Nicki Minaj Pink Friday Zippyshare
“You were a queen before him. You’ll be a queen after him,” Nicki Minaj tweeted a few months ahead of her fourth studio album, QUEEN. Throughout her meteoric rise and even more impressive reign as one of the most formidable voices in hip-hop, female empowerment remains a constant in Nicki’s messaging. It was a motivating factor in the making of this album, which includes “Barbie Dreams,” a toothy and hilarious flip of The Notorious B.I.G. Classic “Just Playing (Dreams),” wherein Nicki upends the concept of predatory masculinity, lining up a gang of her rap contemporaries as potential conquests. Elsewhere, Nicki raises a lighter to her Caribbean roots with “Ganja Burns,” which could work just as well as a dancehall riddim; goes bar for fiery bar—again—with Eminem on “Majesty”; and provides a simple solution for the Barbz dealing with unappreciative partners on “Nip Tuck.” “I think my role is putting out music that makes women feel like they can go from a poor neighborhood to doing records with the greats and being hailed as someone that shifted the culture,” Nicki told Beats 1 host Zane Lowe.
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“There are songs on the album that I feel women really need right now.”. “You were a queen before him. You’ll be a queen after him,” Nicki Minaj tweeted a few months ahead of her fourth studio album, QUEEN. Throughout her meteoric rise and even more impressive reign as one of the most formidable voices in hip-hop, female empowerment remains a constant in Nicki’s messaging. It was a motivating factor in the making of this album, which includes “Barbie Dreams,” a toothy and hilarious flip of The Notorious B.I.G.
Classic “Just Playing (Dreams),” wherein Nicki upends the concept of predatory masculinity, lining up a gang of her rap contemporaries as potential conquests. Elsewhere, Nicki raises a lighter to her Caribbean roots with “Ganja Burns,” which could work just as well as a dancehall riddim; goes bar for fiery bar—again—with Eminem on “Majesty”; and provides a simple solution for the Barbz dealing with unappreciative partners on “Nip Tuck.” “I think my role is putting out music that makes women feel like they can go from a poor neighborhood to doing records with the greats and being hailed as someone that shifted the culture,” Nicki told Beats 1 host Zane Lowe. “There are songs on the album that I feel women really need right now.”.
Kicking her career off with an exciting but flawed debut (2009's ) and a scattershot and safe sophomore release (2012's ), Young Money superstar continues to mess with her discography with this re-upping re-release, which tacks eight new tracks onto the front of her second album. Good news is, the too-pop now feels more balanced once this eight-track EP worth of material tips the scales, and if you missed the vicious-mixtape- that seemed like crossed with anime, the team-up 'High School' restores faith with three-and-half minutes of driven, witty filth.
Comes on with such an anti-, back-to-basics attitude that it slowly slithers up to the track, opening with a grind-meets-gospel cut 'Up in Flames' ('I keep a sniper/I ain't talkin' 'bout Wesley') before the loopy meditation on fame called 'Freedom' offers the listener a dreamy float in space. Then there's the dark majesty of 'Hell Yeah,' which comes off as a cursed track while also rhyming 'menses' with 'Louis V lenses', but everything after the duet is the kinetic of the past, starting with the too true 'I'm Legit,' where alternates between imitating a robot and an air-raid siren as provides the silky hook. It's a thrill, as is the girls' night anthem 'The Boys,' which skillfully switches influences from to to (dig that acoustic guitar bridge) with singer along for the ride. As 'Va Va Voom' closes with some -styled flash, this tacked-on EP winds up as wild and rangy as 's debut. For fans who don't yet own the second album, this is certainly the better deal and bigger picture, and with some versions adding a DVD's worth of videos, the value goes up.