Now that social media’s “ #BlackTwitter” is riding yet, another wave and gone deep about something that now, I can finish what I started; I’m just gonna do just that: Finish what I started (especially since today-unlike last week-I don’t have to figure out a creative segue and way to figure out how to bring one into the other).
If you remember a little over a week ago, I pressed the pause button on a New Yorker Magazine cover on Serena Williams (because I wanted to talk about how, initially, although her brazen legs-wide-open splits position was as appalling as it was), I wasn’t offended…because I was more engaged in her pose demonstrating athletic ability than the photo stuck out to me as derogatory.
And truthfully, if we remove the often times disrespectful and objectifying element attached to [a woman having a large bottom], I actually would consider Nicki’s above posted picture they used for the wax figure “art”-because it was so primal.
However (initially) I was very much appalled at the sight of seeing a Madame Tussaud Wax Museum figure of Nicki Minaj down on all fours with her ass in the air among all the other erect figures that have had life in the museum since the beginning of time.
I was appalled for the Google-worthy fact that, to simply Google “Nicki Minaj” there are a thousand pictures worth a thousand words that could have gone on wax for a Nicki Minaj figure other than the one on her knees and an arch in her back.
It just didn’t make sense to me. Nicki Minaj has been “Nicki Minaj” for over six years now, and “Anaconda” (the video by which the wax museum was inspired) only owns about one year of those six-but that one on her hands and knees is now made forever engraved as who “Nicki Minaj” was to popular culture (over the countless others “Nicki Minaj” poses with colorful wigs, and exaggerated facial expressions and all things “Nicki Minaj” that Madame Tussaud could have gone for).
It just didn’t make sense to me. Nicki Minaj has been
Media Maestro .
Writing Rhinoceros .