Nicki Minaj’s Roman Reloaded: A Look Into the Pros and Cons of the Pink Friday Sequel

Trigger Warning: Content includes profanity, and discussion of violence against women.

After this week’s recent report that Nicki Minaj deleted her Twitter account after several songs were exposed before the official scheduled release, I thought it only appropriate to review her latest album “Roman Reloaded” and see what all the hype is about. “Pink Friday Roman Reloaded” comes as a sequel to Minaj’s chart topping prior album “Pink Friday,” which included multi-platinum hits such as Super Bass. Minaj is known for being an artist that pushes the envelope, between her eccentric dress, risque lyrics, and controversial award show performances, she’s undeniably an original musician. However, as a female rap/pop artist in an industry dominated by men, the question remains to be asked: does Nicki Minaj promote misogyny or promote an over-sexualized image of women? If one was to listen to the lyrics of “Stupid Hoe” or “Sex in the Lounge” the answer would irrefutably be yes. Known for her overt confidence, Minaj portrays herself as tough, rich, and powerful, not unlike the men who rule the hip-hop business. She’s self-assured, at times armed with weaponry, and not afraid to threaten her position of authority. This being said, Nicki has many words for those who stand in her way, particularly women who she views as beneath her. The song “Stupid Hoe” clearly supports this claim as Minaj rants “stupid hoes is my enemy, stupid hoes is so wack, stupid hoe shoulda befriended me then she coulda prolly come back.” She has no shame in berating women she deems unworthy by classification of looks, or sexuality for that matter as she clearly establishes a separation from lesbian Ellen DeGeneres’ wife Portia de Rossi in one verse, “cause I pull up in the Porsche, but it ain’t de Rossi, pretty bitches could only get in my posse.” While Minaj may dispute that she’s complementing Portia de Rossi by labeling her a “pretty bitch” she directly infers that her relationship with women in only for show purposes, one that’s ultimately to boost her own self-image, and not in anyway a mutually fulfilling encounter. The term “bitch is used in the majority of the songs on “Roman Reloaded,” which is significant in correlation to her overarching messages of other women being lowlier than her. The song “Come on a Cone” illustrates this concept perfectly as Nicki taunts “bitches ain’t serious man, these bitches delirious, all these bitches inferiors, I just pimp my interiors, I just pick up and go, might pick up a hoe.” If the listener was oblivious to gender, one would assume this voice was male, a misogynistic masculine voice at that. Minaj furthers her degradation of women by including male artists such as Lil Wayne to rap on her tracks about sexual scenarios that leave a woman powerless and manipulated, “We didn’t use a rubber but I came on her body, I laid her down and kiss her neck, and talked dirty to her, like I get that p***y wetter than a dirty sewer.F**k with me, turn around and bust it open for me. Get on that d**k get that money go Oprah for me.” Minaj regularly uses profanity in her lyrics, but the male segments done by Lil Wayne and others such as Cam’ron, Drake, Nas, Young Jeezy and Chris Brown border on crude and express violence as a form of achieving pleasure (masculine, that is.)

Meanwhile, Minaj showcases her vocal talent in the latter part of her album, which makes a dramatic transition from rap to pop genres. Some of her most popular hits “Turn Me On” and “Starships” pursue a more united subject matter in the form of relationships. The material focuses primarily on having a good time, dancing, and feeling fine. The song “Marilyn Monroe” takes the album to a new level of lyrical expression, as Minaj examines the raw human emotions she equates to experiences/ quotes said by Marilyn Monroe.

          “Call it a curse!

Or just call me blessed.

If you can’t handle my words

Than you ain’t gettin’ my best.

Is this how Marilyn Monroe felt?

Well, must be how Marilyn Monroe felt.

Take me, or leave me,

I’ll never be perfect.

Believe me, I’m worth it.”

Altogether Nicki Minaj produced two levels of music. One level is simplistic, demeaning of women and sexuality associated with the female sex. It places its fundamentals in violence, arrogance and a lack of originality. The second level is a new awakening for Nicki Minaj. It’s basis has more substance, more creativity, inspiration, and lastly skill in her singing talent. My hope in the years to come for Nicki Minaj will be for her to embrace her natural ability to produce high quality sound, and move forward with lyrics that depict women in a positive, healthy attitude, so that little girls like Sophia Grace and Rosie will have an inspirational role model to look up to.