For much of the 2010s, Nicki Minaj was the most successful female rapper on the planet, selling more albums than any woman in hip-hop ever. But then a former exotic dancer, reality show star, and political science major named Cardi B exploded on the scene, stealing much of Minaj's thunder in the process. Nicki, of course, was not about to take this lying down, sparking a war of words that culminated with an infamous shoe-throwing incident. In the end, however, is this feud really about the sexism of an industry in which only one female MC is allowed to succeed at once?

See omnystudio.com/listener for privacy information.

In the early '70s, Neil Young wrote two classic songs about the south — "Southern Man" and "Alabama" — that annoyed one of his biggest fans, Ronnie Van Zant of Lynyrd Skynyrd. So Ronnie co-wrote "Sweet Home Alabama," which became a hit song and a defining southern rock anthem. Among the song's fans was Neil Young, who formed a mutual appreciation society with Van Zant. So ... where's the rivalry? In this episode, we talk about how the larger culture seized upon the Neil Young vs. Lynyrd Skynyrd binary as part of a larger, ongoing culture war, simplifying what was otherwise a friendly, complex dynamic between two legendary artists.

See omnystudio.com/listener for privacy information.

“Imma let you finish but…” When Kanye West crashed Taylor Swift’s acceptance speech at the 2009 MTV Video Music Awards, he ignited one of the most compelling and complex music rivalries ever. More than a decade later, their feud continues to captivate because it’s multi-faceted. It’s a discussion of an older man publicly disrespecting a talented younger woman — but it’s also a discussion of white privilege and how people of color are treated in the United States. Over the years their public personas have swung from victim to oppressor, idol to pariah. The beef explores the fickle nature of public tastes, the weaponization of social media, and the way “reality culture” impacts our actual reality. And it also examines some of the biggest hits of the 2010s.

See omnystudio.com/listener for privacy information.

There's a long history of sibling rivalry infecting some of the biggest acts in pop and rock. But there is perhaps no greater example than the brothers Liam and Noel Gallagher of Oasis. From the time they broke out in the mid-'90s, these British bad boys have been at each other's throats. The core of their argument boils down to a simple philosophical disagreement about the value of art vs. rock 'n' roll chaos. Is Oasis all about the music or the mayhem?

See omnystudio.com/listener for privacy information.

As co-founders of blink-182, Mark Hoppus and Tom DeLonge produced some of the most joyous and gleefully immature pop-punk of the ‘90s. But behind the rapid-fire riffs and plentiful dick jokes, creative tensions between the pair escalated. DeLonge’s desire to pursue a wide variety of musical and professional avenues led to lengthy hiatus in the mid ‘00s. A high profile reunion was going fine for a time, until DeLonge was again sidelined by other interests. Blink carried on without him as DeLonge performed intermittently with his new band, Angels & Airwaves, but the man who one sang “Aliens Exist” has devoted most of his energy to the study of UFOs.

See omnystudio.com/listener for privacy information.

Pink Floyd is one of the greatest and most successful bands of all time, and that is due mostly to the lyrics and ideas of Roger Waters and the guitar-playing and musical acumen of David Gilmour. Together, they guided the band through masterworks like "Dark Side Of The Moon" and "Wish You Were Here." But just as they achieved massive popularity, their partnership came undone by a destructive power struggle that ultimately sent Waters packing. He thought he was Pink Floyd by himself, but Gilmour later proved him wrong — or did he?

See omnystudio.com/listener for privacy information.

In 1994, Stephen Malkmus of Pavement wrote a snarky song called "'Range Life" in which he made a few snide remarks about one of the world's most popular alternative rock bands, Smashing Pumpkins. Little did he know that this song would spark a rivalry that would last for decades. Smashing Pumpkins leader Billy Corgan interpreted "Range Life" as yet another example of "elite" people looking down on him, a worldview that has curdled over time in strange and unexpected ways. In the end, Corgan's ire for Malkmus is a parable about how assuming the world is against you is a good way to turn the world against you.

See omnystudio.com/listener for privacy information.

In the late 1990s, there were no bigger boy bands than the Backstreet Boys and *NSYNC. They might have ended up as rivals anyway given that they operated in the same lane of sweet ballads and synchronized dances. But the tension between was ratcheted up because they had the same "Big Poppa," the infamous impresario Lou Pearlman. Eventually, however, their sniping ceased once the groups realized they were both being ripped off.

See omnystudio.com/listener for privacy information.

Together, Paul Simon and Art Garfunkel formed one of the most popular and critically acclaimed duos in rock history, producing classic songs like "Mrs. Robinson" and "Bridge Over Troubled Water." But from the time they met as children, they were also competing with each other — for credit, for attention, and even for money. As the years went on, and they continued to reunite and then swiftly fall apart, their initial gripes never seemed to go away. Paul thought Artie never worked hard enough, and Artie thought Paul had a "Napoleon complex." In the end, their gentle music masked a lot of interpersonal aggression.

See omnystudio.com/listener for privacy information.

Guns N' Roses were the biggest rock band in the world by 1991 — but that didn’t mean they were impervious to criticism. Their double-barreled smash ‘Use Your Illusion’ featured the song “Get in the Ring,” in which the notoriously thin-skinned Axl Rose struck back against those he felt had wronged him in the press. The track is notable for its complete lack of ambiguity. He specifically names music journalists and challenges them to fight. But when they accept his challenge, Axl never shows. “Get in the Ring” crystalizes the dichotomy between the singer’s brawling bad boy reputation and his actual actions, and raises questions about how celebrities defend themselves against critics.

See omnystudio.com/listener for privacy information.