Following seven days of intense verbal battles between hip hop artists Nicki Minaj and Megan Thee Stallion, a victor has emerged victorious from the aftermath.
Although Minaj used her large fan following to criticize her previous collaborator for Hot Girl Summer, Megan’s new song, Hiss, reached the top spot on this week’s Billboard Hot 100, marking her first solo No. 1. On the other hand, Minaj’s comeback track Big Foot, which unfortunately relies on racist and sexist themes, entered the chart at No. 23.
It is a rare stumble for Minaj, the self-proclaimed queen of rap, not least because she had to fight many of the same battles as Megan on her way to the top.
Megan Thee Stallion, the artist behind popular songs like Big Ole Freak, WAP, and Savage, confronts rumors about her body and sexual past on her latest release, Hiss. She also addresses the backlash she has faced from both fans and fellow artists after revealing that Tory Lanez was the one who shot her in 2020.
Although Megan’s criticism covers a wide range of topics, Minaj, who is not mentioned by name in the song, took offense to the line: “These hoes don’t be mad at Megan, these hoes mad at Megan’s Law.” The line is widely believed to refer to Minaj’s husband, Kenneth Petty, who is listed on the sex offenders registry after being convicted of attempted rape in 1995. (Megan’s Law is a federal law established in 1996 after the murder of Megan Kanka, which mandates that information about convicted sexual offenders be made available to the public and monitored by law enforcement agencies.)
During a series of days filled with insults, Minaj orchestrated a deliberate effort, supported by her large fanbase known as the Barbz, to embarrass Megan. This ended with the release of “Big Foot.” Apart from the mediocre response in her music, Minaj’s loyal followers used social media to expose and harass influencers and celebrities who showed compassion for Megan. They even revealed the location of her mother’s burial site in Texas.
Regrettably, the origins of this feud existed before Megan’s Hiss was released. Minaj has been making subtle insults towards her past partner since 2021 – such as the obvious double meaning referencing a stallion on Red Ruby da Sleeze: “I no longer associate with horses since Christopher Reeves.”
Reworded: Minaj’s derogatory remarks towards Big Foot mock Megan’s physical appearance, raise doubts about her experience with gun violence, allege that she has ghostwriters, attack her sexual past, and mention the recent passing of Megan’s mother.
It is unfortunate that Minaj, who is very familiar with the challenges faced by female rappers in the music industry, had to respond in such a tragic manner. As a veteran at 41 years old, she has had to address numerous accusations about her character and talent. Along with defending herself against claims of having ghostwriters, Minaj has also publicly addressed rumors of sexual relations with her fellow Young Money artists Lil Wayne and Drake. She has also spoken out about being abused by her ex-boyfriends Safaree and Meek Mill, demanded respect from her male colleagues when facing disses like Remy Ma’s “Shether” that made derogatory comments about her sexual past, and shared her struggles with the pressures of conforming to societal beauty standards through plastic surgery.
Competition and disagreement is not new – at her height, the former queen of rap, Lil’ Kim, frequently threw the gauntlet down against contemporaries such as Foxy Brown and Eve. But replicating the same allegations that frustrated Minaj’s own rise is a reductive tactic, a myopic propagation of regressive attacks that make her look insecure and threatened.
It would be heartbreaking for Minaj’s undoubtedly iconic career to be tarnished by a cruel diss track. Hopefully, with time and wisdom, she can return to the artist that many have grown to admire – the one who boldly proclaimed that she supports any female rapper making a name for themselves, as she understands the challenges they face.
Source: theguardian.com
