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Posts Tagged ‘nicki minaj’

“Look at Her Butt:” Nicki Minaj, Power, and Sexual Objectification

In body politics, feminism, hip hop, race on September 9, 2014 at 5:02 am

MinajSnarls

Melissa Sexton

Ever since Nicki Minaj posted the cover art for her new single in late July, I’ve been trying to finish a piece about the “Anaconda” controversy. Each time I had to push the project back, I feared that I had lost the relevancy so important to writing about popular culture. But sadly, there has been no lack of opportunity to reflect on issues involving women’s agency over the display of their own bodies.

Last week, unrepentant hackers posted stolen photos (real and photoshopped) of Jennifer Lawrence, Jill Scott, Kirsten Dunst, Mary Elizabeth Winstead, and other female celebrities. The response was depressing if not surprising: mixed in with thoughtful critique, there were plenty of arguments about (men’s) free speech and (women’s) responsibility to protect themselves from exploitation by never, ever taking a photo of themselves or, ideally, never ever taking their clothes off outside of a private dressing bunker equipped with magnets to destroy photographic film and digital storage systems. It was a painful swirl of arguments that, to me, boiled down to a couple of confusing prescriptions for women: first, your body should never ever be publicly visible, so make sure that doesn’t happen; two, expect that men will do everything they can to make your body visible and be prepared to defend yourself; third, if your body should become visible, you will be held morally responsible, whether you chose to display your body or had your body displayed against your will.

This incident merely provides the most recent evidence that how we respond to the sexual objectification of women’s bodies is mostly about who is controlling the display. When women’s bodies are put on display by others, particularly men, we respond as though it is unfortunate but unavoidable. In the same way as victim blaming, this rhetoric figures the sexual desire of men as boundless and the moral responsibility of prevention as belonging to women. The female body is figured here as terribly powerful and terribly vulnerable, capable of short-circuiting men’s ability to act rationally or compassionately. The only way to deal with this power and vulnerability is through fear and containment. Wear long skirts when you go out and make sure your photos are inaccessible to hackers. Men don’t seem to be held culturally responsible for choosing to display women’s bodies when women fail to contain them.

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Replay: Nicki Minaj and Cassie’s “The Boys”

In hip hop on November 9, 2012 at 10:15 am

Melissa S. 

From my first viewing of Nicki Minaj and Cassie’s new video for “The Boys,” I was in love – and I was pretty sure that this was the pop cultural artifact I had been waiting for in order to unload the thoughts about third wave feminism that have been building in my mind over the past few weeks.

In this case, when I say “third wave feminism,” I’m talking about the way that women now are wrestling to navigate femininity and masculinity, cultural power and identity, in a time when choices are greater and there are competing visions of what it means to be a fully actualized woman. We’re now at a point where (as this blog aptly demonstrates) women are interested in reclaiming conventional forms of femininity with pride, whether that’s crafting, sporting cute skirts, wearing makeup, or becoming moms. We believe and assert that we shouldn’t have to be tough, aggressive, and otherwise conventionally masculine in order to be taken seriously as smart and thoughtful people. At the same time, we recognize that patriarchal norms endure. The victories that second wave feminism won relied on strategic masculinization: breaking into male-dominated arenas of cultural power required women to prove that they could play by the rules and then start thinking about transforming institutions from within.

But now, should women act like tough men to succeed in a still-patriarchal world or attempt to change this world? Women live in a tension between conventional masculinities and femininities. The ideal empowered feminist today will be simultaneously tough and sexy; able to strut in high heels or suavely sport a suit; able to roll her sleeves up and duke it out or able to let her hair down and laugh with the girls. These contradictory imperatives also create tension in her relationships to others, both men and women. If she is heterosexual, she is supposed to simultaneously attract men and be their equal, existing in the resonant state between at-work pal and sex object, one-of-the-guys and bombshell. Her relationships with women are equally fraught: she is supposed to be their sister in solidarity and their competition. Somehow, she is supposed to attract every guy, even theirs, and yet remain best friends with everyone. Somehow, she is supposed to beat women at work and then listen to their secrets over drinks, to beat men at work but then soften herself at home. Impress the guys but don’t intimidate them. Beat the women but then befriend them. Such conflicting mandates!

What I love about “The Boys” is the way it playfully captures these tensions. I’ve talked before about how Nicki’s highly successful career has involved the exact kind of high-wire act I described above. She made a name for herself by out-rapping guys and girls alike, by stealing the show from rap’s biggest names (“Monster,” hello?) and by dissing the other ladies as unable to keep up. At the same time, she’s taken the hip-hop mandate for women to become super-sexualized “black Barbies” to such a parodic extreme that it breaks down, becoming its own mockery (Phoebe argued this once with me in regards to the “Starships” video that I hated, but now I have become convinced that she is right, even if I still hate that video, haha). But many of her early successes were big-name features on men’s songs. While she’s collaborated with other women, those aren’t the songs that define her as a serious artist, as more than a pop star. They’re not “Monster” (with Kanye and Jay-Z), “Hello Good Morning” (with Rick Ross and Diddy), “Turn Me On” (with David Guetta), “All I Do Is Win” (with every rapper ever making records right now), “Knockout” (with Lil Wayne). And while Pink Friday was a mega-hit, it a) featured a lot of collaborations with male artists, such as Eminem and Kanye; and b) seemed split between more tough, conventional raps and more poppy songs for radio play. This album wrestles with the gender dichotomies of the music industry: for her to be a serious rapper, she has to rap like a man, but for her to be a mega-star, she has to sing like a girl. Read the rest of this entry »

Replay: “Turn Me On,” David Guetta Ft. Nicki Minaj

In hip hop, music videos, Replay on May 1, 2012 at 8:09 am

Nicki Minaj never ceases to amaze and intrigue the GLG ladies, and this video is no exception. David Guetta’s “Turn Me On” plays off the Frankenstein story, with Guetta as Dr. Frankenstein and Nicki Minaj and others as the Monster, or in this case doll-like creations. Nicki Minaj becomes Barbie here, as she is literally a doll–flesh built over complex mechanics–who runs out into the night and away from Guetta’s character.

Read on for some thoughts on “Turn Me On.” And we would love to hear your thoughts in the comments!

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Barbie Girls: Lil’ Kim, Nicki Minaj, and Mattel

In gender, girl culture, race on February 3, 2012 at 7:26 am

Sarah Todd

Since Azealia Banks’ 2011 breakout hit  “212” captured my heart, mind, soul, and dancing feet, I’ve been reading up on the 20-year-old rapper and soon-to-be superstar. Almost every interviewer asks Banks about Nicki Minaj, which gets old fast for her, you, me, and the bourgeoisie. (With the possible addition of our lady Rye-Rye, they are the only two black female rappers currently generating major mainstream buzz. They also went to the same “Fame” high school in NYC. Ergo, endless comparisons.)

But one comment Banks made about Minaj in an interview with GQ UK stuck out to me:

It could just be that we were both inspired by Lil’ Kim. She did her thing with it, but I was kind of going to do a little bit of that same thing, with the characters, the pink and the Barbies. I wrote a song called “Barbie S***”. I was thinking “I’m going be black Barbie, that’s going to be my thing.” Then all of a sudden she [released it]! I was like, “F***! Did she have someone on my MySpace page? Is someone watching my Twitter? This is way too coincidental!”

The characters, the pink, the Barbie: was it really such a coincidence? I’m not so sure. As Banks notes, Lil’ Kim rapped about being “Black Barbie dressed in Bulgari” back in the early double-0s. There’s a French rapper who goes by the name Black Barbie. Atlanta rapper Diamond calls herself “black Barbie” too. All signs point to the fact that Barbie’s big in the hip-hop world. Read the rest of this entry »

Competition? Why Yes, She Would Love Some: Nicki Minaj in “Haterade”

In gender on July 26, 2011 at 1:00 pm

Sarah Todd

Competition? Why yes, I would love some.

- Nicki Minaj, “Check It Out”

When Nicki Minaj enters a song, it’s like all the doors of a house blow open. In Gucci Mane’s laid-back “Haterade,” she’s not going for fireworks as in “Monster” or “Roman’s Revenge”; her rapping is quick and clipped, as if she’s making an effort to keep her cool. Even before she starts rapping, she’s sucking in breaths between her teeth, because nothing is more frustrating than being underestimated.

The in-your-face-haters spirit of her opening lines–“This one goes out to all of my critics / Don’t you feel stupid? Look how I did it”–has a long history in hip-hop. Think of Biggie, dedicating Ready to Die to “all the teachers that told me I’d never amount to nothin’, all the people that lived above the buildings I was hustlin’ in front of that called the police on me when I was just trying to feed my daughter.” When everyone else expects you to fail, some swagger upon proving them wrong is more than warranted. Moreover, there’s a reason braggodocio is so fundamental to hip-hop: if no one else will tell you you’re awesome, you have to tell yourself. But Minaj’s response to her critics’ low expectations is particularly interesting given her status as the only big female star in current mainstream hip hop.

As Julianne Escobedo Shepherd wrote earlier this summer in Thirteen, there are plenty of talented female rappers out there; however, the mainstream music industry’s cards are stacked against them. Despite such commercially successful female rappers like Queen Latifah, Lil’ Kim, Missy Elliot, Foxy Brown, and Monie Love, hip hop is still perceived as a masculine genre–primarily made by men, for men. In “Haterade,” Minaj notes that her spot at the top of the Billboard Rap charts hasn’t been held by a woman in a long time: “It’s been eight years but I broke the record.” It’s an impressive accomplishment, but why did it take so long for a song by a solo female hip-hop artist to get there? Read the rest of this entry »

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