Nicki Minaj: Black racism against Asians (A parody)

ATTENTION: This is a parody. It does not in any way reflect my actual views on cultural appropriation or any group or community of people in the United States. It is meant as a parody of what has become a common practice of nonsensical, racist diatribe-class analysis in the feminist and social justice warrior community in the USA.

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Here we see Nicki Minaj evoking Egyptian themes and appropriating from the country’s history and thus psychologically assaulting its people. It is not uncommon for black Americans to arbitrarily ‘identify’ themselves with African cultures; conflating skin color with ethnicity and culture.

The overwhelming racism of black matriarchy strikes again and as usual, has been spearheaded by none other than Nicki Minaj. This time her victims are members of the Asian community. Which ones exactly is difficult to say since Minaj seems to make no distinction among the rich diversity of Eastern cultures.

This is hardly surprising, however, as this is not the first time Minaj has maliciously and wantonly stereotyped an entire community of people, shamelessly boxing them within one of America’s socially constructed racial monoliths.

You may recall the video she did for her song Anaconda in which she, alongside other POC women, dances in homoerotic fashion in the jungle, making obvious allusions to the racist trope of the over-sexed jungle bunny.

Minaj, however, doesn’t just exploit college-boy lesbian fantasies and animalize black women, she goes on to profane the reputation and character of women everywhere by proudly claiming and promoting gold-digger status while making it painfully clear that prostitution in one form or another is the only real agency a woman has.

In her newer video for the song Your Love she targets Asia in a stunning act of orientalism in which she conflates and thus dismisses everything from Thai to samurai. How it is other feminists concerned with the status of our POC sisters have failed to notice this trend is beyond me.

In this latest example of Minaj’s racist exhibitionism, she tells the tale of two women in love with their martial arts instructor, a black man posing as a sensei. Nicki must ultimately fight for the right to be with him, exposing her view that not only should interracial relationships be violently quashed (her competitor was not black) but that men are a prize to be won like a plush toy at a state fair.

Amidst this romantic chaos we are bombarded with a conflagration of orientalist imagery in which eastern cultures are highly exoticized and the worst of racist tropes are thrown to the fore. Minaj parcels her time between portrayals of a kimono-wearing dragon lady and some manner of samurai armor while referencing the Thai language in a desperate attempt to rhyme. It couldn’t be more offensive.

This is scarcely surprising, however, when we consider the turbulent historic relationship black Americans have had with their Asian counterparts. Marion Barry, the former black mayor of D.C. famously stated that Asians run ‘dirty shops’ and ‘something must be done about them’.

During the L.A. riots Korean businesses were violently targeted by the black community and today it continues in Ferguson where Asian businesses are once again in shambles as a result of black race violence.

People need to wake up to the orientalism and general racism and sexism in Minaj’s work and the black community needs to seriously consider how it propagates racist tropes against the Asian community. In other words, check your privilege!

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