>>3The nuance is here is subtle, and so is the exegesis.
The phrase “nigga nigga bitch” is a challenge to all other niggas that this nigga is indeed not a bitch because he is in a position to determine which other nigga is also a bitch.
However, the subsequent “nigga nigga” is a resignation that his weltanschaaung is basically, that of other niggas. From a purely epistemological viewpoint, this deals with the fundamental cognitive orientation that the world wide perception of the nigga in question is inextricably linked with the overall African-American experience.
Furthermore, by inviting the listener to ponder the performer’s weltanschauung, the artist cleverly invokes a subliminal shout out to WorldStarHipHop, which has previously been shouted out directly in the chorus.
Next, the artist describes a litany of items commonly, and often pejoratively and stereotypically, associated with the African-American experience. “Nigga fried chicken” is a staple of the diet of many Americans of African heritage, on account of the ubiquitousness of poultry, its affordability and flavor.
“Nigga watermelon” is not merely another item commonly associated with African-Americans, but is also a declaration that these words, taken together, are a painful reminder of how niggas have been demeaned by a culture and nation with an unmanaged and unrealistic expectation that demanded niggas immediately assimilate directly after the abolition of slavery, notwithstanding years of being treated as property and only 3/5 human.
Yet by reclaiming the delectable watermelon, along with fried chicken, through a startlingly honest direct association with “nigga”, the artist empowers all fellow niggas not to succumb to the expectations of an oppressor culture unfamiliar with either the challenges or the basic joys of being a nigga.
The subsequent refrain, “nigga bitch nigga nigga” should be taken as a cautionary and world-weary realization that despite the empowerment that ought to be realized from reclaiming some of the basic staples of the African-American diet and their poignant cultural connotations, niggas, due to the ontological ennui of being a nigga, will do little more than complain about their state of being a nigga. In other words, the artist’s philosophical stance is both cynically realistic, albeit ultimately positive, in the sense that it is better to light a candle of enlightenment (or a pilot light to fry the aforementioned chicken) than to curse the “darkness”, i.e., fellow niggas.
“White women” are of course among the greatest delights that nature or the divine has bequeathed to mankind, niggas included. This is further explored in the subsequent lyrical discussion, “titties ass.” Because these features are typically abundant, both on white women and on women of color, the artist is describing a desire that is universal among all niggas, whether one prefers titties or ass or both. This also explains the clever omission of a comma, which in this context would be either an additive or “copulative” grammatical conjunction, as the act of sexual intercourse itself is ego-annihilating at the moment of climax, as is the experience of a nigga’s sexual overtures being rejected, which is probabilistically likely if a woman feels objectified in this manner.
The theological implications of these lyrics are likewise staggering, and would require volumes.