that, the #2 moment, is "Bitches Ain't Shit." This trails only Snoop with, the next year, more male camaraderie and teamwork, now featuring Warren G, Nate Dogg, and again Kurupt: the Doggystyle track "Ain't No Fun (If the Homies Can't Have None)." Also never a single, yet another huge underground hit, "Ain't No Fun" is often recalled with "Bitches Ain't Shit." Snoop's second underground hit swiftly fulfilled what Snoop's first had presaged: the end of popular music's tenacious idealization of women. Female reply Ahead of Beyoncé as solo icon, Vibe profiled the lead singer's R&B group Destiny's Child. "Chockful of sophisticated, ball-busting, and often comical hits that berated brothers," its second or June 1999 album, The Writing's on the Wall, "earned the group reputations for being everything from gold-digging male bashers—a charge the girls heatedly deny—to new-millennium feminists out to challenge the bitches-ain't-shit posturing that plagued much of late-'90s R&B and hip hop," recalls the February 2001 issue. By contrast, of March 2000, rapper Trina's debut album Da Baddest Bitch imparts "sexually explicit tales riddled with braggadocio and vulgarity." Late to reply, Trina redoes the 1992 hook's fellatio as her "Niggas ain't shit" hook's cunnilingus directive. Yet in 1996, rapper Lil' Kim, by a track name on her debut solo album Hard Core, hailed herself as the "Queen Bitch." And though Canadian singer/rapper Peaches' 2003 effort to offend American men may appear stunted by patriarchy, Lil' Kim's second or July 2000 album answers "Bitches Ain't Shit" artfully. Lil' Kim's 2000 song "Suck My Dick" is, in English professor Greg Thomas's view, an "anti-sexist faceoff" where Lil' Kim "talks back," delivering "a royal reply," to the 1992 "classic" and "flips its sexual script," such that ultimately, "Snoop and Dre get tricked themselves, lyrically." Lil' Kim interpolates their 1992 hook's four bars only to finish her final verse and segue to her own hook, original. Her hook, a duo with a man—his only vocals—is after each of her three verses. In verse one, Lil' Kim identifies with enterprising, ghetto, intoxicated women, boasts of combat prowess and sexual power, but poses, "Imagine if I was dude, and hitting cats from the back." Soon aping a man, she is still rapping, " 'Ey, yo, yo, come here so I can bust in your mouth"—how she closes verse one—when a man, starting the hook over her vocals, yells, " 'Ey, yo, come here, bitch." Thus