If a video drops in a forest of things that seem to matter a lot–like fingers waving in presidential faces and self-deportation–does it make a sound?
Nicki Minaj dropped “Stupid Hoe” last week.
Maybe I’m too old to have my thumb on the relevant spaces in the interwebs, but it seems like the video barely caused a buzz. Responses from Jezebel, Clutch, and Vibe were mainly negative, complaining about Minaj’s use of animalistic imagery, neon colors and her less than creative wordplay. Black feminists offered mainly negative critique for obvious and perfectly legitimate reasons. Minaj’s challenge to “stupid hoes” included a reference to “nappy-headed hoes” and images of a pale, plastic, Venus Hottentot Barbie.
Me? Minaj hurts my head. She perplexes me. I think of her as Trickster, two-faced in her betrayal of global black feminist possibility and powerful in her contradictory elucidation of black woman’s power within the realms of celebrity and hip hop. Reading her as Ellegua, that frightful guardian of the crossroads and the in-between and the everything-that-is-not-yet seems to fit an artist who switches alter egos as easily as she switches clothes. Conjuring the ritual and physicality of possession seems to fit a celebrity who changes clothes as she changes personality, putting on her and taking off her tropes as each personality comes down. The sometimes garish, sometimes delightful carnival of color, glitter and expression–even the repetitive dancehall/house music refrain–also fit a woman whose aesthetic choices continually find their footing in her Trinidadian roots.
In other words, I think of Nicki Minaj as diasporic black, as radical, and as speculative.
