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   Cardi B Settles All Family Business on her New Album
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   On her long-aborning second album, the “WAP” rapper serves perfectly-chilled revenge.
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                  <p style="margin:0;margin-bottom:16px">
                   Before you even get to the halfway mark of Cardi B’s new, long-awaited sophomore album
                   <em>
                    Am I the Drama?
                   </em>
                   , it’s fair to consider the title as a rhetorical question—by that point she’s already dissed about four different rappers (or five, if you count her estranged husband
                   <a style="text-decoration: underline; color: #000000;">
                    Offset
                   </a>
                   .) It’s one thing to use an album to reclaim and own some unwieldy narratives, but kicking over a whole new hornet’s nest and reigniting several conflicts at once? That’s just deliciously chaotic—but more importantly, musically speaking, it makes for the most thrilling moments on the project.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   It’s been seven long years since Cardi shocked the cynics and doubters with a cohesive, heater-packed, locked-in-top-to-bottom debut album. In the years between she’s weathered an on-again off-again marriage and so many different beefs (mostly with fellow female rappers) I honestly gave up on keeping track of the facts and chronology. But none of that context is crucial or even really necessary at all to simply enjoy hearing Cardi addressing all dramas even if your average rap fan forgot it like Alzheimer’s.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   As a casual Cardi fan, I’m learning about disputes it’s possible I never even realized existed before. Nicki Minaj? That’s mythological canon, of course. Nicki in turn treated any up and coming female rapper embracing Cardi as an act of war, which created the byzantine geopolitical strife which I believe is the root of Cardi’s issues with
                   <a style="text-decoration: underline; color: #000000;">
                    Ice Spice
                   </a>
                   , and maybe also JT and Caresha of City Girls. And thanks to this album, the memory of Bia so confidently previewing her objectively godawful Cardi diss boomeranged back into my head like I was
                   <a style="text-decoration: underline; color: #000000;">
                    Guy Pearce
                   </a>
                   .
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   A few of these disagreements, it’s worth noting, did happen long enough ago that the specifics are easy to forget. But there’s power in Cardi not folding in the face of a laughably long hiatus and instead just successfully spinning this whole project as doing things on her own time. The result is her settling all family business in one fell swoop like Michael Corleone in the climax of
                   <a style="text-decoration: underline; color: #000000;">
                    <em>
                     The Godfather
                    </em>
                   </a>
                   .
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   This isn’t me enabling messiness and ShadeRoom-level dramatics; reasserting herself just brings the most spark out of Cardi on this album. “Name five Bia songs, gun pointed to your head/Bow, I'm dead” is just an incredible way to start a diss track. That laugh-out-loud moment opens “Pretty and Petty,” the album’s bouncy centerpiece. But Cardi gets right to the smoke on the album intro, with some very thinly-veiled lines aimed at Ms. Minaj.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   The album technically closes with two prehistorically-old singles “WAP” (2020) and “Up” (2021); Cardi has suggested that these two loosie hits needed a proper home, which is fair, although this move is also a blatant charts hack to boost album sales on the strength of those two monster songs, one of which is nearly diamond-certified by now. But
                   <em>
                    Am I the Drama?
                   </em>
                   ’s real climax is “Killin You Hoes,” a kind of closing-argument blanket statement for anyone else throwing shots, as befits an album whose overarching theme can be loosely interpreted as “
                   <em>
                    Don’t get me fucked up
                   </em>
                   .”
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Cardi is a character and a master entertainer; one of her biggest strengths as a rapper is her delivery and the ability to tweak a line to be as comedic or brutal as it needs to be for maximum impact. She touches all zones in all her various disses, effortlessly going from that aforementioned Bia punchline to something like the relentless savagery allegedly aimed at JT on “Magnet”: “Fake friend-ass bitch, a clown-ass bitch/On the net, kick your friend while she down-ass bitch/Your loyalty depends who you around-ass bitch/Backdoor ho, hatin on the low-ass bitch/You a shady-ass bitch, you've been trash since birth/Mama didn't want you—Brenda's baby-ass bitch.”
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   The snarl, the ferocity of the delivery—Cardi sounds the liveliest on
                   <em>
                    Am I the Drama?
                   </em>
                   When she’s handling her enemies. Equally important is that she’s throwing all of these punches over absolute bangers—true to her roots, all of these songs sound tailor-made to do damage at parties and strip clubs, so much so that it’s kind of a travesty she didn’t drop them during the summer. There’s a specific sort of thunderous, Jeezy-esque, Shawty Redd-inspired Atlanta energy that Cardi harnessed for the bops on this album that makes you want to run through a wall, notably on standouts like “Errtime.” Mix that sound with hater energy and the results are too potent to ignore. I don’t know why Cardi bothered trying to recapture Jay-Z’s one-of-a-kind stunt raps on “Imaginary Player” when she sounds so much more in her element on “Magnet,” sounding every bit the unbothered baller with her “baby” rhyme scheme and interpolating D4L’s “Betcha Can’t Do It Like Me.”
                  </p>
                  <p style="margin:0">
                   This will likely kick off a wave of response tracks and social media back-and-forths. But in some cases here, Cardi puts herself in a rarefied
                   <a style="text-decoration: underline; color: #000000;">
                    Pusha T
                   </a>
                   position, attacking so lethally that any reply will inevitably come up short, releasing her from the obligation to respond. Regardless, none of these spats—save maybe a
                   <a style="text-decoration: underline; color: #000000;">
                    Nicki
                   </a>
                   vs Cardi title fight—are beefs that will fill a
                   <a style="text-decoration: underline; color: #000000;">
                    Drake/Kendrick
                   </a>
                   void, but that’s besides the point. With all due respect to her marital drama, newfound love, and pop tracks like her Lizzo and Selena Gomez collaborations, the highest highs on
                   <em>
                    Am I the Drama?
                   </em>
                   come when Cardi is in Attack Mode. And leaning into that is what helped her more or less deliver on a nearly-decade long’s worth of high expectations. A little spite is good for the soul.
                  </p>
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                   <strong>
                    Between the Taps
                   </strong>
                  </p>
                  <p style="margin:0">
                   (
                   <em>
                    A weekly roundup of everything else I consumed since the last Tap In)
                   </em>
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                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    Freddie Gibbs live at Brooklyn Paramount
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   Whenever Gangsta Gibbs drops a project you can count on it being a Top 10 of the Year contender;
                   <em>
                    Alfredo II
                   </em>
                   doesn’t break that streak, so I was hype to catch him on a tour stop in New York, where he ran through songs from that, its predecessor and some of his other staples (even a song from
                   <em>
                    Fetti
                   </em>
                   , despite Gibbs’ recent harsh comments for Curren$y.) You don’t really realize how wordy and densely packed the average Freddie verse is until you watch him run through 90 minutes’ worth of them with insanely precise breath control and no backing-track crutch to fall back on. And even though I think I enjoy Freddie’s projects with Madlib more, he and Alchemist have an undeniable chemistry that’s palpable on the stage; as shameful as it is that this was my first live Gibbs experience, this was a great first show. Special shoutout to his manager Lambo for letting me roll deep with the homies while I’m back home, which subsequently provided one of the most hilariously unique VIP-section scenarios: watching one of rap’s most niche lyrical vanguards standing in between Clairo and Mahershala Ali.
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Task
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   As much as I hate giving myself work, I also love ranting about my faves which is to say: there’s no way
                   <em>
                    Task
                   </em>
                   will not get its own Tap In proper very soon or at least before it wraps. But for now let’s just get this declaration out of the way: this is the hardest show on TV right now, and—at least for those of us not taken with
                   <em>
                    The Gilded Age
                   </em>
                   —restoring a Sunday Night HBO feeling that’s been missing for awhile (especially after
                   <em>
                    The Mid Lotus
                   </em>
                   ).
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <strong>
                    <em>
                     Jay-Z, In My Lifetime Vol. 1
                    </em>
                   </strong>
                  </p>
                  <p style="margin:0;margin-bottom:16px">
                   <em>
                    Vol. 3
                   </em>
                   is still the gold standard album that separates the civilian Jay-Z fan from the real ball-knowing Jigga heads, but I walked into Scarr’s my first afternoon back in New York and the bartender had
                   <em>
                    Vol. 1
                   </em>
                   on shuffle, and man, is this album incredible. This isn’t a new revelation. ‘97-02 Jay remains in regular rotation for me at all times (and the Scarr’s experience inspired me to play it top to bottom the next day in the car), and maybe hearing these songs in a LES bar is making me extra defensive of it in this random moment, but here goes: I’m judging anyone who has this album low in their Jay ranking, and anyone who denigrates it for like two-three misses. (“(Always Be My) Sunshine,” overhated!) It has, at least, five, maybe even seven songs that all have a valid argument for being in Jay’s all-time top 10. Some of his craziest verses, punchlines and flows. Maybe the most dynamic intro in a discography full of incredible starters. A devastating album closer more bracingly self-lacerating than anything on
                   <em>
                    4:44.
                   </em>
                   I don’t care what you’re doing or who you’re with, take a moment to press play on “Imaginary Player” right fucking now and turn your swag on.
                  </p>
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                   <strong>
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                    <strong>
                     Related reading from
                     <em>
                      GQ
                     </em>
                     :
                    </strong>
                   </p>
                   <ul style="line-height:1.5;mso-line-height-alt:22.5px;font-size:15px">
                    <li aria-level="1">
                     <a rel="noopener" style="text-decoration: underline; color: #000000;" target="_blank">
                      Heat Check: 10 Song-of-the Summer Contenders
                     </a>
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