It’s just all these unwritten rules of Blackness, and what’s appropriate for Blackness, and the rules change every fucking day. When I came out with “212,” I was actually the first artist to just be like: “Oh, this is gay, this is our hip-hop” - you hear what I’m saying? And it’s a very deep conversation, which I really don’t care to have. That’s something that I’ve been saying from Day One. What inspired your recent post about Lil Nas X, where you called out Dave Chappelle for transphobia and Boosie Badazz for homophobia? But right now, he’s kind of just like a cultural figure. When Kanye puts some music out that is important, then I guess we can have that conversation. He’s been, I guess, selling sneakers and doing outrageous shit, everything but the music. I don’t have to talk about that which is beneath me. Listen to the last five years of Kanye West’s music. I feel like you’re somebody who has tapped into house and dance music from the start-įor a while, you wanted to name that song after Kanye West. It goes back to the cliché argument that everybody’s having right now, but it shows.
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I was just like, “Yo, this is hip-hop.” I think that a lot of these so-called “hip-hop journalists” kind of forget how to listen to hip-hop music. I just heard that beat, and I was like, “Yo, this is crazy.” It reminded me of “Custom Made” by Lil Kim. Thinking about the track you put out a few months ago with the Galcher Lustwerk beat, “Fuck Him All Night,” how did you guys connect? I’ve released a lot of brilliant music in the last 10 years.
I guess the music journalists were more concerned with being tabloids than they were with paying attention to the music. There’s been actually lots of music that’s been put out. I’m always in the studio, always working. How are you? They told me you’re in the studio pretty late.
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(Crowe denied the allegations.) She’s also had her Twitter account suspended a number of times, most recently last year after a series of tweets that were seen as transphobic.
All the while, the public often seemed more interested in her magnetism for online controversy - from a weird encounter with Elon Musk and Grimes to Russell Crowe allegedly assaulting her in his hotel room. The song pushed Banks into the limelight at age 20, and she spent the years that followed releasing a steady stream of equally transcendent hits. Next week marks the 10-year anniversary of Banks’ first single, “212,” a refreshingly buoyant tune that had an instinctive grip on hip-hop’s many contours. The musician has never been guilty of much more than speaking her mind, often about the kind of cultural hypocrisy to which we now devote premium cable documentaries.
It makes sense that 2021 was also the year that the world forgot why it was so mad at Azealia Banks. Similarly, the open secrets of alleged bad actors like Marilyn Manson are finally sticking in the public’s consciousness. In the past year, icons like Britney Spears have been reconsidered in a new, more empathic, context. Somewhere between the election, the pandemic, and the looming environmental catastrophe, a reshuffling of attitudes took hold.
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