Baddiez, Blogz, & Buzz: The Sport of Female Rap

Digital Magazine

Looking deeper into how stan culture, blog reporting, and Pop Culture influences today’s competition for women in the hip hop space.

BY HARPSICHORD

OCTOBER 1, 2023

A.I. illustration of Nicki Minaj being a goal keeper in the sport of hip hop.

When Latto performed at this year’s Coachella, the female rap invested side of social media and the blogs went a buzz. On Sunday, April 16, she teased and officially premiered the latest single she would be dropping: “Put It On Da Floor.” It had been a while in the game of rap, where a live performance of an unreleased track generated much hype. As if it had been destined to already become a mainstream hit.

Aside from the aggressive choreography that highlighted Latto’s ability to give an engaging performance, audiences’ ears perked up when they heard a few lines. “Rip me out the plastic I been acting brand new,” instantly became a caption– an enticing way to start Latto’s first verse. Then what had been perceived as a standard braggadocious record from any female rapper, turned into what some hip hop outlets labeled “a Nicki Minaj diss record.”

Complex Magazine on April 17, 2023: “Latto Appears to Take Shots At Nicki Minaj During Coachella Performance”

XXL, the same day: “Fans Think Latto Disses Nicki Minaj at Coachella”

Hip Hop DX: “Latto Seemingly Comes For Nicki Minaj During Fiery Coachella Performance”

TMZ: “Latto Appears to Lyrically Shred Nicki Minaj at Coachella”

These claims from what are perceived as (somewhat) credible in the space of hip hop don’t seem far fetched. ‘Billboard’ is regarded as a holy bible of music journalism and critique, and even they released an article in October 2022– six months prior to the Coachella performance– titled “Here’s Why Nicki Minaj & Latto Are Beefing.” Those following female rappers were shocked when in that timeframe Nicki Minaj– who calls herself “The Queen of Rap,” exchanged tweets with someone who idolized her to become their own brand and entity. In the midst of that exchange, Latto revealed private conversations both ladies had– trying to showcase Nicki Minaj as the bad guy in the behind the scenes situation.

Ironically at the time, Nicki Minaj (who has zero) complained publicly on her Twitter about the rules of the 2023 Grammys. In a way she threw Latto under the bus– mentioning how her own 2022 No. 1 global smash “Super Freaky Girl” would not be considered in rap categories, but rather pop, while Latto’s “Energy,” which preceded the aforementioned single’s pop success, would land in that spot. What most would perceive as a very minor qualm, actually trickled into something larger for those who follow the charts and the Grammys. Nicki had made a valid point. The Grammys seem to pick and choose who they consider for certain categories in order to influence the final result. However, this go round, the complaint came from someone notorious for swiping at the momentum of fellow female rappers who are bound to break records Minaj set forth years ago.

The disses heard around the world

To this day– in 2023 and leading into 2024, 2025, and beyond– Nicki Minaj’s most loyal fans, The Barbz, call that period in time ‘The Nicki Hate Train.’

When Cardi B would join the official remix of “Put It On Da Floor”-- retitled “Put It On Da Floor Again”-- on June 2, it reignited what transpired in 2018. At this point, those still even tuned into this article (and those just learning, and unfamiliar) know the story (or should learn) that 2017 really changed the landscape of how we as a society perceive present female rap. Nicki Minaj had reigned supreme ever since she appeared as a guest on remixes of Drake, Beyoncé, and Yo Gotti in 2009. The Queens, New York City native generated buzz because of her mixtapes, a partnership with Lil Wayne, and an iconic feud with Lil’ Kim. She reigned almost peerless in terms of mainstream popularity for nearly ten years, before a “regular, degular, shmegular,” former stripper turned quote-worthy social media and reality TV star reinvited the blueprint for being a successful female rapper.

In 2017, Cardi B had become the first female rapper since Lauryn Hill in 1999 to receive a No. 1 song on the Billboard Hot 100. Even Nicki Minaj, who continuously called herself “The Queen of Rap” had not achieved that feat– let alone garnering any No. 1 song with a female or a male co-star. Already scathed by a lethal diss record of accusations called “SHEther” from Remy Ma, it felt like 2017 turned the tides against Nicki’s Queendom. To this day– in 2023 and leading into 2024, 2025, and beyond– Nicki Minaj’s most loyal fans, The Barbz, call that period in time “The Nicki Hate Train.”

Then after Cardi B released her acclaimed debut album, ‘Invasion of Privacy,’ and Nicki Minaj released her begrudging response, Queen, the internet would go into a frenzy in late 2018, because of a red high heel shoe. The one that Cardi B chucked at Nicki Minaj while both were attending a fashion gala hosted by ‘Harper’s Bazaar.’ Before and since that moment, both ladies seem to be continuously shading one another on songs and tweets throughout that time period and beyond,

As press outlets labeled “Put It On Da Floor” as a Nicki diss, Latto never came out publicly to deny the claims. If anything, Cardi B’s feature on the “Again” version proved to be confirmation that those outlets were correct in their suspicions.

“Put It On Da Floor Again” had all the ingredients to make for a buzzworthy rap single. “I’m sexy dancing in the house, I feel like Britney Spears,” raps Cardi B with authority. Her inclusion on a song with that much hype felt like a parallel to what she did in 2022 on the remix of GloRilla’s ‘Tomorrow,” aptly titled “Tomorrow 2.” “Tomorrow 2” in itself was speculated to be a diss because of its brutal drill nature sonically.

But in 2023, what has become clear in the game of female rap, is that very few can do it alone. While Latto and Cardi B may have debuted at No. 13 on the Billboard Hot 100 with their remix [allegedly] going against Nicki Minaj, the latter remains the only female rapper to have a solo No. 1 song in the past year.

When talking about solo performances, Nicki Minaj has subjectively been killing the game of rap when it comes to 2023. After all, this is “The Queen of Rap '' who came out with “Red Ruby Da Sleeze,” which most music media outlets, such as ‘Consequence,’ ‘XXL,’ and ‘Exclaim,’ perceived as a Megan Thee Stallion diss. The latter mentioned “Hot Girl” from Houston, Texas has had her own (unconfirmed) issues with Nicki Minaj. Also a pupil of Minaj, Megan Thee Stallion has been distracted by her notorious trial against Tory Lanez, an emerging mainstream artist who she claimed shot her during the summer 2020 pandemic after a drunken night of debauchery.

On “Red Ruby,” Minaj raps bars that seem to shed light on said incident. Minaj says lines such as “Married a shooter;” “700 on the horses;” “Dorito bitches mad that they NOT CHOSE” (a line that highlights court transcripts that Meg cooked nachos the night of the shooting); “That .40 cal'll make 'em dance like a go-go” (a line that seemingly references a gun, and the claim that Tory Lanez shouted “dance bitch,” before firing his rounds); and the most infamous dig, “I don’t fuck with horses since Christopher Reeves” (as Meg goes by a stallion horse– the same horse that paralyzed cinema’s Superman). Minaj even interpolates a dancehall classic into the song’s sample, which goes “uh oh” throughout the track.

It’s that level of “sleeze” that keeps the rap game going. When Nicki Minaj started feuding with Lil’ Kim around 2009 and 2010, she often inserted her stats into the continuous debates that fueled blogs and both rapper’s stans (obsessive fans). Once she started reigning supreme, Nicki Minaj would continue to use charting and sales stats to attack anyone who could be a threat to the throne.

MOB Radio: The most infamous rap blog of them all

Milagro Gramz is notorious for speaking her mind on the Mob Radio podcast on YouTube. She received much scrutiny as many, including NBC News accused her of spreading misinformation during the Megan Thee Stallion and Tory Lanez trial.

The Shade Room. The Neighborhood Talk. Caresha Please. Drink Champs. The Joe Budden Podcast. Onsite. The Jasmine Brand. Unwine With Tasha K. The Armon Wiggins Show. Hollywood Unlocked. Rap Alert.

These are just some of the blog and podcast spaces of hip hop social media that have influenced certain directions in the world of present female rap. Uncensored commentary. Unfiltered opinions. Uncanny reactions from the female rappers being discussed, and their ravish fans.

Then there’s Mob Radio: the YouTube and Twitch platform where female rap commentary mirrors an ESPN podcast. It’s hosted by the notorious Mílagro Gramz, and her sound effect bombs. The style of Mílagro comes from the school of hip hop shock jocks of the ‘90s and 2000s, like Wendy Williams, Funkmaster Flex, and Miss Jones. One minute you’re agreeing with her opinions, as they come off personable. Suddenly, you’re wanting to curse her out after she insults one of your favorite celebrities. But ultimately, you’re tuned in to hear the latest “tea” or gossip for the sole purpose of entertainment.

However, there is a strong catch to Mob Radio. It is openly biased. Although the reporting happens to be some of the sharpest when it comes to covering what’s trending in hip hop, it happens under the guise of someone who heavily supports Nicki Minaj. Sometimes, an episode that can span an hour and a half or even five hours, can turn into promotion for someone that Gramz often regards as “the greatest to ever do this shit.”

Mílagro Gramz, and her Mob Radio telecasts, came into viral prominence during the Megan Thee Stallion shooting trial. Going on since 2020, she became one of the first hip hop media figures to actively report new details as they emerged. Not just during the actual trial that took place in December 2022, but since TMZ reported on the night of the shooting, during the investigation process and the various delayed phases of pre-trial, and after Tory Lanez’s guilty conviction and sentencing, onto the long appeal process.

Many on social media were not a fan of Gramz’s reporting on the matter. They felt as though she victim-blamed Megan Thee Stallion while discussing the situation insensitively. They believed that she lacked proper media training and told half-truths. It also didn’t help that it seemed her favorite, Nicki Minaj, happened to be beefing with Megan Thee Stallion– with the latter often receiving a barrage of criticism (that borders hatred) from Gramz, in support of the former.

However, over the course of time, court transcripts– and reports from her journalism arch-nemesis who also covered the case, Meghann Cunnif– ultimately corroborated what Gramz said or speculated on her podcast. At the moment, she is one of the central personalities on a HBO Max and Discovery Plus documentary titled “Megan Thee Stallion vs. Tory Lanez: Five Shots.” Throughout the three years, she holds her truth that Tory Lanez did not intentionally shoot Megan Thee Stallion (or maybe not at all), and that inconsistencies amongst the victim and key witnesses should have exonerated him beyond reasonable doubt.

Through those dark tragic situations, Mob Radio has a knack for prescient insight on what is going on with the state of female rap. Gramz's approach is that of a sports commentator. She often tells the audience that despite how she may feel about various female rappers like Cardi B or Latto– and despite her own personal allegiance to Nicki Minaj– she “puts on her A&R [artist repertoire of a label] hat” when discussing industry moves. If she likes a song from them, she’ll admit it underneath the barbs thrown at the femcees.

Like most Barbz, Gramz gets irritated with female rappers who seem to not bow down to or respect “The Queen.” She believes that Nicki Minaj set a blueprint that should be respected. Anyone who beefs with her actively is a problem child that needs to be annihilated by the rap assailant. “Red Ruby Da Sleeze” obviously serves its purpose to Gramz, while “Put It On Da Floor Again,” is a cheap shot from “weak” rivals trying to gang up.

(And if you’re really curious, take a listen to her critique of “Bongos”: Megan Thee Stallion’s first release since Tory Lanez’s sentencing, and Cardi B’s follow up to their 2020 collab, “WAP.”)

the new comers skyrocketing in female rap

The two artists that Gramz has supported during their come up are Ice Spice and Sexyy Red. In fact, Gramz was one of the first media personalities to put a notice on Ice Spice. Through speculation, she wondered if Ice Spice had a connection to Drake, as she was spotted at his OVO Fest in August 2022. This ironically happened around the time Megan Thee Stallion released her trial commentary album, Traumazine.

Later in that year, and onto the beginning of 2023, Ice Spice became viral for her solo debut, “Munch.” Critics noted how her style matched that of Cardi B and Megan Thee Stallion when she first arrived on the mainstream, but that she had a differing spunk. Then, the unthinkable happened. Nicki Minaj shared the magazine cover of Ice Spice featured on ‘Dazed’ with the caption, “Gag. The People’s PRINCESS,” with a crown emoji, before finishing with, “catch it!!!” That would be a tease for their collaboration remix, “Princess Diana,” a drill precursor to “Barbie World.”

In an October cover story for ‘Variety Magazine,’ Ice Spice had the following exchange with Steven J. Horowitz about the state of female rap and it’s “competitive nature”:

“It is a competition at the end of the day. People want to be all ‘I’m a girl’s girl,’ but then behind the scenes being bitches,” [Ice Spice] says. “Basically, we here, the girls, are doing amazing. I’m excited to see it. I feel like the competition is what keeps us all excited because I think we all secretly enjoy competing and seeing who put that shit on better and who’s gon’ get the most views. I can be transparent, and I know the competition is checking on me too, which is why it’s OK to say that. Because it’s like, ‘Yeah, girl, I’m watching you and I know you watching me.’ And boys are watching too, because they be secretly haters.” She adds, “But everybody today is competing with everybody no matter if you a boy, girl, nonbinary, whatever it is. You still checking in on your competition. That’s in every industry.”

Sexyy Red, who labels herself, “The Hood’s Hottest Princess,” started receiving notice after doing a troll remix of Vanessa Carlton’s signature midtempo, “A Thousand Miles,” in 2018. In 2023, Nicki Minaj would hop on a remix of her breakout single, “Pound Town,” also giving her a seal of approval. Courted by the attention of male figures in hip hop such as Drake and Lil Yachty, Sexyy Red would lean further into her solo success with “SkeeYee.” ‘Billboard’ dedicated an article to that success, claiming “It’s the Summer of Sexyy Red on Streaming.”

“SkeeYee” is bold and brash, but ultimately refreshing. If referring to hip hop meant for the street culture of today, “SkeeYee” is one of the records currently reigning at the top of that zeitgeist. The instrumental production of a haunting piano loop recalls the horrorcore of Three 6 Mafia and the late, Gangsta Boo, while evoking the nature of the spooky drill currently running rap. “If you see me and you tryna see what’s up,” calls Sexyy Red, before the hook answers back the title of the track. Then there’s the moment where she elongates the syllable of certain words— bringing about a feeling of sports stadium chants.

At the moment, Barbz are starting to question Sexyy Red’s loyalty to Nicki Minaj. She has a remix alongside Latto of Young Nudy’s “Peaches & Eggplants.” Most have since turned on Megan Thee Stallion after she collaborated with Cardi B on 2020’s “WAP.” Despite the solo Top 10 success of other artists like Coi Leray on “Players,” Barbz have casted certain femcees away as the fanbase view some of their social media interactions suspicious. Only time will tell if Sexyy Red will come under the same scrutiny and turn into a foe of an idol that gave her breakout single more notice. On a recent podcast, Gramz admonished her fellow Barbz listeners for trying to drag Minaj in another beef, labeling their harsh judgment of an industry move from a rookie on the come up, like Sexyy Red, as “petty.”

On Lil Uzi Vert’s “Endless Fashion,” listeners immediately harped on a line coming from Nicki Minaj. “Even if my name is Natalie Nunn, you bitches still couldn’t chin check me,” promises the rapper. The bar made its viral rounds based on how reality TV culture remains relevant in today’s hip hop.

With foundations in the Vh1 show, “Flavor of Love,” and onto their franchise, “Love & Hip Hop,” reality TV has its own marketing foundation in the genre. Natalie Nunn encountered social media hype after appearing on Season 4 of the Oxygen reality series, “Bad Girls Club.” Her detractors not only knock her for continuously saying “I run LA,” but also for the physical feature of her face: an elongated chin.

Natalie Nunn, has since become one of the most notorious figures of the reality franchise and its spin offs. Eventually, she would partner with the streaming service, Zeus, in 2021 to release the child of Bad Girls Club, titled “Baddies.”

There are various definitions of “Baddy” in the online slang encyclopedia, “Urban Dictionary.” Scroll down and encounter the definition as we know it today: “Baddy, (noun), “A female who can hold her own and take care of herself. She is very pretty, and independent.”

Since the dawn of hip hop’s time, baddies have been who ran female rap. From MC Lyte, Roxanne Shanté, Salt-N-Pepa, and Queen Latifah to Lil’ Kim, Foxy Brown, Missy Elliott, and Lauryn Hill, down to Trina and Eve who appear on the “5 Star” [Chick] remix with Nicki Minaj.

The idea of a Baddie has been transformed thanks to reality TV. Cardi B has emerged as that realm of media’s true essence of a Baddie. She flipped being featured on a genre of entertainment that is known for its debauchery and foolery into a successful multi-million dollar empire that includes multiple RIAA plaques and global No. 1’s.

Some have criticized Cardi B for degenerating the game of rap. They believe Cardi B broke the barrier for being someone who has not truly come from the culture of rap, but rather exploits it for her own monetary gains. If that doesn’t make sense, just pinpoint to Nicki’s jab at Cardi B during the height of their initial feud: “write a rap.”

But hip hop culture has always been rooted in entertainment. Even if it comes from a negative place. To make it clear, all hip hop is not coming from that particular place. (Editorial note: This article may seem as though it highlights that, but that’s simply not the case; it’s just a part of reality in the world being written about.)

In the midst of the ongoing civil war between Nicki Minaj and Cardi B, comes JT— the other half of City Girls. While Yung Miami, aka Caresha, has been keeping followers of hip hop engaged with her podcast, and romance with Diddy, JT has been on a quest to prove that she is a solo star who truly can run rap on her own terms. She’s a lyricist and more than often she’s the breakout moment on any City Girls’ song ranging from “Act Up” to one of their more recent collabs, Diddy’s “Act Bad.”

When JT appeared on the remix of Nicki Minaj’s No. 1 hit, “Super Freaky Girl,” her and Cardi engaged in a Twitter feud. Cardi seemed to get the better hand with her digs, calling JT “prison pants,” an acknowledgement of JT’s short stint in prison for committing felony fraud; then she called her a “lap dog,” addressing how JT seemed to be following after Nicki’s antagonizing of other female rappers.

Although the two made up, and told their followers they were on better terms after a private phone call outside the social media war, JT continued her quest to be the ultimate Baddie in the current game. That would come with “No Bars,” a freestyle over a menacing, simplistic beat that doesn’t overshadow what she’s saying.

This is how “baddies” beef

JT’s feature on Stunna Girl’s remix of “Like Dat,” is just further proof of her mission. Stunna Girl will remain one of the most essential characters on the roster of Natalie Nunn’s “Baddies” series. She became viral for constantly being ready to “square up”— or rather fight— her castmates that pushed her. One premise of “Baddies,” is how the ladies went to various clubs to perform their songs.

In various nightclubs of Stunna Girl’s “Baddies West” season, she would perform “Rotation,” which knocked its twerking style from 2003 hit, “Choppa Style,” which ironically would be sampled on Cardi B’s 2018 collab with The City Girls entitled “Twerk.” JT would not be able to appear on “Twerk” because of her prison sentence at that time.

“Like Dat” is JT’s redemption. It features an actual “Baddie,” as JT notes in the lyric, “And I’m a Baddie like Stunna Girl.” If describing the instrumental, the song gives a Casamigos sway with the gondola vibes of Latin America and Mediterranean Europe. Both ladies gloat about how “fly” they are and what they can do in the bedroom to please a man. “Like Dat” is ultimately a song about stunting, which would make sense for someone who calls herself a “Stunna.” If anything, it comes directly from the playbook of Cardi B’s knack of branding her debauchery with what people have witnessed on their TV screens– with the incorporation of actual music capabilities.

The fun crossover appeal of female rap’s new age

Trickling onto the new generation, the idea of being a Baddie isn’t as evident in the influence of Nicki Minaj, nor Cardi B. While up and coming female rappers have acknowledged both of their presence, the game has expanded so much where neither need to be outright mentioned in order to obtain success.

There are two prime examples of breakout stars that have succeeded beyond those measures: Flyana Boss and Kaliii.

Flyana Boss is a peculiar case. While Salt-N-Pepa became the prime hip hop duo of the ‘80s and ‘90s, Flyana Boss is priming themselves to be that for the 2020’s. Based out of LA, Bobbi Lanea Tyler and Folayan Omi Kunerede signed to Atlantic Records in 2021. Since then they have gone viral with their breakout hit, “You Wish,” which now features Missy Elliott on a remix. Their attitude is preppy, and youthful. In the music video, they are featured sprinting, which has now taken on its own life as a Tik Tok trend. The standout moment happens on the second verse where they go, “Hello, Christ? (What's up?) I'm 'bout to sin again,” a subtle acknowledgment to Baddie sentiment. Flyana Boss has garnered so much attention that Google features an animated, running GIF of them both whenever you search their name on the website engine.

Also featured on that remix, is Kaliii, an up and coming femcee hailing Georgia. She garnered attention through Tik Tok, and collabed with multiple superstars such as Latto, Rico Nasty, and Saucy Santana. In 2022, she was featured in the XXL Freshman Class of 2022. Alongside Nicki Minaj and Ice Spice, she appears on the Barbie soundtrack. Her song, “Area Codes” made waves particularly because of its schoolgirl music video and the line: “Got a white boy on my roster; He be feeding me pasta and lobster!” The beat is simplistic; almost reminiscent of what Lil Mama accomplished in 2007 with the beat of “Lip Gloss.” The nature is defiant, with a cocky woman speaking over how popping she really is when it comes to how others view her stature.

What is clear about both of these musical acts, is how their start automatically aims for crossover appeal. Where female rap once occupied a space where urban audiences (primarily Black audiences) had to be tapped into, is now a space where in order to be at the top, you need the global attention almost immediately. Global audiences now run mainstream rap. To break out, there needs to be a crossover appeal, as the rules of the game are tending to change more and more as time passes. By mentioning having a “white boy on [her roster],” Kaliii has now become identifiable with that particular audience just as much as she has with her native Black audience. By appearing on Google with their own animation, Flyana Boss has the ability to gain global internet attention.

If there is any present female rap artist that is doing this the best, that would be Doja Cat. Doja Cat is the blueprint for how social media vitality can help the new league of rappers. With a buzz since 2014, Doja Cat found her break with her troll song, “Mooo!” in 2018. From there it has been “Say So” onto “Need To Know” and so much more. Doja Cat is often trolled for being too pop leaning— something her idol, Nicki Minaj faced in the midst of her career.

Due to her appeal in pop spaces, more so than hip hop ones, Doja Cat is breaking various records. Her song “Paint The Town Red,” is the first solo female rap song to reach No. 1 in the UK and Billboard’s Global 200. It sits among the most highest streamed rap records in a single week of Global Spotify, with almost 52 million. Despite being an antithesis of what traditional urban hip hop culture represents, Doja Cat is reshaping what the meaning of that could be in the future.

Doja Cat also holds a lot of controversy. Whether that’s “the feet being shown in racial chatrooms” of gamers who are known to be racists towards their Black opponents, or degrading her own fanbase, or posting demonic, unorthodox imagery that would frighten many, Doja Cat is becoming the face of historical female rap.

Considering all of those optics, Doja Cat reigns supreme with her accomplishments because of her ability to put together a nearly perfect rap song. Take, “Paint The Town Red” for instance. It’s the type of pop rap that sits well with today’s economy. It has a snap bass that harkens to the hyphy music of the West Coast that's been popularized by the likes of E-40, Tyga, and YG. It addresses her controversies in a playful manner. She switches flows, she sings, she puts out striking visuals that have people talking. Most importantly, she avoids the drama of what her peers are doing as best she can. “I don't need a big feature or a new sidekick,” she raps as a result.

While everyone else is getting caught up in the civil war of Nicki Minaj vs Cardi B, which has an overarching presence in today’s scene, Doja Cat addresses it head on by not choosing a side. You’ll never catch her (outright) throwing a diss at either pioneer. She embraces that if it weren’t for Nicki being a catalyst to how a newer generation of rap can be viewed as talented, and for Cardi using social media to flex her own talent, she wouldn’t successfully be here today. With that in mind, Doja Cat is able to sneak in her next hit without being thrown in the middle of the chaos. Now, how does that devilish, demon behavior truly look in the grand scheme of it all?

and then, there’s doja…

This article appears In Issue 1 of harpsichord Magazine titled:

‘64 Songs that narrated the mainstream 2k23’