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Journal articles on the topic 'Nicki Minaj'

Author: Grafiati

Published: 4 June 2021

Last updated: 2 February 2022

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1

McMillan, Uri. "Nicki-aesthetics: the camp performance of Nicki Minaj." Women & Performance: a journal of feminist theory 24, no. 1 (2014): 79–87. http://dx.doi.org/10.1080/0740770x.2014.901600.

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2

White, Theresa Renee. "Missy “Misdemeanor” Elliott and Nicki Minaj." Journal of Black Studies 44, no. 6 (2013): 607–26. http://dx.doi.org/10.1177/0021934713497365.

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3

Cosimini, Seth. ""I'm a Motherfuckin' Monster!": Play, Perversity, and Performance of Nicki Minaj." Feminist Formations 29, no. 2 (2017): 47–68. http://dx.doi.org/10.1353/ff.2017.0016.

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4

Lomax, Tamura. "In Search of Our Daughters’ Gardens." Bulletin for the Study of Religion 40, no. 3 (2011): 15–20. http://dx.doi.org/10.1558/bsor.v40i3.004.

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This essay argues that Alice Walker’s seminal essay, “In Search of Our Mothers’ Gardens,” offers a bridge between hip hop and womanist thought that is insightful for theorizing the “daughter’s” (Generation Y) experiences. Moreover, Walkers' essay anticipates hip hop culture, particularly the artistic expressions of female MCs (a.k.a. the “daughters”). One such daughter is current hip hop sensation, Nicki Minaj.

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5

Erika Gault. "“When Saints Found Out…”: Tasha Cobbs, Nicki Minaj, and the Policing of Black Christianity Online." Fire!!! 5, no. 1 (2016): 9. http://dx.doi.org/10.5323/fire.5.1.0009.

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6

Hunter, Margaret, and Alhelí Cuenca. "Nicki Minaj and the Changing Politics of Hip-Hop: Real Blackness, Real Bodies, Real Feminism?" Feminist Formations 29, no. 2 (2017): 26–46. http://dx.doi.org/10.1353/ff.2017.0015.

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7

Roza, Sandra Rita de Cássia. "“VOCÊ É UMA RAINHA”: CANTORAS NEGRAS E SUAS AUTORREPRESENTAÇÕES DE RAINHAS EM VIDEOCLIPES." Revista Docência e Cibercultura 3, no. 3 (2019): 105–27. http://dx.doi.org/10.12957/redoc.2019.44300.

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Este artigo visa analisar 5 videoclipes em que cantoras negras nacionais e internacionais se vestem ou se afirmam como rainhas: “Menina Pretinha”, Mc Soffia; “Ouça-me Rmx”, Tássia Reis; “É o poder”, Karol Conká; “Moment 4 Life”, Nicki Minaj e “Love on the brain”, Rihanna. A fim de entender o motivo dessas cantoras de se auto representarem e se afirmarem como mulheres da realeza, foi realizada uma análise do discurso para observar e analisar o que poderia está implícito e explícito nas produções. A partir da análise, foi possível perceber que artistas propõem outras representações sobre mulhere

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8

Halliday, Aria S., and Nadia E. Brown. "The Power of Black Girl Magic Anthems: Nicki Minaj, Beyoncé, and “Feeling Myself” as Political Empowerment." Souls 20, no. 2 (2018): 222–38. http://dx.doi.org/10.1080/10999949.2018.1520067.

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9

Smith, Marquita R. "“Or a Real, Real Bad Lesbian”: Nicki Minaj and the Acknowledgement of Queer Desire in Hip-Hop Culture." Popular Music and Society 37, no. 3 (2013): 360–70. http://dx.doi.org/10.1080/03007766.2013.800680.

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10

Lezama, Nigel. "Status, Votive Luxury, and Labour: The Female Rapper’s Delight." Fashion Studies 1, no. 2 (2019): 1–23. http://dx.doi.org/10.38055/fs010202.

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Rap and luxury fashion form hip hop’s most unshakable couple. However, female rappers appear to have a more difficult time acquiring and manipulating luxury fashion. When the female rapper demands expensive clothing from her sex partners, is she complicit in her reification as a sexually alienated subject or is she highlighting the value of black women’s labour? In fact, if we look closely at the nexus of luxury fashion, sexuality, and female rappers, there occurs an important transformation of the luxury sign. For rappers like Roxanne Shanté, Nicki Minaj, and Cardi B, luxury objects and brand

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11

McLeod, Ken. "Afro-Samurai: techno-Orientalism and contemporary hip hop." Popular Music 32, no. 2 (2013): 259–75. http://dx.doi.org/10.1017/s0261143013000056.

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AbstractThis article examines the practice and recent rise in the use of various aspects of Japanese popular culture in hip hop, particularly as manifest in the work of RZA, Kanye West and Nicki Minaj. Often these references highlight the high-tech, futuristic aesthetic of much Japanese popular culture and thus resonate with concepts and practices surrounding Afro-futurism. Drawing on various theories of hybridity, this article analyses how Japanese popular culture has informed constructions of African American identity. In contrast to the often sensational media coverage of racial tensions be

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12

Bull, Michael. "Sound Mix: The Framing of Multi-Sensory Connections in Urban Culture." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 3, no. 3 (2013): 25–45. http://dx.doi.org/10.7146/se.v3i3.15730.

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The music I listened to on my iPod consisted of upbeat tunes which make me cheery and positive for the day ahead such as Rihanna –“Diamonds,” One Direction – “Live while we’re young,” Nicki Minaj –“Va Va Voom,” Angel – “Wonderful” and Simple Plan – “Summer Paradise.” These songs make me more focused. I felt I needed some music to inspire me for the day. The journey to work makes me very bored. This is why I feel the need to distract myself with multiple technologies. When I text people and use the Internet on my journey this stops me from being bored. I’m socializing and making use of my spare

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13

Walsh, Maria. "Re-enacting cinema at the crossroads: Nicky Coutts's Passing Place." MIRAJ, Moving Image Review & Art Journal 1, no. 1 (2012): 69–77. http://dx.doi.org/10.1386/miraj.1.1.69_7.

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14

Delazari, Fábio Teixeira, Mariane Gonçalves Ferreira, Gustavo Henrique Da Silva, Françoise Dalprá Dariva, Davi Soares De Freitas, and Carlos Nick. "EFICIÊNCIA NO USO DA ÁGUA E ACÚMULO DE MATÉRIA NA BATATA-DOCE EM FUNÇÃO DE LÂMINAS DE IRRIGAÇÃO." IRRIGA 22, no. 1 (2018): 115–28. http://dx.doi.org/10.15809/irriga.2017v22n1p115-128.

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EFICIÊNCIA NO USO DA ÁGUA E ACÚMULO DE MATÉRIA NA BATATA-DOCE EM FUNÇÃO DE LÂMINAS DE IRRIGAÇÃO FÁBIO TEIXEIRA DELAZARI¹; MARIANE GONÇALVES FERREIRA¹; GUSTAVO HENRIQUE DA SILVA²; FRANÇOISE DALPRÁ DARIVA¹; DAVI SOARES DE FREITAS¹ E CARLOS NICK¹ 1 Universidade Federal de Viçosa – Departamento de Fitotecnia - Av. Ph Rolfs Campus 36.570-000 Viçosa, MG - Brasil. E-mail: fabiodelazari@gmail.com, marianegonferreira@gmail.com, fran_dariva@hotmail.com, davi.freitas@ufv.br, carlosnickg@gmail.com² Universidade Federal de Viçosa – Departamento de Engenharia Agrícola - Av. Ph Rolfs Campus 36.570-000 Viçosa

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15

Looi, Mun-Keat. "Sixty seconds on . . . Nicki Minaj." BMJ, September 20, 2021, n2311. http://dx.doi.org/10.1136/bmj.n2311.

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16

Whitney, Jennifer Dawn. "Some Assembly Required: Black Barbie and the Fabrication of Nicki Minaj." Girlhood Studies 5, no. 1 (2012). http://dx.doi.org/10.3167/ghs.2012.050109.

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17

Syamsul Bahri, Riska Juli Rahmayanti And. "TABOO WORDS IN POP, ROCK, AND HIP HOP SONGS MEDAN." LINGUISTICA 5, no. 4 (2016). http://dx.doi.org/10.24114/jalu.v5i4.6434.

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The study deals with the Taboo words uttered by the singer of pop, rock, and hip hop songs . The objective of this study was to identify the kinds and the reason of taboo words used by the songs in pop, rock, and hip hop genres. The source of the data was lyrics of three lates album in recent five years (2010-2015) which lead three genres; Miley Cyrus for pop, Linkin Park for rock, and Nicki Minaj for hip hop. Each of singers brought five songs as the data. The data were collected by selecting lyrics containing taboo words after listening the song and matching the lyrics from internet carefull

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18

Distad, Merrill. "Bad Girls of Fashion: Style Rebels from Cleopatra to Lady Gaga by J. Croll." Deakin Review of Children's Literature 7, no. 4 (2018). http://dx.doi.org/10.20361/dr29343.

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Jennifer Croll. Bad Girls of Fashion: Style Rebels from Cleopatra to Lady Gaga. Illustrated by Ada Buchholc. Annick Press, 2016.Vancouver journalist and fashion historian Jennifer Croll, author of Fashion that Changed the World (2014), has here shifted gears to acquaint younger readers with the role of fashion in the history of women’s empowerment and liberation. Through the lens of biography, Croll traces the gradual rise of Girl Power reflected in, and partly driven by, the fashion choices of forty women, all of them “Style Rebels.” She divides them into ten categories that include Leaders,

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