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Eminem's 'Kamikaze' Attack On Joe Budden Illustrates Two Paths For Aging Emcees

Two of hip-hop's most talented lyricists are handling aging in rap in two different ways. 

2017 represented a fork in the road for two, aging, capital “L” Lyrical; wordsmiths in an era of hip-hop that was rapidly moving away from that. Toward the end of 2016, Joe Budden released what would be his final album in Rage & The Machine. The collection of technically proficient, moody music was a fitting exit.

Opinionated as ever about the state of hip-hop on his podcast and songs like “Uncle Joe,” the New Jersey rapper pointed out the difference between himself and the current crop of artists. In the months following Rage & The Machine’s release, that difference became more and more evident. He critiqued Drake’s album Views on The Joe Budden Podcast, eventually engaging in a battle with the Toronto superstar in which Budden appeared to be the only active participant. As he continued to watch the gulf widen between himself—a traditional lyricist par excellence—and the artists that were topping the charts, the New Jersey rapper took the bold step of announcing his retirement.

The announcement was definitive and pointed. It was less a concession that his best years as a rapper were behind him, and more of an acknowledgment that his best years as something else were ahead of him. He was not planning to fade quietly into obscurity like his peers before him, and since Budden had proven himself a charismatic content creator long before that was a common phrase, he didn’t have to.

Talk to em. #JoeBuddenPodcast @spotify

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Besides creating content, he also had a knack for being ahead of the curve and forecasting trends. He served as a co-host of Hot 97’s morning show in 2004—foreshadowing his career as a podcaster. The voyeuristically personal Mood Musik mixtape series would inspire fan-turned-nemesis Drake, among many others, to bare their innermost thoughts and demons in their music. Even his Joe Budden TV YouTube channel and his early adoption of Twitter are examples of the many trends Budden set in hip-hop culture while others received the credit and accolades.

Instead of becoming bitter, Joe Budden responded to the changing world around him by parlaying his charisma and insider’s perspective into becoming hip-hop’s most popular talking head on Complex’s Everyday Struggle, while still hosting his increasingly popular, self-titled podcast.

The other aging emcee who had a turning point in 2017 was Eminem. Instead of finding a new way to address the world that was changing around him, he responded by releasing Revival. Em’s late-career singles “Not Afraid,” “Love The Way You Lie,” and “The Monster,” are more Dr. Luke than Dr. Dre, but were also all huge commercial hits. Unfortunately, the Detroit rapper went back to that well one time too many for Revival, surrounding more navel-gazing pop ballads with 101-level political discourse and scatological humor. Revival was a mix of the worst impulses from his worst work.

"Eminem’s response to the criticism of his last album should not have been to lash out at every critic. It should have been to make better music."

It was met with mixed reviews and a relatively lethargic commercial response. Even with features from the likes of Beyonce, Ed Sheeran, and Alicia Keys, Revival disappeared from hip-hop fans’ collective consciousness like an Instagram Story. On its lead single, the Beyonce-featured “Walk On Water,” the Detroit emcee lamented setting the bar so high early in his career, that he was unsure that he could clear it again as a middle-aged veteran. “Into the dark, I plummet/Now the sky's blackening, I know the mark’s high/Butterflies rip apart my stomach/Knowing that no matter what bars I come with/You're gonna hark, gripe, and that's a hard Vicodin to swallow,” he rapped. The album even missed commercial success, being his first album to not reach the RIAA platinum certification. He did indeed fall short in 2017, which led some to question if the battle-tested 45-year-old would reach those heights again.

In a contact sport of a different kind, Washington Redskins running back Adrian Peterson was the subject of harsh criticism from former players-turned-television personalities Cris Carter and Shannon Sharpe. After news broke that the 33-year-old was continuing his career with the Redskins, both Sharpe and Carter expressed skepticism that the former MVP would be able to perform at a high level again. Peterson responded that “watching some of the things they said about me, man, it really hurt me to the core… ‘he's washed up and this, that, and the other, and he should just retire.’ How dare you?”

On August 31, 2018, hip-hop’s former MVP responded to criticism in a similarly combative fashion. Eminem unexpectedly dropped his tenth studio album, Kamikaze. The album is a sharp turn from Revival with a motivated Eminem spending a significant portion of the album lashing out at critics, including journalists and artists like Tyler the Creator and Earl Sweatshirt—both of whom cite Em as an early influence. Of the many rappers who caught strays, the one sent Joe Budden’s way felt the most personal. On “Fall,” Eminem says, “Somebody tell Budden before I snap, he better fasten it/ Or have his body baggage zipped/ The closest thing he's had to hits is smacking b***hes.”

READ MORE: Joe Budden And 16 Other People Eminem Dissed On ‘Kamikaze’ Album

The shot was not expected. Joe Budden has created a lane for himself that previously only existed for athletes, becoming the Cris Carter and Shannon Sharpe to Eminem’s Peterson. He’s now an ex-jock turned broadcaster. Similar to the sports world, rappers are very careful to not critique other rappers, unless they are universally disregarded as unworthy of respect. An additional layer to the Eminem and Joe Budden relationship is the fact that Eminem signed Budden’s group Slaughterhouse to Shady Records, where they remain under contract. So when Budden called Revival single “Untouchable” “one of the worst songs I ever heard,” the line was crossed, and the gauntlet was thrown down. On Wednesday (Sept. 5), Budden fired off his response to “Fall” on his new podcast episode, "TV & Mayonnaise."

“I've been better than you this entire f**king decade," he said to Em. “You gotta say something. You have not said anything for the better part of a whole f**king decade!"

Eminem is an all-time great emcee and has earned the right to rap until he is 100 years old if he wants. The ageism in hip-hop is just as unfair as the fogeyism that has caused established artists to decry their younger counterparts for taking the genre into new and different directions. However, Eminem, nor any other artist, is above reproach. Eminem’s response to the criticism of his last album should not have been to lash out at every critic. It should have been to make better music. As it stands, he managed to tarnish the latter by doing the former.

While it doesn’t stand up to his groundbreaking early albums, Kamikaze is a return to form as the Detroit emcee sounds like he’s having fun rapping again. However, the bitter taste of Revival taints the fresher approach of Kamikaze; maybe Em is in on the joke. On the “Paul” skit, his business partner and now Def Jam head honcho Paul Rosenberg wonders, “What’s next? Kamikaze 2, the album where you reply to everybody who didn’t like the previous album? It’s a slippery slope.”

As for Budden, he chose a different path. Instead of complaining about how different hip-hop became or his detractors, he created new options for hip-hop legacy acts to thrive. His eponymous podcast is among the most downloaded on the iTunes charts and was just picked up by streaming conglomerate Spotify. He's also announced a new show State of the Culture on Revolt TV, which will bring his pointed takes on hip-hop and beyond to millions of TV screens.

Hip-hop is a 40-year-old genre that doesn’t seem to know what to do with its 40-year-old artists. Innovation and open-mindedness will decide whether hip-hop’s elders will fade away like their predecessors, or remain in the public eye. Artists can either choose to change what they don’t like about the state of hip-hop culture or complain themselves into obscurity.

READ MORE: Sorry, Drake And Nicki, But Hip-Hop Is Changing

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Will.I.Am Is Wrong About The State Of Hip-Hop

“It’s become the lowest-hanging fruit.”

That was Will.i.am’s assessment of hip-hop in an interview with Rolling Stone over the weekend (Dec. 1), and another troubling quote in the ongoing fallacy that rap is somehow a lower form of art. It’s the same trope many rappers – especially those who tend to steer towards white audiences – lean on when they want to “evolve” or “grow” as artists. Kanye West would rather design water bottles than dabble in the slums that are rapping. Tyler, The Creator wants to score movies because rap isn’t good enough. Miley Cyrus is going back to country because “Come sit on my d**k, suck on my c**k” and “Lamborghini, got my Rolex, got a girl on my c**k” music is just too vulgar for her.

Even if part of Will’s point, that the bar for entry into hip-hop is low, is true, the situation is more nuanced than that. The bar for entry has historically been low, which is how you end up with “Ice Ice Baby” running the world in the same year Ice Cube told us about AmeriKKKa's Most Wanted, or 69 Boyz’ “Tootsee Roll” doing the same while Nas gave us Illmatic and Biggie gave us Ready to Die.

If anything, the bar isn’t any lower, the net is just wider. Hip-hop has expanded so far beyond its Bronx house party origins that calling it worldwide feels like an understatement. If aliens are picking up Earth’s frequencies somewhere, there’s a good chance they’re hearing some hip-hop whenever they do. It’s that big.

In the ancient rap world Will speaks of, the one where he was part of a Los Angeles backpacker group that existed far, far away from the mainstream, rap was not a privilege, it was a necessity. Most of the black men and women who lunged towards rap did so as an escape and last resort. They did so from impoverished conditions, with few options and even less hope. Rap was a way out and, for some, the only way. It was truly life or death as their choices were either make it big by telling your story or return to your desolate conditions to live out the rest of that story. So they persevered.

This, of course, led to the golden era of rap, but plenty of sameness as well. Many of the stories were the same, even if the lexicons between regions were different. As rap continued to evolve, so too did the stories, and the perspectives that were introduced into the zeitgeist.

Eventually, we grew to a place where rap became a privilege and not a necessity. Now, after generations of rappers setting trends and generally being the coolest people in the room at all times, kids were aspiring to be rappers, not just resorting to that profession when they were out of options. Now, kids could study their favorites their whole lives and work towards being that. Suddenly, and perhaps unintentionally and with a ton of misinformation, rap was a desirable profession. Jay-Z rapped because he had to. It was that, or sell drugs and play that story out. J. Cole raps because he heard Jay-Z and wanted to follow in those footsteps. That’s growth of a genre of music and of a culture as a whole. That’s admirable, not scornful.

With that new influx of hopefuls came a whole new set of perspectives as well. If rappers in the ‘90s had to be the coolest and hardest mothaf**kers in the room, rappers in the 2000s changed that just a tad. Before then, rap only had Will’s perspective, the cool cousin who got all the girls and wore all the best clothes. When folks like Kanye started striking platinum, rappers could be Carlton as well.

In this era, the perspectives widened even more as the talent pool got exponentially bigger. As always, music and technology walk hand-in-hand as well. At the same time all those aspiring rappers began to come of age, technology advanced to a place that made it easier for them to try their hands at achieving their dreams. Computers made music easier to make, functionally not artistically, and the internet made it easier to spread it around. Before, if a young Chris Wallace wanted to make it rapping, he had to find a state of the art studio, pay large sums of money to record several songs, and then do the footwork towards getting attention from record labels himself. Now, Malcolm McCormick, a son of an architect and a photographer, only needed a computer, a microphone and an internet connection to rise to worldwide rapping fame.

In the world we live in now, we don’t get just Deebo’s story in rap–we get Craig’s, Smokey’s, Joi’s and Big Worm’s, too. Hell, we get Hector’s and the Pastor’s, too. And if we fall deep enough into a SoundCloud wormhole I bet we get Mr. Parker’s story, too. For all the complaints about Lil Yachty and the like, we still have Kendrick Lamar and his gravity. If you hate Lil Baby, you can find J.I.D. on the same playlist on your streaming service of choice. All of them exist, and none spite the other.

And this is all a good thing. Where hip-hop was once a specialty store, a Foot Locker of sorts where you could buy new sneakers and maybe even some socks and a shirt, now it’s a whole mall. You can get anything you need in hip-hop, as long as you’re willing to go find it. Foot Locker is still there, but you can go to Macy’s or PacSun, too.

With all of that comes plenty of music we don’t understand or value, but that doesn’t mean that music isn’t good or important. Mainstream has always gravitated towards a more accessible, or dumbed down sound when it comes to hip-hop. Some of the greatest rappers of all-time have capitalized on this trend and made careers out of that. That is why it’s called the music business. But that doesn’t mean the artistry isn’t there still. The current generation’s mastery of melody and cadence is just as impressive as the complexity and poignant lyricism of eras past. It’s just impressive in different ways. Jordan won one way, LeBron won one way, and now Steph Curry and his buddies are winning in another. But the game is still putting the ball in the hoop and preventing the other team from doing the same. The game is still telling our stories with an immaculate collection of sounds and organizing them into a song.

All of hip-hop comes from the same rebellious spirit that was encapsulated at those Bronx block parties in the ‘70s. All of it. Everything is about that youthful energy, and counter-culture. In taking the traditional, and changing it enough to invent something our own. Sure, we might not all enjoy the Lil Pumps and Tekashi 6ix9ines of the world, but somebody younger than us does, for sure. And sees it in the same light as we saw our heroes. Trend-setting, rebellious deities, speaking for us and telling our stories. They all come from the same place, even if they don’t sound the same. The bar is not lower, the net is wider, and the window into understanding the youth may be a little more opaque than it used to be. But that’s what age does to the eyes and the ears.

The constant degradation of hip-hop, its culture, its values and most importantly its sounds, is beyond problematic. The people who belittle the genre in an effort to hold it down, are the same ones who dabble in it every time they need a boost in popularity or the coolness factor. Hip-hop is the culture where they find their looks, their sounds, and everything else. We can’t let them work to depreciate the value of the culture they so often steal from.

It’s a classic case of gentrification, but this is a soil so pure it can’t be salted. This is a neighborhood so culturally rich, its natives can’t be run out of town even in the harshest of conditions, because we know once they buy up all this land they’re going to try to price us out. Don’t let them tell us hip-hop is the low hanging fruit when we know it’s the whole damn tree. If they can’t reach the sweetest of fruit at the top of the tree, that’s their fault. Not ours.

READ MORE: Stop Playing Into Female Rappers' Catty Feuds And Demand The Bars

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Bow Wow Threatens Revenge Porn And We All Should Be Disgusted

Shad Moss, still known as Bow Wow, took an ex-lovers quarrel too far when he threatened to leak a sex tape between himself and former fiancée, Erica Mena.

Fueled by a seemingly innocent comment from Mena, Moss fired back undermining the media personality, insinuating she was promiscuous and had accumulated more than 500 sexual partners in her lifetime. Brushing the comments off, the mother-of-one shot back saying, "You mean the 500 bodies you stayed eating between my legs standing up little man."

Clearly emasculated by the clap back, the "Let Me Hold You" rapper went on Twitter begging fans to warn Mena before he used revenge porn to expose her.

 

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#BowWow still has words for #EricaMena 👀

A post shared by The Shade Room (@theshaderoom) on Nov 17, 2018 at 9:44pm PST

Revenge porn or "non-consensual pornography" is defined as the distribution of sexually graphic images of individuals without their consent. This includes both images originally obtained without consent (e.g. by using hidden cameras, hacking phones, or recording sexual assaults) as well as images consensually obtained within the context of an intimate relationship," according to Cyber Civil Rights.

The two began dating in 2014 while co-hosting the now-defunct BET video countdown series 106 & Park. Before the year came to an end, the two were engaged and even posed for engagement photos with People magazine in February 2015.  The couple called it quits nearly nine months later, leaving speculation as to what caused their so-called fairly tale relationship to end.

Speaking with Global Grind after the breakup, Mena hinted towards the rapper's behavior in the relationship. “I could have gone public about our breakup a month ago,” she said after the rapper began teasing images of him with the mother of his daughter Jovie Chavis.

“He does this to make headlines. Just leave me alone, I moved on; why are you still in your feelings? He’s literally posting about Joie to get on my nerves and it’s not working. He’s posting it to fuck with her head and to try to get a reaction out of me. Listen, I walked away silently. He’s an abuser.”

Mena revealed Sunday (Nov. 18) that the rapper was reportedly suicidal which led to the end of their relationship. “I left him after he tried to kill himself with my son in the house,” she said while sharing messages from one of the rapper's associates. “He’s been trying to link with me ever since.”

From an ethical standpoint holding on to explicit videos and joking about exposing them to cause emotional or physiological distress to a person is morally disgusting. But more than anything, it violates Georgia and Calif. Revenge Porn laws.

It also qualifies as a felony that could result in one to five years in prison and a possible $100,000 fine.

Degrading a woman for her sexual choices is one thing, but as the father of a 7-year-old girl, Moss' primary concern outside of being the host of Growing Up Hip-Hop should be showing his child how a man properly treats women. Releasing a sex tape with somebody who almost became her step-mother is nothing short of ridiculous.

Mena then responded noting that she had been in contact with Lisa Bloom, a popular civil rights attorney known for working with women who have been victims of sexual harassment.

 

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#EricaMena seems unbothered by this alleged tapey tape!

A post shared by The Shade Room (@theshaderoom) on Nov 18, 2018 at 6:02am PST

What's most ironic is that last month (Oct. 2) Bow Wow released an emotional video to bring awareness to domestic violence, but is attempting to inflict sexual violence by threatening to release sexual images without the video participants consent.

It's a low blow which speaks to the rapper's mental health. It also showcases the casual toxic behavior that happens in the industry. The millions watching it all unfold on social media will more than likely follow suit.

READ MORE: Bow Wow Tackles Domestic Violence In New Video ‘Broken Heart’ 

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Stop Playing Into Female Rappers' Catty Feuds And Demand The Bars

“Real” rap fans, instead of playing into female rappers’ catty feuds, keep that same energy and demand the same bars expected from male rappers.

There is no such thing as “if you had fun you won” in the rap game. In its truest form, rap is a sport, and there aren’t multiple winners. Yes, multiple artists can bask in the same pool of success, but ultimately one wins that final gold star (especially when we’re talking about album sales, awards, etc). Especially in the realm of rap beef—the genre’s favorite game—there can only be one winner. We expect it. When it came to the latest squabbles between male rappers like Drake and Pusha T, fans debated over who won the war, but unfortunately, that energy has not been extended to the ladies of the game. Rap beefs between femcees, most notably Nicki Minaj and Cardi B, don’t foster the same reactions or expectations. It appears as though no one is seeking women to deliver diss tracks. We argue it’s an act of “anti-feminism” if they do. Instead, we marvel at the bi**hiness of their issues with one another, finding satisfaction in catty interviews and social media videos. But in the end, it’s a disservice to the culture and the movement of women who constantly ask for the word “female” to be stripped from the beginning of their titles so that it just says “rapper.”

Nicki and Cardi’s ongoing feud has been one of the most talked about beefs this year, but neither artist has been held to the same standard as their male counterparts of the same high-profile status. Their dual reached new heights last Monday (Oct. 29), when Nicki revisited her notorious fight with Cardi at New York Fashion Week on Queen Radio, offering fans $100,000 to uncover footage that proved Cardi was beaten senseless by Rah Ali. She also claimed Cardi had attempted to “stop her bag” by demanding other artists not work with her (which several other artists have accused Nicki of doing to them).

Nicki’s comments didn’t fall on deaf ears. Only hours later, Cardi B hit back on Instagram, recording a series of videos that addressed the various claims made by Nicki earlier that day. And it didn’t stop there; Nicki returned on Twitter with a rebuttal, before the two ultimately called a lukewarm truce.

READ MORE: Cardi B Responds To Nicki Minaj’s ‘Queen Radio’ Episode In Lengthy Instagram Rant

Admittedly, this might have been one of the most entertaining moments of the year. Hip-hop fans scrolled and cackled as they played Cardi’s videos one after the other before rolling over to their Twitter apps to see what Nicki had to say. Nicki’s line “baby girl write a rap” inspired a series of GIFs, as well as Cardi’s quotable: “how convenient is that.” But the point is not what was said, but where it was said. While both ladies spewed harsh remarks, none of it once touched wax. It was over social media, leaving the blogs—which both have protested in the past for writing salacious stories pitting women against each other—to tell their stories for them.

 

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This too much 😩😩

A post shared by The Shade Room (@theshaderoom) on Oct 29, 2018 at 5:58pm PDT

More importantly, there was no encouragement from fans or media outlets to express their frustrations on a record. Instead, there were requests for the two to take lie detector tests (daytime TV host Maury Povich even offered to assist the artists in their dispute) or continue to air out their dirty laundry on the Internet. Legitimate brands participated in the mayhem; Steve Madden and Wilhelmina Models jumped on the first train to drama city to fuel the battle.

There’s a gross oversight in the hip-hop community when we as fans do not ask for the two most popular and historic female rappers to record diss tracks. When it came to Drizzy and Pusha’s feud in May 2018, we demanded a spar of (recorded) words and wouldn’t settle for anything less. Both artists delivered a series of diss tracks, including “Duppy Freestyle” and “The Story of Adidon,” but a majority of fans rolled their eyes when the two followed up their musical feud with interviews on LeBron James’ The Shop and "The Joe Budden Podcast." Twitter, especially, was flooded with figurative eye rolls, asking for the two to leave the gossip behind and thrust that energy into more music. The media even got involved—DJBooth published an opinion piece on Oct. 17 entitled, “Pusha-T Put It On Wax.”

READ MORE: Steve Madden Hopes Nicki Minaj And Cardi B Can “Reach Some Peace”

Likewise, Eminem’s battle royale with MGK also received massive support. MGK was praised for igniting vintage rap vibes with “Rap Devil.” Fans waited at the edge of their seats to see how Eminem would reciprocate. When Em hit back with “Killshot,” some fans posed the question of whether the feud would continue for another round. Others mulled over who won. So where was that energy with Nicki and Cardi’s eager spectators?

Of course there are male artists that we ignore as well. 50 Cent and Ja Rule’s drawn-out feud is one that only lives on social media. Fans have not encouraged their petty jabs; many insist they give it a rest due to the fact that no one really takes them seriously as rappers, especially since they have moved onto entrepreneurial endeavors. It would suggest the silence regarding Nicki and Cardi’s beef stems from the way we view both stars, as well as female artists and their rap beef in general.

 

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#PressPlay: #CardiB has more to say! (PART 2 👀🍿)

A post shared by The Shade Room (@theshaderoom) on Oct 29, 2018 at 3:58pm PDT

Female rappers have been branded with the 50 Cent and Ja Rule stain from day one. They are the clowns of the industry until proven otherwise. Twitter never asked for an Azealia Banks and Iggy Azalea face-off or Azealia vs. Cardi because it would’ve been seen as a joke or petty. Fans just wanted to (smartly) discuss mental health in the music industry and show love towards Cardi in her moment of glory. They were even mum when Azealia went up against Nicki because, again, mental health is a serious issue.

To some, Cardi, Iggy and Azealia are not viewed as “serious” rappers. Cardi has mastered the art of producing a certified banger, but she is the relatable girl up the block. Additionally, Cardi is not a writer. She’s admitted to receiving help penning her own lyrics and therefore, should be automatically disqualified. Iggy’s missteps in the media and odd pairings in the pop sphere have left her in the dark, and although Azealia may be the most talented and technically-equipped artist of this generation, her commentary on race and blind attacks on the industry’s most beloved celebs (Beyonce, Lana Del Rey, Skai Jackson) have severely tainted her positioning on the respectability scale.

READ MORE: Azealia Banks & Cardi B Exchange Words Over Representation Of Black Women

Unfortunately, when the female artists finally reach that pillar of serious success, it somehow makes them exempt from competition, as if they are invincible. Nicki’s resume deems her an undisputed opponent. Her solid verse on Kanye’s “Monster” is immortalized, and since she’s been the only female rapper in the game for such a long period of time, everyone has steered clear of testing her. The only time you’d expect any support from a vet is when she’s up against another vet. “ShEther,” Remy Ma’s diss track targeting Nicki, garnered the appropriate reaction, but even then, the Barbz attempted to slander Remy’s character with Billboard stats and plaques, arguing that a response record was not required of an artist at Nicki’s level.

In the end, fans stay silent because they view one or more of the parties involved as jokes or because they are trying to protect a legacy. There’s a Mary Poppins’ bag of endless excuses why female rap beefs go unnoticed, but they all would suggest that there is a double standard happening in hip-hop. Come on, even the most elementary of rappers have drummed up buzz for musical back-and-forths. Lil Pump and J. Cole went tit-for-tat on the “F**k J. Cole” and “1985,” respectively, and fans were deeply invested.

Why pay for a Lie Detector Test @NICKIMINAJ... when mine is FREE! I’ll get to the bottom of this! https://t.co/7Cnryu8d22

— The Maury Show (@TheMAURYShow) October 30, 2018

Supporters have a responsibility to invest and hoist female artists onto the same pedestal as male rappers. Aside from watching them roast each other on social media or ask that they hold hands and hug it out for representation sake, request that they engage in a good ol’ fashioned rap beef. “ShEther” is proof of the reward that comes when you see a rap beef through. The track forced fans to have a debate, discuss and dissect bar-for-bar, so much so that it garnered the attention of the masses (it peaked at No. 3 on Billboard’s U.S. Bubbling Under R&B/Hip-Hop Singles.) The reception would’ve likely been 10 times as great if fans had put the pressure on Nicki to respond.

With Nicki being a seasoned artist, we would hope that she would play into the feud simply to demonstrate why she is the queen she proclaims to be on record. Or, we’d even want someone in Cardi’s corner to tell her to shut her opponent up the old fashioned way (sans the screenshots of stats reports). But even more disappointing than the two women involved are the countless Barbz and Bardi Gang members who have grown passive and rolled over as the current faces of female rap handled their issues like two high school girls using their posses to relay the message that they hate each other. Do better.

READ MORE: Ellen DeGeneres Pokes Fun At Nicki Minaj-Cardi B Feud

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