Nicki Minaj doesn’t need to pop out but when she does, there’s certainly something worth addressing. And in recent months, the Pink Friday rapper has undoubtedly found herself trading words with a few of the new generation of rappers – many of which she’s influenced. Her issues with Latto took center stage when the Grammy nominations emerged. Her chart-topping single, “Super Freaky Girl” was shifted out of the rap categories, leading to a negative mention of Latto over the success of her massive hit record “Big Energy.”
On top of her issues with Latto, fans speculate that there’s been tension between Nicki and Megan Thee Stallion. Though Nicki embraced Meg when she first came on the scene, collaborating on “Hot Girl Summer,” it seemed as though things took a turn when “WAP” came out. Meg’s decision to work with Nicki’s nemesis ultimately severed their relationship and it seems that Nicki Minaj is out for blood these days.
Nicki Takes Shots At Megan
There’s a lot to unpack on Nicki’s “Red Ruby Da Sleeze,” especially the numerous subliminal shots she takes across the record. There are numerous points where she takes aim at the other women who are killing it in rap. She seemingly references Latto as a Karen, once again, when she raps, “We don't be Karen like Donna-na, na-na-na-na.” Nicki previously called Latto “Karen” during a back-and-forth on Twitter.
However, it’s the subtle aim at Megan Thee Stallion that feels prominent across the record. During the first verse, she raps, “700 on them horses when we fixin’ to leave/ But I don’t fuck with horses since Christopher Reeve.” Then, there’s a reference to Doritos, a brand that struck a deal with Megan Thee Stallion” “Dorito bitches mad that they not chose.” Finally, Nicki seemingly references allegations that Tory Lanez’s told Megan “dance, bitch” the night she was shot. “That .40 cal a make 'em dance like a go-go,” Nicki raps. All in all, fans are convinced that Nicki’s addressing a few of her adversaries in hip-hop. Check out the song above and a few reactions below.
