Nicki ‘Meh’naj finally plucked up enough courage to answer back to Remy Ma’s crushing diss tracks, “Shether” and “Another One”, with three new singles, but it’s all a bit… meh.
Let’s break this down. Remy Ma mercilessly dragged Nicki for ten minutes across two tracks, verbally mopping the floor with every wig Nicki has ever glued to her scalp. Remy really went for the jugular. After two weeks of silence, Nicki shoots back one half-cooked verse on the double-feature “No Frauds”, another damn “bitches my sons” lyric on the cocky yet forgettable “Changed It”, and the urban dance number “Regret In Your Tears” where she warbles about being heartbroken. This #3PackInParis ‘event’ cannot be called a clap back, purely because the clap barely reverberates; it’s more of a tap back. Case in point: the closing lines to her sole verse on “No Frauds”:
Sheneneh, you a fraud committin’ perjury
I got before and after pictures of your surgery
Rah took you to her doc, but you don’t look like Rah
Left the operating table, still look like “nah”
The Sheneneh reference is a fleeting moment of comedic brilliance, but the rest of that verse? Stale. Insipid. Basic. How has it taken the girl two weeks to rhyme “Rah” with “nah“?! While we’re at it, why does she only have one verse on her own frickin’ track? Is this the best Nicki could come up with, during those two weeks she was stunting in Paris?
Regarding her somewhat lengthy delay in getting back to Remy, Nicki reasoned that “the greats took 3 months to respond to diss records. Queens don’t move on peasant time. Queens shut down Paris, then drop hits on #QueenTime.” While Nicki promises that she has “got a bunch more on cock”, if this is the type of rhyming she has in store for us then, honestly… she can keep it.
The limpness of “No Frauds”, “Changed It” and especially the singing on “Regret In Your Tears” does nothing to dispel the criticisms that Nicki is not a genuine rapper. Sure, she’s got bars (sentencin’), but she is blind sighted by the inevitable reality of securing a hit for herself. Of course, landing a hit record is desired by every genre in the music industry. But somebody must have misinformed Nicki, because the purpose of doing a diss track is not for it to be a hit. It’s about defending your honor with your lyricism and craftsmanship, which Nicki has not done at any point during this entire beef. Instead, she tiresomely continues to brag about who has more hit records; Nicki’s obsession becomes apparent in her risible seventy-two hour deadline for Remy Ma to “drop a hit”. What this entire event boils down to is that, despite her fervent proclamations that she is rap’s queen, Nicki Minaj is simply a pop star with rap roots. Nicki, girl…