Harlemite Azealia Banks strong-armed her way into the running with brash lyricism and a fearless disdain for rapвЂ™s chain of command. Back in MinajвЂ™s native New York City, two young MCs hope to fill the void created by NickiвЂ™s Ibizacore conversion. Majors have snapped up everyone from Aussie ice queen Iggy Azalea to FloridaвЂ™s Dominique Young Unique to swag-ovaried White Girl Mob admiral Kreayshawn in the past year, and even veterans like Missy Elliott and LilвЂ™ Kim are in various stages of comebacks. However, her success seems to have erased long-standing major label trepidation about the sales potential of female rap artists. MinajвЂ™s music might struggle to live up to her NYT-bestowed mantle of вЂњInfluential Leader of Hip-Hop,вЂќ and many of her artistic cues are borrowed (sheвЂ™s basically the rap game Lady Gaga, whoвЂ™s already trying pretty hard to be the EDM game Madonna). And yet, the importance of Nicki Minaj as a force of industry change cannot be understated. The debate basically boiled down to whether or not вЂњStarshipsвЂќ counts as hip-hop, and both sides lose points for breaking down the future of rap music to the genre classification of one measly Billboard smash. Fans of pop and electronic dance music see the march of those genreвЂ™s values into hip-hop as a chance to bust up the genreвЂ™s masculinity complex, but grouchy rap fans have charged EDM with the death of mainstream rap and R&B. Peter RosenbergвЂ™s jab at Nicki MinajвЂ™s вЂњStarshipsвЂќ at Hot 97вЂ™s Summer Jam damn near sparked this generationвЂ™s own вЂњDisco SucksвЂќ campaign among underground hip-hopвЂ™s defenders of the faith.

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