Nicki Minaj Lets Love Rule at Powerhouse ‘Pinkprint’ Show in Brooklyn

27 Jul 2015 | Author: | No comments yet »

Meek Mill responds to Drake diss track.

Drake released “Charged Up” on Saturday night, a response to Meek Mill’s claims earlier in the week that the Toronto rapper didn’t write his own rhymes. Strutting across the stage in all gold — looking like the world’s most curvaceous awards show statuette — Minaj had just implored the “dirty ass dick n—-s” to “get down and kiss the motherf—ing floor we walk on.” The “we” was, simply and beautifully, all women — even with Meek Mill and Rae Sremmurd on the bill, it was ladies night at Barclays. So what did Mill think of the song? “I did some charity today for the kids/ But I’m used to it cause y’all charity cases,” Drake rapped on the song. “All y’all stare in my face and hope you could be to replace me / Snitchin’ on us without no interrogation / I stay silent ‘cause we at war and I’m very patient. That in itself is an anomaly for hip-hop fans. “Are there any ladies in the house tonight?” most artists will eventually ask, and our ears perk up.

Nicki represents a studied, careful version of femininity — but one flexible enough not to shatter when she steps outside her well-rehearsed Barbie poses. At one point, adrenaline-filled from the unquenchable crowd, Minaj shouted, “I don’t know why these n—-s ever thought they was fucking with me!” defying the cultural imperative to act a certain way, while implying it’s fine if you want to act that way, too. Being effortlessly flawless, too often an impossible requirement of feminine identity, has no place in Minaj’s world — in her rendition of Beyoncé’s “Flawless (Remix),” “I woke up like this” is a sweeping motivational maxim, rather than descriptive truth. Nicki has been very successful at doing it all, scoring chart-topping hits as well as SoundCloud smash remixes — but the staging of her show was less assured than her onstage persona. She sells “Starships” with the same enthusiasm she did in 2012, but clunky costume changes and strange transitional videos made Nicki’s attempts to appeal to everyone more obvious than it needed to be.

She would likely be forgiven for not playing every single hit if she had shown a little more of her ability to create a cohesive concept — clearly, the woman who has (according to Wiki Minaj) 15 alter egos is capable of creating a stage show that also elevates her music. Instead, a strangely Broadway diva-ready ballad portion (complete with a long pink gown, onstage pianist, and falling snow) was followed by an on-the-nose, all-neon EDM set, with no sense of why the same person was at the center of both. After Wayne bounced on-stage to “Loyal,” Nicki bowed down to the troubled MC, insisting that he was “the best rapper alive.” “I would agree with her,” replied Wayne, “but there is a certain person named Nicki Minaj who is kicking my ass right now,” he concluded, chuckling with grim self-awareness. Nicki ignored his self-deprecation, instead posing as the unrepentant fangirl. “I know you’re gonna kill me after,” she said, while telling her DJ to cue up the rapper’s 2008 hit “A Milli.” Meek Mill’s appearance, highly anticipated in the wake of his ongoing, WiFi-mediated scuffle with Drake, included the requisite tit for Drake’s tat (the diss track “Charged Up,” released Saturday night). “I was doing my album and I asked [Drake] to give me a verse for my album, but [Drake] gave me a verse that he didn’t write, that another wrote,” he told the crowd, adding that “Charged Up” was “very soft, baby lotion soft.” Nicki also got in on the action, briefly, telling the audience about how she too writes all her own verses — an allusion to both Meek’s allegations about Drake and her ex Safaree, who previously alleged that he wrote for her. “Y’all don’t even know how to pronounce the motherf—ing words in my motherf—ing rap, bitch,” she insisted.

It didn’t really matter who “won” after that, as Nicki, costume slightly askew and Louboutins in hand (rather than on feet), jubilantly conga-lined offstage.

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