Home / Entertainment / Invasion of privacy of Cardi B is a victory that we can all enjoy

Invasion of privacy of Cardi B is a victory that we can all enjoy

Moments like this – when the collective rap community gets to see the meteoric rise of someone culminating in the fall of a debut album in the world – they are rare, but they make being a fan worthwhile. There's nothing like being part of something so big, even if your role is merely to read the Twitter timeline carefully and go back and forth with the followers about their individual opinions. Many people did not believe that Cardi B would arrive at this time. Maybe some even hoped that she would not. The Bronx native made the smoother transition from the star of social networks, to the reality television star, to the rap star in the story. But the key word in all those phases of his career is star . Cardi has a quality and an essence that can not be limited to any single path. She is a natural artist and we are all here to enjoy the trip. That's why the bets for his debut album Invasion of Privacy are some of the highest in the history of recent rap.

The question now is: is the [Invasionofprivacy really good? We witnessed the growth of Cardi with his mixtape series Gangsta Bitch Music as he worked on the growing pains of finding his sound. It's where she flexed her muscles in songs like "Foreva" and "Lick", slowly transforming into an artist who now dominates the Billboard charts. Known for her transparency and her ability to become completely unhinged, we knew her personal life in ways that became too much for her. Privacy Invasion is an honest debut of a rapper who built a brand to be "regular", even if it is not as regular anymore.

Noisey staff writers Lawrence Burney and Kristin Corry analyze Privacy invasion track by track on the first listen, and here were their first impressions.

"Get Up 10"

Lawrence: "I went from making tuna sandwiches to making news" is an analogy of poverty to wealth that I can conceptualize completely. This is a way of textbooks to start a rap album that defines a career. Cardi spends a quarter of the song reliving the days she had to go through to get to this moment before making a Tee Grizzley by-way-Meek Milly's gear change. If you are going to make a statement, you should plant your flag firmly on the ground and stop at those words. Whether you honor them or not is irrelevant to that brief initiation, Cardi sends a convincing warning.

Kristin: I totally agree with the feeling of "Dreams and nightmares", just worry that it ends up sounding like everyone except Cardi. It's a great way to start a debut, and we've seen that these introspective intros work well. Cardi adapts well to the flow you want to adopt at the moment. She owned the Kodak flow in "Bodak" and is damn close to a fourth Migo in "Drip." I want to hear Cardi sound like Cardi. It is admirable that she wanted to take advantage of what made Meek's introduction so good, but it also feels as if she had hurt herself by trying to emulate that sound. I am completely a fan of when the pace changes it towards the end however.


Kristin: This is not a bad song, but I think I would have appreciated it more in Culture II.

Lawrence: This may be one of my favorite songs from Cardi B. I'd really like less songs from her with Migos on it. The album would have been fine without this.


Kristin: Well, Lawrence, you were right about the Project Pat sample. At first glance, I hoped that this was the track on which YG would be. However, I have sold myself with his release of the song. The best part of Cardi is its ability to redefine the labels that society imposes on it and make them theirs. Now the Instagram legend of the whole world is going to be "bickenhead", which is a drug because in 2001 it was not the best thing to call a woman. The real test of a bop for me is if I spend more time singing than spending makeup. This will happen with great success.

Lawrence: LIVE LIVE TRIPLE 6 MAFIA. There is really no way for Cardi to lose here by trying "Chickenhead" from Project Pat because what remains very clear is that anything produced by DJ Paul and Juicy J will defy generational barriers. I mean, Crunchy Black used to seem like a problem from time to time. But anyway, what Cardi is doing here is perfect because while he did not catch La Chat for this song as I wished, his list of ways to "open the pussy" feels like an ode to another Chat classic in "Slob" On My Cat. " . "

Kristin: We got it, Lawrence, Triple 6 until you die.

" Bodak Yellow "

Lawrence: Obviously we all love this song." Bodak Yellow "dominated the song. I remember seeing Cardi perform this on Moma PS1 and it was the most congested crowd I've been part of, for example, if something had come up that day, a minimum of ten people would have been trampled on. Listen to "Bodak Yellow" In that scenario, with that kind of collective emotion, it's one of my favorite hip-hop moments of all time … Within the context of the album, I like it to come after "Bickenhead" because it keeps the energy high, then changes gear with "Be Careful." That shows Cardi's reach.

Kristin: Every time the beat goes down, I ask myself: "Did I finish this song?" Like a clock, it still catches me from same way as the first time I heard it. It will be good with the rest of the album, but I think it's the opposite. "Bodak" was really able to set the tone of what we should have expected for his debut album, and I think it's safe to say that it has been delivered.

"Be careful"

Lawrence: When this song fell for the first time, there was a lot of talk about how different "Bodak Yellow" is, but I'm not sure where people developed the notion that Cardi B is only capable of one type of song. While everyone has been screaming about his bloody shoes, he has been talking about New Jack Swing beats and singing in Spanish on dancehall tracks. What is also good about the song is that it seems that it could have worked during any rap season of the last 25 years. Cardi is shedding layers of herself to share details of their relationship, but also warning her that she might not be left with repeated trauma. Those kinds of songs have been basic for some time.

Kristin: I honestly love this song. People say I should not be singing and it's unconventional, but honestly that's what I love about Cardi. His delivery has always been a bit clumsy, which makes everything feel much more real to me personally. The same people who talk shit are the same people who would praise it if their male counterparts released this song. If we are honest, "Be Careful" is better than "Get to You" from A Boogie, which both borrow from the "Ex-Factor" of Lauryn Hill. She had me in the reference Belly but most importantly, she feels like New York in the summer. Real New York, not transplanted New York.

My concern here, however, is the talk about the reference track that was released shortly after the fall of the single. It's no secret that people have ghostwriters, but I could not help but listen to the rest of the album asking me what they actually wrote. It is probably also naive of me to think that everyone writes everything, but it is something to be taken into account. The accusations of ghostwriters have not hurt Drake and should not hurt her either. The way in which his personal life has developed in front of us makes this song feel incredibly intimate, so if it is true, listening to Pardison Fontaine on the reference track was a bit disappointing. I want to believe that Offset made her crazy enough for these to be her words.

"Best Life"

Kristin: I'm glad you had a chance function, but it seems you did not give everything on this hook. Have that same energy that you had in Paul's Life or any other project to which you have assigned your name. The hook feels a little lazy, especially if we are comparing it with his verse, which is as cheerful as the one you get with Chance. When he says: "I work magic, I work magic, I work magic in my life", I feel that Pastor Chance returns, putting an anointing on me. If we are talking about living our best life, let's have more energy.

Lawrence: I agree with Chance's contribution on the hook. This is especially evident after the energy with which Cardi appears in his first verse. But, I really enjoy Chance's verse. The analogy between tuna and Cardi television to "do it" was excellent, but Chance came with "Member of my hands with ashes like Pompeii" and changed the game. The value of this song lies in the opening of Cardi about how being in the public eye has affected her. From self-awareness on his teeth before fixing them, to how the encounter with Beyonce is a marker of the arrival of . Rappers open up about these struggles often, but what makes it resonate most here is that we have been able to see Cardi take many of the steps she mentions.

Kristin: I agree. Listening to her, she said: "I never had a problem showing everyone the real me / hair when it's fucked up, the crib when it's dirty." I can literally point out the moments when he looked like he had gotten out of bed chatting with his fans, without fucking. It's that transparency that makes people really take root. She is the antithesis of people of perfectly packaged people posting on social networks. We literally saw her grow from a local feeling to BARDI. I love this reference of "Binderella" and the kind of desire that was the title of his album.

"I like it"

Kristin: Haha, Cardi really looks for his name on Twitter. She definitely executed that toupee. "Yes, they call me Cardi B, I play this shit like cardio" here. And this is exactly what I meant by Chance's song, J Balvin and Bad Bunny arrived with energy! Treat it as if it were your song, not just give some leftover melodies.

Lawrence: This will be criticized at all parties in New York City this summer and I can not wait.

Kristin: Practicing my bachata while we talk.


Kristin: I find it funny that people criticized her for singing her own hook on "Be Beful" ", suggesting that Kehlani or SZA should have done the honor instead … Kehlani is on the hook of this and it's not such a loud song, what now?

Lawrence: This is fine and I accepted that I probably heard it on the radio all the time.

Kristin: I do not like it If we go with the theory of the ghost writer, I think this is the official song of "Offset", but "Be Careful" was the most intelligent and attractive option to capitalize on the drama. However, this is all speculation.

"Money Bag"

Kristin: This is definitely the closest thing you've ever been to something that feels like "Bodak." If you had a dollar for every time you I'll see it "I said, baby, snack issa / He says it's an entree" on Instagram this summer, my loans would be per Donations: Grabbing Plies and Beyonce on a hook is the perfect way to make sure the song is a hit on social media, and she knows it. All of his eccentric confessionals in Love & Hip Hop have been preparing us for this moment. She really stretches her voice so that it's worth it here. It's the perfect amount of extra. In addition, money bags in general are always a great state of mind. OKURR!

Lawrence: When the song started for the first time, I thought I would skip it in the first 30 seconds. But then Cardi accelerated a change that took the song to a new level. As you said, in flow, follow the steps of "Bodak Yellow" in the points. But the extent that Cardi embraces in energy here pushes him further.

"Bartier Cardi"

Lawrence: I like how fierce Cardi is with the flow of this song. He always felt like with this, he had a point to try and it worked. The tone of voice of 21 is just why his verse is not a complete wash, but it did not give the best to this at all.

Kristin: I still enjoy this song and I think it does a good job of maintaining the momentum of what could now be considered Cardi's sound. In fact, I like 21 here, regardless of the questionable things he says he does with hot sauce.

"She Bad"

Kristin: YG was supposed to be in "Bickenhead!" I personally would have preferred Yo Gotti on this hook. Cardi is definitely in his bag here and pulling some subliminals. So I hope this is going around with speculations about who they're targeting. Of course, they could be empty insults, but we know that for women in hip-hop it does not work that way. I'm crying on the line "Only Birkin, not Dooney & Burke" by YG. Some people who listened simply pushed their Dooney collection to the bottom of their closet.

Lawrence: This is another Three Mafia flow book. Like most of the songs that appeared before, "She Bad" has the potential to be a resounding success; in any case, it will be another of the pillars of parties and clubs during the rest of this year. YG has a strange ability to make effective hooks without saying much. That gift, along with the pace of production and the flow of Cardi make it worthwhile to revisit.

"Thru Your Phone"

Kristin: This hook is … interesting. Does Lana Del Rey vibrate? But damn, this song is mean as hell. She really just said, "I'm going to make a bowl of cereal with a teaspoon of bleach / Serve it for you to like, here's a good appetite." All right, Eminem. This is the song that I want to see in a visual way. Show me Cardi by cutting the tabs on the sneakers and tearing apart televisions.

Displacement, look at your back bruh.

Lawrence: The lesson here is very, very clear. Guys: do not cheat. Unless you want bleach cereal.

"Yes, I want"

Kristin: Two queens talking about shit. I stan. It is also great as hell that we saw this collaboration materialize. The definition of "Twitter, do you thing". I wish there were more in the album after this, considering that "Bodak Yellow" and "Bardier Carti" played to the death. Disclaimer: if your message does not receive an answer it is because SZA and Cardi told me to do so.

Lawrence: I love this song (SZA, sing more trap please!), But your energy begs for it to be somewhere in the middle of the album. Privacy Invasion that ends in this note makes it feel incomplete. I'm so excited that I'm ready to go down a bit before diving. But, in consideration of the title of the album, Cardi delivered. Historically, she has given us a lot of access to her life in social networks. And by sharing her experiences in the kind of detail she does, I have to interpret it like this: "They are already in my business, making speculations, so it could well be me who discovers everything." . Here is my truth. "Is not that what we want from all of our artists? At least, the ones we want to remember? We want an invitation to enter into their most intimate feelings, no matter how that might discourage them, so that we can feel connected to them."

Lawrence Burney and Kristin Corry are editors of Noisey.

This article originally appeared on Noisey US

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