Hey everyone, welcome! Just dropped is the latest collaboration between Nicki Minaj and Takashi, titled “Trolls,” and I’m here to dive into that track. I’ll also touch on their views regarding snitching. But before we delve into that, let’s talk about Chloe and Halle. They’ve recently unveiled their album “Ungodly Hour.” Now, personally, the title gave me pause because, well, it’s a godly hour around here all day, every day. Amen to that. However, on this record, Chloe and Halle are venturing beyond their usual boundaries. They’re taking more artistic risks and tweaking their image. It’s evident that this album marks a shift towards maturity for them. While they’ve always exuded sophistication in their music videos, I believe this album will solidify itself as one of their defining works. They’ve already dropped two singles, “Do It” and “Forgive Me,” both of which I’m enjoying. If you have a moment, do lend your support to Chloe and Halle. They’re incredibly talented and consistently deliver great music.
Now, let’s shift gears and talk about Nicki Minaj and Takashi, who set the internet ablaze last night with their latest release, “Trolls.” I’ll be frank, I’m not usually drawn to Takashi’s music, and his verse in this track didn’t leave a lasting impression on me. However, Nicki absolutely owned her verse, particularly in the latter half. Her flow reminded me of Mannie Fresh’s style in “Everybody Get Your Roll On,” which I found pretty cool and enjoyable. Honestly, this track feels more like Nicki’s solo effort than a collaboration with Takashi. I can’t help but feel a bit uneasy about Nicki giving Takashi so much attention, not necessarily because of his involvement in certain controversies, but due to other aspects of his persona that don’t sit right with me. Nonetheless, I recognize the dynamics of the industry and how collaborations like this can unfold.
Nicki and Takashi’s collaboration is clearly a strategic business move, with Nicki potentially taking aim at certain individuals in her lyrics. Let’s start with her apparent jab at her ex, Meek Mill, who had criticized Takashi for his cooperation with authorities. Nicki’s response to Meek implies that he has connections to someone associated with informing, specifically mentioning Desiree Perez, CEO of Roc Nation, who is known to have cooperated with law enforcement. This brings attention to Meek’s affiliation with Roc Nation, raising questions about his stance on cooperating with authorities. By highlighting this, Nicki and Takashi are indirectly calling out Meek’s alleged hypocrisy, given his public stance against dealing with informants despite his association with individuals who have cooperated with law enforcement.
There’s also speculation that Nicki may have targeted Usher in her lyrics, referencing comments he made comparing her to Lil Kim. This adds another layer of intrigue to the song’s potential targets.
Overall, this collaboration has stirred up controversy and put a spotlight on the actions and affiliations of those involved, particularly Meek Mill, potentially challenging his public image.
So, there’s speculation among fans that Nicki Minaj might have thrown some shade at Usher in her latest song, with lyrics like, “Somebody, uh, Usher this [bleep] into a clinic. My flow still sick and I ain’t talking a pandemic.” Allegations have circulated about Usher’s involvement with the Green Monster and various beefs, so some interpreted Nicki’s lyrics as a possible jab at him. However, it’s all up for debate.
Additionally, Nicki didn’t take too kindly to Lisa Ray’s remarks suggesting she should pay homage to Lil Kim. Nicki fired back with a slick line, “Dolla, dolla bill, come get her,” referencing a character from “The Players Club” portrayed by Lisa Ray. She also subtly threw shade with, “Even your man knows Nicki’s do it better,” a nod to the scandal involving Eddie Murphy’s ex-wife, Nicole Murphy, and Lisa Ray’s ex-husband.
Nicki’s trolling didn’t stop there. She even liked a tweet insinuating about Nicole Murphy’s affair with Lisa Ray’s ex, further fueling the fire of her trolling antics. It seems she fully embraced the title of her song, living up to her reputation as a troll.
Now, onto a live video where Nicki Minaj and Takashi 69 discussed the contentious topic of snitching. Takashi gained infamy for snitching on his Nine-Tray Blood gang, leading to a lack of respect for him within the hip-hop community and the streets. Despite this, Nicki and Takashi delved into the issue, sparking an intriguing conversation.
Alright, let’s get straight to it since we’re on a tight 10-minute clock. I’ve got something to say about the whole rap scene.
Here’s the deal. I see a bit of a mix-up between the music business and the art of rap. When I bring up the issue of artists not writing their own lyrics, that’s more about the business side of things. Someone else might shrug and say, “Well, it doesn’t bother me as long as the rap’s good.” And that’s fine for them because they’re not invested in my craft. They haven’t poured their heart and soul into it like I have. In my view, folks from the streets have every right to have strong feelings about snitching because they’ve lived that reality.
As a fan, I think rappers need to tread carefully because everyone in this industry interacts with everyone else. And if a big-shot executive offers a deal to one of you unsigned rappers, you’d be quick to sign, right? Exactly. So let’s not blur the lines when we talk about rappers versus street folks, especially those with questionable backgrounds. I’m not here to judge anyone; I’ve got mad respect for many in this game, and I’d never disrespect them like that.
Now, my husband, he’s got his own take on the whole snitching thing. He’s from a different world, so he sees it differently. But what bugs me is how we switch between rap and street narratives so quickly. One minute, we’re talking about artistic integrity and not using ghostwriters, and the next, we’re collaborating with artists who don’t pen their own verses. But if someone dares to question the integrity of hip-hop, suddenly it’s a big problem. We can talk about street ethics all day, but when it comes to hip-hop’s integrity, it’s off-limits? Nah, that doesn’t sit right with me.
Sure, here’s a rewritten version:
We’ve shifted away from the neighborhood. None of those who once roamed the block are still immersed in its tumult, still entrenched in the strife. They’re contemplating life now. It’s a conversation worth having, a perspective deserving of respect. They abide by a different set of rules, and that can’t be overlooked. But let’s talk about rappers for a moment. We all know the game bends its rules for certain individuals. Take Nicki, for instance. The industry picks and chooses.
They pick.
Now, I need to pause this discussion because Nicki raises a valid point. Some rappers who’ve condemned Takashi for snitching have their own connections to informants. There’s an undeniable hypocrisy there, a glaring double standard in how they shield some and vilify others. However, there’s another side to this. Takashi was entrenched in street life, affiliated with a gang, orchestrating attacks on rival rappers. He was bound by a code. And when he violated that code by cooperating with authorities, he lost respect. He’s now branded a snitch, burdened with that stigma. Had he not treaded those dangerous paths, he wouldn’t bear that label. But those are just my musings on the matter.
Now, let’s delve into Nicki’s critique of rappers who don’t craft their own verses. It’s intriguing because Takashi falls into that category. Nicki is renowned for her lyrical prowess, her dedication to penning her own tracks. She doesn’t hold back her disdain for those who don’t. It’s ironic, considering Takashi’s reliance on ghostwriters. While I can’t confirm if he penned his verse on “Trolls,” he’s been previously called out for employing ghostwriters.
I recall a moment during a livestream with academics when Six9 FaceTimed in, boasting about a reference track he’d received. It’s a trait that’s been attributed to his success—his relentless pursuit of fame, regardless of who crafts the words.
Meet Takashi, a rat of a musician who not only lacks originality in his music but also exudes immense arrogance. He shamelessly peppers his speech with the N-word, despite not being part of the black community, and shamelessly appropriates culture. Consequently, he’s earned little to no respect in the industry. His misguided belief that trolling and flaunting his rat-like behavior would garner admiration has fallen flat, with many of his peers viewing him with disdain. What are your thoughts on this video? Feel free to share your opinions in the comments below. Don’t forget to like, comment, and subscribe, and share this video if you found it meaningful. Thank you for tuning in, and until next time, take care. Goodbye.