Music that is honest and vulnerable, that speaks to the very core of a person is, as a lyricist and songwriter hard to explain.
As an example, an artist like Sia? When I heard ‘Elastic Heart‘ for the very first time, it legitimately felt like she had scooped out the inner workings of my brain like a cantaloupe and served its’ contents to the world for the masses aural pleasure. I do honestly believe it’s the voyeuristic part of my personality that is drawn to artists such as she, albums and tracks that lay a performer bare – when done right, it’s like fire – something that ignites emotions in you that you weren’t aware you had, or ones that have lain dormant for such long periods that you greet them with sad nostalgia.
Nicki Minaj’s ‘The Pinkprint‘ assaulted those who’d eagerly awaited her third studio album with the first released track, ‘Anaconda’, leaked online. I must admit the Sir-Mix-A-Lot sample made me cringe, yet another poor hip hop re-invention, the obvious intention for the song to be a ‘club banger’, getting scantily clad girls and roving-eye boys on the dance floors of night spots the world over. If this was the desired intention, I can tell you – her team hit a hole in one. Many have argued about Nicki’s ability to flex her skills as a writer, stating that she has solidified her spot in a male dominated industry with lyrics such as “Come through and f*** him in my automobile / Let him eat it with his grills, and he tellin’ me to chill / And he telling me it’s real, that he love my sex appeal / Say he don’t like em boney, he want something he can grab … Yeah, he love this fat ass. This one is for my bitches with a fat ass in the f**kin’ club,” .
Personally, on an initial listen I hated the song and thought the lyrical content a mere afterthought – the video, where the focus is on Minaj’s ‘big fat ass’ and her overt sexualisation designed to garner attention – and lots of it. Fair play to Ms Minaj, obviously she is aware that sex sells. But, could you argue that this is boundary breaking? Could you argue that the moniker assigned to Minaj as a sex symbol of modern hip hop, self proclaimed ‘Queen’ – is one that in line with feminism as we know it today? I’m not talking about the new wave bad tumblr feminists of the world. I’m talking about those who advocate the actual definition of the word ‘feminist’, someone who believes in the social, political and economical equality of the sexes. Can a woman who owns her sexual identity be a feminist? The answer is yes. Nicki Minaj is a feminist, a self-made, determined and self-aware woman, who, despite the difficulties that belie her in the ‘rap game’ repeatedly comes out on top. But Anaconda really gives you no insight into the deep and soulful content of ‘The Pinkprint’. It is thoughtful, personal and at times truly heart-breaking, an insight into a woman who repeatedly refers to, or is referred to by her label mates as a ‘bad ass bitch‘ – she is that, but isn’t just that.
The second single Only from ‘The Pinkprint’ is a collaboration of artists, featuring Lil’ Wayne, Drake & Chris Brown that came under fire after it was realised that the music video included a litany of Nazi imagery, of which the short film’s director Jeffrey Osborne has refused repeatedly to apologise for. Minaj was much more contrite, apologizing for her ignorance on the matters at hand and stating that there was no malice intended and that there is no room in her ‘art’ for Nazism. The song itself? Minaj bemoans that despite popular belief, she has not ever slept with either rapper, whilst both Drake & Wayne rap affectionately about her and their desires to bed her should the opportunity ever arise. Again on first listen, I can’t say I was a fan – but the song has definitely grown on me, in terms of hook. Chris Brown might be a spoilt, violent & entitled dick, but he can sing the fuck out of a hook.
The third track released though? Now that is money. I’m a sucker for a ballad and have to admit I have a soft spot for the soft wistful sound of Skylar Grey’s voice – the same voice from the forgettable Fort Minor’s ‘Where’d You Go‘ & Dr Dre’s long awaited comeback single, ‘I Need A Doctor‘. Grey wrote the song ‘Bed of Lies‘ some time ago before the demo reached Minaj’s camp. Keen to be involved in the song and eager to keep Grey on the hook Minaj put pen to paper and nailed it. Lyrically, the song is truly personal, Minaj recounting a toxic relationship with an ex that ended badly – something that most of us, men and women alike can relate to. Hell, I know I can. Pills ‘N Potions is a reflective piece, where she admits despite not being able to stand it, she still loves the protagonist of the song. It’s ambiguous but thoughtful and telling. Again, another ballad and one of my favourite tracks from the album. As for Grand Piano? ‘The people are talking/ the people are saying that you have been playing my heart / like a grand piano / so play on / play on / play on’. Damn. It’s a train ride all the way to feels town. Noticeably absent from this album is Minaj’s out of this world persona ‘Roman’, the same persona that launched her career with songs like ‘Moment 4 Life’, ‘Did It On’em’ & ‘SuperBass’. And to be perfectly honest? I’m glad. Whilst the bubble gum rap career of old had it’s place for Onika, I like this new, polished and thoughtful Minaj a whole lot better.
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