Call it stan-ism, false idol worship, or whatever conjured up reach to formulate advocacy to admire individualism, it still ends up being this awkward and vile strain of loyalty — acceptably demanded, not exactly earned — that is not necessary, not cute, and definitely not serious enough to lead to incivility and debasement of our hard fought industry. An industry that still lacks the type of economic empowerment that is seen in non hip hop artistry circles.
Moreover, the lack of a humble on display by Minaj essentially debases the professional appeal of hip hop and its fundamental hubris for Black diasporic pride. To take a difference of opinion to caustic and corrosive extremes as many as found in the contretemps with writer Wanna Thompson is absurd and small-minded of her. What I saw there to great horror in Nicki’s reaction is a Trump-like spaz out with malignant narcissism in tow.
When constructive artistic criticism results in this manic, life-threatening, life-altering consequence, then the art being produced no longer imitates life, it becomes a medium to which the art authoritatively creates the standards for fans to emulate for homage in all its travesties and caricatures performed.
Minaj’s hood posh appeal is now a dimensionless quality, not to be compared with an inspiring creative like Beyoncé or even a socially conscious evolving maturity of a Lauryn Hill. Missy “MisDemeanor” Elliott is a special breed of artistry — a visionary whose multidimensional talent goes beyond rapping, she is also a visual artist, not to be confused with the likes of a Nicki Minaj fame.
So in conclusion I am just as confused as anyone else who is rational and sees this trending down of the art form surrounding Nicki Minaj’s negative populism in Hip Hop. What I am seeing more and more is the unenlightened fanaticism with wanting to crown her (with the crown she bought) just because she is begging and or demanding us to.