Anger Management, her collaborative project with the producer Kenny Beats, was released just as spring arrived, but by summer, Rico seemed to have gotten fight music out of her system. Mercifully, Rico Nasty returned with her dynamic brand of catharsis, smashing through walls like a pint-sized Kool-Aid Man. It was easy to submit to rage this year there was good cause all around. Listen: Megan Thee Stallion, “Cash Shit” Two much-hyped music videos were subsequently abandoned, making it quite clear: The song itself is plenty. But even in its ubiquity, “Cash Shit” didn’t get old-arguably, in part, because Megan and DaBaby both rap about sex like they have plenty of it, a transcendent feat among their peers who’ve been clouded in a low-libido haze. DaBaby, as 2019’s reigning steal-your-girl lothario, made for plenty of Instagram captions, too. The pair delivers some of the year’s most-recited lyrics: Megan’s capitalist-feminism (“Yeah I’m in my bag but I’m in his too”) was inescapable, both as a club staple and as a trending social media philosophy. The production booms and yet is barely there, and actually elevates their vocals. Megan Thee Stallion and DaBaby-both witty Southerners with distinct if borderline-conventional rap styles-seize the Lil Ju beat as a stage. –Ryan Dombalģ00 Entertainment/1501 Certified Megan Thee Stallion: “Cash Shit” Īs a joint thesis statement from two of rap’s biggest breakout stars, “Cash Shit” is almost suspiciously on-the-nose. “What harm is it to you? I’m just happy.” It’s a startlingly vulnerable moment, one that makes this anthem of acceptance that much more invincible. Then, midway, the sinister instrumental evaporates, and Bad Bunny is joined by none other than Ricky Martin-who was once lambasted by Puerto Rican clergy members after he came out as gay-for a cloud-parting bridge that exposes the song’s pristine core: “Why can’t I just be?” they plead. “Don’t you see that I’m expensive?” he spits in Spanish, voicing the indignance of anyone who’s been made to feel undeserving because of what they wear or who they love. The song rescues ideas of empowerment from sponsored hashtag hell, with the Puerto Rican star flicking off critics of his androgynous style and class-collapsing brashness over a trap beat that’s as quietly menacing as an alien hovercraft. Luckily, with “Caro,” urbano shapeshifter Bad Bunny offers a more practical solution to embracing your worth. When the concept of self-love has been commodified by hucksters selling $500 infrared sauna blankets, it can be tempting to toss all of your belongings into a dumpster and welcome a life of self-loathing instead. “NCAA” reinforces a fundamental 2 Chainz philosophy: Balling hard should be rewarded. Here, his flows are leisurely as usual but he sounds slightly perturbed, too, as if he can’t believe the unmitigated gall of it all. Until recently, the governing body that oversees college sports wouldn’t let student athletes profit in any way off their talents or likenesses, and 2 Chainz, a former player himself, weaponizes that hypocrisy into a rallying cry.
The song marks college players as victims of institutional suppression of opportunity, implicating the system as exploitative of the primarily black stars who earn billions in revenue for others.
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