We’re calling it early: the ultimate diss track of 2017 is here. Remy Ma has gone IN on Nicki Minaj, rekindling a decade-long beef between the two on new track shETHER. Across seven minutes Me spits pure venom at the Pinkprint rapper from every angle possible.
Ma, who just missed out on a Grammy for her Fat Joe collab All The Way Up, covers all bases on shETHER, from accusing Minaj of sleeping with a bunch of different rappers, to hiring ghostwriters, to plastic surgery, drug use and much, much more. She name drops Lil Wayne, Drake, Trey Songz, Meek Mill, Ebro, Gucci Mane, Taylor Swift, Mariah Carey and more in this relentless onslaught against her old adversary.
The title is a reinterpretation of Ether by Nas, which Remy uses as the instrumental for shETHER. Considering the Ron Browz-produced original was a seething diss track against Jay Z, it only makes sense to reuse it here.
This is far from the first time the pair have clashed. Their beef first reared its ugly head back in 2007, after Remy accused Minaj of dissing her on freestyle record Dirty Money. Recently, Minaj threw a couple of hits in her Black Beatles remix as well as her verse on Gucci Mane’s Make Love, but I doubt she was expecting such a mammoth retaliation. This is a bigger and badder diss track than any other in recent memory – and it fucking rules.
So far, Minaj has only responded via a couple of half-assed social media posts, which is *very* un-hip-hop of her. She first posted a now-deleted screenshot of sales numbers from Ma’s recent collab album with Fat Joe, Plata O Plomo, and replaced this with a 2015 recording of Beyoncé calling her the rap queen. I’m sorry Nicki, but not even Bey can save you here. This is not her battle, it’s yours.
We expect that she’s in the studio working on a response as we speak.
Interestingly, the track has more than 1.3 million Soundcloud plays at the time of writing – which is several hundred thousand more than a number of tracks on Plata O Plomo. While Minaj is undoubtedly the more famous rapper, Remy Ma has just reminded us why she is an extremely strong contender for the throne.
Listen below:
https://soundcloud.com/remymamusic/remy-ma-shether
With the bite and grit of a woman scorned, Lady Gaga’s comeback single was released last week to much fanfare – mostly because Kevin Parker and Mark Ronson co-wrote and produced it. Though the song itself has received mixed feedback from critics and fans alike (a lot of people seem to be overlooking the fact that it is Gaga’s song and will be on her upcoming fifth album when they screech “less Gaga! More Kevin!” but I digress), it’s a clever career move for all involved. The Tame Impala mastermind recently told Triple J about his thought process when the offer first came up: “It was amazing, really really good. One of those life/career-defining times. It started out sort of like a career move. Like, ‘I’ll get in on that.’ But it quickly became something so personal and so meaningful for everyone involved. I’m just happy it’s all out in the open now. Now I can not tell secrets anymore.”
https://www.youtube.com/watch?v=oB94lvJbETE
And he isn’t the only one. A pop collaboration of such a magnitude can breathe new life into a career, boost a newer artist into the spotlight, bring two (or more!) distinctive voices together, help one make the transition from boy/girl band into solo super stardom. Or, it can fail miserably and fizzle out. Here, we take a look ten other life/career defining (for better or for worse) pop collaborations of recent memory – from Gaga to Gwen, there have been a few.
Bang Bang – Jessie J, Ariana Grande & Nicki Minaj
https://www.youtube.com/watch?v=0HDdjwpPM3Y
A Lady Marmalade for the 2010s, Bang Bang had it all. The seasoned, jazzy vocals of Jessie J’s are bolstered by those of the current princess of pop, Ariana Grande. However perhaps the most important element of all, and something that could be considered a genre all it’s own, the track features what is known as Nicki’s Verse. Once again, Minaj steals the show, to the tune of a wildly energetic rhythm and immediately infectious earworm riff.
Lady Marmalade – Lil’ Kim, Christina Aguilera, Mya & Pink
https://www.youtube.com/watch?v=puKhmJEIw3I
You can’t mention Bang Bang without Lady Marmalade, the last great multi-female pop-rap collab. Originally released in 1974, it was always intended to be performed by a vocal ensemble. However, upon featuring on the Moulin Rouge soundtrack, it this version will forever endure as The One when it comes to pop collabs. Having sat at no. 1 for five weeks after its release, you would have thought it was written with no one other than Christina Aguilera, Mýa, Pink and Lil’ Kim in mind.
The Boy is Mine – Brandy & Monica
https://www.youtube.com/watch?v=Va1Y6uAgNJY
So iconic was this Brandy and Monica collaboration that it’s recently been given the sample treatment along with Destiny’s Child. Nothing beats the original though: two fierce as fuck women in what at first seems to be a girl-hating anthem but turns out to be an exposé of a good for nothing, two timing cheater. Honestly, with the way their voices work together on The Boy Is Mine, it’s a wonder Monica and Brandy didn’t release an entire album together, Then again, too much of a good thing may have meant have taken away some of the shine.
Telephone – Lady Gaga & Beyoncé
https://www.youtube.com/watch?v=EVBsypHzF3U
Kevin Parker isn’t the only major artist who saw an opportunity in collaborating with Lady Gaga. This 2010 hookup resulted in one of the biggest, most important pop collaborations of both artist’s careers. Originally written by Gaga for one Britney Spears, the song was released as part of Gaga’s Grammy nominated album The Fame Monster the year before Bey dropped 4. It pushed Beyoncé into a new light, everything from her double time verse to the masterpiece of a music video were highly calculated moves that helped her build upon the Sasha Fierce attitude while bringing together two pop powerhouses who might have otherwise seemed to be on opposing sides of the genre.
My Boo – Usher & Alicia Keys
https://www.youtube.com/watch?v=fPgf2meEX1w
Originally left off the final track listing to the record, My Boo was leaked online along with three other previously unreleased tracks from Usher’s 2004 the album before being added to the expanded version of Confessions. Having previously collaborated with Alicia Keys on If I Ain’t Got You, producer Jermaine Dupri wanted to tap further into the musical relationship between two of the biggest names in r&b and pop at the time and to say it worked out well would be an understatement. It went on to be the fourth single from the album and was the highest debut of them all, coming in at number twenty nine upon its release.
Where Are Ü Now – Justin Bieber, Shrillex & Diplo
https://www.youtube.com/watch?v=nntGTK2Fhb0
Justin Bieber, Pop’s comeback kid of 2015 knows a thing or two about collaborations. He’s worked with Queen Nicki and his 2015 album featured Big Sean, Halsey and Travi$ Scott to name but a few. Commercially however, one of the biggest standout pop collabs of the past year came from his partnering with Shrillex and Diplo for the second single from the duo’s debut album. The song blew up airwaves (including a brief moment where Justin Bieber was actually aired on triple J) before it went on to be included on Bieber’s Purpose. Officially marking his return, Where Are U Now almost singlehandedly reintroduced the world to the slick, new, adult Biebs that went on to cultivate an entire new generation of fans.
California Gurls – Katy Perry & Snoop Dogg
https://www.youtube.com/watch?v=F57P9C4SAW4
Snoop has had his fair share of collabs – we could have made a list with his alone. However, of recent memory, his appearing on Katy Perry‘s California Gurls sticks out as one of the most wtf collaborations conjured up by executives somewhere no doubt. Still, something about it worked because it earned Perry her second US no. 1 hit and Snoop his third as it went on to reach the top spot in ten other countries and received a Grammy nod.
Suit & Tie – Justin Timberlake & Jay Z
https://www.youtube.com/watch?v=IsUsVbTj2AY
Marking the end of his musical hiatus, Suit & Tie was the first single off Justin Timberlake’s 20/20 Experience – a critically acclaimed commercial juggernaut of an album that sparked a near two-year tour. The Jay Z-featuring Suit & Tie surpassed Timberlake’s own record for the most sales in its first week, with the slightly out of time beat and hazed-out drawl of a song sticking around as the hit of what seemed to be the entire year.
Dilemma – Nelly & Kelly
https://www.youtube.com/watch?v=8WYHDfJDPDc
Off Nelly’s album 2001 Nellyville and the lead single from Kelly Rowland’s debut solo album, Simply Deep, released later the same year, this track won the duo a Grammy award. While Rowland’s career hasn’t reached the heights of her fellow child of destiny, Beyoncé, this was the track that showed her to be much more than essentially a featured backup singer for Bey’s. While Beyoncé has her plethora of collaborations and Michelle sings the Lord’s praise in her new career as a gospel singer, neither can stake claim on Dilemma, practically the most enduring collaboration track of the early 2000s with a (now meme-worthy) video to go along with it. I.C.O.N.I.C.
Let Me Blow Ya Mind/and Rich Girl – Gwen Stefani & Eve
https://www.youtube.com/watch?v=Wt88GMJmVk0
During her early-mid-2000s peak, Eve was nothing short of a collab-extraordinaire. But if there was one partnership that proved to be a cut above the rest, it was when she hopped on a track with No Doubt’s Gwen Stefani. Off Eve’s sophomore album, Let Me Blow Ya Mind gave us the first insight into what was truly a match made in pop heaven (or maybe it was hell, because that video was badass AF for the time, even if you did wonder what happened to Gwen’s car once Dre broke the duo out of jail). They followed it up three years later on Stefani’s debut solo album, the Dr Dre produced track Rich Girl. While it was fun and easy enough to go along with, the song (a last minute addition to Stefani’s Love. Angel. Music. Baby) didn’t come anywhere near reaching the bar set with let Me Blow Ya mind.
Image: Consequence of Sound
Hip-hop is very much dependent on the ‘guest verse’ and the success of a hip-hop song will often hinge on whether it has that little ‘feat.’ tacked on at the end. In most other genres the lyrics are sung, and this naturally involves a range of notes and tones. Rapping, at its most basic level, involves listening to someone talk over a backing track. It can be extremely dull to listen to the same voice drone over an instrumental for 80 minutes. Enter the ‘guest’ rapper. A slight change in tone, pace or intonation can be all that is needed to breathe new life into a track.
Hip-hop, however, is also naturally about competition. The danger in depending on a support act is that the support act might upstage the main event. In an industry built on braggadocio and rivalry, there might be nothing more embarrassing than being bested on your own turf. Killed on your own track. Or as Nas famously put it, “murdered on your own shit.” We take a look back at hip-hop’s best scene-stealing cameos.
Track: Scenario Remix, 1992
Host: A Tribe Called Quest
Guest: Busta Rhymes
Charge: Manslaughter
Priors: Ghostface Killah on Iron Maiden
https://www.youtube.com/watch?v=Q6TLWqn82J4
A Tribe Called Quest were the masters of the “hippity-hop” / Rappers Delight style of old-school early 90’s rap. Simple, bouncy rhymes that flowed naturally and landed right on beat. Dinco D’s verse is emblematic of early 90s hip-hop, almost whimsical with a child-like quality “true blue! Scooby Doo, whoopee doo!” Enter the Leaders of the New School and Busta Rhymes. Because of Busta’s representation of the “new school” the Scenario Remix feels like the passing of the torch. And whilst Busta Rhyme’s verse is hardly revolutionary, (and still contained some of the rhythmic hallmarks of the era) it paved the way for a more frenetic, relentless rapping style that would come to dominate the late 00s.
It’s almost as if the Tribe caught a glimpse of their own death. Busta Rhymes is formally announced by Q-Tip and then given a small bridge to start warming up. He is handpicked for the last verse, the perfect opportunity to provide the finishing blow. “Watch as I combine all the juice from the mind” Busta starts. This is the perfect explanation for the complex neurochemistry that is about to begin. Busta delivers a barbarian flow, wild and booming, as we’re introduced to his trademarks roads. He crams syllables into beats “vo-cab-u-lary’s necessary / when digging in-to my library.”
Busta’s verse is so iconic that it is one of the most sampled all of time. Afrika Bambaata used the line “heel up, wheel up, bring it back come rewind” in Zulu War Chant. Nicki Minaj transformed Busta’s most famous guttural bark “rawr rawr like a dungeon dragon” into an entire song. And who could forget the truly bizarre rework of Busta’s “chickity-choco the chocolate chicken” into the Barenaked Ladies’ “chickity China the Chinese chicken” in 1998 one-hit wonder One Week. Busta Rhymes is a manic assassin, spraying rounds and making messy casualties of legends Phife Dawg and Q-Tip. As the closing act for hip-hop’s greatest posse cut, Busta K.O’s it and alludes to the future of a more sophisticated art form.
Track: Renegade, 2000
Host: Jay-Z
Guest: Eminem
Charge: Murder
Priors: 50 Cent on Patiently Waiting
https://www.youtube.com/watch?v=VIaBx_2AzTk
In response to Jay-Z’s The Takeover Nas produced a diss track so hot that its burn was supernatural, Ether. In a track that implies Jay-Z was molested as a child, one line hit even harder: “Eminem murdered you on your own shit.” Thus Nas gave birth to the expression we now use when a guest verse is hotter than that of the original artist.
Nas was of course speaking of Renegade, the ill-fitting addition to Jay-Z’s The Blueprint. Renegade feels out of place because it was originally intended as collaboration between Eminem and Royce Da 5”9. Written in 2001, Renegade came at the beginning of Eminem’s burgeoning interest in music production. The haunting beat is pure Slim and maybe it’s the reason the Detroit prodigy was able to dethrone the God MC. Home-court advantage.
Renegade is a classic exercise in trading bars. Both rappers get two verses each and go line-for-line in the chorus. This kind of equality makes it very easy to compare the performance of the two rappers. Hova’s verses are representative of everything about The Blueprint, crisp and clean. Jay-Z respects the beat, landing perfectly with the iconic “motherfuckers / say that I’m foolish / I only talk about jewels do you / fools listen to music / or do you just skim through it?” Jay-Z peddles the narrative of his entire career; financial difficulties, a fatherless childhood, and being forced to sell drugs to survive – a winning formula. The only problem is that Eminem’s “Evil” is just so much more interesting than Jay-Z’s “Bad.” Both rappers are given the opportunity to sing the song’s chorus, it’s just that when Eminem screams “Renegade!” he really means it.
Eminem’s use of assonance is incredible – “who’s the king of these rude, ludicrous, lucrative lyrics?” Also, Em’s verse is almost unmatched for its crescendo-like quality, the subject matter and the quality of the rhymes getting more and more intense as he reaches this climax “go to war with the Mormons, take a bath with the Catholics in holy water, no wonder they tried to hold me under longer.” But did Eminem really murder Jay? Hov seems to think so, conceding defeat on A Star Is Born; “his flow on Renegade, fucking awesome, applaud him.”
This jousting was historically important. In 2000 the undisputed king of hip-hop was Jay-Z. Eminem was at most a shocking court jester. There was little doubt that his success would be a passing novelty. Five albums later and the world is still split on who is the GOAT, Eminem or Jay.
Track: Run This Town, 2009
Host: Jay-Z
Guest: Kanye West
Charge: Manslaughter
Priors: Drake on Pop Style
On Run This Town Kanye West gives us a glimpse of a magic trick he would perform again on Watch the Throne – sawing Jay-Z in half without ever lifting a finger. On Watch the Throne Kanye’s “less” beats Jay Z’s “more” time and time again. Kanye’s rhyme patterns are often simplistic. He falls into the habit of rhyming non-rhyming words. “Coke on her black skin made it striped like a zebra / I call that jungle fever.” But Kanye’s rhymes are moreish. They’re memorable. It’s his emphasis and Frank Sinatra-like enunciation. It’s his wit and effortlessness. It makes every line a punch line. The great mystery of this trick is that you know Jay-Z is the better rapper, but he’s not the rapper you want to hear more of.
Released in 2009 as a single off Jay-Z’s The Blueprint III, Ye’s verse comes at an established point in his career, but before My Beautiful Dark Twisted Fantasy took him to “genius” level. Kanye’s verse is important because it’s the first real time he challenges his mentor. What we get is Kanye butchering his Big Brother on his own song with a breezy flow chocked full of witty one-liners. “I can spend my whole life goodwill hunting / only good gonna come is it’s good when I’m cumming” Ye’s verse is jam-packed with quotables – “we give a damn about the drama that your dude bring / I’m just trying to change the colour on your mood ring.”
In 2016, Kanye is still assassinating rappers without breaking a sweat. He absolutely phones in his verse on Schoolboy Q’s THat Part. The last 20 seconds of his verse is something like a ”freestyle” where he resorts to making sound effects and then laughing hysterically. But it’s listenable. Kanye’s verse on Pop Style is the benchmark for simple, witty rhymes that everyone can sing along to at pre-drinks – “they like Pablo, “why are all the windows tinted on your Tahoe?”
Something of a gracious loser, Jay-Z again conceded defeat. Well sort of. In an interview Jigga was asked whether Kanye had killed him on his own track, he said: “as long as I’ve been in the game, that’s gong to happen, once or twice or even three times.
Track: Skew It On The Bar-B, 1998
Host: Outkast
Guest: Raekwon
Charge: Manslaughter
Priors: Mobb Deep on Nighttime Vultures
https://www.youtube.com/watch?v=2XU2o8p-Ixo
By 1998 Outkast had already shattered perceptions of the South as a hip-hop backwater. Nonetheless, the hip-hop intelligentsia had still decreed East-Coast boom bap as the benchmark of the genre. On their magnum opus Aquemini, Outkast invited Raekwon The Chef to join them on Skew It On The Bar-B, with the hopes of murdering the east-coast great on home turf.
Raekwon, used to the simple boom bap drums of the East Coast, might have been expected to struggle with Outkast’s melody and distinct Southern flavour. The Chef rises to the challenge. He embraces the style of the track, yet still delivers his trademark “ghetto Mafioso” flow.
It’s no easy feat to best a rapper regularly placed in the top five of all time list, but Raekwon manages to slay Andre the Giant on his own song. Andre 3000 comes with one of the most memorable opening verses of all time, “the common denominator, the n**ga numerator / never know the hater, n**gas cater to your ego.” Outkast love showing off their supersonic rhyming speeds and this track is no exception. The assonance in Andre’s verse is delectable.
The typically lethargic Rakewon is energised by the bouncy Organized Noize track. Matching the speed of Outkast without compromising his own style. Raekwon’s ability to adapt shows the versatility of his flow. But his choice of subject matter is safe territory, preferring the thematics of drug dealing and skirmishes with police than the extra-terrestrial nonsense of the Atlanta natives. Raekwon takes it to one of the greatest rappers all time, seamlessly rhyming off the same word for twelve whole bars, “hydro slide raw like fuck Ronaldo, fly ride though, shit lookin wild dope.” Raekwon milks this “o” sound, repeating it a full 25 times. Outkast hoped for an ambush but instead got killed in their own home.
Track: Diamonds from Sierra Leone Remix, 2005
Host: Kanye West
Guest: Jay Z
Charge: Murder in the First Degree
Priors: Pusha T on Drug Dealers Anonymous
https://www.youtube.com/watch?v=92FCRmggNqQ
Given that Kanye and Jay’s relationship was far from perfect in the early stages of Kanye’s career, the track does contain a sense of the Def Jam President putting the young upstart in his place. From the beginning, Jay-Z seems dismissive of his protégé, ‘leave this to the professionals’ he implies; “yup, I got it from here, Ye damn.”
On the Diamonds from Sierra Leone Remix Yeezy does a decent job of tackling dense issues on an already superb track. Kanye explores the conflict diamond trade with some serviceable rhymes, but Jay-Z’s verse is truly memorable. If nothing else, it gave us the homophone that is the ultimate slogan for Jay-Z’s entire career: “I’m not a businessman, I’m a business, man!” With a basketball team, a clothing line, his own brand of cognac and an entire identity built around entrepreneurship, the catechism perfectly captures the phenomenon that is ‘Jay-Z.’
The master of multiple meanings, Jay-Z’s verse contains one of the densest quadruple entendres with “the pressure’s on, but guess who ain’t gonna crack?” In a time before Rap Genius, unpacking this line would have required reference to Jay Z’s autobiography and lyric bible, Decoded The line simultaneously refers to four things: the pressure of keeping Roc-A-Fella afloat after a falling out with co-founders Dame Dash and Kareem “Biggs” Burke, the high pressure conditions in the Earth’s mantle necessary for the creation of diamonds, the natural pressures that come with selling crack cocaine. In the following line Jay-Z says “haha, pardon me, I had to laugh at that.”: His own wit has caused him to ‘crack up’ laughing.
Early in his career, Kanye showed a degree of humility that would not be seen again after 2009. Big Brother deals with how Kanye’s admiration for Jay-Z inspired him to work harder. Despite his best efforts, he concedes that on “that Diamonds Remix, I swore I’d spazz / then my big brother came through and kicked my ass.”
Track: International Player’s Anthem, 2007
Host: UGK
Guest: Andre 3000
Charge: Murder in the First Degree
Priors: Jay-Z on 30 Somethin’
https://www.youtube.com/watch?v=awMIbA34MT8
UGK’s International Player’s Anthem and its classic video clip centres around the wedding of Andre 3000 and the admonitions of his friends, who warn him against abandoning the single life. Andre might provide the guest verse, but it is Andre’s wedding, Andre’s story, and Andre’s verse that you remember from this anthem.
Forever a master of “Storytellin’” this verse is exceptional for its vivid narrative, covering everything from communicating to ex-lovers to fidelity and revenge. It’s a rare hip-hop ode to monogamy, Andre acknowledging that a married life means foregoing the sea of women that surround him. Andre adopts a spoken word style suited to the confessional rap. Andre uses that classic Outkast technique of splitting up words so the rhyme arrives on beat, “reconsider, read some liter-rature on the subject” and “fuck it / you know we got your back like chiroprac-tic.” This verse also contains a killer double entendre “I’m so like a pimp / I’m glad it’s night.” Both a reference to the peak business hours for pimping and the soul of Gladys Knight And The Pips
This verse in 2007 almost kicked off the trend of Andre 3000 channelling his numerous talents into measly guest verses. Whilst we have to be thankful for Andre’s killer verses on Lloyd’s Dedication to my Ex, Beyoncé’s Party, and Frank Ocean’s Pink Matter, these verses may have slaked Andre’s urge to rap, and it might be the reason we haven’t had a solo album from him since The Love Below.
The curious thing about International Player’s Anthem is that Andre really provides more of an ‘intro’ or ‘opening monologue’ than a ‘verse.’ The bass drops when Pimp C takes the mic, and the song is completely transformed into a crunk banger. Pimp C and Bun B ride the fast pace of the new song, and provide its ‘anthem’ element. Even when ‘warming up’ Andre 3000 is spitting fire.
Track: Shadowboxin, 1995
Host: GZA
Guest: Method Man
Charge: Murder in the First Degree
Priors: LL Cool J on 4, 3, 2, 1
https://www.youtube.com/watch?v=v7kAk5dTsj0
Liquid Swords by the Wu-Tang Clan’s GZA is still considered to be one of hip-hop’s finest displays of lyricism. An old-school disciple of quality rhymes, the GZA was the architect responsible for putting together some of the finest rhymes ever pressed on wax. Getting Method Man to jump on Shadowboxin’ was a calculated decision, Meth complementing the feel of the track perfectly. Method Man and GZA box, but it is the former who comes out on top, besting the Genius at the top of his game.
In retrospect, the verse is trademark Method Man. Meth’s flow has a Dr. Seuss-like quality to it, shifting between nonsense words and pop-culture references (“ticallion stallion, chinky-eye and snot-nosed”). The comparisons between Busta Rhymes are fair, not only for the guttural noises (“everything huh in any shape form or fashion / now everybody talking bout they blasting hmmmm) but for the sheer range of his subject matter and vocabulary (“slip the cardiac arrest me, exorcist Hip Hop possess me.”)
The hip-hop world knew right away that Method Man had brought his A-game, earning the prestigious “Hip Hop Quotable of the Month” for his verse in the December 1995 issue of The Source.
It might not be correct to classify this as a ‘guest verse’ since Method Man anchors the entire track, with his talents being put front and centre in contributing both the first and last verses. Legend has it that the middle verse from GZA was an afterthought; a fun opportunity to jump onto an already hot track. Again, the GZA knew he had been bested, conceding in an interview that it “always seemed more like Meth’s track” with his verse as “filler.” But it’s unfair to dismiss the GZA’s verse as mere “filler,” dropping an unreal line with “my sword still remain imperial / before I blast the mic, RZA scratch off the serial.”
Track: Beautiful Bliss, 2009
Host: Wale
Guest: J. Cole
Charge: Pre-meditated Murder
Priors: Jay-Z on A Star Is Born
https://www.youtube.com/watch?v=lirCKMj-cis
What makes this murder so particularly twisted and cruel is the sense of betrayal, of thwarted dreams and a stolen birthright that came with it. In 2009 Wale signed with Interscope and was being touted as the next big thing. His debut album Attention Deficit sold poorly, despite favourable reviews from critics. This album was supposed to be the real debut of Wale, but what we got instead was the debut of J. Cole.
Wale invited up and coming rapper J. Cole to put down a guest verse on the otherwise forgettable Beautiful Bliss. Like Renegade, the name of the song has become synonymous with guest-on-host murder.
Legend has it that J. Cole was extremely conscious of the attention surrounding this mainstream feature and made a concerted effort to spazz. As a result, Cole’s verse is filled with vivid imagery, catchy punchlines and raw energy. On Beautiful Bliss J. Cole shows his hunger. “Ain’t nothing given, dog, it’s earned / if you just living, dog, you learn / I let you n*ggas see the light / I’m like the prison yard, I yearn.” J. Cole’s final exclamation “I’m from the Ville boy!” shows his intensity.
The cruelty of this murder is that Wale probably thought he was doing J. Cole a favour. Putting a young rapper on an album guaranteed to blow. What Wale could not have foreseen was that J. Cole would spit flames and then go on to forge a far more successful career in the exact same lane. Wale accidentally gave life to a terrifying rival in the alternative hip-hop scene. While Wale never lived up to his potential, his protégé showed early signs of becoming one of the greats.
Track: Monster, 2010
Host: Kanye West
Guest: Nicki Minaj
Charge: Triple Homicide
Priors: Big Sean on Dance (A$$)
https://www.youtube.com/watch?v=jGyIXJ4KG8U
File this under triple homicide. On Monster the “bride of Chucky” easily disposes of Kanye West, Jay-Z and (to a much lesser extent) Rick Ross. It’s more than the best verse on the track. Or even the best verse on the album. It simply must be considered one of the greatest verses of all time.
Nicki Minaj’s verse on Monster is even more shocking because it is effectively her debut. It’s true that Minaj had already had a strong summer on urban radio with her first single Your Love and an equally blistering verse on Trey Songz’ Bottoms Up. But it was Monster that brought Nicki to mainstream audiences and provided the perfect launching platform for her debut album Pink Friday, released just one-month later. Nicki says it best herself: “50K for a verse, no album out.” Believe the hype, this is an artist to invest in. Less than six years later and she has become a hip-hop institution and the frontrunner for the greatest female MC of all time.
Minaj’s energy and vibrancy make it abundantly clear that she will carry the torch for the next generation. She utterly shames the G.O.A.T. contender, the not-so-Young Hov. Her distinctive tones are a breath of fresh air on the very album that revitalized the whole genre. On an album as bright as MBDTF, Minaj manages to eclipse not just some of the best rappers on earth, but the best artists. Although it is one of the great humblebrags, Kanye West has it right when he describes it as “the best verse on the best hip-hop album of all time.”
Minaj does imagery like few others. The first few lines of her verse paint one of the most vivid in hip-hop (“I’m in that Tonka colour of Willy Wonka”). She takes aim at male-dominated industry (“you can be the King but Watch the Queen conquer”). She pays homage to her Trinidadian roots (“Tony Mattheron, dutty wine it, wylin”), boasting one of the many accents and voices at her disposal. A voice Minaj uses like an instrument, constantly altering between sickly sweet chirping, low growls and piercing screams, all in the one breath.
It is a credit to the quality of this verse that, despite its sheer complexity, everyone knows the words. It’s the kind of verse that you make the effort to learn. This is exactly what hip-hop is about. This is what you live for.
Track: Control, 2013
Host: Big Sean
Guest: Kendrick Lamar
Charge: Mass Murder
Priors: Pusha T on Nosetalgia
https://www.youtube.com/watch?v=W7zdMeZPkpY
No surprises here. This is an example of premeditated murder. An act of hip-hop terrorism, Kendrick Lamar’s verse was a calculated move to incite fear amongst the rap community.
Big Sean and Jay Electronica provide serviceable verses, but none can compare to K.Dot’s conscious intent to “blow up the internet.” Kendrick’s worldwide chest-thumping transformed a B-side reject from Big Sean’s sophomore album into a social media shitstorm. Lamar’s Twitter account saw a 510% increase in followers in the week following the track’s release and he gained 88,000 new fans on Facebook. Even the lesser artists that Kendrick shouted out received a boost in profile, with Mac Miller gaining 87,000 new followers. The official story is that it could not be included because the “sample didn’t’ clear.” Or maybe Big Sean didn’t want to give any more oxygen to Kendrick Lamar on his own album.
Hip-hop is inherently about bragging, but Kendrick’s boasts on Control border on sacrilegious. He places himself right at the beginning of a ‘barber shop’ lists of the G.O.A.T that includes Jay-Z, Nas, Eminem and Andre 3000. He claims to descend directly from 2pac, and most shockingly calls himself “the King of New York.” It’s testament to Kendrick’s skills that some of these claims don’t even seem that outlandish.
He adopts an unusually gruff voice that’s suited to the seriousness of the subject matter. “This is hip-hop and n**gas should know what time it is” he says, offering a warning and wake-up call to his competition. Kendrick’s verse is blistering and relentless. While the earlier bars contain some of the most quotable lines of all time, the final moments show off his skills as a lyricist, with vivid images and complex internal rhymes.
Nowadays, even the least subtle diss tracks have the good sense not to specifically mention the rapper’s name. On Control Kendrick methodically moves through the list of top rappers, articulating their stage names with his gravelly voice. “Big Sean, Jay Electron,’ Tyler, Mac Miller / I got love for you all but I’m tryna murder you n**gas.” You know that Kendrick wanted to see his name on lists like this when he specifically used the exact language Nas used to describe Eminem’s verse on Renegade.
Kendrick’s Control verse served to revitalise the competitive spirit of the genre. It called forth a wave of response tracks and incited more debate and discussion than any hip-hop track since.
Image: Discogs
Nicki Minaj closed the annual Times 100 Gala with a performance which she said was dedicated to politicians Donald Trump and Joe Biden.
The track Anaconda was introduced where Minaj addressed the crowd, among which included those like Aziz Ansari, FKA Twigs, and Melissa McCarthy.
“I’m very political, and I would like to dedicate a song, just in the spirit of unity, to Joe Biden and Donald Trump,” she said.
She then began the first verse by calling out Trump’s name, before adding Biden’s during the second.
“Do you think they like that song? Who do you think likes the biggest butts, Donald Trump or Joe Biden?” she said at the end of the performance.
Unfortunately, Donald Trump himself wasn’t on hand to witness the song as he left after just the first performance of the night. However, that didn’t stop him being centre of attention as he got referenced in numerous speeches throughout. The best quote going to author John Green who said, “ Can I just take a pill and wake up in mid-November, and just hope the president isn’t that guy?!”
Minaj closed the show at the Lincoln Center ballroom with a five song set which also saw her performing hits The Crying Game, Feeling Myself and Truffle Butter. While she also took time to mention her respect for all of the “independent women” who were in attendance at the gala.
The event was being held to celebrate Time Magazine’s annual issue where they name 100 of the world’s most influential people. Nicki Minaj was one of the artists honoured in the issue along with Kendrick Lamar, Adele, and Ariana Grande. Each recipient was written about in an essay with Lil Wayne writing about Minaj.
“She’s reached far beyond everything I would have imagined. Man, she’s so influential and doing all the right things. She’s an icon, a boss and a role model to all these young girls out here on how to do it the right way.”
Watch the footage from the one minute mark where Minaj dedicates her performance to Trump and Biden:
https://www.youtube.com/watch?v=NEXABO_fiwY
Image: Daily Mail
If you need any more proof that there really are great role models within the music industry, this is it.
Time’s list of the Top 100 Most Influential People for this year has been released with plenty of artists joining the ranks.
Among them were Kendrick Lamar, Adele, Nicki Minaj, Ariana Grande and Hamilton composer Lin-Manuel Miranda. Each person had a mini-essay written about them by another important person in society, honouring them with some words about their personal impact and their overall influence.
Below are extracts from a few examples.
Activist Alicia Garza spoke about Lamar in ways that speak on behalf of many of us:
“The first time I heard To Pimp a Butterfly was on a crowded plane heading to Jackson, Miss. With headphones on, there I was, bobbing my head and having audible conversations with myself because that album made me feel—moved and troubled, challenged, uplifted, angry, skeptical and raw. Far from creating “conscious rap,” Kendrick Lamar has evolved a new genre of movement music that asserts no answers but raises hard questions and brings us together to take them on.”
Lil Wayne wrote these words of admiration for Minaj:
“She’s reached far beyond everything I would have imagined. Man, she’s so influential and doing all the right things. She’s an icon, a boss and a role model to all these young girls out here on how to do it the right way. Her work ethic speaks volumes and has yielded these results. The scary thing is she’s still going. Ha!”
While actress Jennifer Lawrence poured her heart out for Adele:
“Growing up. Changing in some ways and being stuck forever in others. Being so young with the most successful career in the world. She says, “I wish I could live a little more, look up to the sky, not just the floor.” The way she is able to capture herself, and then in turn us, has turned her into a star that’s not a star we look at, but a giant star with its own gravity that we are drawn to. All of this about her lyrics, and I haven’t even gotten started on the voice—how could I? It’s once-in-a-lifetime. All this about her voice and I won’t have time to talk about her intelligence. Her 500-year-old wisdom. Her patience and kindness all wrapped up in the tough skin of a damn gangster.”
See the full list of the Most Influential People on Time’s website.
https://www.youtube.com/watch?v=hRK7PVJFbS8
Image: Danielle Hansen
Millionaire mayor Salim Mehajer caused a stir this week as he apparently paid $50,000 for rapper Tyga to come and perform at his wife’s 30th birthday party in Auburn, western Sydney.
The scene was set with the rapper turning up in a rented Rolls Royce and a security team by his side as he entered into the Auburn council deputy mayor’s mansion. The bizarre appearance, complete with pictures and videos of the two together, got us thinking about some of the other times people have chucked obscene amounts of money at rappers to come and perform at their private parties.
Kanye West and Jay-Z
Perhaps the greatest show of wealth ever, when it comes to private parties, was when heavyweight rappers Kanye West and Jay Z were paid US$3m each to perform at an Arab billionaire’s daughter’s party. The sweet 16 party saw the two rappers flown out just before Christmas five years ago to perform some exclusive sets. The rappers apparently did a number of shows for the packed party and even threw in some rare content to keep the crowds happy. What the girl, who is a member of the wealthy family that rules the United Arab Emirates, was given for her 21st Birthday party is anyone’s guess.
Drake
Just last month, Drake appeared at the famous Rainbow Room in New York. Only he wasn’t performing in front of an adoring crowd of fans: instead, he was there for an intimate Bat Mitzvah performance. The Canadian rapper ripped through a number of his hits including Hotline Bling at the restaurant, which had been privately booked for Gigi Ashkenazy. Drake’s going rate for private shows is around a staggering $500,000 but you can be sure that Gigi’s father, a commercial real estate developer worth $7 billion, was good for it. It’s not the first time the rapper has been spotted at a Bat Mitzvah, by the way: he was also on hand in 2011 at the Four Seasons to undercut Kanye West.
https://www.youtube.com/watch?v=6pdGuPRRajk
Pitbull
US rapper Pitbull earned over $1 million when he appeared at a 15-year old girl’s private party in Texas recently. The singer, who was the headline act after Nick Jonas also stopped by, raked in the obscene amount for an hour long set. The birthday girl, Maya Henry, was clearly thrilled at his appearance as she posted numerous pictures of the two of them on her social media accounts. While her family also stated that she wore two $20,000 dresses during the special night for reasons that haven’t really been explained.
https://www.youtube.com/watch?v=X-7F8CO-hfs
Snoop Dogg
Everybody’s favourite stoner rapper, Snoop Dogg also cashed in on a lucrative gig when he appeared at a Bat Mitzvah. It’s actually just better leaving what happened at said event down to the man himself though. “I performed at a bat mitzvah. And I’m telling you, man, these little motherfuckers, they were singing my shit, they was cussin’, they were singing the dirty version. I’m talking about 12 and 13-year old little white kids singing this real gangsta shit. Man, I was shocked. para kazanma siteleri. I just gave them the mic and let them motherfuckers go.”
50 Cent
The year was 2005 and 50 Cent was in his heyday and absolutely rolling in it. He had a mega-hit on his hands in In Da Club and he was just about to make some more serious money thanks to his investments in vitamin water. But that wasn’t enough, as he also netted himself a cool half a million when he performed a five song set at Elizabeth Brooks’ party. The highlight of the night? 50 actually changing the lyrics of his hit to, “Go shorty, it’s your bat mitzvah, we gonna party like it’s your bat mitzvah.”
https://www.youtube.com/watch?v=5qm8PH4xAss
Nicki Minaj
It doesn’t all go quite so smoothly when it comes to making lucrative appearances at private events. Rapper Nicki Minaj found this out the hard way when she was sued by a Las Vegas club for not fulfilling her contract. Chateau, a nightclub in Vegas, alleges she only performed for 34 minutes of what was supposed to be a full hour, and to make matters worse, she arrived late to the show and cost the club excessive revenue for VIP tables that it was counting on her providing. The club filed a lawsuit and claimed it wanted its cool quarter of a million back off the Pink Friday hit maker.
T.I
What do you do when you are about to be sentenced for illegal gun possession? Well, if you are rapper and actor T.I. you drop by the Townsend Hotel for an Adam Katzman party. The Atlanta native performed a 45 minute set, which was apparently raved over in the local high school newspaper. He then promptly left the party to go to jail for a year. What a guy.
https://www.youtube.com/watch?v=NPTL_plHSGQ
Notable mention: Lil Jon who stills somehow gets paid handsomely for shouting “shots” over and over again on stage in Las Vegas.
Image: Vlad TV
By now, chances are you’re one of the 24 million people who have viewed Adele‘s Carpool Karaoke, a new episode of the celebrity segment on The Late Late Show With James Corden, which has previously featured Justin Bieber, Stevie Wonder and more. Not only did the segment prove that Adele is one of the funniest, most down-to-earth superstars around, but it sure as hell shows that she can spit a bar or two.
Among singing her own songs and a brilliant rendition of the Spice Girls’ Wannabe, the Hello singer rapped Nicki Minaj‘s insane verse on Kanye West‘s 2010 track Monster, from one of, if not his best album to date, My Beautiful Dark Twisted Fantasy.
The video has proved so influential that the original track, which also featured Rick Ross, Bon Iver and Jay-Z, has actually shot back up into the iTunes hip-hop top ten, five years after it first came out.
Nicki Minaj herself responded to the rendition:
https://twitter.com/NICKIMINAJ/status/687524031046750208
While the song is climbing the hip-hop charts, it has not yet reached the main chart’s top 100. The top spot is currently owned by Bieber’s Love Yourself, while, awesomely, more than twenty tracks on the top 100 are by the late great Starman, David Bowie.
It’s amazing to consider how influential one fifteen-minute video segment can be on audiences and charts!
https://www.youtube.com/watch?v=Ona42jz8w0k
Prepare yourselves Nicki Minaj fans, you are in for some positive and negative news about the outspoken rapper.
She has disappointed Human Rights Activists by going ahead with a controversial gig in Angola. It is reported that she received $2 million from the gig, which was attended by thousands of fans. One of those was President Jose Eduardo dos Stantos‘s daughter Isabel. Minaj posed for a photo with her before the show and posted it on her Instagram, where her trip to Angola was being documented.
Though many tried to convince Minaj to cancel her show, she responded with “Every tongue that rises up against me in judgment shall be condemned.”
According to the National Post, the country’s leader “has been accused of overseeing corruption and human rights abuses”. Amnesty International campaigns for fifteen Angolan activists who were arrested in June during a hunger strike. New York Post reveals that 70 per cent of Angolans are forced survive on less than $2 a day, many of whom live in poverty.
President of the Human Rights Foundation, Thor Halvorssen, says, while calling Minaj ignorant: “Minaj’s payday is all the more jarring given that she joined the chorus of the Black Lives Matter movement. It appears that when those black lives happen to be in Angola they matter less than a pay cheque from a dictator.”
In other news, she has also revealed the stars and title of her upcoming autobiographical comedy series. Entitled Nicki, the series will be about her life growing up in Queens and will star Ariana Neal as a young Minaj and Whoopi Goldberg as a neighbour of the family. Also starring as members of the Minaj family are Selita Ebanks, Wesley Jonathan and McCarrie McCausland. Minaj will be an executive producer.
The Human Rights Foundation has asked Nicki Minaj to cancel her scheduled performance in Angola, amidst controversy surrounding a list of abuses committed by the President of the nation.
Minaj confirmed via Facebook that she has been booked to play at a Christmas festival in the Angolan capital Luanda. The country has been accused countless times of violating the rights of journalists, activists and almost anyone who speaks out against the government’s oppression.
In a letter mailed to Minaj, Thor Halvorssen, the head of Human Rights foundation, asked the rapper to reconsider her scheduled performance. Halvorssen is well known for criticising celebrities that fraternise with repressive countries. He was introduced to many in Hollywood after using balloons to airlift thousands of copies of James Franco’s The Interview into North Korea, in order to embarrass dictator Kim Jong Un.
In his letter, Halvorssen noted that Angolan hip-hop artist Luaty Beirao was arrested in June after attending a meeting to discuss democracy and non-violence, using this as a key point to validate his argument against Minaj’s performance.
“As a strong-willed independent artist, shouldn’t you be advocating for the release of the imprisoned rapper Luaty Beirao rather than entertaining the dictator and his thieving family?” asks Halvorssen in his letter.
“Ms Minaj, you are well known for being involved with charities such as the Get Schooled Foundation, which helps motivate young people to graduate from high school and succeed in college. If you move forward with this performance for the dictator and his family, you will be in league with the people stealing educational resources and opportunity from young Angolans.”
As of yet, there has been no official response Nicki Minaj, or anyone in her party. Here’s hoping she considers the letter before she chooses to perform.
https://www.youtube.com/watch?v=4JipHEz53sU