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Kenoe said that the song's musical concept was simplicity as he didn't want "a million and one things going on in it", and credited it as being distinctive from the others included on the album. Later that same day, Minaj's A&R Mack Maine informed him that she was looking for "some rap shit", so he submitted more aggressive, urban songs in hopes of inclusion on the record. Originally, Kenoe began sending both pop and hip-hop songs to Minaj when he heard that production of her sophomore album had begun. Mixing of the song was done by Chabaz with additional help from Sher at Conway Studios.
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It was recorded at Conway Studios in Los Angeles, California by Ariel Chabaz and Finis "KY" White with assistance from Jon Sher. "Beez in the Trap" was written by Minaj, Maurice Jordan, and 2 Chainz, while production was handled by Kenoe. Minaj recruited rapper 2 Chainz for "Beez in the Trap". An accompanying music video for the track was released on Vevo on April 6, 2012. Musically, "Beez in the Trap" is primarily an electro- hop and hardcore hip hop song which features a retro 1980s gangsta rap production and elements of dubstep, grime, and trap. The track was released as the album's third single on following " Starships" and " Right by My Side". It was written by Minaj, Maurice Jordan, and 2 Chainz, who contributed a guest verse to the song, while production was handled by Kenoe. The second verse, where Nicki just names cities, is a bit of a cop-out, but I can get with it, especially because she covers her bases and mentions Delaware, of all places, then spirals back around to all five boroughs." Beez in the Trap" is a song by Trinidadian-American rapper and singer Nicki Minaj for her second studio album, Pink Friday: Roman Reloaded (2012). Though he’s as quotable as ever (“Ain’t no keys in this doohickey”, “Money, thousands! True Religion trousers”), his usual energy flags a bit, but the simple idea of him showing up, in keeping with the song, symbolizes an awareness of what’s hot in the streets. No doubt an Internet comments fray is happening somewhere right at this moment, questioning Nicki’s street cred and bemoaning how “pop” the beat is, and entirely missing the point of this very hard rap song.įall back for a second, and realize that Nicki Minaj is on the cover of Allure right now, is making songs like this, performed anti-Santorum performance art on the Grammys and is linking up with 2 Chainz. made the violence both super-literal and completely fantastical.
YOUTUBE NICKI MINAJ BEEZ IN THE TRAP CRACK
Think of Ice-T on “I’m Your Pusher,” where the skill of making hit records and selling you a hit of crack become one in the same (Nicki references the song with “I spit that crack, like I’m in that trap / So if you need a hit…”), or Public Enemy’s “My Uzi Weighs a Ton,” by which Chuck D really meant “My lyrics are awesome and will destroy you,” not, “I’m going to shoot you with an Uzi.” I’m turning this into some grad-school bullshit, I know (David Foster Wallace even wrote about this in 1990’s Signifying Rappers), but this was the function of most rap up until N.W.A.
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She’s successfully occupying the trap, ground zero for hardness, and calling its inhabitants “bitches,” all to prove that she is the consummate rhyming bad-ass. Former No Limit soldier Kenoe’s drip-drip synth with a little bit of an echo beat is very now in a stupidly, awesomely simple “Rack City” way, but it’s also as spare and raw as something that could’ve popped up on Rhyme Pays.Īnother way that “Beez in the Trap” is retro: Nicki employs street hardness as a signifier of how great she is at rapping, not as an attempt to actually convince anybody that she’s “hood” or any of that authenticity nonsense. Dre aphorism, “bitches ain’t shit,” and then makes it her own by throwing that misogynist bullshit right back. She matches the vocal delivery of Schoolly D’s “P.S.K What Does It Mean?” and Ice-T’s “6 N’ The Mornin’,” and quotes that Dr. So, “Beez in the Trap” is Nicki Minaj’s gangsta rap record, right? In the loose, street-rap context that shouts out crack sales and rounds up a guest verse from 2 Chainz, for sure, but also because of the way it nods to the late-’80s, minimalist origins of the genre.