J.C.'Fancy' is a song by Australian rapper Iggy Azalea featuring British singer Charli XCX, taken from the former's debut studio album, The New Classic (2014). Minaj’s lack of public interest seems to have undone Remy Ma who, a few days after “ShETHER,” released “Another One,” a far less effective song that begins to make her quest seem to be less about righteous ego-deflation and more about ax-grinding. Minaj’s only real reply, it seemed, was posting pictures on Instagram from an exceedingly sunny location wearing space-age swimsuits, and then from Paris fashion week. In response, on Twitter, people took to asking “Where’s Nicki?” eagerly awaiting a response song, which never came. Truthfulness of the allegations aside, no one has issued as effective a takedown of a superstar rapper in years. Minaj’s weaknesses as Remy Ma’s single-minded obsession with them. “ShETHER” is by turns hilarious and worrisome, as much an indictment of Ms. Minaj as a pop legend, but rather a door to be barreled through. Minaj painted by Remy Ma here is fraudulent, domineering, petty, perhaps because Remy Ma doesn’t see Ms. The song - an update of “Ether,” a key song in the Jay Z-Nas war of the turn of the millennium - is almost deadpan, pleasantly heartless, with a slow accrual of scorching detail that, taken in sum, feels beyond damning. And the most savage aspect of “ShETHER,” the seven-minute broadside Remy Ma unleashed against Nicki Minaj earlier this week, was how collected Remy Ma sounded. The key to beef, of any kind, is not getting rattled. Azalea’s heavy-effort off-kilter raps, even as they’re being appropriated and used as a protective shield. And buffering this song on every side, and from within, is Lil Uzi Vert, whose spaced-out sing-raps are so ethereal they serve as a rejoinder to Ms. “Can’t Lose” features awkward tough talk, flows that mercilessly pilfer from Migos, and callouts to her earlier hits. Azalea has been judged harshly - mostly fairly, with a few exceptions - but she has remained resilient, and committed to her approach. The need for a pop rapper to make hip-hop seem accessible and nonexclusionary? The need for a fun-house-mirror take on prevailing rap trends? The need for a white female rapper to be given as many chances as possible? The need for a record label to recoup on its investment? All of those things appear to be at play on “Can’t Lose,” her new single with Lil Uzi Vert, and first release in approximately a year. Undoubtedly, Iggy Azalea serves a need - what need that is remains somewhat elusive.

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