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      A Trip Home With Moneybagg Yo, Trap’s New Ambassador

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      MEMPHIS — Moneybagg Yo — Bagg to his friends — doesn’t get back to his Memphis hometown as much as he’d like anymore, so when he returned one Friday in July, he was primed for the occasion. His top, shorts and sneakers: Louis Vuitton. His chains and earrings: weighty and bright. His nails: freshly buffed to a shine. His Cadillac Escalade: bulletproof.He had arrived for an appearance at the eighth annual Birthday Bash, a concert organized by the Memphis rap stalwart Yo Gotti. “I feel like Michael Jackson at home,” Bagg said of the performance at FedExForum, home of the Memphis Grizzlies. “This is who created you.”Over the past few years, Bagg — born DeMario DeWayne White Jr. — has been steadily reaching audiences well beyond his home city. His last album, “A Gangsta’s Pain” from 2021, opened at the top of the Billboard album chart, his first No. 1, following two debuts in the Top 5. He placed five consecutive singles in the Top 20 of the Billboard rap chart, two of which, “Said Sum” and “Wockesha,” became pop hits, reaching the Top 20 on the Billboard Hot 100.He’s a sneakily lyrical rapper — bursting with pugnacious talk but also wry. His flow is syrupy, often swallowing syllables but not the vérité imagery and frisky, conversational tone that make some of his best lyrics sound like direct, mettle-testing addresses. “Wockesha,” a 2021 track that samples DeBarge’s “Stay With Me” (à la the Notorious B.I.G.’s “One More Chance”), showed that Bagg could record songs that leaned more melodic and tender, broadening his appeal.“I’m glad ‘Wockesha’ took off and did what it did ’cause now people accept me in that melodic vibe,” he said. “Bagg can do that now, we don’t look at him crazy.”Moneybagg Yo has been releasing music for a decade. With “Federal” in 2015, his mixtapes started garnering wider attention.Chantal Anderson for The New York TimesThis fall, he’ll release his fifth studio album. Even though he primarily lives in Atlanta now, the day’s itinerary encapsulated how deep his hometown roots still run. “I’m still most definitely connected around here,” he said. “When I’m not at home, I’m at home.” His first stop was the nail salon, the next an overgrown 28.8-acre plot of land bought for him last year as a 30th birthday gift by his girlfriend, Ari Fletcher, a social media influencer. Driving alongside the property, he laughed as he pointed out the property’s boundaries: “Still going. Still going. Still going! Still going!”Eventually, he wants to host a community center, dirt bike paths, a paintball course and more there: “This for my neighborhood,” he said. After a brief meeting with a contractor to discuss the costs for the first wave of beautification, he headed to the nearby Walker Homes neighborhood in South Memphis, where he grew up, to pick up his 4-year-old son, Mari — one of his eight children — who was dressed for a day with dad in an all-white Polo outfit.“I just started being able to make my kids’ birthdays,” Bagg said of the long, unforgiving road he faced early in his career. “Until three years ago, I sacrificed me some birthdays, holidays, football games, doughnuts with dad. Now the world know me and the money gonna come, but I was trying to get the money and provide for them the whole time. There’s no excuse now.”Bagg has been releasing music for a decade — first, mixtapes that gained him renown locally, then beginning with “Federal” in 2015, ones that garnered much wider attention. His first major label album came in 2018. (His music is released by Interscope in partnership with Yo Gotti’s CMG Records and N-Less Entertainment.)“Every time I ever dropped a project, something always happen before I ever elevate, like a hardship,” Moneybagg Yo said.Chantal Anderson for The New York TimesWhen he began having broader success, Bagg said he was surprised to learn that many established stars, like Future, were longtime fans: “A lot of people was really riding, listening to my music, that you wouldn’t expect.” Pharrell produced a track on “A Gangsta’s Pain.” Bagg formed a strong bond with the rapper Kevin Gates, who facilitated his conversion to Islam in 2018; he travels with an $8,000 prayer mat, a gift from Gates.Now more than ever, regionally specific rap can make it to the top of the charts in relatively unvarnished form, and Bagg’s wins have largely been on his own terms. Even though he’s beginning to collaborate more widely, he still prefers working with his own set of producers rather than those who are better-known.Since Bagg has grown into the biggest rap star to emerge from Memphis in a generation, he needs to be mindful, even at home. Throughout the day, he was accompanied by two oversized security guards with evident military training.“They had to get me to understand it, like, bruh, you need that, that’s what make you a superstar,” Bagg said. “It don’t just come with you being scared, it comes with you moving smart.”He’d just arrived at the Crystal Palace, a skating rink where a teenage Bagg and friends would while away weekend nights. The rink has been closed for years, but Bagg has been in contact with city officials about the possibility of revitalizing it. In the parking lot, Bagg asked his driver to turn the SUV so he could keep an eye on the street.“I’m so comfortable, I could be in house shoes right now,” he said, almost giggling.Minutes later, he headed to “the red store,” a bare-bones convenience store that’s the only retail establishment for blocks in the middle of streets dotted with rundown homes. “We gambled right there,” he said, pointing to a house up the block, then leaned in and whispered with a quick laugh, “I was selling dope right here.” He has a picture of the store tattooed on him.The rapper said his new album would be a turn back toward the energy of his “Federal” era. Chantal Anderson for The New York TimesHe stepped into the building, greeting employees and fans and telling an associate to buy out all the Rap Snacks chips in his signature flavors (Heat vs. Hot and Dill Pickle Jalapeño), then peeled off a few $100 bills to give to the store’s owner.Bagg’s next stop was intensely personal: visiting, for the first time, the grave of a longtime friend, Nuskie, who was killed in January at age 24. “I really ain’t snapped back,” Bagg said of wrestling with the tragedy. “I’m just dealing with it better now.”He sat down to roll a blunt from a pouch of weed, and thought about his trajectory. “Every time I ever dropped a project, something always happen before I ever elevate, like a hardship,” he said, adding that he planned to name his plot of land after Nuskie. Then, for the only time all day, he was silent.The show beckoned, though. By now, he was traveling with a full caravan of cars filled with old friends. They stopped at the Superior Shop, a clothing store where Bagg dropped off some Louis Vuitton pants to be tailored, and met up with the rapper EST Gee, a label mate and friend also in town for the concert.Once the store became claustrophobically crowded, with well over 100 people filling the room, he headed to Straight Drop, a seafood restaurant in North Memphis. The building’s lobby was filled with pallets of bottles of Vior, an alkaline water Bagg is an investor in. (“It’s every day, it’s clean.”) While waiting for the catering-size platters of fish and shrimp to come out, he and EST Gee filmed some footage for a video for a new song, “Strong,” in the parking lot.Earlier in July, he had performed to tens of thousands of people at London’s Wireless Festival, his first international show, but here he was, a platinum rapper back on his home turf, continuing to do things the old-fashioned way. He said his recent string of successes only emboldened him to double down on the specificity of his sound. The new album, he said, would be a turn back toward the energy of his “Federal” era. He recently put his permanent flawless diamond teeth back in.“Trap taking over the world now,” he said. “It ain’t limited no more.” More

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      What Is a ‘Fake’ Artist in 2022?

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherHere’s one sort of simulated artist: This month, a virtual rapper called FN Meka became the center of a critical storm involving digital blackface and the ethics of using artificial intelligence to (re)create cultural production. As a result of the backlash, FN Meka was dropped from Capitol, the major label that had signed the project, though it was debatable exactly how much of the rapper’s music was algorithmically derived at all.And here’s another sort: Spotify continues to populate some of its main playlists with so-called “fake” artists, which is to say, music made by artists under pseudonyms who create tracks purely to populate these playlists at a lower cost to Spotify than artists who are signed to major record labels. They have, in some cases, millions of listens, but outside of the walls of the streaming platform, they fundamentally don’t exist.Are either of these cases acceptable? And more pressingly, are they avoidable?On this week’s Popcast, a conversation about the various ways music is being alienated from the humans who created it and the listeners who hear it, and the philosophical implications for creative agency.Guests:Joe Coscarelli, The New York Times’s pop music reporterRyan Broderick, author of the Garbage Day newsletterTim Ingham, founder and publisher of Music Business WorldwideConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Bad Bunny’s Album Ties ‘Encanto’ for Most Weeks at No. 1 This Year

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      “Un Verano Sin Ti,” a streaming blockbuster, notches its ninth time at the top of Billboard’s chart. Rod Wave’s “Beautiful Mind,” last week’s No. 1, drops to second place.Is Bad Bunny the new Bruno?Bad Bunny, a.k.a. Benito Antonio Martínez Ocasio, the Puerto Rican superstar who just rocked Yankee Stadium for two nights, has clinched a ninth week at No. 1 on the Billboard album chart for his latest release, “Un Verano Sin Ti,” tying Disney’s “Encanto” soundtrack for the most times at the top this year.“Un Verano Sin Ti” had the equivalent of 105,000 sales in the United States last week, including 144 million streams, according to Luminate, the tracking service that supplies the data for Billboard’s charts. In the 16 weeks since it came out, “Un Verano” has bounced in and out of the top spot but never fallen lower than No. 2. (“Encanto” — the source of “We Don’t Talk About Bruno,” the inescapable viral smash of early 2022 — had a near-consecutive run at No. 1, missing it only once.)Although no track from “Un Verano” has gone higher than No. 4 on the Hot 100 singles chart, the album as a whole has been a streaming blockbuster. Songs from it have racked up about 2.9 billion clicks so far in the United States, and the full album has garnered 2.1 million equivalent sales, a composite figure that incorporates popularity on multiple formats, including streams and sales.At the MTV Video Music Awards on Sunday night, Bad Bunny was named artist of the year, and the broadcast carried his performance of “Tití Me Preguntó” from Yankee Stadium, where the stage was filled with prop palm trees and the Puerto Rican and Dominican flags.Besides Bad Bunny and “Encanto,” the only title with a longer run at No. 1 in recent years is Morgan Wallen’s “Dangerous: The Double Album,” which notched 10 consecutive times at the top in the first part of 2021 and has remained a steady hit. It lands at No. 4 on the latest chart, in its 85th week out.Rod Wave’s “Beautiful Mind,” last week’s top seller, falls to No. 2, while Beyoncé’s “Renaissance” holds at No. 3 and Harry Styles’s “Harry’s House” is No. 5. More

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      California Bill Could Restrict the Use of Rap Lyrics in Court

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      The bill, which applies more broadly to other forms of creative expression, has unanimously passed the Senate and Assembly and could become law by the end of September.A California bill that would restrict the use of rap lyrics and other creative works as evidence in criminal proceedings has unanimously passed both the State Senate and Assembly, and could soon be signed into law by Gov. Gavin Newsom.The bill, introduced in February by Assemblyman Reginald Jones-Sawyer, a Democrat who represents South Los Angeles, comes amid national attention on the practice following the indictment of the Atlanta rappers Young Thug and Gunna on gang-related charges. Prosecutors have drawn on the men’s lyrics in making their case.The California measure, however, would apply more broadly to any creative works, including other types of music, poetry, film, dance, performance art, visual art and novels.“What you write could ultimately be used against you, and that could inhibit creative expression,” Mr. Jones-Sawyer said Wednesday in an interview. He noted that the bill ultimately boiled down to a question of First Amendment rights.“This is America,” he said. “You should be able to have that creativity.”Mr. Newsom has until Sep. 30 to sign the bill into law. If he neither signs nor vetoes the bill by that date, the measure would automatically become law. The law would then go into effect on Jan. 1, 2023, Mr. Jones-Sawyer said.When asked whether Mr. Newsom planned to sign the bill, his office said that it could not comment on pending legislation. “As will all measures that reach the governor’s desk, it will be evaluated on its merits,” it said.Though the bill’s genesis is in preventing rap stars’ lyrics from being weaponized against them, the measure loosely defines “creative expression” to include “forms, sounds, words, movements, or symbols.”It would require a court to evaluate whether such works can be included as evidence by weighing their “probative value” in the case against the “substantial danger of undue prejudice” that might result from including them. The court should consider the possibility that such works could be treated as “evidence of the defendant’s propensity for violence or criminal disposition, as well as the possibility that the evidence will inject racial bias into the proceedings,” the bill says.“People were going to jail merely because of their appearance,” Mr. Jones-Sawyer said. “We weren’t trying to get people off the hook. We’re just making sure that biases, especially racial biases toward African Americans, weren’t used against them in a court of law.”The bill would require that decisions about the evidence be made pretrial, out of the presence of a jury. For decades, prosecutors have used rappers’ lyrics against them even as their music has become mainstream, with critics and fans arguing that the artists should be given the same freedom to explore violence in their work as were musicians like Johnny Cash (did he really shoot a man in Reno just to watch him die?) or authors like Bret Easton Ellis, who wrote “American Psycho.”In other cases, though lyrics were not used as evidence, they were discussed in front of the jury, which “poisoned the well” by allowing bias to enter the court, according to Mr. Jones-Sawyer’s office. It also noted that while country music has a subgenre known as the “murder ballad,” it is only the lyrics of rap artists that have been singled out.Charis E. Kubrin, a professor of criminology, law and society at the University of California, Irvine, who has extensively researched the use of rap lyrics in criminal proceedings, said that the way prosecutors have used defendant-authored lyrics in court was unique to rap.The practice, she said, essentially treated the lyrics as “nothing more than autobiographical accounts — denying rap the status of art.” The California bill is significant, Dr. Kubrin said, because it would require judges to consider whether the lyrics would inject racial bias into proceedings. “This is bigger than rap,” she said.Among the first notable times the tactic was used was against the rapper Snoop Dogg at his 1996 murder trial, when prosecutors cited lyrics from “Murder Was the Case.” The rapper, whose real name is Calvin Broadus, was acquitted.Snoop Dogg entering a Los Angeles court in 1996, where a prosecutor cited his lyrics during a murder trial. He was acquitted.Mark J. Terrill/Associated PressMost recently, the charges against Young Thug and Gunna have called national attention to the tactic. Both men, who have said they are innocent, were identified as members of a criminal street gang, some of whom were charged with violent crimes including murder and attempted armed robbery.Young Thug, whose real name is Jeffery Williams, co-wrote the Grammy-winning “This is America” with Childish Gambino and is one of the most influential artists to emerge from Atlanta’s hip-hop scene.In November, two New York lawmakers introduced a similar bill that would prevent lyrics from being used as evidence in criminal cases unless there was a “factual nexus between the creative expression and the facts of the case.” It passed the Senate in May.In July, U.S. Representatives Hank Johnson of Georgia and Jamaal Bowman of New York, both Democrats, introduced federal legislation, the Restoring Artistic Protection Act, which they said would protect artists from “the wrongful use of their lyrics against them.”The California bill is supported by several other music organizations and activist groups, including the Black Music Action Coalition California, the Public Defenders Association and Smart Justice California, which advocates criminal justice reform.In a statement of support from June, the Black Music Action Coalition, an advocacy organization that battles systemic racism in the music business, said that prosecutors almost exclusively weaponized rappers’ lyrics against men of color.“Creative expression should not be used as evidence of bad character,” the organization said, maintaining that the claim that themes expressed in art were an indication of the likelihood that a person was violent or dishonest was “simply false.”Harvey Mason Jr., the chief executive of the Recording Academy, which runs the Grammy Awards, said that the bill was intended to protect not only rappers, but also artists across all genres of music, and other forms of creativity.“It’s bigger than any one individual case,” Mr. Mason said. “In no way, at no time, do I feel that someone’s art should be used against them.” More

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      Rod Wave’s ‘Beautiful Mind’ Is His Second No. 1 Album

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      The rapper and singer’s latest LP easily beat the other major debut in the Top 5 this week, Megan Thee Stallion’s “Traumazine.”The Florida rapper and singer Rod Wave tops the latest Billboard album chart with “Beautiful Mind,” easily beating out the latest from Megan Thee Stallion.“Beautiful Mind” opened with the equivalent of 115,000 sales in the United States, including 158 million streams, according to the tracking service Luminate, with tracks like “Yungen,” featuring Jack Harlow, performing particularly well on Apple Music. The total take for “Beautiful Mind” was a bit less than Wave had for “SoulFly,” his last time at No. 1, which opened with 189 million streams in April 2021.On Billboard’s Hot 100, Nicki Minaj’s new single, “Super Freaky Girl,” is No. 1, her first time topping that chart as an unaccompanied artist. (She went to No. 1 twice in 2020, with “Trollz,” a joint release with 6ix9ine, and on a remix of Doja Cat’s “Say So.”) Like MC Hammer’s “U Can’t Touch This,” Minaj’s track draws heavily from Rick James’s 1981 song “Super Freak.”Megan Thee Stallion lands at No. 4 with “Traumazine,” her second studio album, which was announced just one day before its release and earned the equivalent of 63,000 sales, with 86 million streams.Bad Bunny’s “Un Verano Sin Ti,” a steady streaming hit since early May, fell one spot to No. 2 after its eighth time in the top spot; over 15 weeks on the charts, “Un Verano” has racked up two million in equivalent sales, including about 2.7 billion streams.Also this week, Beyoncé’s “Renaissance” holds at No. 3, and YoungBoy Never Broke Again’s “The Last Slimeto,” which came within striking range of No. 1 last week, falls three spots to fifth place. More

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      Beyoncé’s ‘Renaissance’: The Speed Round

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      Subscribe to Popcast!Apple Podcasts | Spotify | StitcherBeyoncé’s “Renaissance” has been in the Top 5 of the Billboard album chart for two weeks, and its single “Break My Soul” has led the Hot 100 twice in a row. It is one of the year’s commercial success stories, and also one of its most ideologically provocative albums.On this week’s Popcast, a series of conversations relating to themes brought up by “Renaissance,” including the ways in which queer influence gets mainstreamed, the challenges of writing criticism about superstars, and the ethics and legalities of songwriting credits.Guests:Naima Cochrane, a music journalist and consultantJason P. Frank, a writer for VultureKiana Mickles, a New York staff writer at Resident AdvisorPatrik Sandberg, a former editor of V and CR Fashion Book who writes about music for Interview, i-D and othersConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Bad Bunny Beats YoungBoy Never Broke Again in a Tight Race for No. 1

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      Beyoncé’s “Renaissance” falls to No. 3 as the Puerto Rican superstar and the Louisiana rapper battle for the top spot on the Billboard album chart.Bad Bunny reclaims No. 1 on the Billboard album chart by the thinnest of margins this week, as the Puerto Rican superstar’s three-month-old album “Un Verano Sin Ti” logged its eighth time at the top, beating out the latest release by the prolific Louisiana rapper YoungBoy Never Broke Again by just 400 copies.“Un Verano Sin Ti,” a steady streaming hit since its release 14 weeks ago, is credited with the equivalent of 108,800 sales in the United States, while YoungBoy’s “The Last Slimeto” had 108,400, according to the tracking service Luminate.Looking under the hood shows slight differences in how the two albums performed over the last week. “Un Verano” had 143 million streams, which Luminate and Billboard credit with the equivalent of just over 102,000 sales. “The Last Slimeto,” on the other hand, took many more streams — 163 million — to earn barely 1,000 more equivalent sales.Billboard gives greater weight to the streams from paying subscribers than nonpaying ones. The data tea leaves suggest that YoungBoy may have performed especially well on services with free tiers like Spotify and YouTube, where YoungBoy has been a huge attraction for years.Even so, the deciding factor in winning No. 1 was the number of copies sold as a complete package. Last week, the CD version of “Un Verano” became widely available, so the album sold 6,000 copies, while “The Last Slimeto” moved just 4,600.Beyoncé’s “Renaissance,” last week’s top seller, falls two spots to No. 3 in its second week out, with the equivalent of 89,000 sales, a drop of 73 percent. Beyoncé’s single “Break My Soul” holds at No. 1 on the Hot 100 chart, thanks to a “Queens Remix” that incorporates Madonna’s 1990 hit “Vogue” and features Beyoncé tweaking the shout-outs from her predecessor’s song to include Black female musicians including Nina Simone, Aretha Franklin, Aaliyah and Lizzo.Morgan Wallen’s “Dangerous: The Double Album” is No. 4 and Harry Styles’s “Harry’s House” holds at No. 5. More

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      From Madonna to Beyoncé, Pop Material Girls Draw From Rich Influence

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      Questions about borrowing, authorship and inspiration — from the underground to the mainstream and vice versa — connect new releases from Beyoncé, Madonna and Saucy Santana.Much of the early fallout surrounding the release of Beyoncé’s “Renaissance” — in the sense that there can be any true fallout from a militarily precise rollout that moves in stealth and is staffed by armies of writers, producers, marketers, lawyers and social media savants — came down to matters of acknowledgment and credit.These are concerns that are, in essence, legal, but really more philosophical and moral. Acknowledging a source of inspiration, direct or indirect, is correct business practice but also, in the era of internet-centric hyperaccountability, something akin to playing offense as defense.This is perhaps unusually true in regards to “Renaissance,” a meticulous album that’s a rich and thoughtful exploration and interpretation of the past few decades in American dance music, particularly its Black, queer roots, touching on disco, house, ballroom and more. The credits and the list of collaborators are scrupulous — Beyoncé worked with producers and writers from those worlds and sampled foundational tracks from those scenes.But there were still quarrels, or quirks, as the album arrived. First came the ping-ponging songwriting credits on its first single, “Break My Soul,” which initially included the writers of the Robin S. club classic “Show Me Love,” then removed them, then reinstated them. (The credits don’t, however, acknowledge StoneBridge, the remixer who popularized the original song.)A few days before the album’s release, its full credits were circulated online, suggesting that the song “Energy” had interpolated a Kelis song that was produced by the Neptunes (Pharrell Williams and Chad Hugo). Kelis, the early 2000s alt-soul innovator, posted a series of Instagram videos expressing frustration that she was not advised of the borrowing, even though she is not the publishing rights holder. (Kelis wasn’t a credited writer or producer on most of the early albums she made with the Neptunes, owing to an agreement she signed with the duo when she “was too young and too stupid to double-check it,” she told The Guardian.) That opened up conversations about legal versus spiritual obligations, and the potential two-facedness of Williams. Without comment, Beyoncé updated the song, seemingly removing part of the interpolation of Kelis’s “Milkshake.”When these sorts of dissatisfactions spill over into the public eye (or in the worst cases, the courts), often the text is about money but the subtext is about power. And it has been notable that even Beyoncé, ordinarily beyond reproach, couldn’t safely traipse across the modern internet totally without incident.Conversations about who has the right to borrow from whom — and whether it is acceptable — are heightened when the person doing the borrowing is among the most powerful figures in pop music. But on “Renaissance,” Beyoncé largely deploys her loans savvily — working with the long-running house music D.J. and producer Honey Dijon, sampling the hugely influential drag queen and musician Kevin Aviance — providing a huge platform for artists who are often relegated to the margins.Days after “Renaissance” officially arrived, Beyoncé released a series of remixes of its single, most notably “Break My Soul (The Queens Remix),” which blended her track with Madonna’s “Vogue.” That 1990 song, of course, represented an early mainstreaming of New York’s queer club culture. But Beyoncé brought new cultural politics to this version, turning Madonna’s roll call of white silver-screen idols into a catalog of crucial Black women musicians: Aaliyah, Sister Rosetta Tharpe, Santigold, Bessie Smith, Nina Simone and more. (The idea for the remix seemingly originated with a D.J. named frooty treblez on TikTok, who received a miscellaneous production credit.)The remix is electric, both philosophically and musically — it displays a clear continuum of the ways in which pop stars are themselves voracious consumers, and have been granted certain latitude when their borrowings are perceived as respectful. (Naturally, both Beyoncé and Madonna have received some criticism from queer critics who find their work appropriative.)Three decades on from “Vogue,” however, Madonna is still demonstrating her ongoing, deep engagement with queer culture. She recently released “Material Gworrllllllll!” a collaboration with the rapper Saucy Santana remixing his own song, “Material Girl” (named, naturally, for her 1984 hit). It’s a bit of a messy collision — Madonna’s vocals sound as if they’ve been run through sort of a hyperpop vocal filter, and her segments of the song feel more aspirated than his. It’s peppy but lacks flair.The rapper Saucy Santana collaborated with Madonna on a remix of his own “Material Girl,” and nodded to Beyoncé on another single, “Booty.”Rebecca Smeyne for The New York TimesSaucy Santana, a gay rapper who first found fame on reality television after working as a makeup artist for the hip-hop duo City Girls, began achieving TikTok virality a couple of years ago. Of his song snippets that gained traction online, “Material Girl” was the most vivid, an ode to transactional luxury just as raw as Madonna’s original.But the wink of the title was his most effective gambit, a way of linking his insouciance to Madonna’s. This strategy spilled over into “Booty,” his most recent single, which is based on the same ecstatic horn sample as Beyoncé’s “Crazy in Love.” Even in a year in which countless pop stars have plundered the past for obvious samples, this was a particularly audacious maneuver. Especially given that the borrowing is not, in fact, from “Crazy in Love,” but rather from the song that “Crazy in Love” samples, “Are You My Woman? (Tell Me So)” by the Chi-Lites.Here, again, the linkage to the past is a sleight of hand. To the uninitiated, “Booty” sounds like an official cosign from Beyoncé herself. To the slightly more savvy, it might appear that Beyoncé’s approval was implicit, the result of a behind-the-scenes understanding. Or perhaps Saucy Santana simply audaciously outflanked her.Whichever the case, these borrowings mark Saucy Santana as a pop star who understands that fame is pastiche. He’s building a persona from parts that are there for the taking, risking asking forgiveness rather than worrying about permission. Or more succinctly put, doing exactly what the divas before him did. More