("I'm tryina get yo pussy wet"), and how he would like it done ("Work. That. Clit. Come girl."), and what he will do in order to achieve his stated goal (including but not limited to: having sex with you until your bed breaks, or until your vagina aches, ordering unspecified). That said, we're still unclear about the whole 'work your finger like a donkey' line, but one can only assume that Banner knows what he's talking about, here.

But the real reason "Play" deserves to live on forever as one of the greatest twerking anthems in the history of recorded music is simply how much he demonstrates a comprehensive understanding of the central conceit behind and appeal of twerking: The small distance between great achievements in twerking, and having the sex that twerking implies. And how does he demonstrate this? By attempting to finally bridge the two, in a simple yet brilliant mandate: He wants you to have an orgasm in the club, on the dance floor. To that end, if you can't twerk to this song, you deserve to have your ass revoked. End of story. You've got serious issues you need to get twerked out. You should go to the unemployment lines to see if they can find some twerk for you to live off of. We won't give you any. Not that you've done anything to earn it.

youtu.be

**Release Date:** July 7, 2005

**Producers:** Mr. Collipark

David Banner's whispered soliloquy in tribute to the female orgasm is a thing to behold. He's fairly clear about what he's attempt to do ("I'm tryina get yo pussy wet"), and how he would like it done ("Work. That. Clit. Come girl."), and what he will do in order to achieve his stated goal (including but not limited to: having sex with you until your bed breaks, or until your vagina aches, ordering unspecified). That said, we're still unclear about the whole 'work your finger like a donkey' line, but one can only assume that Banner knows what he's talking about, here.

But the real reason "Play" deserves to live on forever as one of the greatest twerking anthems in the history of recorded music is simply how much he demonstrates a comprehensive understanding of the central conceit behind and appeal of twerking: The small distance between great achievements in twerking, and having the sex that twerking implies. And how does he demonstrate this? By attempting to finally bridge the two, in a simple yet brilliant mandate: He wants you to have an orgasm in the club, on the dance floor. To that end, if you can't twerk to this song, you deserve to have your ass revoked. End of story. You've got serious issues you need to get twerked out. You should go to the unemployment lines to see if they can find some twerk for you to live off of. We won't give you any. Not that you've done anything to earn it.

Release Date: Oct. 22, 2002

Producers: Rick Rock

"Make It Clap" reaffirms one of the ages-old fundamentals of twerking: Making it clap. "It" being one's rear end, quivering in unison so as to create the impression that one's posterior is, indeed, applauding, if not delivering a standing (or bent-over) ovation. A mastery of booty movement and rotation so as to match the beat of a song is one of the basic building blocks of Twerking; it's going from a white belt to a yellow belt, it's going from crawling to walking, it's that first kick-flip. Busta and featured artist Spliff Star take turns explaining why they both enjoy the curves of a woman's body while simultaneously challenging her—or us, as a society—to make it clap. While the duo clearly articulates in the chorus that this song is for the ladies that are shaking and wiggling their curves, there's no need to be timid on the part of those who aren't yet shaking it, nor those who feel it's not their place to do so. Like a great tennis coach, Busta just wants to see the fundamentals. You'll learn how to serve after. — youtu.be

**Release Date:** Oct. 22, 2002

**Producers:** Rick Rock

"Make It Clap" reaffirms one of the ages-old fundamentals of twerking: Making it clap. "It" being one's rear end, quivering in unison so as to create the impression that one's posterior is, indeed, applauding, if not delivering a standing (or bent-over) ovation. A mastery of booty movement and rotation so as to match the beat of a song is one of the basic building blocks of Twerking; it's going from a white belt to a yellow belt, it's going from crawling to walking, it's that first kick-flip. Busta and featured artist Spliff Star take turns explaining why they both enjoy the curves of a woman's body while simultaneously challenging her—or us, as a society—to make it clap. While the duo clearly articulates in the chorus that this song is for the ladies that are shaking and wiggling their curves, there's no need to be timid on the part of those who aren't yet shaking it, nor those who feel it's not their place to do so. Like a great tennis coach, Busta just wants to see the fundamentals. You'll learn how to serve after.

youtu.be

**Release Date:** Oct. 22, 2002

**Producers:** Rick Rock

"Make It Clap" reaffirms one of the ages-old fundamentals of twerking: Making it clap. "It" being one's rear end, quivering in unison so as to create the impression that one's posterior is, indeed, applauding, if not delivering a standing (or bent-over) ovation. A mastery of booty movement and rotation so as to match the beat of a song is one of the basic building blocks of Twerking; it's going from a white belt to a yellow belt, it's going from crawling to walking, it's that first kick-flip. Busta and featured artist Spliff Star take turns explaining why they both enjoy the curves of a woman's body while simultaneously challenging her—or us, as a society—to make it clap. While the duo clearly articulates in the chorus that this song is for the ladies that are shaking and wiggling their curves, there's no need to be timid on the part of those who aren't yet shaking it, nor those who feel it's not their place to do so. Like a great tennis coach, Busta just wants to see the fundamentals. You'll learn how to serve after.

Release Date: March 28, 2000

Producers: Carlos Stephens

Really, The Showboys' "Drag Rap" (also known as the "Triggerman" beat) is the original twerking anthem—a one-off New York rap single that became a regional hit 1,300 miles away in New Orleans—and its role as a sample in the 504 Boyz "Wobble Wobble" was key to the song's charting success. In 2000, the year it was released, the track fought against all market trends (No Limit had fallen on hard times since most of the label's artists defected) and hit No. 17 on the Hot 100. Also, it's a scientific fact that the gluteal muscles respond particularly well to keyboard emulations of marimba tones.* Of note: This was a particularly groundbreaking work for popularizing the titular synonym for 'twerking.'

[*Not actually a scientific fact, but you get the idea. That said, we imagine twerking as your sole exercise routine is exponentially better than no exercise. Ratchet, sure. But healthy? Absolutely.] — youtu.be

**Release Date:** March 28, 2000

**Producers:** Carlos Stephens

Really, The Showboys' "Drag Rap" (also known as the "Triggerman" beat) is the original twerking anthem—a one-off New York rap single that became a regional hit 1,300 miles away in New Orleans—and its role as a sample in the 504 Boyz "Wobble Wobble" was key to the song's charting success. In 2000, the year it was released, the track fought against all market trends (No Limit had fallen on hard times since most of the label's artists defected) and hit No. 17 on the Hot 100. Also, it's a scientific fact that the gluteal muscles respond particularly well to keyboard emulations of marimba tones.* Of note: This was a particularly groundbreaking work for popularizing the titular synonym for 'twerking.'

*[*Not actually a scientific fact, but you get the idea. That said, we imagine twerking as your sole exercise routine is exponentially better than no exercise. Ratchet, sure. But healthy? Absolutely.]*

youtu.be

**Release Date:** March 28, 2000

**Producers:** Carlos Stephens

Really, The Showboys' "Drag Rap" (also known as the "Triggerman" beat) is the original twerking anthem—a one-off New York rap single that became a regional hit 1,300 miles away in New Orleans—and its role as a sample in the 504 Boyz "Wobble Wobble" was key to the song's charting success. In 2000, the year it was released, the track fought against all market trends (No Limit had fallen on hard times since most of the label's artists defected) and hit No. 17 on the Hot 100. Also, it's a scientific fact that the gluteal muscles respond particularly well to keyboard emulations of marimba tones.* Of note: This was a particularly groundbreaking work for popularizing the titular synonym for 'twerking.'

*[*Not actually a scientific fact, but you get the idea. That said, we imagine twerking as your sole exercise routine is exponentially better than no exercise. Ratchet, sure. But healthy? Absolutely.]*

Release Date: Nov. 9, 1992

Producers: Mike “Fresh” McCray

While we debated which of founding 2 Live Crew member Uncle Luke's songs to include—really, there are so, so many—it came down to two: "Scarred," his furiously insane mid-90s booty speed rap, or "I Wanna Rock (Doo Doo Brown)." In the end, "I Wanna Rock" proved more influential (and more well-known), and thus, won out. Delivered at the top of the '90s, it's since been cited as one of the most influential songs in the Miami Bass movement. And about that movement? Miami Bass, also known as Booty Music or Booty Bass, is where so much of anything to inspire twerking (or inspired by twerking) started. It's safe to say Uncle Luke—the godfather of booty rap—knew exactly what he was doing when he came out with this one: Redefining what it meant to dance dirty (and what that sound should aspire to) for decades to come. — youtu.be

**Release Date:** Nov. 9, 1992

**Producers:** Mike “Fresh” McCray

While we debated which of founding 2 Live Crew member Uncle Luke's songs to include—really, there are so, so many—it came down to two: "Scarred," his furiously insane mid-90s booty speed rap, or "I Wanna Rock (Doo Doo Brown)." In the end, "I Wanna Rock" proved more influential (and more well-known), and thus, won out. Delivered at the top of the '90s, it's since been cited as one of the most influential songs in the Miami Bass movement. And about that movement? Miami Bass, also known as Booty Music or Booty Bass, is where so much of anything to inspire twerking (or inspired by twerking) started. It's safe to say Uncle Luke—the godfather of booty rap—knew exactly what he was doing when he came out with this one: Redefining what it meant to dance dirty (and what that sound should aspire to) for decades to come.

youtu.be

**Release Date:** Nov. 9, 1992

**Producers:** Mike “Fresh” McCray

While we debated which of founding 2 Live Crew member Uncle Luke's songs to include—really, there are so, so many—it came down to two: "Scarred," his furiously insane mid-90s booty speed rap, or "I Wanna Rock (Doo Doo Brown)." In the end, "I Wanna Rock" proved more influential (and more well-known), and thus, won out. Delivered at the top of the '90s, it's since been cited as one of the most influential songs in the Miami Bass movement. And about that movement? Miami Bass, also known as Booty Music or Booty Bass, is where so much of anything to inspire twerking (or inspired by twerking) started. It's safe to say Uncle Luke—the godfather of booty rap—knew exactly what he was doing when he came out with this one: Redefining what it meant to dance dirty (and what that sound should aspire to) for decades to come.

Release Date: Feb. 19, 2003

Producers: Lil Jon

The Ying Yang Twins begin this legendary club banger by humming the melody in their grizzly, raspy voices—who knew the tune would become one of the most misogynistic chart-toppers in history? But seriously: Lil Jon talks about the sweat dropping down his balls, and "bitches crawling" to him. Also, he got the word 'skeet' on national radio stations easily (and yes, we eventually figured out what it meant). The infectious, simplistic beat along with the Ying Yang Twins screaming alongside Lil Jon is enough to incite a riot (of asses twerking their way to revolution). But if you listen closely, you'll note: Lil Jon bares his soul and explains the way in which he gets so wild in the club with women, that even the club owner tells him to settle down. And yes, like any truly great moment in this specific genre, the instructions in "Get Low" are exceptional:

1. Bend over to the front.

2. Touch your toes.

3. Back that ass up and down.

4. And get low.

It's not "The British are coming," but on the real: Like Paul Revere's warning, America was never quite the same after this, either. — youtu.be

**Release Date:** Feb. 19, 2003

**Producers:** Lil Jon

The Ying Yang Twins begin this legendary club banger by humming the melody in their grizzly, raspy voices—who knew the tune would become one of the most misogynistic chart-toppers in history? But seriously: Lil Jon talks about the sweat dropping down his balls, and "bitches crawling" to him. Also, he got the word 'skeet' on national radio stations easily (and yes, we eventually figured out what it meant). The infectious, simplistic beat along with the Ying Yang Twins screaming alongside Lil Jon is enough to incite a riot (of asses twerking their way to revolution). But if you listen closely, you'll note: Lil Jon bares his soul and explains the way in which he gets so wild in the club with women, that even the club owner tells him to settle down. And yes, like any truly great moment in this specific genre, the instructions in "Get Low" are exceptional:

1. Bend over to the front.

2. Touch your toes.

3. Back that ass up and down.

4. And get low.

It's not "The British are coming," but on the real: Like Paul Revere's warning, America was never quite the same after this, either.

youtu.be

**Release Date:** Feb. 19, 2003

**Producers:** Lil Jon

The Ying Yang Twins begin this legendary club banger by humming the melody in their grizzly, raspy voices—who knew the tune would become one of the most misogynistic chart-toppers in history? But seriously: Lil Jon talks about the sweat dropping down his balls, and "bitches crawling" to him. Also, he got the word 'skeet' on national radio stations easily (and yes, we eventually figured out what it meant). The infectious, simplistic beat along with the Ying Yang Twins screaming alongside Lil Jon is enough to incite a riot (of asses twerking their way to revolution). But if you listen closely, you'll note: Lil Jon bares his soul and explains the way in which he gets so wild in the club with women, that even the club owner tells him to settle down. And yes, like any truly great moment in this specific genre, the instructions in "Get Low" are exceptional:

1. Bend over to the front.

2. Touch your toes.

3. Back that ass up and down.

4. And get low.

It's not "The British are coming," but on the real: Like Paul Revere's warning, America was never quite the same after this, either.

Release Date: June 12, 2012

Producers: Diplo

In one song, Diplo took the beautiful, worldly, underexposed sound of New Orleans Bounce, thread his own crazy beat into the track's sound-makeup, threw in some dubstep undertones and sonic references to booming reggae radio, too. The result is an encouraging, immediately legendary tweak anthem: "Express Yourself." The song comes at you relentlessly, not once letting up on the rapid-fire beat or lyrics, debatably to a point of exhaustion. And yet: Three minutes and thirty seconds later, the feeling of "It's already over?" continues to linger listen after listen after listen. The video itself is so inspiring, a teacher even put her job on the line to truly express herself (#FreeCrunkBear). The banger yielded a trending topic that's still relevant on Instagram and Twitter—#expressyourself is tagged on photos of girls with their feet up on walls making it clap. But the real genius of "Express Yourself" isn't the legions of followers it gained, nor is it the video, but the core message at hand: twerking is just like so many other forms of dancing, in that it's not just someone moving their body, but someone expressing something about who they are. It's a simple revelation, but a really, really great one, the heart of why it inspired such a following, and one we're all the better for having. — youtu.be

**Release Date:** June 12, 2012

**Producers:** Diplo

In one song, Diplo took the beautiful, worldly, underexposed sound of New Orleans Bounce, thread his own crazy beat into the track's sound-makeup, threw in some dubstep undertones and sonic references to booming reggae radio, too. The result is an encouraging, immediately legendary tweak anthem: "Express Yourself." The song comes at you relentlessly, not once letting up on the rapid-fire beat or lyrics, debatably to a point of exhaustion. And yet: Three minutes and thirty seconds later, the feeling of "It's already over?" continues to linger listen after listen after listen. The video itself is so inspiring, a teacher even put her job on the line to truly express herself (#FreeCrunkBear). The banger yielded a trending topic that's still relevant on Instagram and Twitter—#expressyourself is tagged on photos of girls with their feet up on walls making it clap. But the real genius of "Express Yourself" isn't the legions of followers it gained, nor is it the video, but the core message at hand: twerking is just like so many other forms of dancing, in that it's not just someone moving their body, but someone expressing something about *who they are*. It's a simple revelation, but a really, really great one, the heart of why it inspired such a following, and one we're all the better for having.

youtu.be

**Release Date:** June 12, 2012

**Producers:** Diplo

In one song, Diplo took the beautiful, worldly, underexposed sound of New Orleans Bounce, thread his own crazy beat into the track's sound-makeup, threw in some dubstep undertones and sonic references to booming reggae radio, too. The result is an encouraging, immediately legendary tweak anthem: "Express Yourself." The song comes at you relentlessly, not once letting up on the rapid-fire beat or lyrics, debatably to a point of exhaustion. And yet: Three minutes and thirty seconds later, the feeling of "It's already over?" continues to linger listen after listen after listen. The video itself is so inspiring, a teacher even put her job on the line to truly express herself (#FreeCrunkBear). The banger yielded a trending topic that's still relevant on Instagram and Twitter—#expressyourself is tagged on photos of girls with their feet up on walls making it clap. But the real genius of "Express Yourself" isn't the legions of followers it gained, nor is it the video, but the core message at hand: twerking is just like so many other forms of dancing, in that it's not just someone moving their body, but someone expressing something about *who they are*. It's a simple revelation, but a really, really great one, the heart of why it inspired such a following, and one we're all the better for having.

Release Date: June 4, 1996

Producers: DJ Kizzy Rock

There was a vigorous debate over three choices for one spot: The A-Town Players "Wassup, Wassup!" Diamond and D-Roc's "Bankhead Bounce," or Playa Poncho and LA Sno's "Whatz Up, Whatz Up." Why? because they're all (kind of) the same song, by the same people. But not.

The "Bankhead Bounce" came first (Elektra, September 1995), and introduced Atlanta's men to a dance that was as easy as it was addictive, and came with a stupidly catchy bridge and chorus. A-Town Players would then go on to take that part of the "Bankhead Bounce," and turn it into a full song on their album, which came out a month later (Warner Bros. 1995). But the definitive version of this idea finally arrived in the summer of '96, when So So Def's first Bass All-Stars compliation dropped. On it was this track, by LA Sno-who was one-half of the Miami duo responsible for the '93 booty-jam classic "Dazzey Duks"-and Playa Poncho, who also had a credit for another classic, "Koochie Kuterz," on the same So So Def album. It's faster, it hits harder, and it is the kind of song that was meant to be played at deafening volumes. The rest are classics, sure, but this? This is an ass-shaking anthem. — youtu.be

**Release Date:** June 4, 1996

**Producers:** DJ Kizzy Rock

There was a vigorous debate over three choices for one spot: The A-Town Players "Wassup, Wassup!" Diamond and D-Roc's "Bankhead Bounce," or Playa Poncho and LA Sno's "Whatz Up, Whatz Up." Why? because they're all (kind of) the same song, by the same people. But not.

The "Bankhead Bounce" came first (Elektra, September 1995), and introduced Atlanta's men to a dance that was as easy as it was addictive, and came with a stupidly catchy bridge and chorus. A-Town Players would then go on to take that part of the "Bankhead Bounce," and turn it into a full song on their album, which came out a month later (Warner Bros. 1995). But the definitive version of this idea finally arrived in the summer of '96, when So So Def's first Bass All-Stars compliation dropped. On it was this track, by LA Sno-who was one-half of the Miami duo responsible for the '93 booty-jam classic "Dazzey Duks"-and Playa Poncho, who also had a credit for another classic, "Koochie Kuterz," on the same So So Def album. It's faster, it hits harder, and it is the kind of song that was meant to be played at deafening volumes. The rest are classics, sure, but this? This is an ass-shaking anthem.

youtu.be

**Release Date:** June 4, 1996

**Producers:** DJ Kizzy Rock

There was a vigorous debate over three choices for one spot: The A-Town Players "Wassup, Wassup!" Diamond and D-Roc's "Bankhead Bounce," or Playa Poncho and LA Sno's "Whatz Up, Whatz Up." Why? because they're all (kind of) the same song, by the same people. But not.

The "Bankhead Bounce" came first (Elektra, September 1995), and introduced Atlanta's men to a dance that was as easy as it was addictive, and came with a stupidly catchy bridge and chorus. A-Town Players would then go on to take that part of the "Bankhead Bounce," and turn it into a full song on their album, which came out a month later (Warner Bros. 1995). But the definitive version of this idea finally arrived in the summer of '96, when So So Def's first Bass All-Stars compliation dropped. On it was this track, by LA Sno-who was one-half of the Miami duo responsible for the '93 booty-jam classic "Dazzey Duks"-and Playa Poncho, who also had a credit for another classic, "Koochie Kuterz," on the same So So Def album. It's faster, it hits harder, and it is the kind of song that was meant to be played at deafening volumes. The rest are classics, sure, but this? This is an ass-shaking anthem.

Release date: June 11, 2021

Producers: LilJuMadeDaBeat, Shawn “Source” Jarrett, and OG Parker

Megan Thee Stallion knows how to make a hit song and twerk anthem. “Thot Shit” is a perfect example, with Meg embracing her bold alter ego Tina Snow over classic, bass-heavy production and delivering a catchy call-and-response hook that makes the song easy to recite and dance to. Everything from the beat to the bars makes “Thot Shit” thee shit. — youtu.be

**Release date:** June 11, 2021

**Producers:** LilJuMadeDaBeat, Shawn “Source” Jarrett, and OG Parker

Megan Thee Stallion knows how to make a hit song and twerk anthem. “Thot Shit” is a perfect example, with Meg embracing her bold alter ego Tina Snow over classic, bass-heavy production and delivering a catchy call-and-response hook that makes the song easy to recite and dance to. Everything from the beat to the bars makes “Thot Shit” thee shit.

youtu.be

**Release date:** June 11, 2021

**Producers:** LilJuMadeDaBeat, Shawn “Source” Jarrett, and OG Parker

Megan Thee Stallion knows how to make a hit song and twerk anthem. “Thot Shit” is a perfect example, with Meg embracing her bold alter ego Tina Snow over classic, bass-heavy production and delivering a catchy call-and-response hook that makes the song easy to recite and dance to. Everything from the beat to the bars makes “Thot Shit” thee shit.

Release date: Aug. 7, 2020

Producers: Ayo the Producer and Keyz

One of the most magical things about twerk anthems is their simplicity; they get right to the point and make sure you don’t miss the punchline. Cardi B and Megan Thee Stallion’s “WAP” does precisely that in legendary fashion. Despite “WAP” being one of the newest anthems on this list, it might be one of the best. In its first 24 hours, “WAP” broke YouTube’s record for most views for a female-only collaboration music video, and later on, it shattered first-week streaming records and eventually snagged Cardi and Meg a No. 1 record and a Grammy. Not only that, but it encouraged important conversations about freedom of expression and the policing of women’s bodies. Not bad for a song about some “wet-ass pussy.” — youtu.be

**Release date:** Aug. 7, 2020

**Producers:** Ayo the Producer and Keyz

One of the most magical things about twerk anthems is their simplicity; they get right to the point and make sure you don’t miss the punchline. Cardi B and Megan Thee Stallion’s “WAP” does precisely that in legendary fashion. Despite “WAP” being one of the newest anthems on this list, it might be one of the best. In its first 24 hours, “WAP” broke YouTube’s record for most views for a female-only collaboration music video, and later on, it shattered first-week streaming records and eventually snagged Cardi and Meg a No. 1 record and a Grammy. Not only that, but it encouraged important conversations about freedom of expression and the policing of women’s bodies. Not bad for a song about some “wet-ass pussy.”

youtu.be

**Release date:** Aug. 7, 2020

**Producers:** Ayo the Producer and Keyz

One of the most magical things about twerk anthems is their simplicity; they get right to the point and make sure you don’t miss the punchline. Cardi B and Megan Thee Stallion’s “WAP” does precisely that in legendary fashion. Despite “WAP” being one of the newest anthems on this list, it might be one of the best. In its first 24 hours, “WAP” broke YouTube’s record for most views for a female-only collaboration music video, and later on, it shattered first-week streaming records and eventually snagged Cardi and Meg a No. 1 record and a Grammy. Not only that, but it encouraged important conversations about freedom of expression and the policing of women’s bodies. Not bad for a song about some “wet-ass pussy.”

Twerking Dance

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32 Best Twerking Anthems

City Girls f/ Cardi B, "Twerk"

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Juvenile, "Back That Azz Up"

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Ester Dean,"Drop it Low"

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Travis Porter, "Make It Rain"

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Drake, "Nice For What"

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Trina f/ Killer Mike, "Look Back At Me"

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Ying Yang Twins, "Whistle While You Twurk"

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Megan Thee Stallion f/ VickeeLo, "Ride Or Die"

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Too $hort f/ Lil Jon and The Eastside Boyz, "Shake That Monkey"

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Big Sean f/ Nicki Minaj, "Dance (A$$)" (2011)

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Freak Nasty, "Da Dip"

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Cheeky Blakk, "Twerk Something"

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French Montana f/ Drake, Rick Ross & Lil Wayne, "Pop That"

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DJ Jubilee, "Do the Jubilee All"

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Duice, "Dazzey Duks"

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Ludacris, "How Low"

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Huey, "Pop, Lock & Drop It"

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Bubba Sparxxx f/ Ying Yang Twins & Mr. Collipark, "Ms. New Booty"

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Soulja Boy, "Donk"

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Tyga, "Rack City"

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Nas & Bravehearts, "Oochie Wally"

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69 Boyz, "Tootsee Roll"

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Juicy J f/ Lil Wayne & 2 Chainz, "Bandz a Make Her Dance"

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David Banner, "Play"

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Busta Rhymes, "Make It Clap"

View this video on YouTube

504 Boyz, "Wobble Wobble"

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Uncle Luke, "I Wanna Rock (Doo Doo Brown)"

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Lil Jon & The East Side Boyz f/ Ying Yang Twins, "Get Low"

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Diplo, "Express Yourself"

View this video on YouTube

Playa Poncho and LA Sno, "Whatz Up, Whatz Up"

View this video on YouTube

Megan Thee Stallion, "Thot Shit"

View this video on YouTube

Cardi B f/ Megan Thee Stallion, "WAP"

View this video on YouTube

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