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More grand moments come when Kanye West and Minaj mack together on the great, Simple Minds-sampling “Blazin,” or when “Your Love” waltzes out of the speakers with a unique brand of hood majesty, but when “Dear Old Nicki” comes round with “In hindsight, I loved your rawness and I loved your edge,” Minaj suggests that her growth as an artist requires the sacrificing of all Trina-like qualities. It’s chock-full of new wave textures and diva attitude, creating the kind of atmosphere where will.i.am stops over while you tell the haters to kill themselves over a “Video Killed the Radio Star” sample (“Check It Out”). Feed off the production, the great musical ideas, and Minaj’s keen sense of her surroundings, and Pink Friday is an outstanding success. The only question left is how this versatile artist would present herself to the general public, and the answer is a Gwen Stefani-meets-Baz Luhrman-meets-Young Money-type affair that both dazzles and disappoints. Two years of strong mixtapes and guest appearances meant the hip-hop faithful already knew this sometimes dirty debutante could take that gutsy Lil' Kim style to another level, and that both the single and the full-length format were at her command. By the time 2010 rolled around, debuts like Nicki Minaj’s Pink Friday could still fall into the “highly anticipated” category, but the reasoning was different.
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