Tekashi 6ix9ine and Nicki Minaj released their latest collaboration called "Trollz," marking the second single from the rainbow-haired rapper since his release from prison. Before it even came out, it was the subject of much controversy as people attacked Minaj for working with the accused snitch. Now that the track is getting airplay, people are picking up on some of the Queen's bars and, as always, she's got people talking.

There are a couple of lyrics that stand out in Mrs. Minaj's verse, including possible digs at LisaRaye McCoy and Usher.

"Somebody usher this n***a into a clinic/My flow's still sick, I ain't talkin' a pandemic," raps the legend in her verse. While she likely isn't directly dissing Usher, the R&B star did say that Minaj got her "blueprint" from Lil Kim. Maybe this is her way of getting back at him. After all, Usher likely does spend a lot of time at the clinic, given all the herpes accusations he has faced.

A more direct line came before though.

"Dollar, dollar bill, come get her/Even your man know Nickis do it better," she said to start off her portion of the track. This is a dig at LisaRaye McCoy, who starred in The Players Club. In the movie, Dollar Bill owns the club. LisaRaye accused Nicole Murphy (get it? Another Nicki...) of wrecking her marriage last year. 

Clever lines from the Queen.

Quando Rondo admitted that he actually isn’t that fond of his debut album, QPac, which dropped in January. He explained that the album was mostly just what his label, Atlantic Records, wanted him to put out, and that he didn’t, in fact, even contribute that much of the writing. 

“I’m not even going to lie to you, I didn’t really like QPac,” the rapper told HipHopDX. “That project was based on money because the label put so much money into that sh*t for no reason. Half of the songs I didn’t even write and I’m just being honest but don’t get me wrong. A lot of rappers won’t say that but I don’t give a f*ck because, at the end of the day, I’m a Crip. This is who I am. What am I going to fake for?”

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He goes on to name some of the songs he didn’t write, but recorded anyway because he was getting paid. “I feel like QPac didn’t really do what I wanted it to do because that sh*t wasn’t really me,” he explains. “Don’t get me wrong I wrote verses but like, that ‘Collect Calls’ sh*t, that was not my hook. I didn’t want to do that sh*t but I got paid to do it. I got like $75,000 to do that sh*t. The song ‘Bad Vibe’ I got with A Boogie and 2 Chainz, I didn’t write that hook either.”

It all came down to a lack of creative license and control from his label for Quando. “How do you invest in me if you took your money and did something that you guys wanted to do?” he stressed. “You are doing stuff for yourself and using me as a source. There’s nothing wrong with that because you’re not supposed to be around people for no reason, but I feel like the only way I’ll get a big song is if I have a real meeting with the label and use my ideas. Look how far I made it doing me!” A fair point.

It’s difficult to imagine what prompted DMX to discredit Lloyd Banks in such a public fashion. Considering that the G-Unit rapper has been widely recognized as The Punchline King, it’s fair to assume that his bars have left an impression. Many are quick to cite early cuts like “That’s What’s Up” and his breakout “Victory Freestyle” as a testament to his lyrical prowess. With the bulk of his reputation having been cultivated on the mixtape circuit, which in itself encourages bars over structure and substance alike, it was initially difficult to assess Banks’ potential as a solo artist. Yet that changed with the release of his debut album The Hunger For More, an album that boasted classics like “On Fire,” “Warrior Part 2,” and arguably the greatest track of Lloyd Banks’ career in “Till The End.”

Though high caliber punchlines were expected on a Banks LP, “Till The End” unearthed additional depth in the young emcee. That of a storyteller, capable of conjuring striking images and emotional impact, never once diluted by an expansive three verse structure. A far cry from his mixtape material in subject matter, Banks retains his clever vernacular and imaginative control over language. “Nobody dead knew they would die before they woke, they probably started off a beautiful day with weed smoke,” he raps, opening the haunting reflection on a bleak note. “Out of last night’s pussy, the murder that she wrote, cold sweating from a nightmare, mind on a C-note.” Themes not unfamiliar to rap fans, the perils of a young hustler’s dangerous lifestyle; mirrored in many ways by mafioso rap, Banks understands how disloyalty speeds up the inevitability of death.

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Paranoia is another major theme in “Till The End,” and Banks’s second verse slowly expands the narrative to reveal some of his grievances. Like many young self-made men, Banks moves with a chip on his shoulder, both inspired and frustrated by his doubters. It’s a timeless reflection of the street cycle. Even those closest friends can fall prey to the trappings of jealousy and envy under the right circumstances. Given the track’s ominous opening — that of a violent drive-by shooting — there’s a constant sense of tension permeating throughout. It’s a testament to Banks’ ability to become one with an instrumental, his morose retrospection fueled by Eminem’s haunting lullaby. “The confusion of jealousy and dishonor will spin ya,” he warns. “But then nothing hurt worse than when that gunpowder’s in ya.” It’s something he himself grapples with, taking solace in achieving victory with those he deems kin.

Yet perhaps the damage has already been done, leaving behind unhealable scars. Even though Nate Dogg’s chorus is a comforting presence, it’s hard to shake the nightmarish foreshadowing of the opening moments. It’s not clear when death is coming for Banks, but rest assured that he knows it’s coming. And sadly, as he knows all too well, the ending is often bloody. Especially for a man who continues to carry his principles forward. “Keep my, mind on my money, and my head to the sky, I never really smile much, if you was here you’d know why,” he confesses. “There’s frustration and fire if you look in my eye.” Even amidst success, it’s difficult to discern whether Banks is even willing to accept happiness. Though he proceeds to rattle off many of his personal accomplishments, be it achieving desirability as a bachelor or commercial success as a rapper, he still cannot bring himself to smile.

Inevitably remains one of the driving themes of “Til The End.” It hangs over Banks like a guillotine blade. The fact that success is only a pitstop on the overall road, a road that is not straight, but rather circular in nature. For him, it begins and ends in the hood — the place that built him up as a man only to plant the seeds for his eventual downfall. Perhaps, as complex as it may seem, there’s a strange sense of comfort in knowing that. It would explain why Banks opted for such a tranquil instrumental, one that might otherwise evoke feelings of peace. The song packs even more impact knowing what transpired within G-Unit, a group torn apart from within, not unlike the topics explored in his lyrics. The authenticity with which Banks renders this range of themes, his cadence equally weary and wistful, makes “Till The End” stand as one of his crowning artistic achievements.

Upon discovering an old tape of his formative project Power Of The Dollar, 50 Cent issued a confident declaration. “Damn i did this in 1998 and i still can rap better than you fools.” A reminder that behind all of the antics and brand-pushing hashtags stands a proud emcee. One who seldom gets the credit he might deserve. Despite having held his own alongside lyrical elites like Eminem and his own group-mate Lloyd Banks. Despite having engaged in battle with rappers like Jadakiss, The Game, and Rick Ross, three foes who would surely lay waste to a lesser challenger. Not to mention the fact that his breakout movement was based off a simple premise, which is to say, freestyling over established beats and outshining the original artist.

Consider that mixtapes of that nature have essentially gone extinct. These days, mixtapes are basically albums, albeit generally more free-flowing and lax. Back when 50 was carving out his lane, attempting to crack into an industry that was essentially too fearful to do business with him, he was spitting with a hunger not often seen in this era. Unafraid to call out names and make enemies, Fif’s intensity carried into his early music. The aforementioned Power Of The Dollar, his classic mixtape Guess Who’s Back. His reputation as a wild card allowed him a certain presence on wax, one who seemed willing to back up any threat made. For a gangsta rapper, that’s an invaluable tool. And while many have explored similar territory as young 50 tended to favor, few did it with as much relish. He seemed to feel a devilish glee while detailing acts of violence, one that imbued him with a villainous charisma — the likes of which are still felt to this day.

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Remember, this was a rapper who eyed the coveted New York crown. He expressed as such on the classic “Be A Gentleman,” when he called out one of his chief competitors in Jay-Z. “Still n***s actin’ like I don’t get down or something, like I ain’t the next n***a to wear the crown or something,” he taunts, a rhyme basic on paper but impactful on wax. “You gonna talk about your chips ’til we run in your crib and you gon’ ask dumb questions like, ‘can I live?’” At the time, the race for New York kingship was tight — names like Jay, DMX, Ja Rule, Ghostface, and Raekwon were comfortably in the running delivering excellent music. And while each one was more established than Fif, he somehow managed to remain in the race. Immense hustle and work ethic can go far, but not without the skill to match. Without the ability to toggle beast mode, longevity is out of the question. It’s the reason tapes like the aforementioned two stand up today, not as historical relics but as genuinely badass servings of grimy NYC rap.

But what about his rapping ability makes him a top tier emcee? Insofar as the lyrics themselves are concerned, Fif seldom engaged in what has come to be unflatteringly described as “rappity-rap.” He’s concise in his messages, letting the attitude present within his voice emphasize any point. “In the hood summertime, it’s the killing season / it’s hot out this bitch, that’s a good enough reason,” he shrugs, on the Dr. Dre produced “Heat.” Lines like that hold more character than some rappers conjure in an entire song. The entirety of “Heat,” arguably the greatest song of Fif’s career, is a masterclass in visual storytelling. “Don’t think you safe ’cause you moved out the hood, cause ya mama still around dawg, and that ain’t good,” he continues. “If you was smart you’d be shook of me, cause I get tired of looking for ya / spray ya mama crib and let yo ass look for me.” Where a lesser lyricist might have simply delivered the threat in a passing line, Fif’s internal rhyme scheme set up gives it even more power. 

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And if “Heat” doesn’t hold the crown as 50’s greatest record, there’s a strong case to be made for another Get Rich Or Die Tryin classic, “Many Men.” It should be noted that as a writer, Fif seldom gets overtly conceptual in his use of language. He tends to operate in a rather frank manner, drawing from personal experience and presenting his philosophies accordingly. “In the Bible, it says what goes around, comes around,” raps Fif, in the climactic verse. “Hommo shot me, three weeks later he got shot down, now it’s clear that I’m here for a real reason / cause he got hit like I got hit, but he ain’t fuckin’ breathin’.”

On paper, the lines read relatively simple, the premise straightforward. Yet it’s exactly this approach to morality that makes his rapping so compelling. It’s not entirely different from an emcee like DMX, whose words were imbued with a similar gravitas; neither have to flow in a dexterous fashion to impress, masking lack of character with aimless lyrical gymnastics. Instead, 50 was able to paint vivid pictures with the simplest of lines, evoking the smell of gunfire, the scowls of his foes. “I’m observant in my hood, cause n***s be dumbing, shots forfeit the dice game, all you see is the running,” he reflects, on Massacre opener “In My Hood.” Words that may as well be a scene off a cinematographer’s storyboard.

How does all that factor into 50 Cent’s ability as an emcee? Those who would reserve him a spot in the top ten might be quick to tout his songwriting prowess, his ability to adapt to a variety of instrumentals, or his ear for melodic singsong flow schemes. Yet it’s unlikely that many would place him in the same conversation as artists like Royce Da 5’9”, Black Thought, Nas, Eminem, Andre 3000, or Jay-Z, rappers that have become known and regarded for their lyricism. Though 50’s writing does possess depth and authenticity, his preference for a frank and minimalist delivery has given him the illusion of simplicity. That should never be mistaken for weakness. There’s an authoritative quality to his tone that made him, at his prime, one of the most compelling rappers in the entire game. 

Drake has been previewing a bunch of unreleased songs OVO Mark’s live-streams on Night Owl Sound. This week, he played an older track that was leaked by him and Future, where he references Kylie Jenner and calls her his “side piece.” Of course, with all the rumors surrounding those two, the story got picked up and circulated like wildfire. 

“Yeah, I’m a hater to society / Real shit, Kylie Jenner that’s a side piece / Yeah, I got 20 motherfuckin’ Kylies,” raps Drake on the song.

He has since responded to the talk about his lyrics, apologizing and claiming that the track never should have been played.

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“A song that mark ran last night on night owl sound live set shouldn’t have been played,” he wrote on Instagram Stories. “It’s a song that leaked 3 years ago and got scrapped shortly after. He was just going too deep in the drake/future catalogue. Last thing I’d want to do is wake up and have any friends of mine feeling disrespected so I just had to say that to start off the day.”

Drake is close friends with Kylie Jenner and he has collaborated in the past with Travis Scott. His explanation is likely out of respect to them after this was blown out of proportion.

What do you think of his clarification?

Ludacris has been heavy in the news, thanks to a Verzuz Instagram Live battle that went down over the weekend between the ATL OG and fellow OG, Nelly. The IG Live brought in plenty of eyeballs, and ended up sparking some debate and criticism on Luda’s side when he previewed some lyrics referencing the infamous R. Kelly.

R. Kelly has gone from certified legend to certified disgrace, with the music industry finally waking up to his many sexual assault claims– they had no choice really, considering the mounting evidence that came to light during the release of the Lifetime documentary, Surviving R. Kelly, and beyond.

During the beginning of the IG Live battle, Luda took some time to preview an unreleased collaboration with Lil Wayne. He was heard rapping on the song, “the world screwed if n*ggas pouring drinks like Bill Huxtable.” And then, “I love R. Kelly but around my daughters, I’m not comfortable.”

Following the backlash, Luda spoke to Atlanta radio station V103 on the lyric in question. In a video clip from the interview captured below, Luda clarifies, “Sometimes when you speak on records, you speakin’ like it’s just me and you having a conversation. But you just speaking, and just being honest. I saw that a lot of people kind of misconstrued or just didn’t understand what I’m saying.”

He clarifies that as much as he enjoys R. Kelly’s music, he wouldn’t tolerate the man around his children given his past. It’s as simple as that. 

Check out the clip below. In the meantime, we’re waiting on his collaboration with Eminem to come to fruition.

Maybe Ludacris should have left this one in the drafts. During the rapper's rollercoaster ride of a Verzuz battle with fellow 2000s hip hop heavyweight, Nelly, on Saturday (May 17th), most viewers couldn't help but joke about the technical difficulties that Luda's opponent was facing, as his Internet connection posed a quality problem on his end throughout the majority of the evening.

Future may be hailed as the Toxic King on social media, but he also loves to open up and get vulnerable in his music. If you look into his deeper cuts, you’ll realize that the Atlanta rap icon is more than just a player. He’s actually one of the most sensitive men in rap, which is saying a lot. 

Regularly using his relationships as creative fuel to his art, Future came through with some memorable bars about his current girlfriend, model Lori Harvey. In fact, he’s declaring victory à la “I Won.”

On one of the fan-favorites from the new album, “Accepting My Flaws,” the Fire Marshall tells the world once again that he has won.

“Sittin’ out on my porch, I’m in disbelief/Give me glory, give me Lori, that’s victory,” raps Future in the song. “I’m gonna drop your name, is it chemistry?/Fuck this money and fame if it’s meant to be.”

Could it be? Has Future finally found true love?

For the last few months, there have been several rumors surrounding the couple. Some sources have claimed that they are expecting their first child together, but Lori Harvey debunked that talk by sharing photos of her ultra-flat stomach. They’ve also been thrown into engagement rumors, which have yet to be confirmed.

Listen to the song below and cross your fingers that Future has finally found the one.

Currently challenging for the #1 position on the Billboard Hot 100 next week, Megan Thee Stallion and Beyoncé have a total hit on their hands with the "Savage" remix. The track was already booming before it got picked up by Queen Bey, going viral on social media with a dance challenge. Now, it's looking set to become Megan's first-ever #1 record and she has Beyoncé to thank.

On the song, the legendary singer shows her own savage side, rapping about her ass with a couple of select bars. 

"I'm a boss, I'm a leader, I pull up in my two-seater/And my mama was a savage, n***a, got this shit from Tina," she spits on the remix. Earlier on, she bragged about her backside, making this line pretty clearly about the good genes that run in her family.

Apparently, Tina Knowles-Lawson didn't get the memo because she thinks it's about her philanthropy and "cool mom" status, according to her latest interview with CBS News.

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Beyoncé's mother was on air to speak about what she and her daughter have been doing during the COVID-19 crisis, also reacting to the song's lyrics. When asked if she believes that the "Savage" line is about her philanthropy, she answered in the affirmative.

"As far as the 'Savage' is concerned, you know, it's funny because people started texting me and calling me a savage. I wasn't sure what it meant," she admitted. She continues by saying that she used to pick up Bey from school in a convertible and that people thought she was a "cool mom," which makes her draw a parallel to the "Savage" lyrics. Somehow, that makes sense. However, the majority of Bey's verse is about ass so... idk.

Please, nobody tell her what it's actually about...

Hip-hop is for lovers, or so the story goes. At least, such is the case for our latest band of wistful heroes –Young “Slime” Thug and Chris “B” Brown– two gentlemen who have taken to roaming the world in a Bill & Ted-esque fashion on a seemingly endless quest to satiate their unquenchable hearts. As it happens, the recently released Slime & B marks a first-hand documentation of said journey. One that reveals deeper insight into what makes our heroes tick, their vices and desires alike. Sometimes, their desires are their vices. 

Take Thugger for instance, a man of material means. For him, he wears his fortune like a peacock wears its feathers. One glimpse of the coupe and the deal has already been half-sealed, as he tells it. Next thing you know, your girlfriend has become a master of disguise, a veritable adulterous Dana Carvey.

Look at her stare at the coupe when I’m droppin’ the top for the sky
I hit your lil’ bitty bitch, got her running around disguised
I got a coupe, cost a million, I bungie that bitch when I ride

– Go Crazy

While Thugger tends to use his net worth as a means of whittling down his prospects, his compatriot Breezy understands the inherent dangers posed by living a lavish lifestyle. Especially when romantic prospects can’t be fully trusted to form the connection he professes to seek. Yet he doesn’t seem to mind, as his desire for x-rated debauchery has never once been dormant.

Hoes on my phone when they find out that I’m rich
Then they switch when they see I’m choosin’ on my bitch
Top down, got her doin’ donuts on the dick, yeah 

– Go Crazy

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On that note, it’s clear that Thug places the utmost value on physical attraction, lining damn near every verse with heightened sexuality. Even when he runs the risk of revealing Too Much Information, his imagery is so undeniably evocative it borderlines on absurdist comedy. Sometimes, he comes off like Jim Carrey in the elevator scene in Liar Liar, dealing in a blunt and smutty directness that leaves nothing to the imagination. 

Nuttin’ three or four times
Automatic drapes gonna wake you, no blinds
You’re my mommy, yes I know, ma
Someone call the officer, lift the blouse on her

– Help Me Breathe

Yet even he has his limits — tempting though it may be to dete from them in the heat of the moment.

I had to pay her tuition, the way this lil’ baby was suckin’ my nuts
I gotta keep this shit pimpin’, man I’m never fallin’ in love with a slut

– I Got Time

In fact, though Thug seems to appreciate a night of bawdy hedonism, his “relationship goals” are far more straightforward. He simply wants somebody he can relax with, someone to fall back on after a whirlwind evening on the town with Breezy. For those moments, he remains unafraid to drop his front, demanding to be respected even at his most slovenly. 

Lovin’ skills, I need some lovin’ skills
Left my dirty drawers and you love me still
Eyes come lazy, but she is real 
Dressed to kill , we can bump bump til you’re tired

– Go Crazy

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Though both men seem to enjoy the thrill of enacting pornography on a nightly basis, to the point where Thug actually requested to have “pussy” on his rider at all times (“Trap Back”), it should be noted that Breezy possesses the foresight to understand the inherent dangers in seeing such a lifestyle run to its conclusion. Cautionary reflections ring all the more profound when paired with a melancholic guitar-driven beat. True, that doesn’t mean he intends on taking preventative measures, but as they say, knowing is half the battle.

Poppin’ bottles in the club
Fuckin’ models, doin’ drugs
And I can’t do this anymore
I feel like an animal

– Animal

And never forget, as pointed out by the likes of Pat Benetar and Jordin Sparks, that love can and will feel like a battlefield at times. Breezy may make the sunnier side of the journey seem like a rollicking good time, but he’s not about to sugarcoat those inevitable dark days. Remember how frivolously Young Thug seemed to boast about turning taken women into disguise donning cheaters? It’s no coincidence that Breezy’s most brutally honest moment of musings finds him invoking similarly disguise-centric language — might he not have been on the receiving end of a similar tactic? Live by the sword, and so on.

You took my sanity, I got no peace of mind
Overdrawn on my memory, bank can’t buy back my time
But you tryna cap though, talkin’ ’bout you layin’ low
When you switch on n***s like you change clothes

– Stolen

Like many stories in the midst of being told, we have yet to see a proper ending on the horizon. As of now, Slime & B paints a picture of two men eager to settle down and find romantic stability — though the constant temptations that frequently arise as a result of their chosen lifestyles make doing so more difficult than it needs to be. But given the joy, they seem to derive from engaging in uninhibited sexcapades, we’d be fools to shed tears for these would-be romantics. If the joyous sounds of their first debut album are any indication, they’ll figure it eventually.