Wednesday, 31 August 2016


Gesticulation around the void [black female posterior]; maladaptive neurotic anxiety the falsify reality of bubble butt, repress bubble butt resurface as the obscure object of desire.

Don't do the same old things you used to do, you say I've given you a sweet taboo… Lina – Playa’ No More, ‘Stranger on Earth’, 2001.

The black liquorish foxy brown cultural expectation of hypersexuality repressed through individual super-ego.

Deny the threat of Lil’ Kim and prepare for a transcendental anxiety;

When I lay on my stomach and throw my legs back y'all probably won't know how to act… Foxy Brown, ‘I Taste Just Like Candy’

The power as given antecedently by a greater power – BeyoncĂ©, Mary J Blige, Rihanna, Janet Jackson, Aaliyah, Patti LaBelle, dig that – pop ya collar, a meaningless waste of energy, consistent and purposeless… no diggity. An exaggerated lumbar curve, sacral curvature altered to unnatural proportion – beyond race and beyond female and further through the architecture of desire, the cosmology of Azealia Banks, I guess that cunt getting eaten – transmogrification of blackness, of a hysterical ebonics, of sublime, of avidity, of a sensual current; all folding and crawling into a black and unknown and uncontrollable force – is Nicki Minaj masculine and castrated?

The Minaj structure is not about being black, it is not about being female, its purpose is to provide an extra-terrestrial psychopathia-sexualis – it throws a curve ball into the afrofuturism – by presupposing an exaggeration into a familiar appeal.
The Minaj structure seeks, through its extra-terrestrial sexual foreplay – and a series of events in which it both emasculates and causes excessive subservience to the spectator [similar perhaps the emblematic appearance that the word ‘nigga’ attempted] – to standardise black-female objectification. However, there is limited-to-no irony in the acts that presume that this is its cause, rather – it appears to maximise a strange despot of machine-like fantasy through a consumable and productive outlet. It reinforces and it redefines sexuality in black-women, it becomes a counterproductive puerile Freudian pixilation of sexuality

This is mother fuckin’ Afro-Dadaism. 

What happens is that we no longer objectify Minaj for being female, nor do we objectify Minaj for being black – so it leaves us to distinguish that the architecture of Minaj places us ‘spectator’ into deadlock, leaving us objectified. We can no longer subject Minaj to an Alloplastic adaptation – it’s formlessness cannot be placed into any fixed structure – we must submit to Autoplastic adaptation – into Pupa.